Elektron-Users

Speaking as a professional audio engineer & sound designer, I'd say that there's been a lot of good advice so far. For what it's worth, here's how I get good levels from MD.

I tend to do most of the mixing in the box, keeping the volume of all of the machines around the 60-70% mark so that I still have some headroom if I want something to cut through. I also like bouncing between headphones and studio monitors to get the best possible balance and minimal distortion. Once I've got something sounding the way I want I record a simple stereo track with input levels peaking around -3db, and from there I do the final mastering in Pro Tools (using a MasterX3, but any decent band compressor will do the trick). Personally, I'm a fan of subtle compression. If it's done gently it should really broaden the mix without any overdrive or pumping.

Just my 2¢.

What he said

TrondC wrote:
actually, my point is that even after maxing the levels of every possible step in the recording pricess until just under distortion, even boosting volume a lot in my DAW, it still comes out "quiet". the is nowhere for me to go without getting distortion, and I don't get it.

of cource, I don't support the loudness-wars, but I've heard tons of hobbyists producing vivid, dynamic tracks that are as loud as any commerical release. I just don't know what they're doing that I don't.

Dude, check the settings of your audio interface. Probably , there is something wrong with the input gain value of your sound card.

Sometimes it just comes down to the parts you play, and which of them are playing at the same time. A lot of really loud club music is intentionally very simple in terms of the arrangement, they use just a few, well-written parts to make sure everything has it's own space.

using the balanced output of the Machinedrum going to a balanced input of a soundcard can help maintain some audio definition.


does require the use of a balanced lead for each A/B output.
looks similar to a stereo connection in a mono lead;
the second sheaf provides a balancing power signal.
my rme soundcard only has balanced inputs on the 3/4 input, so i use these for the MD main output, because the MD's a/b stereo output is balanced.

Kas wrote:
Speaking as a professional audio engineer & sound designer, I'd say that there's been a lot of good advice so far. For what it's worth, here's how I get good levels from MD.

I tend to do most of the mixing in the box, keeping the volume of all of the machines around the 60-70% mark so that I still have some headroom if I want something to cut through. I also like bouncing between headphones and studio monitors to get the best possible balance and minimal distortion. Once I've got something sounding the way I want I record a simple stereo track with input levels peaking around -3db, and from there I do the final mastering in Pro Tools (using a MasterX3, but any decent band compressor will do the trick). Personally, I'm a fan of subtle compression. If it's done gently it should really broaden the mix without any overdrive or pumping.

Just my 2¢.

YES!

can't overstate enough turning down the volume parameter to about half... and doing most of the mixing in the box with "level" .... then you have tons of play with the vol parameter for p-locks, ghost notes... and swells.

Then crank the master volume knob if you need to.

Speaking of levels, check this thread:
http://www.gearslutz.com/board/so-much-gear-so-little-time/463010-reason-most-itb-mixes-don-t-sound-good-analog-mixes-restored.html
There is massive knowledge dropped in there,

The short version of which is:

Digital metering is poorly set up, and what would be OdB on an analogue meter is ~-12 on a digital one, levels above that can cause clipping, and so you should trim between plugins to ensure you're not hitting anything harder than that. You can bring up levels on the master fader. Also, 24 bit audio has chockloads of headroom + so recording everything as hot as you can in digital is just asking for clipping.

BARCODER wrote:
TrondC wrote:
actually, my point is that even after maxing the levels of every possible step in the recording pricess until just under distortion, even boosting volume a lot in my DAW, it still comes out "quiet". the is nowhere for me to go without getting distortion, and I don't get it.

of cource, I don't support the loudness-wars, but I've heard tons of hobbyists producing vivid, dynamic tracks that are as loud as any commerical release. I just don't know what they're doing that I don't.

Dude, check the settings of your audio interface. Probably , there is something wrong with the input gain value of your sound card.

well, I've experimented a lot with different settings, and I don't have it in front of me right now, but I'm pretty sure I fiddled around until I found a sweet spot that allowed high volume to enter the soundcard without going into red. Then again, I have nothing except my ears to judge that, and to me, I found the spot where everything sounds good, loud, undistorted and dynamic. I'll post the values when I come home tonight and can have a look.

loads of great reading here folks, will have a nice weekend of just reading and learning the basics once my exam period is over

the mix is meant to be softer in volume - recording in the green, then the mastering process gives extra volume and space.

i read Bob Katz manual 'Mastering Audio - the Art and the Science' .. the manual is always open next to others on a studio book table.. greatly helpful info.

two other studio books im enjoying the writing style of:

Mixing Audio - concepts, practises and tools
roey izhaki

the art of Drum Layering
eddie bazil


Bob Katz makes a good case for parallel compression, otherwise known as 'new york compression'
also mentions the value of multi-band compressors.

another form of compression is by dubbing a track to 2 inch tape and re-capturing to the digital realm via high quality A-D converters, another 2db may instantly be gained this way.

for the duties of a multi-band compessor,
im considering izotope's Ozone 4..
from the reviews, the software seems to approach the capability of an X-Logic 6 band hardware compressor.

and yet, there is plenty that can be achieved with standard digital audio workstation tools.

Kas wrote:
I also like bouncing between headphones and studio monitors to get the best possible balance and minimal distortion.

+1