Kviz Pogodi miksetu

[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

[Surfer]

Originally Posted by Everlast

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

Trevor Horn nije miksing in?enjer nego songwriter/producer a u tvom primjeru govori o snimanju a ne miksanju jer on sa miksanjem nema puno veze .

Originally Posted by Everlast

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?

Ja sam rekao da Skrillex to sigurno ne miksa sam na laptopu nego da mu to radi pedesetogodi?njak na pravoj opremi

Originally Posted by Everlast

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

Mastering je ne?to drugo.
Nemojmo mje?ati kru?ke i jabuke

[Surfer]

BTW, evo iskopao sam jedan super članak za Boggya, kad je već započeo tezu o tome kako su vrhunski in?enjeri od malena sjedili u vrhunskim studijima i slu?ali vrhunsku akustiku i zato dobro miksaju.

Pa evo kako je započeo svoju karijeru miksing in?enjera jedan od najboljih in?enjera svih vremena Steve Lipson:

"
"I didn't have a clue what I was doing," Lipson now admits. "I read a few books, talked with different people, bought ?15,000 worth of gear, did a bit of building work ? with no acoustic treatment ? and we opened for business. I obtained a 16-track Unicol tape machine from Command Studios, and the very first session featured a band that had to record a jingle in three hours.
"For some bizarre reason, the studio started doing really well, and within six months a band named Sniff 'n' the Tears came in to record an album, Fickle Heart, and I ended up co-producing it just because I discovered this amazing thing called the mute switch.

Although the Regents Park Recording Company was thriving and Lipson was gaining invaluable on-the-job experience, when Sniff 'n' the Tears asked him to produce their second album in Paris and Duncan Bruce demanded an 80 percent cut of the payment, Lipson walked.
It was 1978 and, now freelance, he took engineering work wherever he could get it. This included producing and engineering Lindisfarne's Sleepless Nights album at Chipping Norton in Oxford, as well as numerous assignments at both Ridge Farm in Surrey and the aforementioned French studio, Superbear."


Dakle, The Steve Lipson je kupio nekakvu opremu , stavio je u neku sobu, pročitao par knjiga i naučio sam miksati.
Samo u ovoj zadnjoj rečenici je spomenuo 3 studija gdje je radio freelance 1978. godine.

Bojim se Boggy da ti teorija o učenju akustike da bi postao miksing in?enjer pada u vodu

[boggy]

Originally Posted by Surfer

...
Bojim se Boggy da ti teorija o učenju akustike da bi postao miksing inženjer pada u vodu

Nisam rekao da treba miksing inzenjer da uci akustiku (iako nije lose da je zna, i svuda se uci u skolama), da bi znao miksati. Rekao sam da mora barem slusati, ili miksati prvih godina u akusticki sredjenom prostoru, da bi se mogao snaci u bilo kojem, ali kasnije, posle pet do deset godina rada. Tek tada moze da radi bilo gde i bukvalno na bilo cemu.

[Everbeatz]

Originally Posted by Surfer

Trevor Horn nije miksing inženjer nego songwriter/producer a u tvom primjeru govori o snimanju a ne miksanju jer on sa miksanjem nema puno veze .

On s mixanjem nema puno veze? Ajd dobro...ispasce da je na kraju Trevor neko levo smetalo koji nema pojma sta prica...zna on o mixanju vise nego svi mi kad se saberemo na forumu...verovatno i o monitoringu, SSLu i akustici...

Popularizacija mixanja, kao zasebne, 'karakterne grane' u izradi audio proizvoda je krenula sa Bob Clearmountain-om...pre to ga je bilo mix as you go

Originally Posted by Surfer

Ja sam rekao da Skrillex to sigurno ne miksa sam na laptopu nego da mu to radi pedesetogodišnjak na pravoj opremi

Sta je to 'prava oprema'??

Originally Posted by Surfer

Mastering je nešto drugo.
Nemojmo mješati kruške i jabuke

Sta je mastering?? Nema veze s mixanjem? Na kraju, po tebi, jedan kompletan homogen proces izgleda potpuno diskonektovan