Deleted
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Post by Deleted on Jan 5, 2020 10:16:59 GMT -5
Discuss.
No, “I prefer bowls” is not a valid answer.
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Post by Auf Kiltre on Jan 5, 2020 10:25:58 GMT -5
Depends on the quality of cans, but I would only use them for a/b'ing when possible. I have totally missed the mark using cans before, usually in the bass department.
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Deleted
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Post by Deleted on Jan 5, 2020 10:44:15 GMT -5
Depends on the quality of cans, but I would only use them for a/b'ing when possible. I have totally missed the mark using cans before, usually in the bass department. Yeah, I’ve found that tricky too. The Sennheiser HD 600/650 seem popular. Finding something open and flat seems to be a challenge. |
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Post by rickyguitar on Jan 5, 2020 12:23:00 GMT -5
Strong preference for monitors. Even better if you have a few dicf pairs to compare. I dont, I have a pair of rokit 5.
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Post by Auf Kiltre on Jan 5, 2020 12:25:01 GMT -5
My method of mixing has become a series of test playbacks through my Event studio monitors, cellphone playback through earbuds or headphones, my living room soundbar and the car. I find the soundbar often presents the biggest discrepancy, most notably on the vocal EQ.
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Post by Peegoo 🏁 on Jan 5, 2020 13:21:38 GMT -5
My method of mixing has become a series of test playbacks through my Event studio monitors, cellphone playback through earbuds or headphones, my living room soundbar and the car. I find the soundbar often presents the biggest discrepancy, most notably on the vocal EQ. That is the way to do it, because the proximity effect of cans really accentuates bass. It's best to average the spectrum between monitors and cans. I've found that mixing for longer than about 30 minutes at a stretch distorts my perception and I start pushing EQ levels where they shouldn't go. It's been a while since I've done any heavy mixing tho. |
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Post by ninworks on Jan 5, 2020 13:48:15 GMT -5
I have done it and done it a lot. It's not as much about the quality or quantity of the sound as much as it is how familiar one is with it but, that is true for any monitoring setup. Granted the quality of the phones does help but, that's still not the final parameter. If reference material is used to compare the sound of your mix to the sound of reference material you are familiar with very good results can be achieved. I would rather mix in a decent set of cans than with high dollar studio monitors in a real bad sounding room.
The bottom line is how well it translates to other systems. Listen to your mixes on as many different ones as you can to arrive at one that sounds good on all of them. Experience is the key to knowing what the sound on whatever you are monitoring with will translate to other systems. The more you do it the better you will get at it.
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DrKev
Wholenote
It's just a guitar, it's not rocket science.
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Post by DrKev on Jan 5, 2020 14:52:08 GMT -5
What ninworks said - reference material and experience! We MUST have reference material to go back to, partly to refresh our ears from listening to too much of our own crap but we also need to remind ourselves what an apropriate amounts of bass or treble or reveb etc. sound like in well-produced music of not-too-dissimilar genres.
Experience counts for a lot too. By that I mean that if you mix with the "best" monitor speakers for the 1st time, you'll do a worse job initially than on the $50 cans you've had for years. Why? Because of all the music you'll have heard in those cans, you'll be used to what they sound like. When mastering engineer Ian Shepherd built a home studio in his garage he first installed Hi-Fi speakers to work with. Why? because it was a new room, he wasn't used to what it sounded like yet but he had those speakers for 20 years and new *exactly* what they sounded like.
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professor
Wholenote
"Now I want you to go in that bag and find my wallet." / KMMFA
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Post by professor on Jan 5, 2020 15:28:37 GMT -5
As mentioned, good for A/B ing, but then also through the monitors, also to the car stereo and also bluetoothed from the iPhone to a JBL portable speaker. It's kind of maddening.
The late David Briggs, who was Neil Young's main producer and who had worked with Ray Charles and others said always record with all settings flat, then go from there.
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Post by chronicinsomnia on Jan 6, 2020 10:39:11 GMT -5
I use the flattest response cans for recording and initial mixing. Then go to a powered flat EQ'd PA system with stage monitors and mains. Balance between those two. Put it on a thumbdrive. Go out to the car and listen there take notes and come back in to remix.
After all that I have a couple of people I trust give me their input.
I listen to all mixes at medium volume. Once I have what I think is a final mix I will crank it up pretty loud to make sure it doesn't sound woofy. If it does I go back in and do some frequency cuts.
If you get good cans you can get a close mix. I agree with Peegoo about taking breaks. If I stay at it too long my tolerance for terrible gets pretty high.
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