Recent content by Ported

A couple of swing arounds for me would be Counting Crows .. did not get it at first but would take "August and everything after" to my desert island as it still seems to give something new. Conversely I thought "I am Kloot" were too simplistic but now I think they have a subtle genius over...

Back in the 1980s I owned a small recording studio and I wired my main monitors using 13amp (UK) flexible mains cable (financial reasons). One customer/ producer insisted I use his QED oxygen free copper bla for the session so I wired them both to the power amp and ran the session on his...

For me I just flipped to ribbon tweeters.. I am an ex sound engineer and have several tracks i tried to de "S" on some particularly siblant vocals.. On almost all systems this seems only partially sucessfull .. through my current ribbons (Fountek Neo CD3.0 ) it seems completely successful and...

I use the RME loudness ... It is quite tunable and to my ears does a more transparent job than the SMSL equivalent as the threshold can be set. On top of that it's possible to add room eq. Never regretted paying the price but I understand how it may look difficult to justify. If it can easily...

I also feel some real world factors may be lacking in these observations. Time and money being a key one .. recordings are usually set to budget and therefore time constraned. This can lead to compromises on fidelity (no time left to do it better). If in my recording studio ownership days...

That is appalling.. Amirm I know it's been covered many timed before but of all the recordings I have made the LP master is the one sounding furthest from the day of the mix! I'm not sure it's a push for fidelity.. just a market opportunity.

Are artists complaint about their work not translating.. it just seems to be a subset of consumers. Seems to me there are plenty of compromised recordings where for many the performance shines though regardless, and plenty of crystal clear well balanced recordings where some folk don't get...

I genuinely want to understand where the notion of standards in creating recorded music comes from. A regular part of the recording process in essence is an artist with an idea of how to move people demonstrating that potential to a record company. They say we think it will move people and we...

Still don't get it .. sorry .. why would we need standards if everyone thinks it's ok - especially record companies? If folks think it's not ok then they must be suggesting the individuals employed to make the product and make the audio correction decisions based on years of experience are...

I have already asked how do we define | measure a good mix? Surely until we know that how can we create a standard? A very much different thing to a differing audience. Most of the industry .. if it sells it's a great mix full stop.

It may have changed but in my day the record companies that influenced master engineers to tailor a mix to sound good on the radio and smaller systems as that's potentially where the music would be mostly consumed. It is possible to produce a mix on big wide systems with slightly overblown...

And you can treat a mix as an input to a mastering process .. which providing the balance of signals sits best it can .. frequency problems are normally finalised there. On accurate speakers as possible I will agree there. Although if a mastering engineer gets some hit records on less than...

My tongue was very in cheek .. a wide range of tools to problem solve all aspects of recording are often used .. how perfect their response is is not necessarily the most important issue in the final result.

I guess now we need to question all the microphones we may have used that had far from perfect frequency response. Why would you use any of those when you strive for one microphone with near perfect response? How they ever were adopted for use in so many recording studios heaven knows? Maybe...

Problem with the new space we seem to have entered is .. how do we define a good mix ..is it? The one the band liked The one the engineer and producer liked The one the record company liked The one that sold a lot of recordings The re-mix that made most people dance The one that sounded a bit...