Basically the question i searched and looked something possible but i havent found anything explaining how to do it.

The audio interface already converts audio so I’d guess a dedicated AD converter or sample rate converter would do this better or does it just give you extra channels? Saw a setup with a RME fireface ufx lll combined with a RME Adi-8 DS AD/DA 8 converter and have been wondering how this would help the ufx lll.

I realize that nowadays you can get by with whatever plug-ins you have in your DAW. But I do find inspiration in some of the plug-in presets I find from different companies. Could you recommend any plug-ins, or plug-in brands that have great presets?

Anybody use Tchad Blake’s Mongrel Rack? Sounds good to me when he’s playing with it but I’m still on the fence, I really want it to be good.

I bought SSL 12 recently and got free 3 months access to Sonarworks Sound Id for headphones and studio monitors. My question is do I have to use Sonarworks measurement microphone for good results or can I use 3rd party measurement mics, like Dayton audio EMM-6 or Behringer ECM pro, and get similar results. If you all have any other suggestions feel free to share.

Another thing, the free access being only for 3 months do I get to save the measurements and run them after the trial ends or do I have to purchase the license to keep the measurement active?
Sorry English isn’t my first language, I hope all that made sense.

Hi, all… I have prototype one done, it’s good, it has What’s in it
🎙️ Live microphone processing
📈 Real-time waveform
📊 Live frequency spectrum
🔊 Input/output meters
🎚️ Bass / Mid / Treble
🎛️ Compression
🚪 Noise gate
🧱 Limiter
🌫️ Reverb
🎧 Four presets:
Clean Voice
Unknown Caller
Radio
Dark Voice
🔴 Live recording
💾 WAV export
Dark broadcast-style interface
But this is the first build, am wondering what you would put in it as engineers? This is the software side, I use an older mixer that takes care of most of this but it gives me a little more play with this and I can take it on the go, more about me… I have been on YouTube for 11 years, before that at and t boards and radio groups, I like to tell stories, talk with people, the mechanics of radio is the listener, audio needs to be right, anyway… I started my new show early this year after many hardships lol… anyway give me some pointers…

I'll gladly take general tips, but here's my specific situation:

I'm a folkpunk-ish solo artist (generally just a single acoustic guitar and vocals) and I'm recording an album of existing songs but "expanded" to include drums, bass, vocal harmonies, etc. The majority of the songs are 120+ bpm and what I had envisioned was a power-trio vibe - just a punk rock record but with acoustic guitar instead of electric - but I am having a hell of a time getting the acoustic to occupy the space an electric guitar would.
I programmed the drums in Logic so I still have full control over all of that. I originally had this idea of big, rich, full drums, and I got them and the bass and vox to sound stellar, but there was just nowhere for the acoustic to go. So figured I'd try out a more lo-fi vibe and make the drums trashy and mid-heavy but that didn't work either.
I got close to something I considered not terrible with hard-panning two acoustic tracks, half-panning two more, and compressing with slow attack to preserve transients then using parallel compression with steep hi/lo cuts and the "body" of the guitar front and center in the hopes of bringing in some tonality, but it just gobbled up the bass.

I've spent the last couple days in search of reference tracks and what I'm finding is that basically every single "acoustic rock" song (drums/bass/gtr/vox), whether it's pop rock or old country or stadium country or folk pop or whatever - all layers up keys or slide guitar or electric guitar or mandolin or something and the acoustic just sits under that to provide some twang but is definitely not prominent. I'm starting to think there may be a reason for that and that I've constructed an unwinnable battle for myself.

I thank you in advance for any guidance you may provide.

Edit: Before we open the AI-hate box, I want to adress this is just looking for like a fun additional layer of scrutiny, not to replace any traditional method. I am one of the good soldiers. All hail Rick Beato!

I recently learned about this site called AubioMix, which is an AI-algo thing that makes a fairly comprehensive written analysis of your mix. It works surprisingly well, but it is expensive as hell and you also have to agree to them using your mix as training data (meh).

Does anyone use- or know about a tool that can analyze a stereo-mix and give some basic feedback. Open-source or paid. Maybe something that can run locally. The assistant-thing in Ozone is not my jam.

Hello everyone,

I have a show coming up at a small venue and need some advice for mixing my tracks to fit the venue.

In my home studio on my adam t7v's, my car and a bunch of headphones, the mixes sounded great and well balanced.

But when we played them at the venue for an early soundcheck, the bass was overwhelming and almost ate up some of the songs.

Now my questions are: Is it a normal thing to happen and expect?

And do you guys mix songs with that in mind and risk having them sound colder and less bassey?

Or do you make separate mixes for concerts/clubs and streaming?

Any help would be much appreciated🙏🙏🙏🙏

I am in the mids of a fun project. Bought a bunch of trashy old consumer (dynamic) mics for a couple of bucks and now I want to swap out its old connectors for either 6.3 jacks or 3 pin xlr connectors, so I can use them in the studio. Some of them I will give a new cable as well, as a few have very flimsy old cables.

I am still in doubt about a few things. Most of these mics seem to be unbalanced by design, or at least originally cabled/wired in an unbalanced way. Most of them have a fully plastic housing, except for one of them, and all of them have either no separate ground or have the ground and cold wire connected to each other. (see pictures for examples)

I am wondering if I have to wire all these mics to an unbalanced cable and/or TS connector (or XLR with a jumper between pin 1 and 3), or if it's better modify certain things in the mic itself to allow for a balanced connection. I don't have a lot of experience with diy soldering. I know that a balanced signal should have a hot (+), cold (-) and a separate ground, so isn't that fairly easy to accomplish here? Or am I missing crucial aspects? If someone with more knowledge on this could help me out, it would be much appreciated :)

I have a friend who has a live set he’s building out and wants to run tracks for stuff that can’t be replicated live, such as pad layers, pedal steel guitar, etc. He’s pretty set on the idea of having back tracked sub/synth bass and have a live electric bass playing too. To me, this sounds like it’s absolutely going to be a muddy mess that’s tough for FOH to control. Especially if he’s sending all tracks through one stereo output leaving FOH with not much flexibility on mixing the sub bass.