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In 2017 it’s easy to say technology hasn’t completely turned the audio world on its head.

Let’s face it, every other kid has a MacBook and every MacBook has the ability to churn out million-dollar productions with the click of a few buttons in GarageBand. Or for a couple hundred dollars you can get Logic and the buttons click themselves right?

Every band these days has a guy that does all of this stuff. He engineers, mixes and masters. Heck he even programs the harp solo the band desperately wanted at the end of the breakdown. This guy is extremely motivated and is dedicated to making the best recordings with the limited resources available.

But there’s one problem…

The recordings always suck.

I WAS THAT GUY:

In fact, I had people paying me to produce recordings that, looking back, weren’t really all that good.

Like many budding engineers I was basically a guy with a set of microphones, a copy of Cubase and no experience. Regardless of how hard I tried, I couldn’t make my recordings sound great. They were good for what they were, but I could never get them to sound full and balanced. As a result, I could never get them to be as loud as a commercial mix.

In other words, they weren’t good

TOOL PROBLEMS:

At first I tried upgrading the tools I was using. After all, my compressor didn’t act or sound like an 1176. That’s what the pros use, so that’s why my mixes sounded terrible. I always upgraded to the latest version of Cubase with the new gadgets and the fancy lights.

Like what you see?  Read the rest of this glorious post at URM Academy.