I used to think that piano was piano, but the more I'm around good musicians the more I hear wildly different tones coming from the same piano with different players. Not because they won't sound right, but because it's almost impossible to get all of the expression that you can get out of the physical instrument.
I think in general I would say that it's hard to really reproduce a lot of the traditional acoustic instruments with synths. Just to clarify, for me mixing in the box is great no matter how well or badly or digitally or analoguely (is that a word?) it's recorded. Do you feel the same way about guitar amp sims, sample libraries and softsynths as you do about analog vs digital mixing outboard? -mikoo69 Much better to enjoy music and working on music as a hobby than to decide you want it to be a career and hating it!
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You're constantly looking for the next job and as I've said in other posts there's never a "right" answer, so you can never fully learn how to do it and you're never done trying to get better. As you point out there is a lot of cynicism about making a living in the music industry and that's because it is actually really hard.
One thing I'll say, and it might sound a bit brutal but isn't meant in any mean way whatsoever, is that if you can't find the motivation to even switch the computer on, then maybe it's best to keep it as a hobby and try to enjoy it instead of trying to make it a career. The more you can focus on what you're hearing and what you want to hear, and the less you focus on what tools you're using (or wish you owned) the better. Nothing will help you get better more than practice, so working on your own music or finding people to collaborate with is by far the best thing you can do. One good thing is that with the online learning resources available now you can find things out and watch people work that you would never have had access to 10 years ago.
What kind of preparation “grunt work“ (either by you or trusted assistants) happens to the files you get, before you get to properly mix? - Andychamp This can happen if you send a lossy format reference file and they listen to it in a browser window (like from a Dropbox link). This can be tricky if you think they might steal and use the mixes without paying, but from a sonic point of view it just takes away the possibility of something being transcoded (converted from one lossy format to another ) when they listen. One thing I've started doing in the last few years is never sending out mixes for clients to check as mp3s.
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I will always print 24 bit, and sometimes I print the Main Mixes 32 bit because there are a couple of mastering engineers I work with who ask for it. I also don't have a workflow where I am printing to a second computer. I feel like the sonic hit of mixing at a lower sample rate is nothing compared to doing sample rate conversion on every bit of audio in the session. The track follows other recent joint projects the award-winning megastar has worked on, including Post Malone’s “One Right Now”, Swedish House Mafia’s “Moth To A Flame” and Rosalía’s “La Fama”.I mix the session at whatever sample rate it comes to me and print the mixes right back into the session. Meanwhile, The Weeknd has also shared another new collaboration this week, this time teaming up with FKA Twigs on “Tears In The Club”. I wanted her adoring fans to get a special gift before the holidays and felt it was the perfect time to release a never-before-heard offering.”Įarlier this year, Aaliyah’s back catalog was released on streaming services for the first time as part of a new partnership with the label EMPIRE. In a press release, Barry Hankerson, founder of Blackground Records, said: “I’m so excited to share this new song by Aaliyah and the very talented The Weeknd. The Weeknd responds with his thoughts on the chorus, singing: “ You’re so cold, I can see your breath, I swear/They told me not to fall in love/Wondering where it all went wrong/You were my poison all along.”