Enough for a whole 'nother beard

It's a reserve for what he's lost up top.

@@Hexspa Good to know you are focusing on the man's knowledge and achievements

one opinion is subjective, more opinions make it objective

dynamicc No. An opinion can never be objective by definition. That's the point of an opinion. To say something is objective because the majority hold the same opinion is an argumentum ad populum i.e. to say something is true because the majority said so.

okay, you are right :)

Like I just commented, I used PC exclusively on my EP. I also used parallel distortion, compression and EQ which, when A/Bing it to an inserted option, won out as superior. Remember you can EQ your PC tracks too - I boosted the lows and highs tuned to the songs. YMMV. I see you like Michael White (was going to get him to master the EP but couldn't due to deadline). I'd like to hear your mixes. -m

Hexspa - www.cdbaby.com/cd/terryfairfax They're MP3's, but it'll give you an idea. Click on the play button to the left of each song for a short excerpt. ;)

MrDonnyAir Powerful mixes

set it up using AUX/effect tracks, set the send levels to 0 (Fader scale) and send pre-Fader. To check for phase issues, insert a plugin, after your processors, that provides a phase flip button, set the parallel buss to the same level as your send bus and flip the phase. If it cancels out you don't have phase issues. Regarding listening, don't listen to a certain quality in the compressed signal, listen to what it adds to the instruments or group you are parallel-compressing, and if it is the effect you desired.

Thanks for your answer!

Basically parallel processing is taking two extremes and combining them for the best of both. In the case of compression, you'll set a fast attack and slow release on the compressor with a low threshold - basically smash the sound - then blend it in "behind" your "clean" track. This can be done with any effect or effect type such as dynamics (compression), level (EQ), and time-based (reverb - which you probably already do).

The only correction here is that you can't have your processors engaged - any processing will affect the null. Another way to do it is mix in some of your return with the dry and hear if there's any phasey sound or flamming. Either adjust delay till the bass is tightest or, alternatively, adjust till the sound is weakest then flip your phase.

People can hear difference as small as 1-2 degrees but only under special conditions such as an anechoic chamber using mostly pure tones (sine waves). When the acoustic environments gets more chaotic (diffuse, even a small amount reflections) and the audio signal is complex, then the ability to distinguish small degrees becomes less. On average, and under these conditions, most people are either tolerant or can't distinguish small changes under 10 degrees. I typically use 5 degree increments in my research but this is considered "overkill".

1130 Ft Per Sec That's so cool! Thank you for the response :-D. What kind of research are you involved in if you don't mind me asking?

It's all very interesting. There is more to it than just "hearing the panning" I've found from my experience. I use a lot of panning in my mixes. For room, expansion, and simply interest, even if the piece doesn't require it. I will pan anywhere in the spectrum, sometimes as little as 12 degrees, all the way to hard panning. When you are in the moment with the mix, you can definitely hear where you are panning fairly well I feel. However, going back to the mix, you don't usually "hear" the direction of the subtle pans so much, if at all. There is this sweet spot at a approx. 44-40 degree pan that seems to be an exception. You can definitely feel that spot where it feels as if the sound source is coming from an angle towards you... Aside from that, I feel it's hard to really pick up the difference from much else aside hard panning, regardless of how much the panning actually "did" for the track in terms of clarity and room. From a personal stand point, when it comes to rock music, I love LCR even WITHOUT much stereo expansion in the final mix/master. Perhaps it's an antiquated notion, but I love putting on a pair of headphones and listening to a great album from the 60s that's mixed lcr with no stereo expansion (Music from Big Pink by The Band comes to mind). I feel the fidelity you gain from the expansion can often times be a trade off with the interest and creativity of the recording. It's easy to add a lot of stereo expansion on the stereo bus and say to yourself, "There that sounds much better", but it's also really easy to kill a track in the long run. I really like how Andrew Scheps speaks of going back to an earlier version of the mix after working on it for hours. Seems simply, but you cannot push this idea too much! Well this is all just my thoughts from my personal experience, I know it's a bit of a ramble, but maybe some might find interesting...

Anyone try the ones in Reason?

no.

listening on pro (not prosumer) monitors and i couldn't heard a difference.

Bollog Nyessy from computer to monitors ???

I'm not bragging or something but both of the time choice wise, I was similar to DAVE. I was using presonus Eris 5 studio monitors to listen to.

Bereket Benti presonus eris 5s are not professional monitors.

+Richard James for all intensive purposes it's dead.

snapascrew not at all, i rarely use it but its far from dead

+Sjobeck7 I think that both Pensado and Scheps were referring more to tape, and not necessarily to analog preamps or certain EQ and GR pieces; and while I came up during the age of tape, and there are some things about it that I love, I have to concede that it has become reduced to a "specialty" format, and other than that use, it is pretty much a dead format.

+Sjobeck7 One other note.. While Scheps has recently stated that he mixes almost exclusively ITB now, he's still using his classic Neve desk quite a bit as the frontload gain/EQ for the tracks he records.

STOP SPAMMING all these great videos with this clown Raz Klingwhocares. Anyone else tired of this trolling?

For sure.

All the big studios are closing down. Most people mix in the box now.

@@SlinkiestTortoise23 you can use analog gear at home