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Mixing Trick 1: The Bypass/Insert Head Bob
Old 9th November 2002
  #31
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Mike Jasper's Avatar
 
1 Review written
🎧 15 years
Quote:
I 'capture' the mix at 24 bit 96k with the Hedd converter
Ahhhhh. I get it. So you're not coverting from 48k to 96k, instead you're playing the mix at 48K and recaputuring the analog output of that mix with the Hedd converter set to 96k.

Cool. I'll have to try that -- or something similar, that is.

Jasper
Old 10th November 2002
  #32
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kushan_ku's Avatar
 
🎧 15 years
Charles, I hope the ego's and confrontational posts don't run you off. I for one really appreciate you taking the time to help and share with others.

But I agree with your original post in that it helps to get the clients justification with the reciprocal 'nod'. I work well alone, but sometimes better/faster with the client and I feed off of their approval.

I've also found on o'plenty of occasion that after the 10-20 minutes I've spent tweeking that reverse guitar ambient thingy, that, just when I think I've got it...I'll turn for the nod...and I won't get the approval grudge . Usually it's for the better, after all it is their music!

jho
Old 10th November 2002
  #33
"Do the mastering engineers here prefer to have the mixing engineer at the session or master alonee?

Maybe there just aren't enough mastering engineers on this forum to get a meaningful answer here."

primarily I would say mastering engineers dont want to have to "do it again'

So haveing all parties present is favorite...

However for folks living in locations not close to mastering, I belive that a postal review & comments then re-master sometimes happens...



Old 11th November 2002
  #34
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Steve Smith's Avatar
 
🎧 15 years
Quote:
Originally posted by Jules
[BHowever for folks living in locations not close to mastering, I belive that a postal review & comments then re-master sometimes happens...



[/B]
This is exactly how I have mastering done from here in old Kansas City.. LA and Toronto are too far away to make the day trip for mastering.. :(
Old 11th November 2002
  #35
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Charles Dye's Avatar
 
🎧 15 years
Quote:
Originally posted by kushan_ku
Charles, I hope the ego's and confrontational posts don't run you off. I for one really appreciate you taking the time to help and share with others.
I appreciate your intentions, but everyone here at GEARSLUTZ has in fact made me feel very welcome. I am enjoying all the questions + conversations we're having. Re: my help + sharing, you are very welcome.

We've only just started this month. I'll begin some more threads soon. Please continue asking the questions, and if I have somehow not posted a response to one, you're welcome to remind me with a private message.

Thanks.
Old 11th November 2002
  #36
Here for the gear
 
🎧 15 years
For commercial projects, we always have a pre-production meeting, where the artist(s) designate an "Artist Contact" who speaks for the Artist(s). We always edit alone. We then do a rough mix alone, and present it to the group. Much like Jules, we have them discuss amongst themselves and create a list, which the Artist Contact then sit's in with the Engineer on the rest of the mix and any extra edits to implement the list. Then we sit with the entire group again and do another listen. We find this works well, it usually takes no more than one or two tries to get the desired product. Most of the time just once.

For projects private to our Label, or where there is a producer involved, then he/she is there for the entire project obviously, but we have found that when they do not have the artist present until the end, the artist is usually unhappy with something. So we ask that they be present as much as possible after the initial edits and rough mix.

Note: Most of our clients cool ideas are found toward the end of the mix, unless they are experianced, in which case we like to have them present for the entire project. We learn as much from them as from these forums.
Old 12th November 2002
  #37
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Charles Dye's Avatar
 
🎧 15 years
Dr. J

Great post + a great perspective. I like that approach. Most of my mixes are more producer driven, but the next time I am doing a group mix I will definitely be using your's + Jule's technique.

I have learned a lot from this thread. Thanks everyone, for sharing how you deal with such a critical aspect of our business: communicating creative ideas into technical ones.
Old 14th November 2002
  #38
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🎧 15 years
Re: Mixing Trick 1: The Bypass/Insert Head Bob

after listening to the bypassed sound and inserting the plugs to hear a few bars of it processed, I've noticed a little nod of approval I make to myself with my head. A pat on my own back.

Have any of you noticed yourself doing this or anything else like this consciously or subconsciously? [/B][/QUOTE]

i have always found the hardest thing to react to is when the unprocessed sound is better....oops....well....guess i got a little cariied away....have a sign in my mixing room...if you don't have something constructive to say ....don't
Old 14th November 2002
  #39
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Charles Dye's Avatar
 
🎧 15 years
Quote:
Originally posted by mixer
have a sign in my mixing room...if you don't have something constructive to say ....don't
I like that Gary, I should put up one of those.
Old 14th November 2002
  #40
Here for the gear
 
🎧 15 years
We have a sign that say's if you have input, hold that thought.......

(but it's just a joke) We're really very likeable.......in addition to brilliant and good looking.heh
Old 19th November 2002
  #41
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Stick's Avatar
 
🎧 15 years
Interesting stuff...

As a guy (I'm sure like a lot of you) that produces and mixes, I find it interesting that I'd probably be annoyed with myself as a client. Being a mixer, I love it when I can go to a "big time" mixer and sit and watch and try not to be annoying with my questions, or input (I AM the producer after all! HA!) And then when I'm back at my place mixing someone else's record I wish they'd leave me alone and stop asking so many questions!

Since a lot of the stuff I'm mixing right now is really low budget, I feel like I can't afford to take the time to bring the client along with me every step of the way. So, I've sort of fallen into the list suggestion Jules made. I do the mixes to my liking (or at least 90% of the way to finished), burn a reference and send it to the client. He'll live with it and listen, make up a list, and then we'll do one day's worth of fixing and signing off, so he's giving the go ahead to "print it".

On a side note, I've gotten to work with a couple of really big time pop/r&b mixers that had two totally opposite vibes. One was extremely client focused, and was glad (or at least seemed to be glad) to talk about what he was doing, as well as give me outboard gear settings and drums samples he'd collected. And the other was more of a loner type, and as I found out after the fact (he didn't say anything at the time), didn't want me there all day, didn't like the mix that incorporated my input, and ended up trying to remix the same tune without me there. Eventually the record company took the mix I did on my PT rig. (Yeah, who needs that dumb SSL. :eek: ) But at the same time, that guy has mixed huge hits. Anyway, point being, as a mixer I want to be the first guy. It's more fun, and the product ended up being better.

Ok, enough rambling...
Stick

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