No, but so far, I did not get a single negative feedback… I think you won‘t go wrong with that course…

Probably a U47 Fet. I position it, so that it sounds good, there is no right position, it's different with every baddrum and every drummer.

Yes, indeed, a smooth top end is something, that a real tape can do, while this is near impossible to recreate in digital.

Thanks! If you want to delve in deeper, then also check my masterclasses: www.danieldettwiler.com

Always. Spread the word!

Glad you liked it. Spread the word! And feel free to check out my courses at: www.danieldettwiler.com/courses

Glad you liked it. Spread the word!

Thanks! Spread the word!

Thanks, glad you liked it. Spread the word!

Thanks! Let others know about it! And feel free to check out my courses at: www.danieldettwiler.com

Thanks for liking it. Maybe you want to get the Pablo Held Masterclass? That one is on sale, and I also speak about reverb a little bit. I don't know when the next Reverb-Bible sale will be... Cheers!

Diana Krall - Temptation (by Al Schmitt) For Jazz, that's my only reference. Also good: Joni Mitchell Both Sides now Beck - Morning Or anything from Steely Dan

Always

I would make a compromise, as when a instrument is not heard on average speaker, its not a great mix. In out time we have the technology to solve that problem. Leave the bass deep but create more harmonics, so that it can be heard on smaller speakers..

@@danieldettwiler.officialThank you for the reply - that's a good compromise. Cheers.

Always. Spread the word. and check out my courses, if you are interested in even more in depth learning:-) www.danieldettwiler.com

Thanks, tell this to others, so that the channel can grow...

Thanks, glad you liked it. Let others know about the channel... Also, in case you are interested, check out the "real" masterclasses, they go way more into the depth! www.danieldettwiler.com/courses

Good Idea. Also check out my masterlasses, there are vocal examples in the reverb bible, and also in the mixing bible. I might make a free KZfaq Tutorial once... www.danieldettwiler.com/courses

Ja, gell, in meinem Alter... Aber lasst andere davon wissen, dann mache ich mehr...

Yes, wine sometimes, and also we, obviously, do make music there.. Great if you buy the courses, they go way, really way deeper than the free KZfaq Videos:-)

thanks

This is similar to me as a chef dealing with different spices. Once we have more than 2 microphones, there is phasing. This is essentially an equalizer effect. In the end, it can sound better or worse, much like when cooking with many herbs. I position the microphones in a way that I can use phasing to my advantage. Because if we use too few microphones, we haven't captured all the attributes, typically. If we want size, we need microphones to capture the size of the instrument. But then they lack intimacy, so if we also want to record the intimacy of an instrument, we need additional microphones. And so on. In my Mixing Bible, I go into detail about this: www.danieldettwiler.com/courses

Thanks. Incase you are interested in Deep-Learning of those topics, also consicer my masterclasses: www.danieldettwiler.com/courses

Thanks. Yes, if you want to understand more about that topic, I highly recommend my mixing bible, available here: www.danieldettwiler.com/course/daniels-mixing-bible There I really go into the details, explaining about why we need to first learn to analyze sound before we actually really can be able to mix it:-).

Yes, it's great music, isn't it? Good, that it is in Spotify, although it obviously even would sound better, if you could stream it in PCM 48, or even 96 kHz... But at the end, if the recording and mix is ok - it also survises a MP3 Codec:-)

@danieldettwiler.official I really enjoyed watching the recording process and then referring to the finished product, even if the quality isn't where it should be

Thanks for liking it. Spread the word!!

Glad you liked it. Also check out my Bibles, if you are interested in more in depth videos (www.danieldettwiler.com/courses). Cheers!

I strive to convey a serious level of education in my content, particularly in these free KZfaq tutorials, aiming to go beyond mere "Wow the crowd" moments without substantive information. In the realm of audio technology, every advancement or decision involves a price or compromise. Yet, we must acknowledge that the complete reality of musical performance doesn't translate entirely into our living rooms. What we hear are the membranes of two speakers oscillating back and forth. As sound engineers, our task is to create a pleasant experience, simulate a sense of space, and ensure that even at lower monitoring volumes, we capture enough detail. Aspiring sound engineers must master and adeptly use a variety of tools, adjusting their application based on the situation. Criticisms of EQ may arise, asserting that it alters phase, and indeed, some engineers, like Al Schmitt, claim not to mix with EQs. However, this approach necessitates other compromises, such as miking a piano from above the hammers instead of the side (a preference for many) (because if miced from the side, one would need to use an EQ). Schmitt himself does employ EQ when necessary, particularly for recordings he didn't engineer. Bruce Swedien's compressor commentary, doesn't offer much guidance to aspiring engineers, as he used tape and a great sounding analog mixing board back then. His heavy tape compression setup was tailored to the music of his time, which was already produced in a way that minimized the need for additional compression. And he did a lot of fader riding too. In the classical realm, the use of a compressor is particularly delicate. In my recent classical project with the London Symphony Orchestra recorded at Abbey Road Studio 1, I opted not to use a single compressor. Instead, meticulous automation of levels was employed to ensure that in quieter passages, the upper harmonics remained audible. While some may find contentment without compressors, another critique might emerge against automating levels. However, other clients and producers want a slightly more processed sound even on orchestral work, and I don't have any problem using compressors even in classical music (but they would, obviously, not do a lot, and be very slow and forgiving). Decca, pioneering early experiments with poly-miking, faced criticism for an unnatural sound (although I personally appreciate the distinctive Decca sound). Criticisms also targeted their use of three main microphones instead of two (Decca-Tree), as well as employing Out-Triggers. However, I believe Decca's unconventional miking techniques helped reveal details that would have otherwise been lost. In conclusion, my perspective is that engineers must be well-acquainted with their tools, utilizing them when necessary. I use, whatever tool is available, when this tool is required. The poorer the quality of the initial recording, the more crucial these tools become.

@@danieldettwiler.official Thanks for your detailed reply. Just to clarify, don’t get me wrong, I’m not that “don’t use compressors at all” guy. I appreciate your educational explanation videos. But I just wanted to hear your opinions about this compromise that compressors give you because as far as I see, you haven’t mentioned about this. I worked for symphonies and bigger orchestral recordings and found that these “big” projects are much more forgiving to use compressors (because I don’t hear it much, as long as it’s used subtly, just on some parts, but never “entire” bus..) but in smaller structures, such as solo classical or small ensemble, I always hear compression being unnatural, even if it was just -1db GR so I always say NEVER to them. Yes of course, volume automation is always necessary and I use them all the time when needed, but my biggest point is volume automation never alters any transients or anything and it keeps sounding natural or unnoticeable if well done, but compressors will, and I hate that in classical. Yes, I know and I’ve seen many of opinions of “Bruce Swedien had tapes though”. First of all, (I’m sure you know all of this, but) tape compression is much, much more natural and I myself think that they are not even “compressors” to start with. Yes they give you somewhat similar effects of compression, which reduces dynamics, but I wouldn’t call them “compressor” because to me it’s more like calling “that microphone has compression in it” “this room has compression in it” “the electric resistance on this cable has compression in it”. I hope you get my point. Furthermore, Bruce did use all-digital system too from time to time, without any tape. But he didn’t change his opinions about compressors. Anyway, if Swedien finds additional compressors will help sound, he would have used additional compressors, but he didn’t and said that. I believe what Bruce was hearing is the same effect that I don’t like in my small ensemble situation.

Danke, check auch meine Bibeln aus (www.danieldettwiler.com). Sidechain: Mache ich nie.

@@danieldettwiler.official Interessant das du nie sidechain verwendest.. 🤔 demfall nur leichtes compressing auf dem reverb und distortion.. 🙏

@@mosermichael4404 Nein, kann auch kräftiges Signal sein. Es klingt natürlich ohne Sidechain. Wenn jemand laut singt, dann ist dann auch der Reverb am lautesten. Wenn der Compressor das verhallte Signal sieht, dann ist alles smoother. Wenn man sidechained, dann regelt der Kompressor oft zu schnell und die Hall-Einschwingkurve klingt unnatürlicher, was für Dance Musik z.b. total cool ist.

Thanks - spread the word!

Well, good-sounding content is always in demand and appreciated. There are plenty of engineers (myself included) who can make a comfortable living from it. Of course, if getting rich is your main goal, becoming an audio engineer might not be the quickest path to wealth! 😄 But my main point is this: many people underestimate the effort it takes. Some believe that simply downloading Logic, taking a course or two, and voila, they're a mixer. It's not that simple. Just like any other profession, it requires training. I've taught over 500 sound engineering students, and not one of them didn't have the potential to develop a keen ear-equal to or better than mine when I was starting out. However, success comes to those who are willing to put in the training. Some might not be up for it, and that's okay. But for those truly dedicated to reaching a high level, it's absolutely possible.

Glad you like it. Check my Bibles, if interested, for more in depth information on www.danieldettwiler.com (and as always, spread the word:-)

Thanks for liking it, spread the word!! Joni Mitchell "Both Sides now", I love that one. (The version with the orchestra). Diana Krall is what I often listen. Most records sound good. The song "Temptation" is a good reference... That's about it. I love the old school recordings by Fred Plaut (Kind of Blue, or Take 5), but those, while sounding great, are not good as references. Cheers, DD