Managing Ear Fatigue | FAQ Friday - Warren Huart: Produce Like A Pro
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- Опубліковано 8 лип 2024
- Our featured question of the week is: When working with music full time, how do you manage ear fatigue?
That’s a very interesting question.
The way I manage it is by avoiding it at all costs. I’ve been doing streams inside of the academy where we listen to mixes, critique them and talk about the live with the community. It’s been really wonderful! The thing that works really well with that is that we can share information and talk in real time! My point is that I’m on there for two hours with headphones on so I have to turn the volume down and listen at lower levels and then crank it if necessary.
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➡️➡️We cover the following questions during this episode of FAQ Friday!
• When you edit tracks as you did on the toms do you just leave them as is or print them to commit to the editing? 1:04
• When working with music full time, how do you manage ear fatigue? 3:29
• Is it a good idea to use master bus volume automation to control how hard the signal hits the compressor? 6:09
• In this new digital era with everyone listening to their music by streaming on computer speakers, earbuds, cell phones speakers how do we mix and master our music? Does the listener expect our songs to sound good on these devices? What point of reference do we go by to get the right compromising mix? 8:54
• Are all people in the academy doing this (semi) professional? Or are there, just like me, people with 40+ hour (unrelated to music) jobs that do this as a hobby and try to get this hobby to the next level (and maybe earn a few bucks with it in the end)? 13:32
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Hi Friends! I hope you all had marvellous holidays! If you're reading this leave a comment and let me know you're here! I love reading all of your comments!
How do you prevent ear fatigue? Do you have any tips/tricks!?
Mah-vell-lous video warren !!
Wonderful information so freely given!
A-Mazing info! Thank YOU Warren
We're big, we're bad and we're back with another episode of Produce Like A Pro!
Thanks ever so much Darlene!
Great FAQ. Thank you, Warren. To the question regarding the academy. I'm one of these academy members who have a non music related 40+ hours day job (IT Business) and does music and productions as a hobby but with an ambition to deliver a result on a high level. I can highly recommend the academy. I'm a member since March 2018 and I have improved my skills in so many ways, got a different and constructive mindset about what I do and got so many positive and encouraging feedback from all the other members. It's an outstanding learning and working experience. For me, one big advantage is that you can collaborate with other producers and musicians. For example I work with a nice guy from Australia who records the live drums for my projects. Instead of spending hours of programming drums and then end of with a compromise, I record the basic tracks to simple drum loops and send the stems over to him and he then does his magic by live drum recording. This would never have happend without the academy. So, as Warren said, the academy is a great place for everyone at every level who wants to produce at his best possibilities.
Wow! Dear Marc, thank you ever so much! I cannot thank you enough for your extremely kind words my friend! It is because of people like you that the Academy is such a marvellous place! Thank you ever so much for invaluable support and exceptionally kind words!
Thank you for making all of this possible, my friend. The academy is a great place and it's you, Matt, Eric, and everyone else in the team who gives us all a home where we can evolve, improve, and collaborate. I wish you, your family and friends a happy new year and I look forward to an exciting year 2019.
Re consolidating or not: Using Ableton Live 10, there's an intermediate option between Edit and Consolidate. You can Freeze a track to free up CPU capacity when editing other tracks. The frozen track will sound just the same. You can Unfreeze the track, and all your settings are there again, and they can be changed, too. Consolidating I find very definitive, and a bit daunting. Great video Warren, thanks.
The value of The Academy is just insane, peeps! Even when not having the time to properly take part on all the monthly mixes, you learn A TON by just listening to others. Some amazing talented people mixing at astonishing high level. It's a wonderful space of extremely talented and kind folk. 100% recommend.
lol just the way you start out the very beginning of each episode makes me want to press the like button for some reason.
haha! Perfect Sphinct!
"We're big, we're bad' we're back..."
We're big, we're bad and we're back with another episode of Produce Like A Pro!
You make learning fun. I love the positive attitude and the passion for making good music. Thanks again for teaching us.
Thanks ever so much Michael! It's quite lovely to read these truly supportive comments, we are blessed to have such an amazing community here!
Re: Ear fatigue: What i like to do is put an eq on the master bus and cut frequencies around 2-5k quite a lot just while you do tasks such as arrangement, tweaking plugins, sequencing, messing about with plugins, some automation etc. Basically, if there are tasks where you dont need to hear those upper mids, stick an eq on it and temporary reduce those frequencies a few db. There are a lot of tasks where we dont need to hear the full spectrum once the mix is balanced
Wow, you used my question! 🤩😎
The bulk of my working hours is teaching electric guitar. So I'm spending about 7h a day playing/listening to live overdriven guitars...
I've been producing and mixing much more lately, ence my question. I'll try to control the kids a lot more and have them use even lower volumes on classes. Thanks a lot. Have a marvelous weekend!
Wow! Thanks Antonio! That was such a wonderful question! Thanks for horsing your insight with us as well! I really appreciate it!
That shirt has a touch of grey. Automating Threshold is gold. Thank you so much for that tip!
Thanks ever so much Paul!!
Another fantastic FAQ segment! It's always great to get answers to questions I never seem to be able to express.
This is gonna be an exciting drum editing weekend with my new toy...Studio One 4 Pro upgrade...WOOHOO! TOYS!!
Marvellous stuff Devin! I believe you emailed me? I did respond however the email came back as undeliverable.
Consolidating in Cubase: make edits, Duplicate Track Version, Bounce edits in this new Track Version. If you later decide that you don't like an edit, you can always go back to the old version. Cubase also has a great feature for freezing offline edits and/or processing that allows you to return to them at any time for further tweaking. You can also change the order and store common offline editing chains. Great stuff, convenient and solid as a rock!
Things have changed so much since I started playing and recording music. When I started (perhaps where had something to do with it too) playing and recording it was difficult to get information on how to record things. Not to mention most other bands were trying their best to bad mouth you and pull gigs and anything else they could from you. Lol Glad things are a bit better now.
We are the children of the internet. Great time being alive and to get to learn ill skills from the likes of Warren Huart
Great info, as always - thanks, and have a fabulous New Year!!!!
Have a wonderful new year Warren and everyone one at the studio!
1) For ear fatigue is always a good idea to take breaks after a certain amount of time. In my case I mix on headphones so I mix 20 mins and rest 10 mins.
2) For a mix to sound good on most devices and environments not only a focus on the mids and highs is needed, checking in Mono for clarity and phase issues is really important too. If you check your smartphone you'll notice that it's speaker is actually Mono, and in the case of cars and bars there are reflextions everywhere that could make the phase issues more obvious.
Thanks for this FAW Friday :D
Hi heavymetalmixer thanks for your great comment and insight my friend!! Have a marvellous New Year!!
@@Producelikeapro You're welcome. Happy new year!
Hi heavymetalmixer Happy New Year my friend!
Thanks for this super episode of FAQ Friday! To prevent ear fatigue I personally choose to always listen at a consistent level - which is not to loud and not to quiet either, I think it's around 75 dB for me, with an occasional check at 85 or so, but it's rare. This is when editing and mixing, of course. When recording, especially rock or anything groovy with drums, electric guitars, etc. I try to make the artist/band confortable and feel proud and powerful by monitoring/listening back at somewhat higher levels - which doesn't mean slamming the eardrums ;-) Voilà! This is what I do... ;-) And thanks again!
The last video for this 2018.
Have a marvelous year 2019. And of course, happy new year.
Hi Jesús Armas Happy New Year!!
I’m in recovery from mixing today. So true...I need time now to go back to the mix in a day or two and hope all sounds okay :-) Thanks Warren, I’m going to start monitoring the level in my control room from now on. Mixes just seem to sound so much better louder.
Wonderful information so freely given!
Thanks ever son much Harmony!!
Wow.. my first FAQ Friday and found it incredibly inspiring. Like Marc Becker I have a full time day job, as well as a full time family. Music has always been a passion so, looking forward to jumping on the PLAP Academy bus next year. Happy New Year for a wonderful 2019!
Your are a legend! Tx for doing what you are doing! Have a marvelous new year!
Victor Raso thanks ever so much my friend!! Happy New Year!!
Still working on the ear fatigue. Sometimes I have my headphones on 15-20 hours a day. Technology has made it so that my ears really are, also my eyes. This is fortunate but sometimes I miss the way I used to enjoy listening... I don't like using my ears constantly to have to listen to contracts read by synthetic voices at 90 miles per hour, so much.
I hear you Audrey! That happens to me too much as well! between ear buds and headphones you ears can take quite a beating my friend!
Thanks Warren I feel like I am developing with you. Someday I hope to make Some money with this (small wish)
That is so incredible to hear my friend! I wish you all the best in your career!
Managing Ear Fatigue - I think I spend about 12 hours a day with headphones on and this is what I have picked up. Since most of my "mixing" is actually things like moving a midi note around or getting Kontakt to route out 9 channels, I don't need much volume so I keep things pretty quiet for most of my work day. Then, when I think I have something worth listening to I put the volume back up and remember my college teachers warning me not to do this more than 15 minutes at a time. No problem, that is what coffee is for - go make another espresso and give the ears a break. Or go start a load of laundry and come back. Most importantly though, when I am watching t.v. with the same headphones on, I lower the volume to just being able to hear the dialogue. All of the explosions and dramatic music and commercials are intentionally loud to get our attention but that really takes a toll after 60 years.
Great questions, thanks everyone, and thanks Warren.
Mah-vell-lous video warren !!
Thanks ever so much Darlene! You Rock!
Hey Warren, this channel has got me back into recording music at home. I have built a small home studio space and started playing all my instruments again. I have recently just complete a song in which I have used many techniques you have discussed (personal favourite being overdubbing a distorted base guitar to thicken the guitar sound). One question I do have is - do you ever track/record guitars with the player in the same room as the amplifier you are micing? If so, what techniques do use? What do you do differently from when you mic an amp sitting in a different room from the player?
Re: consolidating, in Reaper I usually have my drums in a subproject. That way in my main mix they appear as one single stereo track, but I can open up all the edits and tracks etc just by double-clicking it!
Hi dylan robins thanks ever so much for sharing your experience my friend!
A-Mazing info! Thank YOU Warren
Thanks ever so much Apple!!
Thank you! I enjoyed it lots!
Thanks ever so much! I'm so glad to be able to help! Have a marvellous time recording, many thanks Warren
Your channel is the best thing I've come across in forever. Thank you for sharing your vast knowledge for free Warren! (I'm a hobby song-writer and guitarist that still have this romantic dream of getting to play/write music as more than a hobby). Cheers! /Björn
Hi Björn S Thanks ever so much my friend! That’s very kind of you to say! It really important to me that everyone have a voice, this is all about community for me! Thank you for your support my friend!
Happy New Year Warren, love your channel! When is the 1173 giveaway??
Thank you Warren! Great questions/answers as ever!
If you have a good mix on monitors or any good speakers, it will be fine on a phone or bluetooth speaker, well that's my experience :)
Thanks for the last question, I guess I'm not the only one asking it, but great to hear that it's for EVERYBODY :).
Have a great weekend and new year! Last FAQ Friday of 2018!
I work with Steinberg Nuendo. I don't consolidate tracks because I don't see the advantages of it. It's true that this puts a lot of workload on your workstation, but I don't care if my performance meter shows a (stable) CPU load of 80 percent. When I'm writing a song, however, I do consolidate. The reason being is that I prefer to work with audio instead of MIDI.
If you want a consistent amount of master bus compression throughout the whole mix without having to automate the threshold, maybe you should just trigger said compressor via a side-chain from the kick and/or snare. That takes everything else out of the equation.
Hi Kye903, thanks for your marvellous comment! Interesting idea! However, when the Kick and Snare come up in the chorus so will once again the compression and also there are other things need to trigger the attack and release times or else the mix will definitely pump in an uneven way.
FAQ Friday -- my favourite day of the week after WA-HEY Wednesday.
Haha mine too!!
Its funny cuz all musicians we all have that special black shirt we just love to wear so often.
Haha yes, indeed Isaac! Black is of course the most sliming! Haha
Q#1:
Is it true that the bigger the speaker, the less SPL you need to hear sound clearly? I get that machine noise (desktop PC, tape motor noise, transformer hum) and room modes might contrubute to this, but when I check my mix on big 15" stage monitor in live room (in mono!) instead of 5" studio monitor I can get much better understanding of balance. Its fun mixing from phone too with reaper ;) . The SPL is not as high or equal to the control room's and balance is much more tangible, physically felt.
Q#2:
Recently I've tried a trick with recording guitar dry (DI) into interface and passing it through to the output unprocessed (Reamp box). Pedals were after the reamp box. Whole band in the control room, miced amps in live room. We did whole song take in one pass. Verses and choruses were so-so (10 more takes, ha-ha!), but solo part was phenomenal. I mean the performance is there, dry. Pedals were a bit to driven, a bit harsh, a bit off. So I played back original recording with tweaked pedal settings as another guitar pass, with better eq and stuff. To me this method seems better than recording into Guitar Rig, Amp Farm or whatever. You're dealing with real sound that is in the context of the song in the studio monitors and not with virtual sound that can be changed several million times and as such could be left as "whatever". What do you think about this method?
Q#3:
Tracking headphones and headphone mix. Would you give the band one mix - yours (cheaper and easier) or each to their own? Also what is the cheapest tracking phones would you recommend? What do you think about buying cheap phones with ok enclosure and upgrading in with better drivers, volume knob and stuff like that? Half of my studio is DIYed so it seems like a way to do it, but I advice from experienced producer would be the deciding vote. Right now I'm using simple multiply box (small behringer 4x HP amp), which is fed from monitor mixer.
Q#4:
Monitor mixer and Talkback. How do you have your monitor and talkback system? Right now I'm using DJ mixer to monitor sound and feed the HP amp for the band in the live room. Talkback is a problem because of mixer's Cue routing. Would you recommend separate monitor box (a la mid tier Big Knob)?
Q#5:
Would you rather have your studio modular or in one package? Specifically interface, mixer, patchbay, racks or Behringer X32 ? It seems to tick all the boxes, though unupgradable.
Thanks for covering these question and topics, Warren; good stuff as always! I have a question ... I'm beginning to rediscover VCAs, in this case, specific to Pro Tools (my apologies to those with DAWs that don't include VCAs). Do you use VCA tracks for in-the-box projects in PT? They seem to offer a whole different level in the workflow, and I'd love to hear your thoughts. I have Waves NLS, but it seems to me the integrated VCAs in Pro Tools offers additional creativity in techniques. Thanks, and happy new year!!
Hey Warren! It’s great to hear this advices... pretty useful. I have one question: How do you deal with low mid range? I mean, trying to get rid of muddiness and not losing the power which this frequency contributes to the mix? Without a doubt, that’s for me the hardest challenge when mixing. I know it is a very general and big question, but it seems like it’s common headache for many people from producing world
Hi Mariano, marvellous question! Yes, indeed, Low Mids are the bane of our existence! I personally find removing around 350hz in Drums really helps create space for the low mids of guitars etc. Try to remove it on the source tracks and not just on the master bus! I'm so glad to be able to help! Have a marvellous time recording, many thanks Warren
@@Producelikeapro thank so much for this advice, I'll try it! Have marvelous Christmas days!
I love you Warren
Hey Warren! Great video as always, my friend. I think a good question to address is how do you treat vocal doubles? I like to double my voice, and many of my clients like to also. I usually hi and lo-pass more aggressively than the main vocal, and whatever EQ cuts the main vocal gets, I'll do to the double as well, but a little more aggressively. This helps to decrease phase issues, while keeping the effect of the double. I'll also usually compress the double more aggressively, and the overall level could be anywhere from 2 to 10 db's lower than the main, depending on the situation and how it sounds. I know every situation is different, but are these good general guidelines? Anything you could add?
Hi Johnny, thanks ever so much for sharing your insight in doing double vocals! That's really informative my friend!!
“...uses a decibel meter...set around 80dB while mixing.”
This is great advice, thanks! I just downloaded a decibel meter on my iPhone and I’m gonna give this a spin. Thanks Warren!
Thanks ever so much Joe for your marvellous comment my friend! I'm so glad to be able to help! Have a marvellous time recording, many thanks Warren!
Hi Warren and gang! I recently mixed "Love It Or Leave It" and decided to overdub a pair of rhythm guitars in the chorus to add a little heft. My background as a guitarist ranges from classic rock, punk rock all the way to metal and my playing echos my influences. I listen back to my overdubs and it sounds like Mick Ralphs played guitar in the chorus. My question is how do you adapt your playing to suit the genre of song your working on since you work in a myriad of styles? Thanks for all your efforts!
Great Video, Warren! I use Reaper and my way of editing Drums is to just do it and use the edited tracks without consolidating. The fades are automatic and do not cost any extra time while loading or extra processing power of the CPU. So there is really no reason to consolidate. Apparently, Reaper is a more "modern" DAW than ProTools. ;-)
and what's your thoughts on the Adam ax7 or ax8 monitors
Marvellous question! I haven't used them frequently enough, personally I might travel with monitors I know from Studio to Studio, I was in a Studio that had them and I preferred the monitors I bought with me in that room. Some people love them! There's no one size fits all!
One question: If you mix do you keep the mastering in mind? Like for example, "I'd like more transients here, but they'd get squashed during mastering anyways, so i keep it as it is"?
Marvellous question! I always mix without thought of mastering! The best mastering engineers do only a little, they are our last line of defence! I will definitely control those 'fish tails' as they are often called!
I hve a mixing/mastering question. I tend to like to take a favorite commercial music production and put it up on the studio monitors at a modest volume, then simultaneously play it with a mix of a song I'm mixing or mastering to make comparisons to reveal what may need tayloring in the sound of my mix/master. Does this sound like a good idea? What is your opinion ? Thanks, Bob
Your process for mixing heavy distorted guitar tracks? I want to get a "thumpth" without being woofy. And have definition without overly fizzy.
Warren, can you do a video on having tinnitus and being in the music recording business?
Hi Warren, fantastic FAQ Friday, I sometimes have a bit of an issue with crash cymbals sounding to harsh, it is mainly with virtual drum software, from painful to spray can, i would appreciate any advice you could give, many thanks, Darren Ross.
make it soft with eq an verb
and de-esser can do wonders on hi percussion
@@PettenVeevo thank you, i don't know why but i never thought to verb or de-ess i find that initially the crash sounds ok on its own but when i pop a limiter on the master bus just to check it for mastering that's when the crash can get painful, thanks again for your advice, all the best and happy new year, Darren Ross.
I'm the guy in that last question.
Haha indeed Loren! I'm so glad to be able to help! Have a marvellous time recording, many thanks Warren
Hi Warren thanx for your great work. I sometimes goes to the wav window in Logic and do some editing problems with sss and such things using change gain. Ive never seen you working in that window. Is it totally wrong? One more time, thank you. All the very best Johnny T, Sweden
Thumbs up, as usual!
Thanks ever so much Georg!!
Hello Warren from Garden City Michigan!
Hello Neil! I hope you're well!
I've only owned one pair of studio monitors, (KRK rokit 8s) I was wondering if you had any experience with them or mixing tips? They I believe are the 3rd generation and I know a lot of people tend to dislike them.
Great info! Really appreciate what you do for the music making community.
I have been recording in a DAW for many years now, but just now getting closer to finishing (Lordwilling!) and mixing down for possible distribution etc.
Question: when mixing down a multi track song recorded at 24/96k..What is the Best method to follow (?)
I have exported “rough “ mixes to 16/44.1 to make CDs to listen to/critique...
Is it the same for your final high resolution mix to send to The mastering engineer??
Or do you bounce to 2 tracks within the session? Or do real time recording to 2 tracks within the session??
This may come across as a silly question but to my knowledge have not seen it directly addressed/with specifics
anywhere online..
Thanks so much!
Adam
We're big, we're bad and we're back with another episode of Produce Like A Pro!
Haha thanks Spitfire!!
If it's your passion then it's more than a hobby my friend!!
I'm recording analog monosynth lines (in mono) in a hardware multitrack recorder, stacking them up to get polyphony. I'm quite conscious of keeping frequencies separated so that each part remains as clear as possible, and all I really manage is the levels and panning. Since a finely crafted monosynth voice is already right where you want it, how do you approach EQ and Compression? Do mono synth tracks benefit greatly from either? Thanks!
Hi Vera Sepulveda marvellous question! The great thing about synths is they tend to be fat! I general They cover huge frequency ranges so you can carve them up really nicely! As far as compression, it would only be necessary if the sound was overly dynamic, which for mono synths is less likely or though not uncommon in some instances! I hope that helps?
Hey, you are keen for feedback and i think it will make your channel roll. My question would be about mid-side EQing. Do you find it better left for the mastering stage or do you often find yourself spending time on it while sculpting stereo buses? Re drums i always found myself to clean and dry off kick + snare+ hats and then in contrast have the overheads or virtual percussion (eg breaks) fill the gaps. Regarding ear fatigue, it's all about not listening to loud music for long times. In fact a short loud burst of sound can leave a long damage
Hi Petten, marvellous question! I very rarely, if ever use M/S techniques, I only use them on synths that need width and have to get out of the way of the centre. In other situations I personally find they mess with the phase/polarity a little too much for me!
if you had to pic one pair of monitors from the 3 you have behind you what one would it be and why
I see those monitors and I am monitor shopping. I got some Nearfield PMC’s, they are gorgeous sounding in the mids and highs, Wide and deep, but I want another
active pair. The Genelecs have been pounding tunes since 1994. They are tired, but still functioning. I don’t know what to do with the new monitors, so many, Amphions, Focal, DynAudio, Barefoots...etc. It would be a full time job demoing all these monitors, however my converters are top notch, so my monitors need to be top notch. I want a midfield/Nearfield. I do mostly Folk, Country, Rock, Pop. Not to sway from the tinnitus, but My room is ready for some big bold beautiful music pounders! I’m not talking about big Mains that cost $40,000, I’m talking about quality and even accurate through 20hz-25khz
Marvellous question! I love both the Genelecs and of course the Vocals, what I enjoy about the Vocals is how the high end sounds! I enjoy them, even completely flat they still sound sweeter to me! I can work on them for doing periods of time and they have been a great company to work with! PMC's are of course amazing! I'm so glad to be able to help in any way I can! Have a marvellous time recording, many thanks Warren
Coming from a person that likes Genelec, seems you really like those Focals! Maybe I’ll look into them. I was also looking at the Focal Solo’s. One thing I was wondering is how the twin 50’s compare to the Focal be’s
Not so much a question, more a challenge, it would be great to see what you can achieve using GarageBand iOS (eg. can YOU make something that is/people think is “professional sounding” using your phone). Obviously it is very much a cut down version of any DAW, but it is so accessible to almost anyone, and for tracking demos/ideas... Should you take up this challenge it would be interesting to see how or if you carry out your recording/mixing any different to using protools.
Great video Warren. Compare to the others monitors you have, Does the Focal monitors fatigue your ears easily or help to avoid ear fatigue?
ELPLAK marvellous question! The high end on the Focals is REALLY smooth! So they are very easy to work on for long periods of time! I highly recommend them!!
Produce Like A Pro . Thank you for taking the time to answer questions. My wishes of great new year for you and your loved ones!
I'm shopping for monitors. Are there any tips on how to choose those that fatigue less?
Str8representing beats . In my understanding the ribbon twitters are known to have very low ear fatigue effect. The focal are using the Beryllium tweeters, which I didn't know where smooth on high frequencies. I am looking to get the focal, but at the moment are quite expensive for me. My two main choices because could be better to reduce ear fatigue are: Focal or Eve monitors.
How do you combat harshness in the high mids while preserving the clarity provided by the top end of the mix?
Marvellous question Daniel! Don't be afraid to pick and choose what you feature in the Hugh mids. That area in particular can get VERY crowded indeed! I use De-Essers on all kinds of instruments quite often to combat excessive high mids!
Are you always keeping a specific sonic space in mind when introducing tracks along the mixing process...or do you not mind blending different spaces within the mix with reverb/delay for interest sake?
The answer is...you guessed it...both! You are thinking very clearly my friend!
@@Producelikeapro ok...but isn't there a little more structure when mixing genres like classical....wouldn't the sonic spacial integrity be a little more crucial? What do ya think?
Agreed! That's the secret to know when to apply all of your different tools! The best advice I can give is to learn as many different techniques as you can!
So for a mix that youre looking to spacially sound live/all elements sharing the same space but EDM only, are you for the most part sending all tracks, at various levels, to the same few reverbs?
Am I the only one who thinks ....This is a guy ...who might get a sponsor for Apple Music ?
..
His whole channel has that Apple Music (professional vibe) ......
I would be not be amazed if I see Apple (music) sponsoring him ..lol love him ❤
Haha thanks! I’m not sponsored haha maybe one day?
@@Producelikeapro Yea ....hope u get 😄❤
A question that should probably be addressed to your older colleagues: How do you deal with the inevitable loss of high frequency hearing that comes with just plain old age? Or the tinnitus that can come with it?
Marvellous question! That's why I believe it's even more important for us to protect our hearing, for a longevity of career!
man when i do a track i work everyday ( give 16 hours break after every sesh) . after i finish it i rest 1-2 days and start another. But i think before i had monitors i damaged my ears with headphones. now my ears getting tired and sometimes even getting disturbed from little sound from tv etc. i also have a high pitched buzzing sound always in my ears. What should i do do you think ?
When you are hired for both recording and mixing, do you remove all the plugins and mixing stuff of you did in the "rough mix" that you did during the recording session and start completely at zero or do you also keep things and just improve them, automate and go more into detail? Thank you very much!
Marvellous question! It really depends on the Production! Sometimes the plug ins ARE the Production, the sounds are just DI's or the heavy EQ, Compression on the tracks has shaped the sound in the way you might if you'd printed ti tape! I only remove the plug ins if they aren't part of the greater good and making the mix better! I'm so glad to be able to help! Have a marvellous time recording, many thanks Warren
"everybody gives a shnizzil about everybody else"
possibly the best 'selling line' ever!!
Thanks ever so much Adrian! I didn't realise that it was that good! Just hate to swear! haha
AM radio? Is that what plays on my alarm clock in the morning?
Haha most likely my friend!
Sylvia Massey Studio Tour and interview plz
That would be amazing!!
How does one manage ear Fatique?....Sound of silence comes to mind...lol
why on earth would there be any dislikes let alone 22?
Obviously the money in music is in everyones hands but the musicians. Big record deal with contract to use their engineers, producers, a and r, all of which are making serious money spending the money you are borrowing from the label. What a scam, record it yourself and cut all these overpriced bozzos out of it while you can. No reason to spend thousands of dollars on a mix that you cant recoup. Bs
This channel is designed exactly to do that! To teach you how to record and mix your own music!! Everything warren has here is FREE!
Hi Jose, what is this in regards? Our channel is created specially to empower people to Produce, Engineer and Mix their own music! We have 100's of Free tutorials teaching just that! I do wish you all the best in your future musical endeavours! Happy New Year!