Veerstryngh Thynner wrote: But I was actually referring to Graham's recurring message that you actually don't need much more than a computer (laptop or desktop), an audio interface, EQ, compression, reverb and, perhaps, a few selected plug-ins, to lay down quality tracks.
He nevertheless uses tricks such as the one I described to attract unsuspecting customers, to create pression, to create a need. It's a business, right. IMHO I prefer someone who does without that. And the constant emails about 'tips' and 'hints'. I don't want tips, I want knowledge and substance.
Veerstryngh Thynner wrote: The times we're living in are offering so many options, often with only minimal differences between them, that making an actually informed, conscious choice is often close to impossible.
Let's see. Ardour, QTraktor, Mixbus, Bitwig, T7(Waveform) maybe missing one or two. Plugins: Calf, LADSPA, OvertoneDSP, Traktion, u-he. Not a whole lot. I do not run Windows. I do not run any Windows bridge on Linux.
I agree that for people running Windows and Mac, there's a lot
. But we already
know that you don't need a lot to make a good mix, that one needs instead, knowledge
I know what you mean about Windows and MS. I must say that when I comment on RR, it's from my own experience. I'm not commenting on the RR impact in the home/small studio recording in general out there. I was shopping for knowledge sources and RR was once on the radar. It's not anymore.
Right now as I type this, I got the RR page. Download the free guide a $17 value. I move the mouse, a big spalsh screen appears DOWNLOAD THE FREE GUIDE A $17 VALUE ! TODAY !! Then there are free tutorials, free guides, free this, put your email address here. If I click on Products and the 'Rethinking Mixing' course I'm greeted by GET IT NOW ONLY $147 and some other options. ADD TO CART ! I scroll down trying to find out more before spending money. There are testimonies but no contents description
. Nothing. ADD TO CART !
This seems to be the salesman approach you described, wouldn't it be ?
Please take the time to compare with this to see what I mean:https://blog.music-production-guide.net/
Then click on a course, say the 'Advanced Mixing' course (or any other). https://blog.music-production-guide.net/advanced-mixing-course/
What you see is a complete program. See below. The complete contents of the course is shown so you know what you are paying for. And there's a special now. You get that for $29. Warning
: it is a course. With lessons. As in a school, one has to pay attention and follow along. There's nothing pre-digested and spoon fed. For me, in search of knowledge - not hints and tips - the choice was a no-brainer. I'm not saying that RR is not good, I'm saying that I prefer someone whose value is in the courses themselves, someone who is open, and does not need 'cheap' tricks to attract customers. Actually, one barely sees Mike. His face is just about not there, ever. Only the material, the course and the lessons. Whitney Houston, Mick Jagger, David Bowie, Remixes of Jimi Hemdrix, James Taylor, David Byrne, were amongst his customers.
As an example from another of Mike's courses, this is the contents of the Power Automation course, as described on the web site, before buying it.
Class 1: Automation Processing Primer
The history of automation sets the stage for all the terminology, techniques and advancements that have occurred over the decades. Each revolutionary advancement uncovered new possibilities and more advanced tools and computers systems that controlled them. Today, virtually everything can be automated, but the foundational principles of automation remain the same. Understanding these principles and a tried and true process that has endured for decades will help you achieve the same professional results.
History of Automation
The Tools of Automation
The Automation Process Step by Step
The Finished Mix
Class 2: Pre Mix Automation Techniques
In the past, limitations of recording technology like analog tape forced engineers to be far more mindful of setting proper levels. This included level balancing compression techniques and the manual riding of performances during the recording process to limit distortion and tape hiss in the playback. The modern DAW era offers far more dynamic range but also leaves many recorded performances with inconsistent levels. Automating these imbalances plays a huge role getting consistent and effective results from the dynamics processing that follows. Inter Processing and Post Processing automation make up for lost performance dynamics without losing the flexibility of setting static fader levels while building a mix.
Pre Mix Gain Staging Automation
Region Editing and Mutes
Pre Processing Automation
Inter Processing Automation
Post Processing Automation
Class 3: Foundational Automation Techniques
Throughout the process of mixing a song, static fader levels are used to set the general balances. At some point in the mix, it will become apparent, that static fader levels are holding up the development of the mix. This typically marks the engineer’s transition from processing work to automation. The first stage of automation is to establish the envelope of the song by setting the peak and low points. Some styles of music like EDM have very fast and dramatic shifts in dynamic while others ebb and flow more slowly. Whatever the shape and pace of change, every song will also need to establish a primary and secondary focus the the rest of the tracks respond to. This foundation sets the stage for the detailed automation that follows.
Monitoring Tips for Setting Levels
The Give/Take Automation Principle
Mapping the Song Envelope
Gain Staging Automation
Establishing the Primary and Secondary Focus
Class 4: Detailing Automation Techniques
Detailing Automation establishes the consistency, focus, and brings out the nuances of individual performances. Most of this work will focus on phrase by phrase, note by note and transitional automation to enhance the dynamics of the song for the listener. There are many techniques and methods covered in this class that help to facilitate the efficiency of this sometimes tedious process. Particular attention is paid to the transitions from note to note and section to section where the song is woven together. This helps to establish the dynamic shifts from soft to loud & loud to soft, narrow to wide & wide to narrow, so that impact of each section is felt as well as heard.
Techniques for Refining Automation
Phrase by Phrase Automation
Note by Note Automation
Automating Transitions and Fills
Pan and Width Automation
Class 5: Advanced Automation Techniques
There are many tools in that can help to enhance workflow and productivity in the mixing process. Many of the techniques covered in the 2 previous classes will be revisited here with the added benefit of live performance automation. These are the same techniques used by professionals for decades to sculpt mixes in a more natural and responsive way. Whether you have a work surface or not, this class will provide valuable insight in your approach to applying automation. I will also cover some advanced, and sometimes complicated, automation techniques for working with group automation.
Using Work Surfaces for Automation
Automation Modes and Preferences
Using Write, Touch, Latch, Snap and Glide Modes
Advanced Automation Enhancements
Writing Track Group Automation
Class 6: Automation Techniques for Vocals
If the total time spent on automation in a mix was 4 hours, working with the vocal tracks could easily be 2-2.5 hours of the total process. The average listener’s experience with the subtleties and inflections of the human voice are dramatically more sensitive than any other instrument. Getting every ounce of expression from a vocal performance requires intense focus and meticulously detailed work, but is worth every ounce of energy in the end result. When applied correctly, a vocal can sound equally focussed and understood when tucked deep into a mix as it would be raised above it. This work prevents the obvious issue of a vocal performance sounding disconnected or lost in a mix when the desired overall level is established.
Vocal Automation Primer
Automation for BG Vocals
Automation for Lead Vocals
Automation for Harmonies and Doubles
Vocal Automation Plugins (Vocal Rider)
Class 7: Automation for Plugins and Effects
The DAW has allowed for automation processes that were once either impossible to achieve or could only be performed live when the mix was being printed. Today, the range of possibilities may be as simple as the bypass of a filter in the bridge section of a song or as complicated as the live performance of sweeping filters, feedback controls and pitch dives. This class covers a wide range of demonstrations and offers solutions for enhancing the production to achieve a professional sounding result.
Bypass Automation for Plugins
Functional Plugin Automation
Creative Performance Plugin Automation
Automation for Sends
Advanced Plugin Effects Automation
Class 8: Mix Buss and Mix Stem Automation
Mix Buss and Stem automation, on the surface, seems like a simple end of the mix finisher for your song. Set the output level, slam in a fade and your good to go. Nothing could be further from the truth. There are many considerations that will greatly enhance your ability to create alternate versions, print stems and provide the mastering engineer with a well polished mix free of artifacts, noise and clipped starts and ends. Detailed understanding of the signal flow and it’s relationship to dynamics processing in the stems and master fader will help prevent any undesired effects to your carefully crafted mix.
Mix Buss and Stem Automation Primer
Insert Automation for Mix Buss and Stems
Mix Stem Level and Balance Automation
Master Fade Automation Techniques
Final Refinements, Tweaks and Print
Power Automation Course Wrap Up