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Serban Ghenea Mixes - all ITB?
Old 22nd May 2020 | Show parent
  #1771
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b0se's Avatar
 
2 Reviews written
🎧 5 years
Quote:
Originally Posted by TheHanes ➡️
If it's going to turn into that; let's move it out of this thread and maybe we can get an Ask Me Anything or Q & A kind of thing going? Not exactly sure how to go about that;

Can we ask a moderator like lindell or psycho_monkey to look into it? I don't know how to tag them here.
Very kind of you! 25 years with the same room and setup, blimey.

You just add an at sign before the username (@psycho_monkey). You also get notified if someone quotes you directly.

Hope the Q&A goes ahead! That would be wonderful.

Last edited by b0se; 22nd May 2020 at 05:02 PM..
Old 22nd May 2020
  #1772
Here for the gear
 
🎧 5 years
Hi John, thanks for bringing your knowledge and experience here. I have enjoyed many hours listening to and analyzing you and Serban’s work.

I fully understand not disclosing specific chains that you both have spent many years of your life working on!

I would like to ask about workflow with sessions and how you efficiently integrate what you bring in to the session (template/routing) with what the producer has sent.

I have spent a lot of time recently setting up a routing which easily allows stems to be printed along with the mix, but still some sessions that come in make it tricky. If you can share anything about how to integrate your routing for the mix side with the producers routing that would be much appreciated!!

If a Q&A gets started feel free to move this post but I wanted to ask before John gets bombarded with questions
Old 22nd May 2020 | Show parent
  #1773
Lives for gear
 
H-Rezz's Avatar
 
🎧 15 years
Quote:
Originally Posted by TheHanes ➡️
If it's going to turn into that; let's move it out of this thread and maybe we can get an Ask Me Anything or Q & A kind of thing going? Not exactly sure how to go about that;

Can we ask a moderator like @ Lindell or @ psycho_monkey to look into it?
Yes this would be awesome! Lindell or Psycho it would be great if you guys can make this happen...and thank you John for giving up some of your time to answer some questions a lot of us are curious about!
Old 22nd May 2020 | Show parent
  #1774
Lives for gear
 
🎧 15 years
Thanks for your comments, John!

Quote:
Originally Posted by TheHanes ➡️
Passive speakers vs. active. I don't want anything to change, limit, protect the speaker from the amplifier. If I make a sound that is going to blow a speaker, I better be able to hear it without protection kicking in otherwise how can I get rid of it?
I agree.

Quote:
Originally Posted by TheHanes ➡️
Producers would have more reasons to use active speakers; speaker protection is very important in that scenario.
Whenever musicians are around, right? ;-)

Quote:
Originally Posted by TheHanes ➡️
I hated the NS-10's! Mainly because the thin paper cone and thin fabric surround on the woofers is so prone to failure. Also didn't like the sound.
I agree. It is interesting that they are still being used, though. I've only heard one pair that sounded adequate to my ears, and they were powered by Electrocompaniet mono-blocks ten times the price of the speakers, and the speakers were sitting on the metering bridge of a large SSL Duality. Maybe I just got carried away by the scenery. :D

Quote:
Originally Posted by TheHanes ➡️
Speaker Selection. I don't want anything TOO good! If I can make a mix sound really good on mid-level speakers (yes, i'm calling Pro-AC Studio 100 mid level), it will sound good on a larger variety of playback systems than if I only make it sound good on a top-shelf system.
I understand. Would you say that part of the mixing job is done by leaning against the boundaries/limitations of the speakers you use?
For example, you will only go 'this far' with the low-end, and then you know it's good. Or the sibilants will sound a certain way in the speakers, and then you know it's good.

Quote:
Originally Posted by TheHanes ➡️
Hearing these mixes on an absolute top of the line mastering playback is amazing! But I don't necessarily think that mixing on that same mastering system would be as easy for me.
Understood, that maybe would make you aware of the micro-details in a mix, that no one else really would be able to hear.

Quote:
Originally Posted by TheHanes ➡️
Speaker Familiarity. We've been using the same Pro-Ac with Bryston 4BSST setup for about 25 years I guess, and in these same rooms for 17 years. I know what these speakers sound like on everything, so I know how to mix on them. I know what this room sounds like on everything with these speakers. That is so important to consistent quality.
That makes total sense. Having a calibrated listening situation, with the Grace monitor controller, and Serban's Studio Technologies monitor controller (if I'm correct) makes it possible to set a listening level, change the level if needed and be able to get back to the exact same listening level.

How important is it for you to work at one listening level most of the time?

Quote:
Originally Posted by TheHanes ➡️
The active surround system is ideal for what it is intended for. The Genelecs are really accurate and have really good imaging. I need to get familiar with them more, but as I said in the article; I'm not using them for EQ'ing sounds, just for imaging in surround. The ability to tune them to each other using GLM, the ability to turn all on and off with the control software is really important when you've got 12 speakers.
I can imagine. It looks like a really nice setup. You might wanna try and use four subs, one in each corner and calibrate them with the speakers.

Quote:
Originally Posted by TheHanes ➡️
To sum up I guess I would say that specialization is OK! Each scenario has different needs. There is not any one speaker that fits every requirement no matter how "good" it is.
Agree. Personally, I think many musicians and producers pay too little attention to their listening environment, including the room acoustics, speakers, speaker setup, and implementation. For me, life's too short for the "good enough" ethos.

Seeing that the two of you try to keep your listening situation as identical as possible shows the importance of it.

Finally, it must be great for the both of you to have your buddy next room, working on the same kind of music, having the support of a friend when deadlines are tight and clients are stubborn, right? :-)

Many thanks for your input.


Have a nice weekend
Fred
Old 22nd May 2020 | Show parent
  #1775
Lives for gear
 
GreenNeedle's Avatar
 
🎧 10 years
Quote:
Originally Posted by TheHanes ➡️
I'll give my opinion about speakers because it is one of the things that all engineers should be thoughtful about.

Passive speakers vs. active. I don't want anything to change, limit, protect the speaker from the amplifier. If I make a sound that is going to blow a speaker, I better be able to hear it without protection kicking in otherwise how can I get rid of it? That being said, it is easy to replace the woofer on the Pro-Ac as necessary.

Producers would have more reasons to use active speakers; speaker protection is very important in that scenario.

I hated the NS-10's! Mainly because the thin paper cone and thin fabric surround on the woofers is so prone to failure. Also didn't like the sound.

Speaker Selection. I don't want anything TOO good! If I can make a mix sound really good on mid-level speakers (yes, i'm calling Pro-AC Studio 100 mid level), it will sound good on a larger variety of playback systems than if I only make it sound good on a top-shelf system. Hearing these mixes on an absolute top of the line mastering playback is amazing! But I don't necessarily think that mixing on that same mastering system would be as easy for me.

Speaker Familiarity. We've been using the same Pro-Ac with Bryston 4BSST setup for about 25 years I guess, and in these same rooms for 17 years. I know what these speakers sound like on everything, so I know how to mix on them. I know what this room sounds like on everything with these speakers. That is so important to consistent quality.

The active surround system is ideal for what it is intended for. The Genelecs are really accurate and have really good imaging. I need to get familiar with them more, but as I said in the article; I'm not using them for EQ'ing sounds, just for imaging in surround. The ability to tune them to each other using GLM, the ability to turn all on and off with the control software is really important when you've got 12 speakers.

To sum up I guess I would say that specialization is OK! Each scenario has different needs. There is not any one speaker that fits every requirement no matter how "good" it is.
John it is so cool of you to take some time to come on here and offer some insight.
Something i am curious about regarding the work flow with your rooms is how is it all delt with?
I assume you have many assistants each with specific prepping jobs?
Can you elaborate on how far everything is taken before it gets into the bosse’s hands? Are some mixes partially ‘ghost mixed’ then finalized by the big ears or do you spend a day per mix? Just really curious about how you handle huge volumes of material and put out such high quality.
Old 23rd May 2020 | Show parent
  #1776
Quote:
Originally Posted by TheHanes ➡️
I don't want anything to change, limit, protect the speaker from the amplifier. If I make a sound that is going to blow a speaker, I better be able to hear it without protection kicking in otherwise how can I get rid of it? That being said, it is easy to replace the woofer on the Pro-Ac as necessary.
I have ProAc 100s and NS10 and spare parts are getting really hard to find. (Original ones, not third party replacements).
You don’t fuse them because you hear the difference between un-fused? Would you risk a couple of hard to find parts just being able to hear if you made a woofer explosion sound?

My thought is that if I make a sound that would blow my speakers, it would blow the fuse anyway, so I would still be able to realize I made something wrong as the blown fuse would mute the speaker. The only difference is that changing the fuse is a 1 dollar mistake, and blowing the speakers can be pretty expensive.

I’m asking cause I have mine fused and I’m very scared of blowing them by accident. It is really worth it to leave them unprotected?
Old 23rd May 2020 | Show parent
  #1777
Moderator
 
psycho_monkey's Avatar
 
🎧 15 years
Quote:
Originally Posted by TheHanes ➡️
If it's going to turn into that; let's move it out of this thread and maybe we can get an Ask Me Anything or Q & A kind of thing going? Not exactly sure how to go about that;

Can we ask a moderator like @ Lindell or @ psycho_monkey to look into it?
Am on it!
Old 23rd May 2020 | Show parent
  #1778
Registered User
 
🎧 10 years
Quote:
Originally Posted by TheHanes ➡️
I'll give my opinion about speakers because it is one of the things that all engineers should be thoughtful about.

Passive speakers vs. active. I don't want anything to change, limit, protect the speaker from the amplifier. If I make a sound that is going to blow a speaker, I better be able to hear it without protection kicking in otherwise how can I get rid of it? That being said, it is easy to replace the woofer on the Pro-Ac as necessary.

Producers would have more reasons to use active speakers; speaker protection is very important in that scenario.

I hated the NS-10's! Mainly because the thin paper cone and thin fabric surround on the woofers is so prone to failure. Also didn't like the sound.

Speaker Selection. I don't want anything TOO good! If I can make a mix sound really good on mid-level speakers (yes, i'm calling Pro-AC Studio 100 mid level), it will sound good on a larger variety of playback systems than if I only make it sound good on a top-shelf system. Hearing these mixes on an absolute top of the line mastering playback is amazing! But I don't necessarily think that mixing on that same mastering system would be as easy for me.

Speaker Familiarity. We've been using the same Pro-Ac with Bryston 4BSST setup for about 25 years I guess, and in these same rooms for 17 years. I know what these speakers sound like on everything, so I know how to mix on them. I know what this room sounds like on everything with these speakers. That is so important to consistent quality.

The active surround system is ideal for what it is intended for. The Genelecs are really accurate and have really good imaging. I need to get familiar with them more, but as I said in the article; I'm not using them for EQ'ing sounds, just for imaging in surround. The ability to tune them to each other using GLM, the ability to turn all on and off with the control software is really important when you've got 12 speakers.

To sum up I guess I would say that specialization is OK! Each scenario has different needs. There is not any one speaker that fits every requirement no matter how "good" it is.
Hi! I have two doubts about that

1-I would like to know your opinion about HF drivers maintenance on studio monitors. I know it's quite common replace the woofer if you blow them out working, but how about the HF drivers? Do you change often that part of the speaker after some years of use? I mean just because of wear, not because they are broken.

I was once told that the HF drivers loose some performance quality after some years of use but i took that information with a grain of salt. I'd love to know your opinion on that, since i can't imagine a more demanding situation for a speaker than being used on Serban's mixes!
Specially hearing the incredible attention to detail on the highs on all the mixes that come from you guys.

2- Do you think the Dyanudios BM-15 are a good choice on that mid-levelcategory speakers?

Thanks!!
Old 23rd May 2020 | Show parent
  #1779
Moderator
 
psycho_monkey's Avatar
 
🎧 15 years
Quote:
Originally Posted by GreenNeedle ➡️
John it is so cool of you to take some time to come on here and offer some insight.
Something i am curious about regarding the work flow with your rooms is how is it all delt with?
I assume you have many assistants each with specific prepping jobs?
Can you elaborate on how far everything is taken before it gets into the bosse’s hands? Are some mixes partially ‘ghost mixed’ then finalized by the big ears or do you spend a day per mix? Just really curious about how you handle huge volumes of material and put out such high quality.
I’m keen to talk about that too

BUT - let’s set this up properly - if John is keen, let’s save all these questions for a proper q and a!

Watch this space...
Old 23rd May 2020 | Show parent
  #1780
Gear Head
 
🎧 5 years
I am sure that each one of us is immensely grateful with your words john, we respect your time and look forward to the q & a
Old 24th May 2020 | Show parent
  #1781
Gear Maniac
 
🎧 5 years
Quote:
Originally Posted by TheHanes ➡️
I'll give my opinion about speakers because it is one of the things that all engineers should be thoughtful about.

Passive speakers vs. active. I don't want anything to change, limit, protect the speaker from the amplifier. If I make a sound that is going to blow a speaker, I better be able to hear it without protection kicking in otherwise how can I get rid of it? That being said, it is easy to replace the woofer on the Pro-Ac as necessary.

Producers would have more reasons to use active speakers; speaker protection is very important in that scenario.

I hated the NS-10's! Mainly because the thin paper cone and thin fabric surround on the woofers is so prone to failure. Also didn't like the sound.

Speaker Selection. I don't want anything TOO good! If I can make a mix sound really good on mid-level speakers (yes, i'm calling Pro-AC Studio 100 mid level), it will sound good on a larger variety of playback systems than if I only make it sound good on a top-shelf system. Hearing these mixes on an absolute top of the line mastering playback is amazing! But I don't necessarily think that mixing on that same mastering system would be as easy for me.

Speaker Familiarity. We've been using the same Pro-Ac with Bryston 4BSST setup for about 25 years I guess, and in these same rooms for 17 years. I know what these speakers sound like on everything, so I know how to mix on them. I know what this room sounds like on everything with these speakers. That is so important to consistent quality.

The active surround system is ideal for what it is intended for. The Genelecs are really accurate and have really good imaging. I need to get familiar with them more, but as I said in the article; I'm not using them for EQ'ing sounds, just for imaging in surround. The ability to tune them to each other using GLM, the ability to turn all on and off with the control software is really important when you've got 12 speakers.

To sum up I guess I would say that specialization is OK! Each scenario has different needs. There is not any one speaker that fits every requirement no matter how "good" it is.
Hey John, So awesome to have you in on the convo. what a treat! I was curious if you guys ever integrate any hardware into the mixing process or if it is only plugins, what are your favorite plugins? Hope you have been staying safe during this pandemic!
Old 24th May 2020 | Show parent
  #1782
Moderator
 
Oroz's Avatar
 
🎧 15 years
Quote:
Originally Posted by TheHanes ➡️
Happy to participate and share more now; you can imagine the reasons to stay quiet in the past. I'm sure as more forum members figure out exactly who you are talking to I'll get a lot more questions, so just let me say I'm not going the be the Serban Whisperer! I'm happy to talk about my experiences but won't be sharing his "secrets" (of which we all know there are none except excellent skills and a super work ethic).
Wow! Thanks for doing this Hanes. Awesome!
Old 24th May 2020 | Show parent
  #1783
Moderator
 
Oroz's Avatar
 
🎧 15 years
Quote:
Originally Posted by psycho_monkey ➡️
Am on it!
The first thing I will ask is if John’s 100% ITB or does he uses 1 or 2 hardware units. I do see a Neve 33609 in the rack there. Don’t know if John is even using it. But sure would like to know that everlasting debate once and for all.
Old 24th May 2020 | Show parent
  #1784
Lives for gear
 
Funny Cat's Avatar
 
🎧 10 years
I really really want to know if Mr. Hanes and Mr. Ghenea have mixoffs!
Old 24th May 2020 | Show parent
  #1785
Gear Maniac
 
Quote:
Originally Posted by FranciscoFrugoni ➡️
I have ProAc 100s and NS10 and spare parts are getting really hard to find. (Original ones, not third party replacements).
You don’t fuse them because you hear the difference between un-fused? Would you risk a couple of hard to find parts just being able to hear if you made a woofer explosion sound?

My thought is that if I make a sound that would blow my speakers, it would blow the fuse anyway, so I would still be able to realize I made something wrong as the blown fuse would mute the speaker. The only difference is that changing the fuse is a 1 dollar mistake, and blowing the speakers can be pretty expensive.

I’m asking cause I have mine fused and I’m very scared of blowing them by accident. It is really worth it to leave them unprotected?
How about people stop using god damn overpowered amps.

I have a Bryston 3B for my NS10s and Acs, just right at the sweetspot.

If you feel like cranking these speakers, you should get mains.
Old 25th May 2020 | Show parent
  #1786
Quote:
Originally Posted by spankjam ➡️
How about people stop using god damn overpowered amps.

I have a Bryston 3B for my NS10s and Acs, just right at the sweetspot.

If you feel like cranking these speakers, you should get mains.
Actually overpowering them is safer than under power. If you under power them, the distortion coming from the amp while being pushed can blow a tweeter quite easily.

I use them with a 4B (which may be considered overpowered for 100s and 10s), but I never monitor higher than 90 dBSPL, and most of the time somewhere between 60 and 75.
Old 25th May 2020 | Show parent
  #1787
Gear Guru
 
thethrillfactor's Avatar
 
4 Reviews written
🎧 20 years
Quote:
Originally Posted by Oroz ➡️
The first thing I will ask is if John’s 100% ITB or does he uses 1 or 2 hardware units. I do see a Neve 33609 in the rack there. Don’t know if John is even using it. But sure would like to know that everlasting debate once and for all.
Ha! That's all that is needed is the confirmation that they use a 33609 and watch the prices skyrocket!
The " Gearslutz effect" they call it!

Not to mention the arguments of which version of the 33609, because in the pic it looks like a J or JD, not the famous original Marinair version.
Old 25th May 2020 | Show parent
  #1788
Lives for gear
 
Tubthumper's Avatar
 
🎧 15 years
Quote:
Originally Posted by thethrillfactor ➡️
Ha! That's all that is needed is the confirmation that they use a 33609 and watch the prices skyrocket!
The " Gearslutz effect" they call it!
And unlike the Neve goldrush back when Fletcher was dealing in audio gear, I don't think you can look to Australia for a boatload of 33609s lying around, waiting on new homes.
Old 26th May 2020 | Show parent
  #1789
Gear Maniac
 
Quote:
Originally Posted by FranciscoFrugoni ➡️
Actually overpowering them is safer than under power. If you under power them, the distortion coming from the amp while being pushed can blow a tweeter quite easily.

I use them with a 4B (which may be considered overpowered for 100s and 10s), but I never monitor higher than 90 dBSPL, and most of the time somewhere between 60 and 75.
These speakers are made for 100 watts so 20 or 30 watts more is plenty headroom but just as in the other extreme where people underpower speakers, they overpower them as well.

I have a 3B-ST and it is the perfect fit for the speaker. Using a 4B-ST would set you at a headroom of 150%, which is really not needed.

I have the trim Pro version and I'm already trimming down the 3B-ST fully counter clock-wise.
Old 27th May 2020
  #1790
Lives for gear
 
toledo3's Avatar
 
🎧 20 years
I was just thinking about this Liz Phair record from 2003, and pulling up an article I remembered...turned out Serban mixed about half the record. Some interesting details and quotes from him here:

https://www.mixonline.com/recording/liz-phair-365002
Old 28th May 2020 | Show parent
  #1791
Moderator
 
psycho_monkey's Avatar
 
🎧 15 years
Quote:
Originally Posted by b0se ➡️
Very kind of you! 25 years with the same room and setup, blimey.

You just add an at sign before the username (@psycho_monkey). You also get notified if someone quotes you directly.

Hope the Q&A goes ahead! That would be wonderful.
https://gearspace.com/board/interviews/1362525-interview-john-hanes.html

For everyone who’s asked - and massive thanks to John!
Old 28th May 2020 | Show parent
  #1792
Lives for gear
 
H-Rezz's Avatar
 
🎧 15 years
Quote:
Originally Posted by psycho_monkey ➡️
https://gearspace.com/board/interviews/1362525-interview-john-hanes.html

For everyone who’s asked - and massive thanks to John!
Hi PM this is great stuff! Btw are you going to transfer the questions from the last few pages or do you want us to post them again?
Old 28th May 2020 | Show parent
  #1793
Moderator
 
psycho_monkey's Avatar
 
🎧 15 years
Quote:
Originally Posted by H-Rezz ➡️
Hi PM this is great stuff! Btw are you going to transfer the questions from the last few pages or do you want us to post them again?
If John answered it already, I’ll try to transfer it. If he didn’t, maybe ask it again (and if I get a sec I’ll just remove from here!).
Old 28th May 2020 | Show parent
  #1794
Lives for gear
 
b0se's Avatar
 
2 Reviews written
🎧 5 years
Quote:
Originally Posted by psycho_monkey ➡️
https://gearspace.com/board/interviews/1362525-interview-john-hanes.html

For everyone who’s asked - and massive thanks to John!
Great news, thanks for setting that up, and thanks John!
Old 28th May 2020 | Show parent
  #1795
Moderator
 
Oroz's Avatar
 
🎧 15 years
Quote:
Originally Posted by psycho_monkey ➡️
https://gearspace.com/board/interviews/1362525-interview-john-hanes.html

For everyone who’s asked - and massive thanks to John!
Thanks a million!
Old 28th May 2020 | Show parent
  #1796
Gear Maniac
 
6000's Avatar
 
Quote:
Originally Posted by TheHanes ➡️

Speaker Selection. I don't want anything TOO good! If I can make a mix sound really good on mid-level speakers (yes, i'm calling Pro-AC Studio 100 mid level), it will sound good on a larger variety of playback systems than if I only make it sound good on a top-shelf system. Hearing these mixes on an absolute top of the line mastering playback is amazing! But I don't necessarily think that mixing on that same mastering system would be as easy for me.

Speaker Familiarity. We've been using the same Pro-Ac with Bryston 4BSST setup for about 25 years I guess, and in these same rooms for 17 years. I know what these speakers sound like on everything, so I know how to mix on them. I know what this room sounds like on everything with these speakers. That is so important to consistent quality.
Fantastic advice and couldn't agree more...lot of people here are chasing and swapping speakers like socks...Barefoot, then Amphion, then Genelec, then Kii, then D&D, instead of learning what they have inside out. Same with plugins...everything newly released is the best thing ever. So much more important than chasing this month's flavour.
Old 29th May 2020 | Show parent
  #1797
Gear Addict
 
___GLM___'s Avatar
 
🎧 5 years
Quote:
Originally Posted by 6000 ➡️
lot of people here are chasing and swapping speakers like socks...Barefoot, then Amphion, then Genelec, then Kii, then D&D, instead of learning what they have inside out. Same with plugins...everything newly released is the best thing ever. So much more important than chasing this month's flavour.
well, yes and no.

I switched to amphion after working on smart audio speakers for about 8 years. The very first things I did on amphions turned out much better in every aspect than on my previous setup. I guess after 8 years I should/could know my speakers inside out? Or do I need 8 more years for that? How do you explain my better outcome with another setup in such a short time?

So yes, headless swapping of speakers/going for the flavor of the month is useless. Trying to find something that works for you and improves your work, not. But that includes changing and trying stuff out. In general its a bit more complex than your answer suggests.
Old 30th May 2020
  #1798
Lives for gear
 
</philosophical_mode_on>

This thread is great but it will go on forever simply because most people have to look for a reason why their mix isn’t as good as his – it’s the material, it’s the room, it’s the position of Jupiter in relation to Uranus. The reality is most people are average – by definition! Most engineers are average at their job, as are most accountants and most policemen and most taxidermists. Serban is a genius – whether he’s in the box, out the box or on the moon – he’ll make a better sounding mix than you – even when he’s 63 and his ears are shot – he’ll STILL make a better mix than you. Music may be your life – you may live breathe and taste every second of it – it doesn’t mean you are good at it and will ever get anywhere near anyone with a special talent. Just do the best you can and try to enjoy it. No-one can ask for more than that!
Old 30th May 2020 | Show parent
  #1799
Quote:
Originally Posted by Scragend ➡️
</philosophical_mode_on>

This thread is great but it will go on forever simply because most people have to look for a reason why their mix isn’t as good as his – it’s the material, it’s the room, it’s the position of Jupiter in relation to Uranus. The reality is most people are average – by definition! Most engineers are average at their job, as are most accountants and most policemen and most taxidermists. Serban is a genius – whether he’s in the box, out the box or on the moon – he’ll make a better sounding mix than you – even when he’s 63 and his ears are shot – he’ll STILL make a better mix than you. Music may be your life – you may live breathe and taste every second of it – it doesn’t mean you are good at it and will ever get anywhere near anyone with a special talent. Just do the best you can and try to enjoy it. No-one can ask for more than that!
I can feel that edge.

So true and hopeless at the same time.

Cheers,
Average Joe.
Old 30th May 2020 | Show parent
  #1800
Lives for gear
 
H-Rezz's Avatar
 
🎧 15 years
Quote:
Originally Posted by Scragend ➡️
</philosophical_mode_on>

This thread is great but it will go on forever simply because most people have to look for a reason why their mix isn’t as good as his – it’s the material, it’s the room, it’s the position of Jupiter in relation to Uranus. The reality is most people are average – by definition! Most engineers are average at their job, as are most accountants and most policemen and most taxidermists. Serban is a genius – whether he’s in the box, out the box or on the moon – he’ll make a better sounding mix than you – even when he’s 63 and his ears are shot – he’ll STILL make a better mix than you. Music may be your life – you may live breathe and taste every second of it – it doesn’t mean you are good at it and will ever get anywhere near anyone with a special talent. Just do the best you can and try to enjoy it. No-one can ask for more than that!
I agree to a large extent not that audio professionals shouldn't seek to enlighten each other, which I think threads like this promote! Not so much to sound like anybody but to give you more ideas on things you can try to better yourself in your own little Universe!

This thread also highlights one important factor that when all things being equal in this case the same tools, the talent no matter what, IS what matters, so I can see how that would be frustrating to realise for some, there indeed is no magic plug-in! I was a big fan of Serban mixes when he was on analogue consoles, one record I heard that made me go wow from him was a Donell Jones record "Life Goes On', (beside the Teddy Riley stuff) and could be some of his last mixes on a console as a few years later he was ITB, I mean at the time I felt like the mixes were just perfect and I had to find out who did them, I hear them now and I still think they are perfect for that sound.
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