The Faders Puns

I just want a great synth action keyboard with pitch and mod wheels, and a way to very easily and quickly switch between midi channels, all in a decent designed package, that's it.

But that doesn't seem to exist. It's either mini keys and no midi out, or one million features including designing the midi keyboard for a specific software. I don't want to control software, I want to control hardware.

Is there a product out there that I have missed?

Source

Great piece on IQ

> Sometimes he just wants to slip into his old life as Immanuel. “I just be wanting to ride the train by myself,” he says. His crew was horrified the first time he suggested it. They still have to remind him: “You’re not a regular person anymore. You can’t just ride the train.” > > Nitrease, especially, worries. She has to remind her son that he has to be aware of his surroundings because people want things from him now: money, clout. He can’t afford to be careless. “He doesn’t know he’s famous. He has no clue,” she says. “He thinks he’s a little kid from Havre de Grace, [Maryland].”

As producers, we love our toys.

Because let’s face it — EQs, compressors, saturation plug-ins, and other similar audio tools are a lot of fun. They’re practically addictive!

Before you let loose with your favorite sonic sweeteners, however, you need to take a few steps back and check your mix’s balance.

The concept of balancing channels isn’t very glamorous. It’s not as exciting as talking about the latest state-of-the-art vibe-infusing doodad.

Nonetheless, balancing channels is an essential skill — one you need to master if you want to consistently achieve pro-level mixes.

Not sure where to start? Let’s take a look. 👇

Try Balancing Channels Yourself Before we get into the details of this post, have a go at Balancing Channels yourself below.

What Does Balancing Channels Mean? Balancing channels simply means that each element of your mix is set to an appropriate volume in relation to the other elements.

If your tracks are well-balanced, you won’t need to slap an EQ, compressor, or other processors on anything to attain a cohesive sound; it will already be there (although the mix will probably still sound a bit rough around the edges).

It’s kind of like making sure you have the right amount of ingredients for a dish, instead of worrying about how to prepare each one. How you cook rice matters less than having the right amount of it for the meal in the first place.

It’s astonishing how many producers skip this essential step when they’re mixing. Instead of crafting a solid-sounding rough mix, they dive straight into their plug-in collection and start tweaking.

This is a huge mistake. Failing to lay the proper groundwork for your mix is like building a house without a proper foundation.

A poorly built house will inevitably cave in — and so will a poorly built mix.

So, why does balancing channels work so well?

The Volume-Tone Connection The volume of a channel has a massive effect on its overall sound, especially when you adjust it in the context of an entire multichannel mix.

For example, increasing the volume of a track can make it sound brighter — it’s like you’ve boosted the upper frequencies with an EQ. The opposite is also true; decrease a channel’s volume, and it will sound darker and more distant.

It’s all about context — when you adjust the level of one channel, it can make your remaining tracks sound either brighter or darker. It really is a balancing act!

You’ll often see inexperienced engineers dialing in a crazy EQ curve or slam

Feel free to download this edit of the phantom menace! Less cringe more action!

1. Removed a lot of jar jar silly antics

2. Removed gunman city scene

3. Trimmed the podrace to give it more intensity.

4. Edited bad dialogue! A lot less cringe.

5. Gungan battle less comedic and more serious.

6. Lots and lots of little edits of scenes and dialogue throughout the film for a tighter more action driven movie.

7. Added original soundtrack where needed and original trilogy style wipes between scenes for transitions.

Feel free to download

The Phantom Menace Cross Fader Edit:

https://drive.google.com/file/d/1rplpfe-e15gaQCevr2tkkN2ZlyztYD8D/view?usp=drivesdk

So let's say I have all the buses at 100% and then the other mixer tracks set to their according levels, with plugins sensitive to volume such as compression. I highlight all 100 mixer tracks in FL Studio (although I assume this is the same for all DAWs, hence why I posted here), I bring them down the same amount, and then I bring only the buses up to 100% again. Then, let's say, I turn the volume back up in my operating system or on my headphones/speakers etc. to compensate. Will my mix sound the same, assuming it didn't clip in the beginning and I have nothing on the master bus?

https://www.youtube.com/watch?v=T-TpPLzRpsU

I just saw this video for the first time. This changes EVERYTHING for me. This also seems to contradict a vast amount of information I've seen all over about how to gain stage properly in reason. What are your thoughts on this? So how should we really be gain staging in reason considering this??

Source

>The following year, before tip-off at Charlotte, Giannis sat on the sideline with Oppenheimer. They watched Charlotte’s Nicolas Batum, a 6-foot-8 forward having an all-star kind of season, warm up.

>“You see Batum?” Oppenheimer said to Giannis.

>Giannis nodded.

>“Look at him,” Oppenheimer said. “Really look at him. He’s a really good player. If you work really hard, you might be able to be a Nic Batum type of player.”

>Giannis stared at his coach for a second, not frowning but looking surprised. A bit offended. “Coach,” Giannis said, “if I become Nic Batum, I’m going back to Greece.”

Looool this book is so damn good

I have played with all of the sound controls I can and nothing has made a difference. The front speakers work, they're just quiet. If I pan the sound to the front and turn it up loud enough to hear well then the sound quality is awful

Source

>Giannis would stand in front of the mirror and practice his scowl. He’d squint his eyes, suck in his teeth. His nose would wrinkle; his forehead would tighten. His lips would curl, and then he’d let out a grunt.

>He was trying to look more aggressive, less adorable; more intimidating, less innocent. He needed a new identity heading into his second NBA season—one vastly different from the goofy, endearing rookie discovering smoothies for the first time.

>He needed to get mean.

>“He had to practice it because he’s not that guy,” says Skip Robinson, then Bucks vice president of community relations and player development. “He’s a lovable guy. A nice gentleman.”

>Giannis didn’t want to be seen as a nice gentleman on the court; he wanted to be seen as someone who would tear your heart out. He tried to pattern his scowl after Russell Westbrook’s scowl. Giannis loved Westbrook: his demeanor, his speed, but especially his scowl. Giannis came into practice once, scowling and grunting. “This is my new thing,” Giannis told his teammates.

>They ignored him. Laughed a bit. But Giannis insisted on impressing them: He flexed his muscles after bench-pressing and flashed his scowl again, hoping his teammates would appreciate the intensity of his grunt. “Bro,” Brandon Knight told him, “you still don’t have any muscles. Relaaaaax.”

>Giannis’s teammates found it hilarious when he’d attempt the scowl after a dunk, something he started doing toward the end of his rookie season. The first time he did it, against the Pistons, he ran back to the other end of the court with so much aggression even Caron Butler was surprised. “I didn’t know where the hell that came from,” Butler says, laughing.

>Afterward, his teammates asked him, “What is that? Where’d you get that from?” They assumed he’d learned the scowl from YouTube—where he learned everything in those days.

>Giannis laughed. “Oh,” Giannis said casually in a “this old thing?” kind of tone, “I took it from Westbrook.”

>Giannis’s scowl seemed out of place. Manufactured. “We’d be like, ‘Oh, he must have practiced that at home today,’” Knight says. The scowl was coming along, but it still wasn’t loud enough, mean enough. Convincing enough. “You gotta work on your roar,” Knight would sarcastically advise Giannis. “You gotta work on your yell. We gotta get you right, man.”

Lmfaoo this

Over the past 5 years of working I've seen a lot of different approaches when it comes to gain riding dialogue. Some use it to set a rough level and some use it to replace compression entirely. I've seen people use the DX bus to write volume automation and some have told me they never touch the volume on the DX bus. I was wondering how others go about applying gain rides and why?

I’m using FL Studio.

My mix is peaking above 0dB on the master channel as I was just messing with some stuff at first and then decided to make it into an actual track. I want to lower the peaks to -6dB without touching the faders of each individual track, hence my question.

Is it also okay to do this by applying a limiter and reducing the gain?

Sorry for the beginner question :)

Edit: i don’t mix with a limiter on the master channel

Hi all , please feel free to download my edit of Star Wars episode 2 attack of the Clones. The aim of this edit was to capture the feel of the original trilogy, attack of the clones has always been that one Star Wars movie that tried to be too many things! A romance inspired by Romeo and Juliet! CGI aliens that belong In A shrek movie and also an action filled sci fi epic. This edit follows the struggle of a young Jedi torn by loss and a desire to break the rules. In this edit:

1. The dialogue has been edited for less cringe
2. Anakin is a less whiny brat and a more likeable character.
3. Jar jar hardly appears and dexter is removed completely,
4. Tightened up the battle on geonosis
5. This version is less of a romantic mess! Instead anakin and padme fall in love along the adventures rather than anakin begging it 😂
6. Lots of dialogue soundtrack and scenes moved around to help the flow and pace of the movie.

Enjoy

Attack of the Clones Cross Fader Edit

https://drive.google.com/file/d/17ukT-cjCroHH6YfayVViihoqQvAlu7P3/view?usp=drivesdk

Hi. I'm a rookie film student working in sound, mainly post audio but also starting out going on set myself.

My usual gear is Zoom F8n paired up with F8 Control app.

Here is my workflow & question.

In the case that I don't use the LR mix at all, since on set I run each input through RX on my laptop as a monitor mix to the director, etc, and after the set I use each raw recorded track separately to properly clean up the audio and send them to the editor myself (and me of course as an Audio-Post), are the 'faders' of F8 Control completely irrelevant, as they do nothing with the actual gain recorded, just control the amount of the signal that goes into the LR mix, which I don't use? Is it possible to use faders to adjust the gain trim of the input instead? It feels way better than using the tiny knobs to ride the gain. Or do I have to use a physical fader/mixer to do that?

Hi guys, my friend gave me his Novation Launch Control XL and i could succesfully connect it to FL. I have a problem though. It will only allow me to use the faders on the device to regulate the virtual mixers faders once ive clicked on the mixer in FL, making it very unintuitive (once my mouse is on the mixer i might as well use my mouse to adjust the faders.) So when im in the playlist arranging something, moving the faders on the launch control does nothing at all.

Is there a fix for this?

Source

>Knight searches for the right words. “I don’t want to sound negative,” he says. Knight explains some of Kidd’s methods, such as how Kidd would embarrass the culprit of an error by making everyone but that person run sprints for his mistake. “He just had his way of getting his point across,” Knight says.

>Little things were made to be a big deal: At one point center Thon Maker didn’t have an iPhone, messing up the team’s blue-bubble iPhone group chat. Kidd was upset about it and made the team run because Kidd felt that Maker not getting an iPhone was an example of the team not being united.

>But there was another side to Kidd, one that held players accountable, gave them confidence, raised the level of play. If players were doing the drill wrong, Kidd would grab the ball and hop in the drill and show players how to do it perfectly. Kidd would sometimes dominate and say, “Guys, this isn’t that fucking hard!”

>Kidd hated when players were not on time. Or when he had to go over something again. He was a perfectionist—and thought players should get it right the first time. He had this look, this death stare, that was piercing.

>His mind was several steps ahead. The things he saw, few could. “It was like being around Einstein,” Oppenheimer says. “Giannis realized that and wanted information, and Jason found a way to feed him information.”

Lol

Thread: https://twitter.com/FakeTJHawke/status/1424848840293851142

Not really much to say here; obviously people can change and I sure as hell hope that is the case, but this is not a good look at all and doesn't do anything to quell the concerns people had about Kidd as both a person and a coach.

Hello, I am kind of confused, I think i know what fader flip does.

It makes channels 1-32 show the selected mix bus rather than the LR mix.

That makes sense, but what is different when you have fader flip un-selected and select a bus? On some other digital consoles ive used, theres no fader flip button, just select the bus channel and all the inputs are switched to whats feeding that channel.

Hope this makes sense, I'm more asking, what does fader flip NOT do, lol ty

Whenever I study templates, I always see producers adjust the simpler volume of the sample and then adjust the faders. Is there any difference? I couldn’t wrap my head around it. Any thoughts? Thanks.

I’m a staff writer for The Ringer, writing long form, human interest sports features on athletes across all sports. I write about sports but I really write about people. I’ve profiled many NBA and NFL stars, including Brandon Ingram, LaMelo Ball, Ja Morant, Davante Adams, and more. My book on Giannis Antetokounmpo, set to come out August 10, was born out of a feature I wrote on Giannis and his youngest brother, Alex, for Bleacher Report Mag, where I wrote previously.

Proof: https://i.redd.it/457fkokvr3871.jpg

Its where you use both one after the other to do a fast chirp scratch

I finally replaced my Vestax PMC-07 Pro from 2001 w/ a Numark Scratch. I replaced the crossfader w/ an Innofader PNP2 (which I took out of my Vestax that I had upgraded previously). However, I'm wondering if anyone has replaced their vertical faders on the Numark Scratch? I couldn't find anything online regarding this. I'm wondering if anyone could let me know if they did and with which exact faders. If anyone has a link to a tutorial online showing how to do this, that would be helpful too. Any info would be greatly appreciated - thank you!

https://preview.redd.it/j0n3zzcf1b681.png?width=1080&format=png&auto=webp&s=4efe8fa478acc064c2a0840461f6e6e71db3473d

I’m a newbie.

Let’s take EDM for example.

For now, What I learned is that at the Second part of the A track Drop, and at the beginning of the 8th Bar(1st beat) to pull up the second Channel (B track) Fader up. When the A track transfer to the bridge part, the first beat to pull it down.

Am I right? And I wanna know if comes to mix, then when u guys to Pull up the B track Fader up and which point to mix? Maybe still at the 8th bar?

What i mean is, is it pre-fader, meaning that it will affect how hot the signal goes into inserts on the bus? Am i supposed to use the "set to unity gain" shortcut and then regulate reverb etc. via mix-faders? Until i learned of the set to unity gain shortcut i never thought about this my god

This!

As the title says, has anyone added hardware faders to the Presonus Revelator io24? Right now, I use a Motu M2 with Voicemeeter to do all my mixing with a USB Midi controller that has sliders mapped to the faders for each input/output in Voicemeeter. I'm wondering if the Revelator io24 allows for anything like that or if anyone has hacked in anything like that. I feel like that's the only thing it's missing. I absolutely love the idea of an audio interface/mixer combo that primarily focuses on loopbacks and I don't see any other products that come close to this feature set. I just wish you could add even more loopbacks in and out :)

Long story short, I have a pretty old and beat up numark mixtrack pro and, for some ungodly reason, the slightest tap on it will send both of the volume faders down to 0 volume in traktor and it's a pain in the neck to get it to work. I've been djing with just the crossfader and its been working well but I'd like to just disable the volume faders so I don't have to deal with them anymore.

Any ideas on how to do this?

Thanks!

I just want a great keyboard with pitch and mod wheels, and a way to very easily and quickly switch between midi channels, all in a decent designed package, that's it. Is that too much to ask for? Apparently.