very interested in your training course , but i'm from Viet nam ,do you have an online kind of course like the one on berkleemusic.com , if so , i'm in immediately
thanks

I'm trying to get my hats to sound less robotic.

I swing them
I use different velocities
I use different samples

What am I missing? What are some good tips when it comes to hi hats?

Two questions:

1. I work with a few studios in my area doing voice recordings for various projects (one of the advantages of being a native English speaker in Taiwan :p ).
They all use Pro Tools. When they bounce their tracks, they do it in real-time, which according to them, they have no choice. I've noticed that other programs give you a choice between real-time and "super lightning fast" time. Just wondering if in today's computer age, if there's really a difference between the two? When given the choice, SHOULD you choose one or the other?

2. Aside from not wanting to piss off your neighbors, are there any advantages to mixing at lower volumes? I read somewhere that said 'any' mix will sound good at higher volumes. And that the trick was to get it to sound good at lower volumes.

I suppose with some music, that would be true. But with dance music I tend to think that (at times) you must mix at high volumes. It's hard to feel the power of the bass at low volumes. I've found when I mix at night, at lower volumes, I think everything sounds great....then the next morning I play it loud and find that the levels seem all off.

What's your (anyone's) take on it?

Thanks!

I've been trying to find some resources on mastering. There's really SO much out there on the topic. I've found anything from extremely useful to utter rubbish. I recently came across a publication that helped a lot....but not enough. In particular, it gave a lot of starting points for EQ'ing, Compression, and Limiting. The EQ'ing part is what really caught my interest. It got me thinking that I need to find a decent book that gives some good starting points for the aforementioned three things, especially EQ'ing. For example, if you're using a piano, pull up the Waves Q10 and dial in XYZ settings and tweak from there. On a Dhol drum, try these compressor settings, etc, etc...

I realize I'm seeking a sort of "holy grail' of mastering books, but I imagine there must be something out there like that. Something that has a comprehensive list of instruments with some detailed information on starting points. Yes, there are a lot of instruments out there, and they often differ from region to region, but basically they're the same, right? When you look at a lot of the EQ's and Compressors, they have presets for common instruments on them; which in general work well enough (with some tweaking) when applied. So I figure it wouldn't be impossible to write a book like this.

Anyone know of such a publication? Or just a really damn good mastering book that isn't too dry and has lots of examples?

Thanks!

make a sound that has a rising attack and then have it stop dead when the snare hits.

Is there a way to make it so the snare drum triggers a gate on a synth sound, but instead of the gate opening when the snare hits I want the gate to close when the snare hits. The best way I can describe it is a kind of reversed side-chained gate, so to speak. I need the sound to stop right as the snare hits. So it goes wzzzZZZZ|snare hit.

http://soundcloud.com/tour

Pretty cool site. Let's you send/receive files with waveform
display and comments alongside the waveform.

So for collaborating you can comment parts of a track easier
than just providing times in emails etc...

For those people who think the little cans of Red Bull just isnt
enough...

Ok, on to the next topic. Is this something that we need to watch for or is it another thing that really isn't going to be perceived by the average listener?

Is this a process that should be used on a channel or entire track?
Should it be avoided since it just adds another level of degrading calculations and causes more quantinization distortion? Or is this only the case if converting back and forth from analogue to digital?

I know we've already kicked this one around a bit (no pun intended) but since i've been reading and learning more a couple questions have arisen that i don't think we covered before.

Since the noise floor of an average 24 bit file is -139 dBFS and the noise floor of the average 16 bit file is -91 dBFS and since you'd have to lower the 24 bit file by 48 dB to yield an effective 16 bit file; wouldn't it be better to record or work ITB at 24 bits?

Additionally, when people talk about Quantinization Distortion, is that refering to quantinization from the grid?