7/14/2023 0 Comments Barbabatch sample rate convertor![]() Or it’s possible that the mix engineer did a superb job but has a question whether he got the most out of the mix possible. This could be because the mix engineer was not as skilled in use of delays, or distortion, or EQ or color as possible. No surprise: You can totally ruin the sound of a great mix by passing it through any processor, or certain processors, or using the right processor in the wrong way! On the other hand, some all-digital mixes may lack depth, or definition, or don’t bring out the qualities of the individual instruments as much as could be useful. There’s no guarantee that one (or more) analog processors used in the mastering stage will enhance, bring back or help the sound of the mix you send through it. And sometimes:ġ) that original sound was “just perfect” orĢ) sometimes that original sound became no longer perfect when heard in context with the rest of the instruments, there may have been frequency conflicts or other issues that required new processing needs for that instrument in context with the rest.Īnd why would ONE more conversion and process through a single analog processorīring back “anything” that was not there from the original analog hardware that produced the song in the first place? There may be nothing whatsoever wrong with the analog hardware the original instruments in the song got created with! But each of the analog devices that was used on individual instruments was not used to help the depth or dimension or warmth of the overall sound, or to help the color or definition of each instrument in context with the rest of the instruments - they were used to help create the original sound of the individual instrument. I ask what was wrong with all the analog hardware the song got created with.ĭear Martin, for the first part of your question: I know I am speaking in totally subjective terms, never the less coming back out (2-track) to the analog domain and running THAT digital mix though a compressor and viola its sound “warmer” or “analog” or whatever (like you say) you want to call it. I just have a problem reconciling the following:įor a given professional analog hardware generating a song say, tube guitars, optical processors, VCA processors, prof. ![]() any analog processor and that your ears could tell that all is really needed was one single processor to give that “analog” sound, etc. analog mixing where you speak about summing mixer vs. I came across a section where you discuss digital vs. So, bottom line: Use with caution and knowledge, not a panacea, possibly a help, sometimes only a bandaid. If called upon to do the whole job they can literally screw up a good day :-(. The best solution is a combination of acoustical (absorption/diffusion/room construction/proper choice of monitors) followed by possibly a touchup using one of these automatic systems. I would suggest that you find a very good acoustician first and describe to him your desire to use one of these systems to “correct” your room (note the quotation marks, as any acoustician would tend to laugh at “correct” not in quotation marks. You have to be able to interpret the results and use some portion of them intelligently. Those kinds of correction systems still have to be set up by knowledgeable acousticians or they can easily over or under-correct. Thanks in advance, I totally understand if you’re too busy, I’m sure you get these annoying questions all the time!! Is it worth getting or could it be the cause of more problems? I know the best option is improving the actual acoustics of my room, but do you think this would improve my mix room until I have the time / budget for a redesign / rebuild. SOS Magazine and the AES seem to be fairly impressed with it but I wanted to get your opinion. It’s basically a measurement microphone and room correction software. I don’t know if you’ve heard of it but IK Multimedia have just released the ARC system.
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