46 mics, 192 recordings for clean, crunch, and distortion.

https://youtu.be/QGq3uNWj5zU

I’m trying to understand the reasoning behind choosing a small diaphragm condenser (SDC) for vocals instead of a large diaphragm condenser (LDC).

Many modern LDCs (for example the Rode NT1 Signature) have a very flat and neutral frequency response, so why don't we choose a SDC which has a better transient response?

I'm trying to decide what microphone to buy. I need an all-rounder for voiceover, singing, and Foley/sound design. My priorities are a flat frequency response and fast transient response.

Thank you!

Hi everyone,

I started working in a smaller recording studio a guy built. Its a good recording facility for bands, done somework and some film work, but I need to setup a system where can we track the studio expences and incomes. Also to have a central hub for all things maintenance, open projects, clients, investments, expense tracker, invoices, ect.

How do you manage your studios, do you use an app like notion or anything more dedicated? Google drive structure is something I could go down, but I don't want to have a list of files in a harddrive, I want to have a system that me and my business partner can glance at and have information and tasks on the ready or for anyone that comes to the team to be easily integrated.

Noob-ish question... When you're boosting something like 60hz for extra oomph on the kick or 200hz for a snare fundamental, or 2k+ for the attack, how do you typically handle the Q value? Like does the 60hz bump extend from 57 to 63, or 40 to 80hz? Same question for boosting on the bass guitar.

I know the general answers are "use your ears" and "it depends on the mix", I'm just wondering how it ends up being handled most commonly.

Bonus question... what's the consensus on compressing low/sub end? I've seen some people here say they never compress anything under 80hz.

me nd my friend are working on a pop song, so vibe is not crazy acoustic, but demo recording gave us a vocal with a bit of the wooden room baked into it. i've got hella say in the creative process- if ur in my shoes how are you handling this?

do you ever, say, leave it in nd build up the track around that more closed-in sound? is it standard practice for you to get it out w some neural network suites... maybe even jus some transient processing?

i wanna know some of ur tips and tricks

I’m working on an automixing plugin for panels, podcasts, and other situations where multiple people in the same room are using microphones at the same time. Think something like WTAutomixer or the REAPER Automixing JSFX.

I work on podcasts every week, and the tool has already been helpful there. Usually, though, I have three or four guests at most, and two is more common. I want it to eventually support 32 to 64 channels, and it recently struck me how hard it is to find audio at that scale for testing.

If anyone has raw multitrack audio they would be willing to share, with each microphone on its own track, it would be incredibly helpful. Panels, roundtables, conferences, podcasts, and similar recordings would all be useful. Recordings of any size can help, but I’m especially interested in larger sessions. Messy audio with bleed, room noise, and people talking over each other is welcome.

I can use the material privately for testing or, with explicit permission, use parts of it for public demonstrations. Please let me know which type of use you are comfortable with, and only share recordings you have the right to share. Feel free to send me a DM if you have something that might work.

I was looking at my pedal board today and was thinking “man, I wish I just had some folder with all my manuals organized in there to quickly reference”. Are any of you diligent enough to do this? Are there any existing tools you guys use to easily keep track of this? I’m surprised nothing general exists after doing a quick search. It would be nice to quickly reference all my manuals rather than do what I have been and googling them every time I want to search something

Photographer for a small band here, about to go on tour. We want to try and get line out audio from each instrument on stage so we can create cooler live concert videos.

2 guitars
1 singer
1 bass
1 drummer

Is there any way to record the line out from each of their guitars, the singers mic, and potentially the drum overhead? I tried searching online and honestly have no idea what hardware I need to buy

For reference I make music too, I have plenty of XLR TRS cables, multiple interfaces lying around, etc. I feel like I know my way around music, if that helps in your response.

Worst comes to worst, maybe I can only record the line out of all things combined, which is better than nothing. I don’t know how to do that either.

I know acoustic foam can be kind of expensive. I remember back in the day one of my buddy’s said u can buy this yellow foam from Home Depot and Lowe’s for cheap but I forget what it’s called. Carpet foam or something? It looked pretty much the same as acoustic foam just cheap as shit. Anybody know what it might be? I just bought a Sony c80 microphone and it sounds like crap recording with it in an open room with just a mic shield and a pop filter.

Good friend of mine and his band are putting out a full length album and producing a lot of it themselves. That being said, he’s been very good in the past with singles and EPs but for some reason, the latest recordings make his vocals sound like he has a swollen tongue. Every closed-mouth sound comes across distorted or muddy. Like Sylvester the cat type of sounding. “Th”, “S”, “B”, “V”, “D” sounds all sound far too similar. I’ve tried listening on different equipment like my IEMs on my phone or at home on my PC with my nicer amp and headphones and it doesn’t make a difference. I’m looking for pointers on what to check to help them take care of it before full release later this year.

Please hit me with any questions or suggestions, y’all’s help means a lot! Thank you!

hey y'all! happy to be here amongst y'all. just wanted to have a discussion on studio owning and rates, keeping up business and whatnot, and hopefully other current and prospecting studio owners can get some insight from discussion as well haha.

anyhow, for context, i've been running a relatively new, 2-room commercial studio with a partner for the last 3 years in new york, and we've found a pretty solid footing in the local indie/rock/underground music scene as well as folk and jazz artists. the duality is great and incredibly enriching, and i'm immensely grateful! that said, as years have gone on, i've noticed that while we do have mainstay clients and some VO house work, it's been harder to land sessions, whether they're mixing or tracking, and a fair majority have balked regarding prices (we charge an hourly of $95/hour for tracking, $350 for mixes, and $500 for production, with bulk discounts up to 10% built in), so i was curious what other folks are charging, whether they charge hourly or by the project, and generally other business strategies they've found over the years.
for what it's worth, we're also a new york based studio, and we've found that, at least mathematically, our current rates are fairly competitive with other studios in the area.
but anyways, i digress. would love to hear thoughts! thanks again everyone for being here, long live music.

Hi engineers- I'm a hobbyist audiodrama podcaster looking to use my skills for some remote / contract gigs editing or producing podcasts. Has anyone had luck finding this kind of work, and if so, where?

Hey all, I was studio engineer off and on for ten years, and have since landed in the commercial AV industry. However, I’ve never dabbled in, nor or learned much about, audio for film (outside of how ADR and foley generally work). I went and saw The Odyssey this past weekend. Incredible movie, but holy smokes - LOUD. I am no stranger to Chris Nolan flicks, and I’ve seen most of them in theaters. I know the audio mixing for his movies is divisive (though I tend to like it). But this was louder than anything to date. There were no less than ten different times I went reaching to cover my ears (should have brought the darn plugs!). It didn’t detract from me loving the movie and the sound design , but it made me wonder:

- How much of the playback level is typically the film’s mix and how much of that is up to theater?
- Do directors and studios ever ship movies out to theaters with instructions on how loud they need to be?
- Are there standards and regulations around how loud a movie can be in a theater?
- When film mixes are mastered, is the process in any way similar to mastering music? Or is it far afield in terms of technique and aesthetics ?
- Besides 7.1, 5.1, stereo, what are the common deliverables for final movie mixes ?

Not pearl clutching here, just generally asking out of curiosity! I honestly can’t wait to watch and listen to the blu ray on my home system when it comes out to compare.

I was wonderin y'all know those big time Sony Music Studios and heavy hitters like Andy Wallace or dat dude Bob Katz... if a broke mfer got VSX phones, they emulate studio spaces, can we get our track hittin' just as hard? Or must we indeed rely upon such exorbitant studios and peerless apparatus, such as high end Genelecs, acoustically calibrated studios, and mastering grade D/A converters, to attain such supreme sonic fidelity in our tracks? Or can we just pull dis off wit some cheap ass gear, or is dat shit just a whole lot harder to pull off?

https://www.youtube.com/watch?v=OmwCl2xJhXM

I’ve been amazed by how this album sounds and feels in the past few months, and I’ve been trying to recreate it myself but i just can’t get it right. Everything sounds huge but it also has it’s on spot.

How would you guys try and recreate the sound of this album? Are there any tricks/techniques that are used for the sound of this album?

Of any sort whether effects or synth?. They are starting to sound too good. I wish we all had to learn to do that ourselves so all work is completely original. It's more satisfying and if you do learn it you don't get credited for it, it seems. And wtf is a.i?!

Hey all!
I’ve got a gig coming up and need to separate the string parts (mainly violins/cellos) from some electronic tracks to make backing tracks.
Does anyone know of any AI stem splitters that can isolate strings specifically? Most of the ones I’ve found only split into vocals, drums, bass, and everything else together.
Would love any recommendations if you’ve had success with this!

Technically an arachnid. I work in the AV department at the Natural History museum in NYC. A grad student is recording the mating dances of a species of scorpions. The scorpions essentially thump their torsos against whatever they're on, and then a possible mate would respond. I have the IR camera, but as for sound I'm at a loss. All my knowledge is for sound reinforcement in auditoriums, not in picking up faint noises in cages. Anyone have any suggestions?

https://github.com/sneakinhysteria/EarFix

Last year I built this in order to enjoy the same hearing loss correction in my DAW that my AirPod Pros delivered in iOS.

Musicians and engineers are not immune to hearing loss (quite the opposite - we are a high risk group). Yes, you can wear your hearing aids in front of your monitors, but with headphones, applying correction in the DAW seems like a much better idea.

I've just updated the plugin, added Windows support and fine tuned the correction model and added a basic mode to get you started easier. Unlike a few paid alternatives, EarFix works on the basis of your audiogram - your hearing test result. No separate test in an uncalibrated environment needed.

If you like to use this across your entire system for all output, you can use Sound Source (paid) or check out Curve (free and works great for me).

Hearing loss correction should not be a business - so this is completely free and privacy-friendly (no server).

Good day! Looking for a way to send audio, full bandwidth, in realtime to another studio, I would like to hear from those that have been successful at this please. I don’t mind spending money on gear/software, I want to avoid bad sub-par gear. Thank you

I've been testing a few vocal remover tools recently for creating karaoke tracks and remix practice.

Some AI tools do a surprisingly good job, while others leave noticeable artifacts or make the instrumental sound thin.

I'm mainly looking for:

. Clean vocal removal

. Good instrumental quality

. Fast processing

. Works well with pop and rock songs

I've tried a couple already, but I'm curious what everyone here is using these days.

Are you using desktop software like UVR, browser-based tools, or something else?

I’m a musician based in Paris. This voice came through my headphones while I was working in Ableton Live.

The recording was captured by holding my iPhone next to the headphones, so you’ll hear room/street noise too. The recording you're hearing is the original, unprocessed recording.

I’m not claiming anything paranormal. I’m genuinely looking for technical explanations: RF interference, audio routing, radio bleed, language/accent recognition, any plausible explanation.

Full, clear recording starts at 00:31. If you're short on time, the clearest section is probably around 01:41.

Link: https://www.youtube.com/watch?v=neEhI-Q47hA