There was a cat (apparently with some platinum - go figure) over on the UAD forum doing a "shootout" between UAD and Slates new virtual studio thingy. I'm really not sure what this is all about, of course I would expect them to sound different, what is the point he is trying to make here ? This guy does 2 different mixes using different processing and calls it a shootout. Man I''m beginning to think the word "shootout" should be banned. For every rule I did hear/read, I broke it just so I could experience the difference because having the experiences (good and bad) were what had the most lasting value. That was part of my point before - before the Internet I did not have all this opinionated noise we have today to get in my way, tempting me to constantly second guess myself I only had time and the desire to try over and over. Learn more about how things work and less about 'tips and tricks'. don't be deterred and instead lose yourself in the learning process while enjoying the process as much as the result. don't like what you hear, so be it, try something else, investigate exactly why you don't like what you hear. So my advice is to keep doing it incessantly. I personally don't think that is something we can watch and read, the watching and reading is just the preparation to start down that path. No one gets good at anything without plenty of failure, failure and frustration are the exact things that helps us get great at what we do well. Just not getting the results I'm looking for, I guess. I'm always making changes in how I'm doing things based on what I see here or there. Well after having read some about mixing in a self-published book by a guy who has a Music Production tutorial channel, and going through all of the "Free" Mixing In Reaper videos plus about 1 1/2 videos of the paid course, I'm not certain what it is I'm supposed to "get" that will make the difference. It's not only about the marketing blabla regarding the "better" sound but the workflow - you have one window, a mixer, and that's it. I don't want to learn Ardour, which might be a cool open source software but not that mature like the other players of the game.Īgain. Their software mixer and REAPER as the DAW "behind" it. My dream would be, they invite Justin to a coffee table and talk about a "fusion" of the best of both worlds. I tried MB some time ago and was impressed about the idea and the outcome we got finishing mixes with it, but also had problems with stability, stupid bugs and I have my personal problem with the choosen Ardour. A little bit of workstyle of the old days if you want. No, not another EQ or compressor plugin on that channel. Harrison wanted to develop a mixing workflow. IMHO some of you got it wrong what it is all about. I will add more to this thread as and when Studio One either pleases or frustrates me.Hmm. I wonder if that’s because Mixbus was already doing some analogue modelling through the channel EQs, so the extra difference of adding a modelling plugin was less. On Mixbus, I wasn’t really aware of that. I also think Mixbus 32c must do more under the hood than I thought, because I noticed when I was adding plugins in Studio One, even before I’d touched a knob, that I could hear quite clearly the analogue modelling of, say, a Neve preamp or the difference between MJUC’s 3 compressor modes. I’m not totally sold on it, but further investigation is needed. I was expecting something quite subtle but there’s an obvious character even with the gain turned down. But… I’m surprised the Console Shaper, which is a plugin that operates on every track & bus, is so coloured. So far I’ve hardly had time to do anything with it. So, because I’m thinking about doing some more modern production with electronic percussion, virtual instruments etc, I thought I’d get Studio One. While I have successfully recorded & edited tracks from scratch in it, and there are some very well thought through things like the automatic crossfades and translucent waveforms etc, the virtual instrument and midi editing is pretty rudimentary and slip editing multitracked drums can be a slow process. For mixing, I really like it - the limitations of the fixed bussing scheme don’t bother me, and the VST implementation (apart from total lack of VST3, 32bit bridging & ARA capability) is very good in terms of signal flow & flexibility of routing inputs & outputs.įor recording and production it’s a bit less brilliant, though. I’ve been using Harrison Mixbus 32c for the last couple of years.
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