I had acquired Logic Express by this time, and was mixing without any busses. This certainly led to me reevaluating how I was mixing my own stuff. There goes my mastering myth, and everything I thought I knew about recording, mixing, and mastering. WOOOOOW! On my laptop I could hear 100% difference. We all thought, "mastering will polish this thing right up because it already sound pretty killer." Long story short, Beau Hill became involved and sent us a mix and. It clearly sounded clearer than my mix, but still didn't have a big radio sound. Trying to keep this short, but we recorded at a great studio and they mixed it. I had actually thought the ones I did were darn near pro except for that missing mastering mojo. We wrote a few more songs and started making a bit of local noise and a manager got interested in us and said we needed pro sounding recordings. I had thought that you got the mix balanced, and eqd so that tone was good, and then the mastering engineer added the record sound mojo. I had come to think that the big punchy sound of a record was done during mastering. I tweaked and tweaked, and processed and processed, but I never could get a vocal to stand out with that big pro sound. such an odd dichotomy we work with), but was still muffled and. It sounded better than a similar situation I had done with the 16 track a couple years prior (which I had managed to also get fairly separated so things could be heard as a mix. I got to record a couple of songs for my band and I managed to at least get the kick heard, but not like I would have hoped. A couple of years of experimenting with this sort of thing, and the various other eqs and whatnot, I found that I understood how it all worked, but couldn't really make it do what I wanted. But, since I now had a compressor that I could put anywhere, I started throwing it on just to see why all the producers I had read about were always talking about it. This is nice because its quick, and I can write songs and scratch track them and. Sacrifice warmth for clarity right? After years of the same problems with kicks and things sounding like home recordings without knowing why. I got a Korg 16 track digital recorder and I thought that was the solution to all my problems. I remember I got a Behringer Autocom and found that I could get the overall mix louder with it, but I didn't figure out how to use it on a kick or vocals for yea. I had no idea how to use a compressor, and I certainly didn't know what any concept of bus compression, or bus grouping of any kind was. I remember recording a band with live drums and I had no idea why I couldn't ever get the kick loud or punchy enough. LOL In fact, the first thing I did was set it up, turn it on, plug my ART SGX Nitro into it and quickly recorded 8 tracks of a harmony guitar line. So, a great dbx noise reduction, and some fun analog reel to reel learning and I'm pretending to be Brian May every day. If there were digital units out other than the ADAT and the Tascam digital tape one, I didn't know about them. LOL To me, the 8 tracks were a lot, since all the other home market stuff was still 4 track except for a couple of really expensive 8 track cassette units. I was just out of high school, and all I knew was that I could record. My first recorder was a Tascam Studio 388 that I bought from a friend in 1995 or 96. I had always used the stock plugins with Garageband and then Logic Express. I'm just now discovering the world of plugins. You'll need to do the exact same thing again on another Calendar which is in the structure opposite you.A bit of a different perspective, but same conclusion.
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