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At Back Burner Studios, I lead a team of talented producer/engineers to offer high-quality recording and mixing services to artists of all levels. Our studio is equipped with professional equipment and acoustically treated spaces, allowing us to provide a big studio sound on a budget.
In addition to recording and mixing, I also offer video production services, including behind-the-scenes looks at our recording process, artist interviews, and more.
Through my RU-vid channel, Learn Audio Engineering, I share my knowledge and expertise with a growing audience, providing valuable tips and insights into the world of recording and music production.
With a passion for music and a commitment to excellence, I am dedicated to helping artists bring their visions to life. Whether you're a seasoned pro or just starting out, I am here to guide and support every step of your creative process.
My score is abysmal: 0 I have a Cube myself and the sound is definitely fine. Some people tell me a tube is totally different and I'm nuts but I guess they need to justify their pricy investment. I even added the cheapest 4x12 speaker Thomann has to offer and like the sound way better than those Vintage 30s
As an AV tech with Sony headphones, I can tell you 63 ohms is not high but also definitely not "Low Impedance" You would need a dedicated sound card just to bring out the most out of those headphones. And in mobile devices, you would need like at least an iPad, not just any phone... Low= Less than 20 ohms Mid= More than 20 but less than 200ohms High= More than 200ohms
Got them all right bar one, l own the cube 80x l don’t record with it, just bedroom level playing keep it clean and add EHX platform compressor, Bell Epoch deluxe delay, specula reverb mk 3 all 3 pedals running into EHX tri parallel mixer pedals are in parallel, Getting a nice ambient mix, The cube is very reliable solid well made and will probably out live me,
The stem splitter doesn't create drums and bass for me, it just makes an empty track.I have an M2 Mini 512 gb.I purchased Logic Pro 11.0.1.Why isn't it working for me?
Oh wow. I totally disagree about the b section. Sure, there are forgettable b sections. But I would argue that The Beatles, and many songwriters, use the B section to even take the song to equally great heights - but in a slightly different direction. There are indeed "classic" songs whose B sections have generally faded from public memory, but it's more a reflection of the public mainly remembering the chorus hook, as opposed to the B section being outright bad. I would say there are few genuine classics that have a B section that is just "zzzz" or "snore." (Yes, I know that was meant to be somewhat funny.)
I didn't speak a lot of English when the Backstreet Boys and Britney Spears made it big, so I got the basic message but only realized much later how little sense lyrics like the ones for "I Want It That Way" make.
What does this have to do with Peter Gabriel? All pop singers that I produced in the 70s and the 80’s sang up to 7 vocal tracks and we just chose the best parts at the mix. This isn’t any kind of magic. This is typically how pop music is glued together.
Check out this video if you'd like to process a regular microphone to sound like a telephone call: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-7vTsABsY7B0.html
Very cool project! I plan on doing this myself for textured vocal applications. I was lucky enough that I got a pre-1980s handset from a telephone at a pre-sort thrift store for dirt cheap which will be nice for the fact that telephones pre-1980 used carbon transmitters for the microphone rather than a dynamic microphone which was used in the ear piece. I'm planning on implementing the XLR's phantom power to feed the carbon transmitter and a switch mounted in the handset body to select which microphone sound is desired. I just wish XLR cables were either cheaper or the bulk spools to make your own came in shorter lengths. Cutting up a short XLR cable ends up being relatively expensive for such a simple project, but I guess we gotta do what we've gotta do.
Wow this is excellent- Glued and screwed, sand bags, tweeters at ear level, you really thought this through. I know already that speakers ALWAYS sound best off the ground- This is exactly what i need -
Per Gessle says the same thing about not being able to predict what song would be a huge hit, and that guy consistently pumped out hits in Swedish, then in English (four Billboard Hot 100 number ones), then in Swedish again. The difference between the two is that since Max Martin writes for others and have to collaborate a lot, he is kind of forced to keep up-to-date with modern pop music. People who only write for themselves don't.
The Beatles did just what they did all those years ago… I’m sure they had no idea that 60 and 50 years later people (and some very advanced music people) would be analyzing them. I’m sure Paul and Ringo are just saying let them go at it… It will always be there.
Blown away by the segment of demo-rough mix-final mix.. Even made me check your site,lol. Wish there was some pin-point to prices there though, maybe only speaking for myself but would help for people to know if its something they can afford to fantasize about or not,lol. Anyways. great vid and once again...blown away by the mix process..
Thank you so much for your kind words about my work! I was really flattered to read your comment, and it means a lot to me that you enjoyed the transformation my studio can provide. I understand your point about not seeing prices on the website. My goal is to offer competitive and affordable pricing while providing top-notch service. In fact, I have the most competitive price for recording time in my city, despite having professional-level gear that other studios charge close to $100 an hour for. Currently, my hourly recording rate is almost half this, and I offer a special day rate for 8 hour sessions. On the other hand, for mixing and production work, I believe in connecting with my clients one-on-one to truly understand their vision and find a scope of work that fits their desired sound and available budget. I've found that having one price for mixing doesn't really work as a full pop arrangement has a completely different scope of needs than a simple acoustic singer-songwriter tune. While my team and I can accommodate any project you can throw our way, I price based on the amount of work that needs to be done, so to avoid a disconnect between the target the client has envisioned and the posted price. This is why I encourage potential clients to reach out to get a quote on my mixing services. My prices are designed to give people the top-quality sound they dream of at rates that working-class musicians can actually afford. No funny business, no price gouging-just fair and transparent pricing, as I personally went through similar challenges as an artist and an intern at larger commercial studios. If you'd like to learn more or discuss any projects you may be interested in pursuing, I'd love to chat with you. Feel free to contact me at: Robert @ back burner studios dot ca. Thanks again for your support and for taking the time to check out my work! Best regards, Rob
Absolutely great video and overview of the Brauerization Method, which IMHO, is just overthinking and over-complicating normal, channel >> bus routing techniques. It may work well for him...in his studio...with his particular hardware...but seeing thresholds readjusted after the "calibration" completely negated that effort. After watching this, the only thing I agree with is "mixing into the compressor," which is a great technique to observe (think master bus comp) the impacts of certain high-energy sounds needing to be turned down while also using your ears...which may also mean keeping the element loud(er) and slightly adjust the threshold/attack/ratio of the bus comp.
Hmmm.....Good question. Old landline phones are getting trickier to find at thrift stores, but it you get lucky you can find one for $5-$15. Sometimes you can find someone with a box of them in online classified ads. If you have an old cable you're willing to sacrifice, you can cut and solder the ends and you're done! If you don't have those materials you could grab a basic soldering pen for around ~$15, and another ~$10 for a roll of solder. A good Neutrik connector or plug will cost you around $5, and a foot of cabling might be another couple of bucks. All in you're looking ~$60USD at the top. Obviously this adds up initially, but its well worth the investment if you're looking to get into more DIY projects. I've hand soldered every cable in my studio so I know they work, are designed custom for my space, and are of the highest quality possible. And if something isn't working I know I can probably fix it, and the onus is on me to do so. :P Now just in case you're not up to doing all this for a fun effect, I'm working on a video thats coming out on Sunday about how to make a SM58 sound just like a telephone call. I'll link that to you when it's out! Hope this helps, Thank you for watching and best of luck with your future projects :D
Well, for me 20 to 40 ms is too much for "artificial stereo", for example, when I use 2 mics for a guitar amp (or when I double 1 guitar track), I prefer around 10ms.