Show/Hide All Inactive Track Alternatives – Logic Pro X keyboard command of the day

Logic Pro X keyboard command of the day. #LogicProX @StudioIntern1

  Show/Hide All Inactive Track Alternatives

 

Track alternatives are new to me. When mixing I normally want to change channel strip settings, not the actual music. I recognize the benefits of comping, but I don’t record multiple takes and then work with the better pieces of each.

I need to remember track alternatives. I think they will come in handy when I collaborate with other Logic users.

Use track alternatives – Logic Pro X:

You can create and edit track alternatives and switch between them. Each alternative can contain different regions or arrangements, while sharing the same channel strip and plug-ins. Track alternatives are like “playlists” for individual tracks that can be used to try out different ideas or archive tracks at different stages of development.

 

⇧ SHIFT  –  ⌃ CONTROL  –  ⌥ OPTION  –  ⌘ COMMAND

Friday Tips—Studio One Meets Vinyl – PreSonus Blog

Friday Tips—Studio One Meets Vinyl – PreSonus BlogPreSonus Blog:

SO THAT’S WHY VINYL SOUNDS BETTER!!
Yes. Properly mastered vinyl releases didn’t have harsh high frequencies, they had dynamic range because you couldn’t limit the crap out of them without having them sound distorted, and the bass coalesced around the stereo image’s center, where it belongs. In fact, if you master with vinyl in mind, you just might find that those masters make CDs sound a whole lot better as well!

Handy tips on creating sound for vinyl.

Working Template

I recorded the Titan Valley Warheads a whole lot from 2014 through 2016 (like 120 nights, 200+ sets).

There’s a lot of really good music in there. I am not sure how to pull it all out.

Latest attempt was simply drag the 8 channels of audio that I captured from a Mackie 1624-VLZ3 along with a stereo front-of-house mix (they pushed it in mono, I captured in stereo – and played with the panning).

I have always struggled with ambient noise, noisy crowd, way too sensitive microphones. Latest track was kind of bad – band was not balanced, my attempts at “fixing” the sound were not fruitful. Sent the mix off to some trusted listeners (a band member and an accomplished player who understands the medium – pretty good player too! 😉 ) Got feedback. A lot like I expected, but concentrated on areas that needed focus. With so much to do I can get lost.

I have 2-track recording from the FOH (board). I have a 2-track from a mix attempt in my mixer as well. Sometimes my mixer gets like one channel, the bass, and sometimes all of it. It’s a learning process.

After comments about balance between players I went back to the board and did a critical listen. The board showed none of the problems, or at least they were very subtle. What the heck is going on? How can this happen.

I spent an afternoon just looking at the manual for the board, the picture(s) I have of the live mix, and attempted to re-create what the board did in my DAW. My raw input tracks were all post-gain, pre-EQ, so no processing through the board. Board sounds pretty darn good (kudos, Mackie).

All right. Set all the low cut, low shelf, and high shelf on the EQ. Attempt to match the mid-frequency sweep with cut/boost as required. Push some faders up on the vocals. Do some “odd” routing for vocal reverbs in the FOH mix. Playback. Whoa…so good…so much different than what I got with dry tracks. Who knew?

This is a proper starting point. Not those dry tracks. Doesn’t sound “real” yet, don’t have dumpy bar room acoustics applied, but the source sounds like the band I know. They play well. They are balanced and really enjoy what they do. It’s good to capture that and be able to get it back out . …sidetracked by Little Feat “Spanish Moon”…sorry…

Anyway. New template. 8 channels for the band. All the EQ set as close as I can tell. FX added. Post-gain fader adjustment to levels applied. Excellent starting point.

Part 2 template sends raw audio to XR18 (just like original) and plays back through XR18 mains. I can adjust each channel in the XR18.

Scenes on the XR18 for Logic to XR18 (playback) and Logic to XR18 to Logic so I can compare things from the mixer with what I get from the DAW.

Templates are a remarkable tool. Help my slow mind and slow fingers. Won’t talk about frequency-challenged hearing…

Maximizer – Ozone 8 Documentation

Maximizer – Ozone 8 Documentation:

Overview
Ozone’s acclaimed IRC (Intelligent Release Control) technology lets you boost the overall level of your mixes without sacrificing dynamics and clarity. The Maximizer applies to the entire bandwidth of the mix; it is not a multiband effect.

Very clean and nice. Can warm it up with the different IRC settings.

Mixing Vocals: What Makes a “Professional” Vocal Sound

@iZotope

Mixing Vocals: What Makes a “Professional” Vocal Sound:

When learning how to mix music, beginner engineers can often become discouraged when comparing their work to professional mixes. They know the tools (EQ, compressor, etc.) and how to use them, but for some reason they don’t get the same results. However, knowing what’s actually happening in the sound of a professional mix can help clear things up. In no domain is this more obvious and important than in mixing vocals.

Homework and course work.

I keep finding these things in my mailbox, on the web, wherever. I have the tools needed. I have lots of recordings (not exactly controllable), and a desire to make mixes with better sounding vocals. Particular attention needs to be paid to the live vocals I have.

Added the video series to the iZotope binder.

Establishing Project Studio Reference Monitoring Levels |

Establishing Project Studio Reference Monitoring Levels | Sound on Sound

In essence, what I’m talking about is establishing a reference listening level in the control room, to use as a reliable base from which to make aural decisions. The good news is that this is very simple to achieve, and doesn’t require any major investment in new equipment, although it’s certainly easier and more intuitive if you have a well‑designed monitor controller and a simple SPL meter.

Today was a good day to re-calibrate the studio monitors.

The mains are JBL LSR305, waveguide at ear level. On top of those are the M-Audio AV40 pair (serve well for typical people listening, no bottom to speak of).

The room is 3.2m wide, 4.4m long, 2.4m tall – I calculate a tad more than 34 cubic meters. The suggested reference level is 74 dB.

Fired up Logic with pink noise at -20 db, pushed the outputs to 0, measured on my trusty iPhone SPL meter (been using it for 4 years, I trust it).

I put a Behringer Monitor2USB monitor controller into the audio path about a year or so ago. Volume knob is top-dead-center – marked 50.

73.9 dB on the LSR 305, 71 dB on the AV40. The JBL volume is excellent. Nudged the AV40 volume knob a bit past TDC and got to 74 dB. OK.

All of this is run through IK Multimedia ARC 2 room correction software. I AudioHijack the system output and send it through the plugin. Separate settings for the AV40, JBL Main, and JBL Center. Center is a tighter pattern right in front of the monitor, with Main being measured 4 feet from the monitors in a pattern for 2-3 people listening.

Master audio output from the Mac is set to -13.5 dB which gets me music playing at about 74-76 dB all the time.

Right now I’m running the Apple Music playlist “Classic Acoustic” for some change of pace. Normally I will play my “Mix Test” playlist to test the world.

The Blues Walk Lyle Lovett and His Large Band Lyle Lovett Rock 2:25
Cryin' Shame Lyle Lovett and His Large Band Lyle Lovett Rock 2:30
PowWow Unleashed Conspirator Electronic 5:46
Accent Unleashed Conspirator Electronic 6:44
Hidden In Snow TGWTDT - 6 Track Sampler Trent Reznor and Atticus Ross Soundtrack 5:20
The Great Gig In the Sky Dark Side of the Moon Pink Floyd Rock 4:47
Poulenc: 4 Short Prayers Of St. Francis Of Assisi, FP 142 - 1. Salut, Dame Sainte Poulenc: Mass In G, Motets Robert Shaw: Robert Shaw Festival Singers Classical 2:26
Quatre Petite Prieres De St. Francois D'Assise The Anniversary Album 1978-1988 Chanticleer Classical 7:31
Tunes For Archbishop Parker's Psalter Thomas Tallis: The Complete English Anthems The Tallis Scholars Classical 7:53
Bernstein: West Side Story - Something's Coming Empire Brass Plays Music Of Bernstein, Gershwin & Tilson Thomas Empire Brass Classical 2:40
Bernstein: Mass - Simple Song Empire Brass Plays Music Of Bernstein, Gershwin & Tilson Thomas Empire Brass Classical 4:24
Hovhaness: Symphony No. 4 - 3. Andante espressivo West Point Symphony Eastman Wind Ensemble Band 7:47
Come Together JAZZIZ - 2004-11 - The Key Players 4 Lynne Arriale Trio Jazz 6:12
A Night In Tunisia JAZZIZ - 1998-03 Lynn Arriale Trio Jazz 4:36
My Favorite Things JAZZIZ - 2004-11 - The Key Players 4 Jean-Michel Pilc Jazz 4:32
Concrete And Steel Recycler ZZ Top Rock 3:49
Parce Mihi Domine Officium Jan Garbarek - Hilliard Ensemble Jazz 6:43
"Two for the Road" - Country Album Now Hear This! - The Winners of the 12th Independent Music Awards [Explicit] JP Harris and the Tough Choices Alternative 2:54
It's Only A Paper Moon Kisses On The Bottom Paul McCartney Pop 2:35Whiskey Lullaby A Hundred Miles Or More: A Collection Alison Krauss Feat. Brad Paisley Country & Folk 4:21

Trust me – the Trent Reznor track clearly “breaks” the room. The correction just can’t handle all the bass 😉 I follow that up with Pink Floyd which happily produces “master hiss” as remembered from the album and the CD.

It all just sounds GOOD.

Gain Staging In Your DAW Software

Gain Staging In Your DAW Software | Sound on Sound

On the face of it, gain staging couldn’t be simpler: you ensure that you feed an appropriate level from the first stage of your signal path to the next, and repeat this from the second stage to the third… and so on, all the way from your instruments, mics and preamps to the final stereo mix bus. By ‘appropriate’, I mean an ample level, which ensures a healthy signal-to-noise ratio (the difference between the wanted signal and the noise floor), while leaving enough headroom that you needn’t worry about whether the signal might be clipping.

Today is a good day to re-calibrate the studio monitors. I found the suggestion of setting DAW faders to about -6 dB to start in this article a long while back.

I set my Logic Pro X templates to have channels start there.

The Complete Guide to Mixing Bass Guitar — Pro Audio Files

The Complete Guide to Mixing Bass Guitar — Pro Audio Files

So how do we as recordists and mixers possibly do justice to the greatest instrument of all time throughout the universe? How do we capture its pure glorious majesty? And why is the bass player still out of time?

This week I will go through this guide before I tackle my mixing projects for “Dueling Mixes” and “Produce Like a Pro”.

Discovered on my own the joys of running guitar DI through amp simulators last week. Thought the track was doomed – my bad – the track was OK (not great, just OK). Now I know.

An Advanced Vocal Production Trick You Need to Try – Audio Issues

An Advanced Vocal Production Trick You Need to Try – Audio Issues : Audio Issues: “Here’s a cool vocal mixing trick for when you want a lot of space around the vocal, but you don’t want to clutter everything up with reverb.”

This sounds like a fine thing to do to some vocals.