Been noticing how tools like iZotope Ozone, LANDR, Remasterify and even the new AI mixing assistants in Logic are shifting the landscape. I don’t think they’ll ever fully replace engineers—there’s too much taste and judgment involved—but clients are definitely starting to expect faster turnarounds and lower prices because “the computer can just do it.”

Feels like the real impact of AI isn’t the tech itself, but how it reshapes what people think mixing/mastering should cost and how long it should take. Curious if others here are seeing the same thing, or if it’s just me running into this more often lately.

Title. I won’t say who because im not trying to send hate their way, but essentially they have used my beat (which has been blowing up, relative to what I expected at least) in an ad. I have a beatstars account, and licenses available, starting from $45USD, so the fact it has been used in an advertisement, which they definitely got paid well for, without consulting me, or even crediting me, seems a little insulting? Needless to say that I have messaged them and they have not responded.

I’m just wondering if I should (can?) do anything? I feel a little bit screwed, by not at least being credited. Should I pursue any course of action? I’m very new to this, and I feel in over my head. I’d love to hear your thoughts, especially if anyone here has experienced something similar. (I’m sure many of you have been screwed over)

Trying here after trying on r/cassetteculture

Recently, I have been undertaking the really tough challenge of trying to record my band entirely on 4 track tape via my tascam porta two. The sessions have been fraught with difficulties, but otherwise the sound we're getting is incredible.

Came to a really tough crossroads/halt today when I learned that there is no physical way to bounce onto a track with existing information without overwriting what's there. My newbie ass thought that if i set it to tape that the information on the track would be preserved, only to accidentally overwrite the first couple seconds of my drums on track 1 with guitar.

I know now that bouncing should always be done to a free track, and I knew the format had limitations but this has really stumped me, because the arrangements to my songs are really full (stereo drums, bass, keys, usually 1 or 2 guitars, vocals and backings vocals) and all the tracks are already filled because I didn't anticipate this crossroads.

I need some advice on how to proceed from here. It seems maybe I need to buy more tapes but I don't have a second machine to bounce to, so am I cooked? It's really depressing and ironic that it's come to this. The band have been working so hard and we just want something to show for it. We really need someone who knows 4 tracking well to advise us because at this point I'm so lost. I still have about half the guitars and all the vocals left to record.

I’ve been doing live and studio sound work for about 10 years, and I’ve messed with what seems like an endless array of gear. There’s always something else to learn about doing this kind of work.

I’ve gotten an opportunity recently that is allowing me to operate a recording studio of my own, and I’ve been going through my old catalog of equipment and making some new investments. Because this is definitely the fun part (besides making records), I’d love to hear what everyone’s personal “you need this or die” tool or piece of equipment!

For me, it’s my little four channel headphone amp. So many folks have wanted to listen in on a session, so i can just wire it up and they can! A lot of proud mom moments came from it. Also, music nomad string fuel, cleans up a strung set of strings perfectly for recording

I work in a university setting, and havent done a lot with dialogue that isnt remotely recorded. Ive been receiving raw files that have been recorded in treated studios from our producers, but the level of noise: mouth clicks, background noise, sounds from body shifting. I'm just surprised at the level of clean up I have to do. I actually have to do way less denoising on files I get from remote records for a podcast I produce. I'm working under seasoned professionals, with years more experience, but I feel like they're either using mics too sensitive for the recording environment, or recording too hot. The explanation of the equipment and recording process doesnt set off any alarms. Im just curious what others experience is and how noisy raw dialogue tracks tend to be?

I've been researching this for a day and a half, but all I am finding are people asking about the difference between a 1D QRD and a 2D PRD.

Simply put, what is the practical difference between a 2D QRD like this:
https://www.gikacoustics.com/product/gotham-n23-5-inch-quadratic-diffusors/?srsltid=AfmBOoo9yZ0SdaiOJdnxNeJjgTatv9OAGQCYPuIxeFE7FrcURQcJSo57

And a PRD Skyline like this?:
https://www.btacoustics.com/skyline

Both are calculated designs, both are 2D diffusers, and both can be designed to affect same freq. ranges.

I'm looking to build 8 of these, and while PRD would be much easier to build, I'm wondering if there is something about a QRD build that disperses sound in a superior way?

Hello! I've gotten myself into trying to save my apartment acoustically, or at least minimise the problems. I can however not tell how much I can do and at what point it wouldn't get any better so shooting my shot here.
Room In Question kind of limited obviously.

Problem summary:

• 100hz null (SBIR?)
• 135hz peak (Room mode?) - unchanged with placement

Started as an observation in Sonarworks Measurement, left channel especially.

Got into REW for further testing and could:

• Reduce the 100hz null by
  • Speaker further to the left
  • Bringing back listening position
• Affect waterfall diagram
  • Further to the left = more decay in low end
  • Further out from wall = less decay
  • Bass traps = substantial decay improvement, other corners doesn't make significant difference

Moving the speakers out also slightly lowered the hz of the null.

Is there anything I can do to improve this or is a compromise between attenuation amount and lowend decay inevitable?

Will update and add pictures.

Current dilemma:

1. Moving speakers further from left wall decreases boom and low end accumulation = more attenuation of 100hz and vice versa
2. Removing bass traps reduces the null by a few Db's but obviously then increase low end decay

REW MEASUREMENTS

SPL/Curves

Waterfall diagrams with the speaker close to the corner for minimum 100hz dip

I love Wilco and Jeff Tweedy. And something that strikes me as interesting is his voice is almost always upfront with what seems like zero reverb of any kind.

I read and hear a lot of advice about how reverb can be used subtley as a form of glue, or bringing a slight sense of space to a track that maybe seems to dry, the kind of subtle effect that you "don't really notice at all until it is gone." I get that, and I appreciate that, and I do that often.

But then I listen to a wilco track, and it's dry as hell, but in a great way. Do my ears decieve me, or are there instances when absolutely zero reverb of any kind was used on his voice?

so im doing my homework and listening to music on spotify through my monitors. i listen to older bands like saves the day, taking back sunday, dead poetic, and more modern bands like hail the sun, sincerely, sweet pill, soul blind etc. *emo kid alert* lol

nothing new or ground breaking to me but the older mixes arent as "polished" or crisp as modern, industry standard mixes yet they still sound good. things have advanced obviously... so my subjective question is:

which do you prefer and why?
do you use a blend of both older and newer sounds?

what have been your thoughts and realizations of the differences between nostalgic vs modern mixes?

I recently picked up a bunch of vintage microphones from the 1940s, and one of them is a Turner 22x, I managed to pick up a Switchcraft type F to 1/4" adapter but am struggling ti source a preamp to provide enough power for it to work.

I'm getting into the realm of content creation but have no idea on audio recording other than the mic's built into my camera and phone. 90% of recording will be done outside and there is 4 of us. I've been looking into Lav mics but I'm so confused, can someone please explain a few things to me like you're explaining it to child?

I so far understand that each mic needs its own receiver and that's about it

1. What would be the most straight forward way to record audio from 3+ different people?

2. Any budget friendly options that are worth a damn? Would prefer wireless, windshield is a must.

3. Kind of a combination of the 2 previous questions, the options I've seen so far plug into your phone or camera and record that way. Is there an option for a receiver that records to a SD or USB? I just can't really wrap my head around how it all records and how to obtain each individual audio file.

Please excuse my ignorance, I'm trying to learn!

Thank you in advanced

So I(16m) have for a while been che king my hearing, and have never really been able to get above 17000 hz. For a while I was able to get to 18000 but not really anymore. I usually have to crank the audio to be able to hear them. I thought maybe it was my headphones but I checked with a decibel checker and there is sound coming out of them. Should I be worried, and could this harm my desire to be an audio engineer/ music producer?

Hi there,

I'm helping out a friend with some cataloguing and moving/selling on some bits of gear from another friends studio, the owner of which sadly passed away recently. I'm pretty much on top of it but had trouble identifying one bit of kit.

I couldn't take any photos when I was there at the time (long story). Was sent a couple of photos after the fact that are here:

https://www.dropbox.com/scl/fo/pu6xi7zs1c84w1w2v4xo5/ANkG1WqtCY44xZC-xY0ECVg?rlkey=b0b5y6tokjw3e5adfbxgb9flq&st=ccs322ka&dl=0

Apologies, they don't fully show the front panel and aren't great. Also the large circular metal objects on top I've been told are removable weights, NOT actually part of the device. The company logo is in the second pic, and 'S' of some kind. I've not had any luck with reverse google image searches. Knowing who manufactured it at least I'll be able to find it.

The guys studio was setup for sound design in Nuendo, while also doing mastering. They had some nice gear in there, some very high end stuff (Crane Song etc). From what I could gather the monitors were being fed by this, but there was an enormous spaghetti of cables and didn't have the time to fully trace cable runs in the very cramped space.

I will be going back there again in the future but I live in a different city so not soonish.

Thanks in advance.

Is there a way to send my whole Logic Pro song to my drummer so they can edit the track and track drums on it. Or do I have to individually send stems? How do I send it in wav format so they can see the Logic song I see now? Google has scattered answers, any help appreciated!

I use google drive too daily. It would be nice to have better a/v file previews, I am sure video/composer folks would agree there as well. Time stamped comments would be super helpful. I know there are some tools for versioning/deliverables but its just overkill for me every time i looked into that. Cheers!

Hi all,

I’m running into a persistent static noise issue with my Scarlett 4th Gen and could really use some advice.

What I’ve already tried:

• Tested each input individually (Inputs 1 & 2).
• Swapped multiple USB-C cables between my Mac and the Scarlett.
• Powered via both USB and the 5VDC input.
• Tried with and without my semi-acoustic guitar plugged in.
• Moved the Scarlett away from my computer and other electronics.
• Watched pretty much every tutorial online about noise, grounding, and gain staging.

What I’m hearing:

• With the guitar connected, I get a lot of static. It’s so loud that if I set my input gain for ~–15 to –20 dB peaks, the static is almost as strong as the guitar signal itself.
• If I remove the instrument cable completely, the noise mostly disappears. At that point, cranking the gain introduces a bit of hiss (which I’d expect), but nothing compared to when the cable is plugged in.
• I’m using a Wilson High Grade Low Noise Microphone Cable as my instrument cable.
• Plugging into Input 2 makes the halo go green, but I don’t actually hear the guitar signal.

So right now, the static is just too loud to ignore, and I can’t figure out if it’s a grounding issue, a bad cable, or something wrong with my unit.

The bigger picture (and why this matters to me):

All I want is to record clean guitar at home. I’ve written so many songs, but the idea of recording them properly and putting them out feels overwhelming. I’ve had bad experiences in the past where my recordings didn’t sound professional, and even though I tried improving my mixing each time, I never got results I was proud of. Since the music was my own, i didn't know which tempo I wanted and there were many instances that got messed up at the master stage because I didn't know any better.

I thought better gear would make my life easy (Scarlett + SM7B + semi-acoustic), I feel more stuck than ever. I haven’t touched my SM7B in 2 years. Even just picking up my guitar to start recording feels daunting — like I’m stuck in a loop where the thought of releasing my music kills the excitement I had while writing it. I get anxious thinking about the process when I finish the song. Even the guitar that I record, I end up taking 100s of takes, just so that i'm able to pick the ones I like. Same with vocals.

I know studios are an option, but I’ve seen so many people making amazing music at home, and I really want to learn that workflow at my own pace. Right now, though, it just feels like trauma rather than fun.

What I’m asking for:

• Technical help: how do I actually solve this static noise issue and get a clean signal?
• Workflow guidance: how do people like me (solo musicians) set up a simple, reliable home workflow that doesn’t feel overwhelming?
• Just clear direction of recording audio acoustic songs from scratch. I only have stock logic plugins.

Any advice, reassurance, or step-by-step guidance would mean a lot. I don’t want to lose momentum on my music because of this wall.

Thanks in advance 🙏

This company was giving away their plugins because they were shutting down, and now their website is officially gone. I need to reinstall the Spacer plugin. Does anyone still have the .dmg file handy?

I recently bought an old czech Tesla AMD 410N dynamic studio microphone that had taken a fall.
The coil wires had broken off from the contact pads. While I actually managed to take off the membrane and resolder the tiny wires, the coil itself seems to be bent/deformed and touching the magnet, making the mic sound extremely tinny and quiet.
I doubt there's a realistic way to repair and reshape that coil, so the capsule is most likely dead.
And, unless someone on here happens to have a Tesla AMD 410/460 capsule, I doubt I'll find NOS replacement parts either.

The mic body is actually pretty nice and well-made, and I already spent some time replacing the front mesh and upgrading it to XLR.
I would like to re-use this body and put a new dynamic capsule in it.

I'm looking for any recommendations on which capsules to look at and what to keep in mind.
Are the cheap AliExpress ones any good? Are there decent original replacement parts or NOS from other manufacturers I could order?
My budget is 30€.
The capsule can't be more than 32mm in diameter.

I was watching a podcast a year ago and I can't find it maybe it was bainz or someone else, maybe someone on Devvon's channel but basically they were saying that they use this software/plugin that just saves an image of the plugin state so that if they come back to it later and they updated the plugins or smth they can get back to the same settings - any idea what this is? If i made this up in a dream (likely, since i fell asleep watching it) someone should definitely work on this!

I do drum tracks for a living and also mix most of the projects I'm involved with. Well, One of my clients heard my most recent release and asked me to give his song a go. I said sure, told him my rate, and that I needed half up front with notes and that He gets 2 revisions with the rate. After that is extra. What He sent me was a list of "Don'ts". No vocal tuning (He needs it), No FX on said Vocal nor FX on the guitars. Essentially dry. He then sends, me reference tracks of Def Leopard and The Dead (Live) "Make me sound like this".... I think to myself, "Uh, Pretty sure Mutt used a plethora of FX, But OK". I spent the day getting levels per his instructions cringing at the untuned vocal and send off the first pass expecting some feed back. Instead, He thanked me for my time but is gonna pass on moving forward. At first I raised my eyebrow, but then....I thought, "Fair enough" Blessings counted. Next.....

Edited for fat finger misspelling,,,

What gear manuals or technical literature have been especially useful or informative for you?

I have found the Cenozoix manual to be really informative about compression overall: https://files.plugin-alliance.com/products/tbt_cenozoix_compressor/tbt_cenozoix_compressor_manual.pdf

First he just hung some pair of microphones and casually put on some Binson Echorec that phased out one side to bits but captured the epic drum sound of the century in When The Levee Breaks, then produced stuff like this Wishing Well song by Free that just blew me off my chair though it's been on many playlists since before my days of production and engineering: https://youtu.be/VIotFhpGmc0?si=IMqeZyLv6TL-7AX9

This is what it's all about; blowing people off their chairs; finding whatever that is. I listened to Glyn on Rick Beato and it seemed he was so much older that it was hard for him to have gotten very close to him, but he seemed he admired his talents more than anything.

I've heard this other story where Andy came into a room and made an absolute shit mix that left other professionals (that told this story) scratching their heads until they heard it and it sounded absolutely perfect in a room and with monitoring that wasn't completely unusable. It wasn't that he was used to it himself either. He just was that brilliant. It's hard to find a better example of such a casual and fearless genius engineer.

Unfortunately I can't share the song, because it will count as promoting, can't even share a SPAN screenshot. But this track is pretty rich in high frequencies as I tried to go for that "classic" synthwave type of music, wanted to make it sound bright. Could it be the issue?

How does having a degree in an audio engineering or adjacent music program affect likelihood of employment? I feel like most professional audio engineers that I've primarily have been completely self taught, and I find myself in class feeling like I'm wasting my time or that I could be learning and accomplishing much more, but I feel like I'm being irresponsible or acting on emotion whenever I even consider the idea of dropping out. I know it's not a very long amount of time in the grand scheme of things that I'd be in school, yet I can't help feel like I'm taking 10 steps back whenever I consider how much time and money I'd have to allocate to whatever projects I wanted. Seeking an outside opinion!

Edit: Thank you all so much for your insightful replies, it means a lot to me! I've got lots to think about, and I greatly appreciate all the feedback

Hello guys and gals, new to reddit and trying to learn the platform while trying to get some answers so bear with me please. I am pretty much brand new to the recording game, been playing guitar for 20 years and finally want to try to create my own music. I was wondering if URM is a good starting point or is it better to start the YouTube route and move to that after getting the basics down?

My main thing is I like learning in an organized format like a one step at a time type thing. I have tried to get into recording music before but it all just felt so daunting and overwhelming that I would back away. I just want to find the best way to understand how to do the very basics to start then move into all the extra stuff like eq'ing, compressing, etc.

Any help would be greatly appreciated!