precords1275

I've got this 5 next to my name, what's that about?

Fiver user hired me to consult on their audio setup and offer suggestions on getting going, possible purchase guidance, etc. I am here on out video chat alone at the correct time, and they are a no-show. I set aside this time to do this, and frankly would rather be hanging out with my daughter on the weekend. So do I fight them to pay me for this? I plan on not doing anything untiol I hear what/why the meeting was cancelled without my knowledge, but I am pretty frustrated

I grabbed a huge bundle of Waves plugins for $99, down from $1400 or so. Was a deal I could not pass on. I also got the lady that makes all my custom clothes to print me stickers for my Behringer BCF2000 usb controller for $10 - it's old and clunky, and I want a new controller - but this was enough to give it some new life and I am finding new functionality in it so I am happy not spending $1000+ on a replacement. I also took it apart and adjusted the tension on the motorized faders to make it faster and quieter.

Nope, $60 all in!

Standard. It's on sale 50% off now. Mouth declicker alone is worth the $200!

Izotope RX9!

Personally, I used to, but then I realized it's just (for me) one more thing to watch out for, cables, setting levels, possible bleed, etc. It was a bigger problem when I used a condenser because the cable would make noise that my 414 picked up, but now I use my SM7b - I recently got an SE Electronics DM-1 Dynamite, which does the same thing as the Cloudlifter, and it's just so much more useable with the added gain.

I lost my seller level because I had a few people message me asking me to do a bunch of work upfront to show that I am capable, and therefore I ignored them because my time = money. But then my communication dropped (I ignored 2 and it dropped way more than it should have.) Don't let it happen to you!

Welllllllllllllllll that's definitely their (Digidesign and Avid's) opinion. I have been using it for a SUPER long time, probably since 2002. And let me tell you it's been a rough ride. They had excellent marketing, even coining the term "industry standard" for themselves. I still use it daily, and it's basically the only one I do use on the regular because I'm so experienced. But that doesn't make me blind to the fact that every time someone else came out with a feature, Pro Tools stole it for the next release. Only since they moved away from the RTAS format of plugins has it been working the way it always should have, and even then it was a buggy mess until the last update to version 11.

I use Focusrite Clarett8Pre, it's beautiful. And Pro Tools software, because I have been using it for 20 years or so - I've invested too much money into it to back out now 😛 I like nice microphones and preamps and then use plugins for effects, because I figured if I'm going to spend the good money I have to cut corners somewhere, and having a fantastic starting point with a good input path just makes everything else so much easier than trying to fix things before you can work with them.

I'm just hoping I don't get a bad review for standing up for myself.

So I received an order to synchronize audio. As in manipulate time to match a video project. The download filled my dropbox with 101gb of random files not in any sort of order, and I was given an entire video project. Generally in this case, I am given a video file and some consolidated audio tracks or stems. I made my own stems using the video program, which was not part of the job, and took up enough time that it was already taking longer than it was worth for a order in this price range. Nothing was out of sync; the audio was all there and lined up to the terrible film (not that my opinion on it was asked for, but it was painful to watch on repeat.) I asked for clarification on what needed to be synchronized. Well, they wanted the background noise removed. No big deal, I excel at this. And then they wanted the quality of each scene to be consistent across the entirety of the film, but they had done a poor job of recording it! I did it anyways, and sent 192mb of audio ready to drop into the video editor. It was rejected because the mix wasn't right. But mixing wasn't part of the job description (neither was any of the other work I did.) Apparently it got loud in a few spots, so I dropped it down and resubmitted explaining that I would not be mixing this film. The order timed out and I got paid, but it left a real sour taste in my mouth, another professional trying to play dumb and pretend that they didn't understand common industry terminology. They tried to explain that they wanted the quality "synced" across the project... That doesn't even make sense. Oh well, it's over now so onward and upward!

I use an SM7b or an AKG C414 (most of the time - I have a lot of mics.) But if I have a job to do I could probably wire up a speaker to a mic input and use that. It's not always about the tools, and everyone's voice and jobs are different. My signal path is usually very simple - Voice/pop screen/mic/shortest cable I can get away with/quality mic pre (mostly Focusrite ISA828 channels 5-8.) I run that into Pro Tools and run a pretty straightforward signal chain. Subtractive EQ, De-Esser, Compressor, and then a second EQ for taste. I may or may not do parallel compression depending on the job.