Kviz Pogodi miksetu

[soundman]

@Sira

Ma cak nije problem ni u stavovima koliko u iznosenju istih Meni nekako uvek problem kad se licna iskustva iznose kao postulati.

[sira]

Ma da, uvjeren sam da bi da su na pivi fino prodivanili a kad čitam izgleda ko da bi se najradije zatukli monitorima

[soundman]

Originally Posted by sira

Ma da, uvjeren sam da bi da su na pivi fino prodivanili a kad čitam izgleda ko da bi se najradije zatukli monitorima

Hahahahaha. Istina Naravno da internet dopusta da se svasta kaze. Problem je u tome sto sam imao tu srecu u zivotu da provodim vreme u studijima sa ljudima iz posla, koji su neka imena na globalnom nivou, i sto je najlepse super su ljudi. Imaju veliko znanje i dobro uho, ali isto su tako ljudi od krvi i mesa i padaju na stvarima kao sto je lose slusanje ili nedostatak tehnickih uslova. Velika vecina njih prosto izbegava da pristane da radi u uslovima koji im ne odgovaraju, jer im svakako ne ide u prilog da urade nesto lose, za bilo koje pare.

Ono sto je gdin Boggy rekao je istina. Onaj inzenjer koji je proveo duze vremena u odlicnim uslovima ima izbazdareno uho, i na neki nacin urezane odnose u glavi koji mu mogu pomoci u odredjenim uslovima koji su manje nego optimalni, video sam cak i jednog coveka koji podosta moze da zakljuci samo gledajuci graficki analizer jer u momentima nije bio siguran sta se desava u opsegu od 60 Hz i nize.

Ali i taj steceni odnos i iskustvo ima svoje granice.

Svakako je tim ljudima mnogo lakse ssl ov kanal zameniti npr waves ssl plaginom ili necim drugim, iako to nije to , nego nagadjati sta se desava na 60 Hz (ili bilo gde drugde)

[Surfer]

Evo recimo Michael Brauer, on je mlad ali ima talenta, bit će nešto od njega kad nauči akustiku

Pa poslušajmo što on kaže što mu je bitno kod miksanja:

"Most of my mixing is done listening to my little Sony boombox.
It sits behind me, on my rack number two, about four-and-a-half feet up from my ears and six feet back. Because the speakers of the boombox are relatively close to each other, I essentially listen in mono. The Sony is like a magnifying glass, it tells me whether my mix sucks or not. I use it for a similar reason to why most people use the NS10, and I will also sometimes play my mix briefly through a pair of NS10s, just to make sure everything is sitting nicely and is where it is expected to be, and because I want to get several different perspectives. But the Sony gives me a much more accurate picture."

[Everbeatz]

Originally Posted by Surfer

Evo recimo Michael Brauer, on je mlad ali ima talenta, bit će ne?to od njega kad nauči akustiku

Pa poslu?ajmo ?to on ka?e ?to mu je bitno kod miksanja:

"Most of my mixing is done listening to my little Sony boombox.
It sits behind me, on my rack number two, about four-and-a-half feet up from my ears and six feet back. Because the speakers of the boombox are relatively close to each other, I essentially listen in mono. The Sony is like a magnifying glass, it tells me whether my mix sucks or not. I use it for a similar reason to why most people use the NS10, and I will also sometimes play my mix briefly through a pair of NS10s, just to make sure everything is sitting nicely and is where it is expected to be, and because I want to get several different perspectives. But the Sony gives me a much more accurate picture."

Poslusajmo i sta Trevor Horn kaze

"The older I get, the more I like to work in a proper control room. I did a few years of that, but the reality of it is, you're better off in a proper acoustically controlled environment where you can hear what you're doing and it all makes sense. I went through a phase of working in houses and working in strange places ? a castle in Ireland and things like that. But in the end it was bullshit because it sounds crap and you can't really hear what you're doing. In a proper control room it forces you into being realistic about what you're recording."

[Surfer]

Originally Posted by Everlast

Poslusajmo i sta Trevor Horn kaze

"The older I get, the more I like to work in a proper control room. I did a few years of that, but the reality of it is, you're better off in a proper acoustically controlled environment where you can hear what you're doing and it all makes sense. I went through a phase of working in houses and working in strange places ? a castle in Ireland and things like that. But in the end it was bullshit because it sounds crap and you can't really hear what you're doing. In a proper control room it forces you into being realistic about what you're recording."

Mixing and recording.
Big difference !!!

[Everbeatz]

Originally Posted by Surfer

Mixing and recording.
Big difference !!!

radi se o kompletnom procesu, ne samo snimanje, a Trevor je puno veci autoritet od Michael Brauera..bar meni

i sam si se divio kako npr Skrillex ima perfektan lowend i da nema sanse da je to radjeno kuci...da nije mixao na boomboxu i super namestio subbass?

pretpostavljam da se mastering engineers se isto zaludjuju troseci velike pare na akustiku i monitoring da bi popravljali BAS ono sto tvrdis da nema veze kad je mixanje u pitanju?

nema tog SSL-a koji moze da zameni dobar monitoring