My Current Recording Setup

My Current Recording Setup

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13 FEBRUARY 2018

written by Mike

MY CURRENT

RECORDING SETUP

Most of my audio work is done at the post-production stage. I edit, mix, master, and even with scoring I solely use synths and virtual instruments. The only recording I do is for team chats and AMA episodes we publish for Casefile patrons.

I’ve done live recording and live sound before, and it wasn’t for me. Setting up the stage, holding a boom microphone or mixing bands live didn’t spark any interest, and I much prefer doing the work at home. Therefore today’s list isn’t ideal for sound recordist but rather a view of a setup that is enough to do a good quality recording at home if required.

The recording equipment I have is decent and does not break the bank.

Why do I have it in the first place?

Content creation – I recorded few YouTube videos in the past, an online course, we release monthly AMA with Casefile team. Even though I don’t use it every day, I do need it from time to time, and I need something that offers flexibility and decent quality at the same time.

Clip microphones

For some content, you will need video and audio. The best way to do it is, of course, having a camera (DSLR) pointed at you and a clip (lavalier) microphone.

That’s how I recorded my online course and a few YouTube videos in the past. The clip mic I used is Audio Technica 3350. It costs around $30/£25 on Amazon. I also have a lavalier for GoPro camera – it’s called Movo clip mic.

Both mics are powered by a LR44 battery, which is important as the mics don’t rely on camera for power. The mics are decent quality, but you will need to use Denoise processing for hiss and preamp noise.

They are very sensitive so reduce the input gain where possible and clip them lower than a collar. Unfortunately, you cannot operate input gain in GoPro, at least the one I have (GoPro 3). Audio Technica clip does not have a light that would indicate if it’s recording, so you will need to check that on DSLR screen.

In summary, I would recommend checking them out, especially if you need a quick solution for your camera.

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SM7B

At home, I only have one microphone – a dynamic Shure SM7B. It’s a legendary vocal mic, widely used in broadcasting and podcasting. It’s a perfect solution for commentators.

I use it for Skype calls, recorded AMAs and other sessions that I can do from home.

It doesn’t need a pop shield however it does need a lot of input gain. If you want to use it for everyday recordings, then the best solution would be to invest in input gain booster such as Cloudlifter.

All in all, the best dynamic out there in my opinion.

Audio Interface

I recently changed my interface and purchased a small Audient iD4. It’s a USB interface with one XLR preamp and D.I. input.

For simple work, it’s one of the best solutions you can find on the market, and it sounds great. The cherry on top is the volume wheel that also works as control surface knob.

iD4 has seamless integration with most sequencers (ProTools in my instance), and with one touch of a button, I can control any automation with the volume wheel. It’s the first step to classic ‘mix’ control surface, and it’s so much easier than using keyboard and mouse. Especially if you are running low on budget, want to learn automation or just simply don’t have enough room on your desk.

I’m very happy with iD4, and I recommend checking it out, or other solutions from Audient.

 

Other stuff

Apart from that, I don’t have anything fancy at my home. It would look different if I were producing music and doing live recording but for post-production with occasional recording work, it’s more than enough. I have a couple of old mic stands, XLR cables, pop shield – the classics.

I mentioned it before, but for listening, I use Sony MDR-7506 headphones and Adam A5x as studio monitors. I know both systems inside out and wouldn’t replace them.

If you want to start creating videos for YouTube, start a podcast or record someone else – there are plenty of solutions on the cheap, starting with USB microphones that have built-in audio interfaces. In the beginning, don’t go overboard with the gear. Unless you do professional recording work and get regularly paid for it, start small and go from there.

By learning with minimal equipment, it will be much easier to pick up exactly what you need in the future.

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My Current DAW Setup

My Current DAW Setup

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08 JANUARY 2018

written by Mike

MY CURRENT DAW SETUP

 

I get asked a lot about my workflow and what exactly I am using to produce Casefile and other projects. I’ve already explained the way I work in my book “How to Start a Podcast” however, I’m always on the lookout for the improvement and I update my system as often as I can.

In my opinion, it’s important to shake it up every few months. Otherwise, there is no progress.

When I was a student, I used many different audio sequencers with multiple plugins. If there was a new demo, trial version or a deal – I wanted it. I wanted as many as possible.

The truth was, I never used 90% of them, I was a classic example of a hoarder. I think that the more ‘stuff’ – equipment, gear, options we have, it gives us an illusion of choice. The more we have, the more we can do, right?

It may be true in some instances, but when it came to sound production, I realised that the old Pareto’s rule was on the point. The so-called 80/20 rule indicates that usually, 20% of tools bring 80% of results.

A few years ago I sat down, and I wrote down what exactly I am using for work, how and why. I decided to simplify my system and my workflow radically; I wanted to learn few tools inside-out – to become an expert.

By limiting my choices I wanted to be free of the illusion, and only if I needed something else, to add it to the existing selection. So far it worked. My system and tools are very few, but high quality.

Let me go through the list with you.

 

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Hardware

Computer

My primary tool is surprise surprise, a computer. At this moment in time (January 2018) I’m working on 27 inch iMac with upgraded RAM. The screen is enormous and the processing power more than enough to handle my workload. Apple systems are more expensive than Windows but most audio industry professionals use them. Therefore I followed the same rule at home. Of course, select what you feel is most viable for you – for example, video game sound designers work almost solely on Windows.

Listening

I’ve owned a pair of Adam A5X speakers for a few years now. They sound great, and I know them well. Apart from listening to music during work I use them to reference the mixes.

For podcast mixing I use headphones. The leading pair is Sony MDR-7506, amazing closed-cup phones with a clear sound, perfect for editing. I also have a range of earphones – from very cheap ones to a decent pair. Most people listen to music/podcasts on their earphones so I make sure my final masters sound good on them.

Audio Interface

Recently I bought a small Audient iD4 interface. Not only it’s a fantastic tool for production, but it also has a control surface functions. The main volume knob can be used for controlling various aspects of the audio sequencer. I’m using it for volume automation during a mix. I’m planning on buying a proper control surface for mixing in the future, but I want to hone my craft by using just one knob – limiting my choice again.

 

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Software

 

Pro Tools

I’ve used many different sequencers in the past but in my quest to minimalist workstyle I’ve decided to focus on just one. Avid Pro Tools is a standard in music and post-production industry, so it was quite clear that it was the one I needed to stick with. I knew that the MIDI functions are not the best, but it was much easier to learn how to use PT for everything rather than using multiple sequencers to do the work, as I’ve done in the past.

iZotope

Plugins were the central area where I had to downgrade. I’ve used iZotope’s tools when I worked at the movie studio, so I knew these were top quality. I’ve deleted all of my 3rd party plugins and started using only iZotope products.

I currently use Neutron, Ozone and Alloy. (I also have Eventide Ultraverb on dialogue tracks for reverb).

Spectrasonics

When it comes to composing music, especially inside your DAW, the choice is limitless. There are so many synths and virtual instruments that for the rest of your life you could be learning a new one each week (*not official stats, but there is a lot of them!).

At some point, I decided to get rid of most of the ones I had, also deleting a 500GB Kontakt library and just stick with one company – SpectrasonicsAt the moment of writing this paragraph I only use two synths from them, Omnisphere 2 and Keyscape.

Do I wish I had more options, for orchestral sound or bass? Yes, and I will expand in the future. However, for now, these two synths are more than enough to produce good work.

Limitation is freedom. It sounds so paradoxical, but in podcast production it is true. By freeing ourselves of choice paralysis, we are free of anxiety and burdens that come with limitless options.

This way of thinking does not apply to every aspect of our life, however, think about your work, day to day life and habits. Maybe some areas would be much better and more comfortable if you set some boundaries and rules?

The decision is up to you.

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Scoring Podcasts – My Tools

Scoring Podcasts – My Tools

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18 DECEMBER 2017

written by Mike

SCORING PODCASTS

MY TOOLS

 

As podcasts become more recognised, there is room for different styles and genres of audio storytelling. One of the big ones at the moment, at least when you look at the top charts, seems to be scripted dramas and narrated storytelling content.

With podcasts, you don’t have that many tools behind your belt – it’s all about the sound so, in reality, you have three elements to play.

Dialogues

Sound Effects

Music

Each is important and plays a different role; all depending on the project. For example, with a podcast like Casefile, we tend to go with just two of the elements – narration and music. Sure, from time to time we do include extra elements such as recorded interviews, police archive audio, and even reenactments.

However, most of the times the centre of the show is the narration of Anonymous Host and music underscore for the emotional connection. The goal is to create a complete audio experience with just two elements. The listener does not feel that it is either too much or not enough in the mix – balance is the key.

Today I wanted to talk about my tools I use for scoring Casefile podcast. I treat the work as I would with writing music for films therefore if you are looking at tools for creating songs, this post may not be the answer.

 

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Before starting in podcasting, I always recorded and wrote music. I used ‘normal’ recording with microphones, as well as plugins for computer music. I’ve tested many different sequencers and solutions, but in the end, decided to limit my tools and work with a minimalistic setup.

Just like for mixing, I prefer to work with only a handful of plugins but to know them inside out, to understand how far I can push them.

Limitation often offers more freedom than we think.

For some time I used software instruments in Logic, Native Instruments Komplete with 500GB of synths and Omnisphere on top of that. Before writing and recording, I often found myself sitting in front of the screen thinking what I should use as a cue. By having so many options, I was paralysed with choice and too many possibilities – until I decided to simplify the workflow and my system.

I moved everything to ProTools and stopped using Logic altogether, I’ve deleted Native Instruments and got rid of 500GB of synths. I was left with my favourite synth of all time – Omnisphere. From there, I’ve upgraded to Omnisphere 2 and for months just used that for scoring, nothing else.

Surprisingly it gave me freedom and unleashed more creativity than I imagined. Even during script reading I immediately knew what patch I would use for a particular scene, what kind of sound.

Unfortunately, Omnisphere wasn’t enough. It’s an excellent solution for scoring however it missed a vital element of writing music – pianos.

 

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Enter Keyscape.

When Spectrasonics released Keyscape, I watched all the videos and tutorials on it. However, it still took me a long time to purchase it. I wanted to be entirely comfortable working in just one synth – Omnisphere, before opening another one.

In the end, I got Keyscape, and it was one of the best decisions I’ve ever made. For now, these are the tools I use for scoring – Omnisphere for atmospheric sound and general cues and Keyscape for melodies, themes and building blocks for underscore.

I often start in Keyscape; I heard a long time ago that by learning the piano you learn how to play all instruments, I think that’s somewhat true.

Keyscape is often a starting point for creating cues, even if I write simple acoustic piano melody I can always use the MIDI and play it through Omnisphere crazy sounds, making the initial themes virtually unrecognisable.

Another great thing is that by using two products from Spectrasonics I have everything in one window – Omnisphere plugin window supports Keyscape libraries as well as other sounds such as Keyscape Creative.

For now, these tools are more than enough to create amazing scores and themes. The other solution that I could use would be an orchestral synth with possibilities of creating full orchestrated music that sounds as good as Keyscape pianos (I’m looking at you Spectrasonics!)

The take away from this (apart from my obvious love for Spectrasonics products) is that you don’t need much to get working and create great sounding scores. Frankly, sometimes too much choice is more limiting than having one or two solutions that you know better than anything else.

I’m not an expert in creating new patches or making sounds with Omni, but if you ask me to score something, be it a podcast, audio drama or even a film – more than likely I will be able to do it with what I got.

P.S.

I’m not affiliated with Spectrasonics and this is not paid advertising – I just love their products!

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Audio Restoration and Podcasting

Audio Restoration and Podcasting

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10 DECEMBER 2017

written by Mike

AUDIO RESTORATION

AND PODCASTING

 

I want to give you a short intro to audio restoration, what I use it for and how you can use it for podcasting.

There are different kinds of audio restoration jobs – you can use it to ‘clean up’ sound for a court, forensic and police needs. You could restore sound from old movies and bring it up to today’s standards and digital formats.

When something is poorly recorded – noisy, distorted, has a lot of hiss or background noise – you can clean it all up with audio restoration plugins.

What I found is that most content creators who don’t dabble in sound, don’t really pay much attention to it. Let’s leave to the side directors and professional producers, but instead talk about amateur or up-and-coming creators.

It can be a lecture recording, a course, a YouTube video or an independent film. More than likely the issue of sound is left to the end, and only after the recording is done, the producers get the full picture – and it doesn’t sound right.

Fortunately, with today’s technology, not all is lost, and a lot of bad recordings can be salvaged and fixed-up to the decent level. Audiobooks, podcasts and radio dramas are a bit different. It’s all about sound so fortunately the quality isn’t left behind. However, especially for new producers, the beginning will be far from perfect.

It’s usually a cheap USB mic and a spare bedroom that acts as a recording studio and with that comes a range of problems.

But what can you do to fix them?

 

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There are different processes that you can apply to the audio in post-production such as:

Noise reduction

Noise reduction will reduce the background hiss and the constant noise-induced with the pre-amp. It’s the best tool to make the recording sound more professional. However, if you apply too much of reduction, you will the recording sound dull. The hiss usually sits in the higher frequencies so when you cut it out, you will cut the presence – the air that comes with it.

Click removal

The are many different kinds of clicks that can occur during the recording, but the most frequent ones will be mouth clicks and lip smacks. Of course, you can try to manually draw them out, but having a process that gets rid of them automatically will save you a lot of time. The thing to watch out is the transients. You want to reduce the clicks but don’t want to get rid of naturally clicky letters such as ‘k’ or ‘t.’

Pop removal

Even with the pop shield, which should be mandatory during the recording, there will be low-frequency pops that will make it. To get rid of them the best way is to apply a pop removal process. A typical low-frequency cut will also get rid of sounds that suppose to be there, that add the bass to the recording, the emphasis on the voice. Pops are much harder to draw out so you will be much better off using the removal effect but be careful – set the strength too high and you will make the voice sound thin.

De-Esser

‘S’ sounding words and letters are hardest to control, especially if you are dealing with a naturally harsh sounding voice. The best solution is to test and choose a right microphone for voice but for new podcasters that is not always possible. Second best thing is to use EQ and a notch filter to get rid of these frequencies. The third thing is to use De-Esser plugin. It works as a compression, reducing the volume of the ‘s’ sounds, don’t overdo it as you will hear the effects straight away.

You can also use the automation and gain control to lower the words and letters manually, but that takes a lot of time to do.

These are the most common processes, there are a lot more advanced effects that can help to restore and clean up the audio, but start with these and move to the other ones when you are comfortable with the basics.

 

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But where can you get them?

Unfortunately, most sequencers do not come with a range of useful audio restoration effects. The one that I know that has them is Adobe Audition. I cannot vouch for the effectiveness of the software as I don’t use it myself. However, I did hear a lot of good things about it so maybe download a trial version.

The ones I use are the top of the market products from iZotope – RX to be exact. These are costly tools but are the best to do the job and all professionals, especially in post-production work, use them.

Don’t despair though. Download the trial version and start learning, before I invested in iZotope products I used the demo versions for a long time – they come with few limitations but if you are able to work with that, only then make the decision to upgrade to the next level.

If you are still at school, you can also email guys from the iZotope and last time I checked they give 50% discount for students.

Of course, I’m sure that there are other solutions available on the market. Do a diligent research, try out trial versions wherever you can and get to work!

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Starting Your Home Studio

Starting Your Home Studio

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04 OCTOBER 2017

written by Mathew Dunn

STARTING YOUR

HOME STUDIO

 

This article has been contributed as a guest post by Mathew Dunn. Mathew has been playing various instruments for a long time, and he is a self-taught musician. He started MusicAlien.Net to share his experiences and thoughts about instruments and music.

 

Most of us musicians would love to have their home recording studio and luckily for us, as the technology advanced, it is now way easier and cheaper to make your home studio than it used to be.

In this article, I will summarise the essentials you need to set up your home studio and what are the most important things to look for when choosing studio equipment and on top of this I will share with you some tips which may be of help to someone who hasn’t done this before.

One thing I would like to say upfront is that you should not have a spend more mentality when picking your gear. The needed studio equipment has gotten better and better with time and the cheapest things today will in most cases beat what used to be the best 20 years ago which is more than enough to get you started if you are a beginner.

However, if you need more professional gear, then I assume you know exactly what you need it for and you will know how to make a choice. Still, keep in mind that the essentials I discuss below do not have to be the most expensive ones as you should choose equipment that suits your budget and overall needs.

Now let’s go through the most important equipment for your home studio:

 

Computer

This is a no-brainer, but I want to share with you a few tips on how to pick yours. First of all, I don’t know what your preferences, PC or a Mac, Laptop or a Desktop are. Whatever they are, they are fine. And if you are a beginner looking to start simple, then if you are reading this on a computer, that computer is probably good enough to get you started, but I don’t know how far will it take you depending on its power.

Things to consider when choosing your computer are

Ram Size

RAM is your most significant friend as a recording musician. And you should have as much as you can of it. Considering that the RAM sticks are getting cheaper and cheaper this should be no problem. Pretty much any computer which was made in the last ten years will have a motherboard support for 16GB of RAM which is more than enough.

Now if you have 8GB of RAM you don’t have to upgrade to 16 immediately but when you see that your computer needs more of it. It is wise to have some widget on your desktop to notify you of the used RAM, and once you start making more and more complicated tracks on your computer you will notice when it reaches about 90%, and your music editing program(s) begin to lag, then you will know that it is time for an upgrade.

If you have 4GB of RAM, then you will be able to start, but an upgrade will be in order soon down the road once you reach the limits.

CPU

Same goes as with the RAM. Whatever you have now will get you started, but depending on the strength an upgrade might be in order. With CPUs getting more and more powerful it is easier than ever to get one that is good enough for music production. I would go with some CPU that has Quad Core and multithreading as it will give you additional virtual cores.

But today it is a standard for any decent computer to have a Quad Core CPU, so it will have you covered. The stronger the CPU, the faster your music editing program will work, and as long as the CPU has enough power to have the program running without lag, you will do fine.

You will spend most of your time working on your computer, so this makes it the most important element of your studio.

 

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DAW (Digital Audio Workstation)

This is where the magic is going to happen, and it is one of the most critical parts of your studio.

If you don’t know the digital audio workstation or shorter DAW, it is a computer program which you will use to record, mix and edit your music.

There are various DAWs out there, and if you don’t know about them, you should first research them and choose one that works for you. Make sure you select the DAW program that you are going to be able to get comfortable with since it is necessary for you to pretty much master the program (don’t be scared as that’s not hard as it seems).

You should work with the DAW program which can be an “extension” of you so that you can think about the music and not about menus, options, etc. You want to own the tool you are working with and not the other way around.

Now the good part comes in. Pretty much all DAWs will get you started, and you should learn about them and try multiple DAWs. Please do not waste too much time overthinking which program should you choose since all of them will get you started if you are a beginner and as time goes by and experience is piled up you will know if you need to change it.

Depending on the computer you use some of these programs might not be available to you as some like Logic is for Mac only but most of them work on multiple platforms.

These are some of the popular and incredible DAWs you should check out:

Sonar

Audition

Pro Tools

Cubase

Live

Reason

Studio One

A solid audio interface

You will need something to get your analog sounds like keyboards or voice into your computer in the form of a digital sound, and this is where an audio interface comes into play.

You don’t need anything special here. Don’t go around spending your money on those crazy interfaces since a decent one with two channels will do just fine.

You should look for an interface that has microphone preamp, line inputs for keyboards and guitars, stereo out and a headphones out.

Make sure to check that the product you are going to get has good reviews and that it meets your needs and you will do just fine.

 

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You need a quality studio microphone

Every studio needs at least one decent microphone in its possession as the microphone will have everything to do with how your recorded sounds will turn out.

There are three main types of microphones, but you will want to get a condenser microphone. The condenser microphone has always been used for studio recordings because their technology allows them to pick up the audio and convert it into electricity in a much more detailed way.

You shouldn’t spend thousands of dollars on your microphone since most of the cheaper microphones are good enough for any recording. However, you should research the mic you are buying well and read its reviews.

But the technology of condenser microphones has advanced, and there are so many manufacturers because of the increasing demand for this type of microphone that the prices went down over the years.

Unless you need some particular microphone for a specific purpose in your studio, don’t spend top dollar for it. Research your condenser mic thoroughly and go with some option that will fit your budget as most of these microphones will be a great choice.

 

You will need something to listen to your music

You have two options here, and they are headphones and monitors, and it is great if you could have both since they both have their uses.

But if you want to save a little money it is perfectly fine just to get the headphones first. But keep in mind that it is a bit tricky to record and mix using headphones, but it can be done.

Besides, you can always listen to your recordings on other people systems to get the proper reference on how the recording using headphones impacts the production.

It is okay to start with the headphones and acquire monitors later on. But if you do want to get the monitors from the outset you will want the monitors that fit your room, and that fit your budget.

Also do not overthink the choice of monitors since various factors will affect how the audio is perceived by the listener like the room shape, listener’s position relative to the monitors, your DAW, etc.

It is essential to research the monitors you are going to get and check their reviews but be aware that there will always be things you can’t control that are shaping the sound you hear so once you decide which monitors you want just to make the purchase and move on.

 

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Creating is the key

Your primary focus should be on getting started. The creative process will make the magic happen not just the gear so make sure you get the gear you need and don’t waste too much time overthinking it. Once you start and once a certain amount of time passes and the experience is piled up, you will know if it is time for an upgrade or if you need another piece of the ear, etc.

You want to get started. That’s the main thing you should strive for, and everything else will fall in its place eventually. Don’t give up and create every day. Work on what you love, and it will pay off in more than one way.

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Mixing on Headphones

Mixing on Headphones

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14 JULY 2017

written by Mike

MIXING ON HEADPHONES

 

During my studies, one rule that was always passed onto us by the teachers was – never mix on the headphones!

The mix should always be done in an acoustically treated room with expensive monitors. It’s the only way to make the piece sound good in every environment.

After the studies, I joined a private school for music production, taught by working professionals – same deal there. The mix must be done on SSL desks, with Dynaudio speakers in a room designed for a quarter of a million pounds.

“Well, it is what it is,” I thought to myself.

After that, I got a job in a sound department at a movie studio. Eight mixing theatres, two with Dolby Atmos sound. Safe to say – everything sounded fantastic there. I worked with most talented dialogue mixers in the country, real veterans of audio mixing.

The rule – never mix on headphones!

Professional mixes must be done in deluxe rooms with the expensive set-up. Even my editing studio had a surround system of calibrated DynaudiosI got used to that comfy chair and top of the shelf editing and mixing system.

Then, I left my job.

I knew I wanted to go freelance and work from home. The issue was real, I’ve cleaned the dust off my Focusrite interface and Adam monitors and was ready. The problem was that my set up is in the bedroom, no acoustics, no high-end studio design.

Mixing gig was out of the window.

Or was it?

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After 18 months with Casefile (and other projects), I learned that rules could be broken and be shaped.

I’m proud to say that I mix on headphones.

Yes, I said. Get over it.

I figured that most people listen to podcasts on their phones, on cheap ear-in headphones. So number one goal should be to make it sound as good as possible on that platform. Casefile needs a good mix, a good balance for score and narration. I can’t lie, it is tricky, and I still make mistakes. But so far the unique approach worked quite well for the podcast and my production practice.

I do the first edit on speakers. The first edit is cutting out mistakes, working with creative breaks and pauses, making the narration as a whole.

I do the second edit on headphones. This takes place in iZotope Rx, and it is in-depth cleaning process. I’m not able to hear every little lip smack on the monitors and Sony MDR-7506 headphones are brilliant in revealing details.

When I write music, I do it on monitors.

When I mix the cues, it’s all on headphones.

Then the first mix – I do the first run on Sony MDRs. I try to balance the score and narration, but the issue is that these phones are closed-cup.

They cut out external noise and give amazing, however not a real representation of the mix.

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Why not real?

Well, it’s only a small percentage of people who listen to the podcast on these kinds of headphones. Most use ear-ins with their phones. Plus the listening is usually done during the work commute, at the gym or work.

That’s why there is a second pass on the mix. And that’s when I use cheap ear-ins. I have a few pairs as each sounds slightly different and I change them during the mix. I make the adjustments to the score and narration.

And that finalises it.

Yes, I will still check the mix on the monitors, on other mediums but the primary goal is to make it sound good on cheap ear-ins.

There is also an issue of exporting to MP3 format. The mix will sound different when played as compressed MP3 in comparison to what I’ve done in Pro Tools. So I keep that in mind during the mixing process too.

Is it a perfect process? Of course not, but as the saying goes ‘if it sounds good, then it’s good’.

The point I want to make is that times are changing and technological progress means that bedroom producers have now much more power than in the past. Yes, it’s great to have a dedicated room for your work. Acoustically designed for high-end systems. But a laptop and pair of headphones will work too, and it shouldn’t stop you from trying.

Of course, let’s not forget that it’s the mastery of skills that matter the most. Don’t worry about the set up as much, improve where you can but what’s most important – get to work!

To learn more about headphones check out The Big Difference Between DJ Headphones from Home DJ Studio.

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