This is truly such a fantastic brilliant MASTERFUL show!!!
Martin Short & Steve Martin are two of the best to ever do Comedy and I am so thrilled that they have captured Lightning in a Bottle with "Only Murders in the Building!"
And casting Selena Gomez provides such a perfect balance of energies and vibes while building a rewarding chemistry between all three.
The bonds they build are beautiful and playful and so very enjoyable. They are all three very loveable while still having plenty of faults.
The writing in this show is amazing. The acting...brilliant. The directing...perfect. The music is SPECTACULAR!! And even the cosmetic things like the opening animations and the different "themes" played with in each episode...all brilliant!!
Hats off to everyone responsible for this masterpiece of a show!!! A big round of applause for all of you!!!
And to all of the other fans... what a joyous time to be alive! This is so much fun and I am just very thankful to enjoy it alongside of all of you while we spin up countless theories together... all the while having a big happy smile on my face.
This show is truly a treat!
I am so grateful for it!!! And I so look forward to Season 2.
With that said...
Let's dig into theories!!! Lol. (Don't worry there are no real spoilers below)
I always thought there was so much more to the emerald ring and Zoe's death.
I suspected Jan since that first date with all of her "red flags." But the ring business and the truth behind Zoe I still think will be revealed in Season 2.
Who was watching Jan?
I still think Oscar is sus. In more ways than one.
Who committed the crime at the end?
Who warned them? Who called the cops and Cinda Canning?
Who made sure the Tox report didn't get filed?
We shall see!!!
I LOVE THIS SHOW! I LOVE YOU ALL!!!
What a CELEBRATION!!!
I have worked with artists like Young Nudy, Pierre Bourne, B.o.B, Rick Ross, and multiple members of OTF.
As an audio engineer, our skills are more in demand than ever before because of the pandemic. Content is being consumed more than ever before, yet as audio engineers we are expected to work 10-14 hours a day, sleep at the studio, work for $10-20/hr at most studios, sometimes $25/hr if you're lucky and you're basically on the clock 24/7.
Even when I went to audio engineering school the professors and staff all told us to expect to get shit on, to be somebodies bitch and clean toilets and sleep at your workplace. I have had friends intern for years, while running sessions, and NOT GETTING PAID. Or they will be promised a job and at the end of the internship they get fired.
Also, most internships are just straight crap. Some are literally you doing a ton of unrelated work (paperwork, finances, cleaning) while you're not even allowed in the control room. The last studio I worked at had 35 different interns on their roster while only having 2 engineers and the owner. The current place I work at has over 20 interns that are doing a lot of stuff like making spreadsheets, phone calls, emailing clients for the owner. Me and three others are the only engineers and not a single one ever gets to talk to us.
I live in New York City and have worked at 7 different studios that all expect you to SLEEP at the studio, to be there 12+ hours a day to wait around for sessions which you're not getting paid for unless you're actually doing a session. Once I stopped waiting around all day and stopped sleeping at the studio I was slowly given less and less sessions and finally removed from the schedule altogether. I was told if I wanted more sessions I had to earn it by "working harder".
Oh yeah, and not to mention the owners of the studio (who typically know nothing about engineer) are trying to give you pay outs of $10-$25/hr, while they rake in a couple thousand per day. In New York City, you can go work at a shitty bar and make $50/hr.
Currently, I do post production work. I have seen the paperwork and the budget that some of these projects are given, not a single one under $140k per project. I am doing all the work to make sure these mixes are ready for fucking Netflix and other networks but I am making a measly $25/hr. Clearly my work is good enough for Netflix, but not good enough to make more than todays McDonald's employee.
How is anyone okay with this? There are literally a million other unions for similar entertainment jobs, but not for us, the ones who actually
... keep reading on reddit ➡
For sale today is my copy of Joni Mitchell's Blue. This pressing, mastered and cut by Kevin Gray and Steve Hoffman at AcousTech, is often cited as the best-sounding version of the album, and comes with a tip-on gatefold sleeve and an insert replicating the original blue inner sleeve. This copy in question is VG+/VG+, for light marks on the vinyl and some wear on the sleeve. Pictures of the exact item here.
Asking $65 USD shipped to US or Canada! PM and comment if interested.
A music studio near me is offering 8 hours of studio time, only from 12am-8am for $150, but this includes no audio engineer. If I am still kinda new to this, how crucial would it be to have an audio engineer with me? If I were to record myself, do I just literally put that section of beat on loop, record, stop, move to the next section, repeat?
Came across this post (https://forums.stevehoffman.tv/threads/did-kurt-cobain-write-the-music-lyrics-for-holes-live-through-this.992297/) from a few months ago where a user poses the question of whether or not they think Kurt ghostwrote "Live Through This." Here some of the takes:
"He wishes. This album's better than any Nirvana record."
"It really is. Not a hot take at all."
"Courtney’s influence is all over In Utero"
"I'll take Hole over Nirvana any day of the week."
"The lyrics are better than anything pre In Utero, on which Courtney had influence..."
Thoughts?
I just watched this video and it was very insightful, even though I am not a music producer. I assume most people already know some of this unconsciously, but it's good to give it a conscious thought.
Rick Beato - Audiophile or Audio-fool?
TL;DW: as good as you may hear things right at this moment, your hearing will diminish as you age (and more so if you are not careful about ear protection). What makes music great is not simply how many frequencies it contains, but how well you can mix the frequencies that you hear. And that comes with experience and practice, not the most expensive or most "cool" equipment.
So I know I have an interest in audio engineering, and getting live sound to be right, working with people live, but not with commercial producing/mixing. Considering going to university for this and trying to choose a career that would accommodate my personal requirement for substantial free time, for the interests of making music, and spending time with family. Is this a good path?
A bit late on the instrumental game, never learned an instrument before now, so session musician is out of the question for the most part.
Hey folks,
I am starting a new podcast in 2022 (have been podcasting for a year now). For this I upgraded my equipment (from Yeti X to sm7b -> Fethead -> Audient iD4 & MDR-7506 headphones) and read countless hours on processing & mixing.
I am recording in Logic Pro x.
My two problems:
- It is hard for me to judge my own voice and identify things that need improvement (regarding processing. I am pretty aware of some nasty habits ;) )
- I still struggle to dial in the plugins. Luckily, due to my employer I have access to quite a lot of tools. I currently use RX9, Nectar 3, Fabfilter, Vocal Rider & Playlist Rider and have access to quite a lot of waves plugins (that I currently do not use).
I am looking for an experienced audio engineer that will listen to a demo recording, improves it to sound as professional as possible (processing & mixing, not editing) and help me afterwards to dial in my processing chain to achieve the same result.
Is that something that is okay to ask for here?
Anybody interested? Or do you know anybody that would be a great fit?
I have recorded a short 40 second demo and exported the raw recording, the rx9 cleaned up version and the finished processed version as wave-files (happy to share a dropbox link). These are not edited and just a first take on reading a book. But it should hopefully be enough. Also mind that my native language is German.
Thanks in advance!
They're just sound guys.
How can I become an audio engineer if there are no schools around me that teach it? I live in the Las Vegas area.
I'm curious on how the process looks like when reverse engineering Audio VST Plugins? They're *.dll-files and therefore not as straightforward as *.exe-file applications which means that you can't attach to them directly via x64dbg for example, but you have to attach the debugger to the host or DAW I guess.
I'm just assuming here, am I close in my guess or what's the approach? Also, are there any sources that anyone know of, that shows how it's done?
Hello. My basic question is: what are the best equalizer settings to listen to Rise Against to? Like, should I choose a Treble Boost or Rock preset? Or are there specific settings that really make this band shine?
I wanna make this band sound as best as possible on my phone's earbuds (I know! I know!). Any help would be appreciated.
Deatrich Wise
- Weight Throw: 48' 08.25
- College - Arkansas
Tony Ugoh
- Hammer (College) - 148' 03
- Discus (College) - 172' 01
- Weight Throw - 60' 04.5
- College - Arkansas
John Hoffman
- Discus (College) - 143' 03.5
- 1946 Southwest Conference Champion in Discus
- College - Arkansas
Richard Smith
- Triple Jump - 53' 0.75
- Long Jump - 25' 02.5
- 52ft+ Club (1 of 8)
- College - Arkansas
Steve Conley
- Triple Jump - 49' 06.5
- 1991 Illinois A State Champion in 4x100m
- College - Arkansas
Ron Dickerson
- Long Jump - 25' 04.25
- Triple Jump - 48' 10.25
- 200m - 22.05
- 1989 Pennsylvania AAA State Champion in Triple Jump
- College Arkansas
Am I crazy for starting over? Maybe. Anyway...
On my 39th birthday, after working about 20 years as a software engineer, I quit my job at [fancy software company]. I'm used to making (and let's be honest, spoiled by) Silicon Valley $$$.
I've had a lot of fun writing code at the largest scale, but I want to change things up now. Variety is the spice of life, no?
As a longtime bedroom producer and audio engineer enthusiest, I know I'm far from being a novice, but I'm not a professional by any stretch either. After all, I don't have any real world experience or training. That said, I've been producing /mixing / mastering for 2 decades while consuming just about every tip, trick, and tutorial I can find.
If I wanted to pursue audio engineering as a career in the next chapter of my life, where or how do I begin? Do I need a fancy degree from a fancy school? What about trade schools? I have the financial stability to retool my skill set, thus all options are on the table.
I think my dream job would be working on audio for television / cinema. I'd love to be involved with building the master audio track on a sci-fi movie. I understand competition is everywhere and jobs are limited - I'm cool with that, as I mentioned I worked in Silicon Valley (as a self taught engineer).
So, if you have any advice I'd love to listen to you. I am grateful for your time and help. All suggestions are welcome and appreciated.
Thank you, -m
I have somehow become too fixated on mixing and mastering and on minute details, which plugins to use, more and more plugins, blah blah blah, you get the idea. I wasn't like that. It was all about the music. I don't know at which point I went from wanting more synths/sounds to wanting more compressors, eq, etc etc. I don't like that side on me at all. I want to be a musician, not an audio engineer (PS: Noting against audio engineers, it's just that I set out to make music).
I know a lot of it has to do with producing for so many years and not getting anywhere (career wise) with music. Makes my mind think (any everyone else in general?!) that if I use the tools pro's are using, maybe I'll make it to their level.
How do I regenerate my love for music, the emotion? the songwriting? the finding new sounds part?
Basically how I make it about music again and not about audio engineering? I don't want to brag but I am positive that it's not the plugins that are holding me down. Any plugin I use, stock or third party, I can more or less achieve the same result (ofc special cases aside).
I need to play more with synths, synth presets, instruments, samples. I need to write more songs and finish more song. I need to get into my songwriter head and my artist head. As I write this, I realize that I even know what to do and I am kinda answering my own question lol.
Arghhhhh this is annoying.
Sorry, maybe I just needed to rant and take my frustration out on my keyboard and put it into words. Maybe my head will be less cluttered now lol.
Thanks for reading!
Just dropped an album on all platforms and getting ready to work on my next project. Looking to work with people who have experience in my specific subgenre genre. Please take a listen to the project before messaging me, thanks!
Sorry for another newbie post, but I was reading the FAQ and saw someone mention that an audio engineer should listen to the "classic" albums so you have a reference for a wide range of sounds your client might want. For example if they say "this snare needs to sound more purple!" you could instead have them reference a couple artists and go from there.
So, what are your must know albums for audio engineers?
Edit: did not expect 50+ albums and songs, you guys are awesome! I’ll try to get back to everyone
Audio Engineer looking for work. If you have sounds that need to sound better, need sounds made, need music mixed, or maybe even music composed, send me a DM and we can talk about the project and what you need.
I’m helping a friend who wants to be an audio engineer, specifically for a video game company. (They don’t have Reddit.) What do you do on a daily basis? If you’re virtual, how much of your time is spent in meetings or on video/phone calls? What are examples of yearly goals? What type of career advancement opportunities are in this line of work?
TIA!
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For those that don't know, Mercury Atom refers to the silkscreening on the CD. The large Mercury logo on top and the 3 ovals around the center hole, making the center of the CD look like an atom.
Sonically, there is nothing different about these CDs vs the silver ones with black printing on them. I just think these look cool.
All The World's A Stage needs a new jewel case front. But it's the original jewel case, which is much thicker plastic than the crap that passes for a jewel case these days.
All of these CDs are from the 1980s and are original masters.
My colleague and I are audio engineering students/interns going to school in Houston and ironically, we have been studying stage design the week before the event. We both are Astroworld vets so when we walked to the main stage we were confused. The engineer booth was too close to the stage, the surface was plastic which was to prevent people from getting stuck in the mud but instead created a slippery mess. We also noticed how short the stage was as far as height goes and the lack Jumbotrons to project the performance to the people in the back. you had to walk through the whole festival to get to the main stage which was almost an enclosed space with 2 passways. We were supper confused from the jump.
And a Czech one too.
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