3 Ways to Spot an Amateur Engineer's DAW Session

3 Ways to Spot an Amateur Engineer’s DAW Session

3 ways to tell if your DAW session is professional or amateur. If you fall victim to any of the following then consider doing these in your next session and watch your sessions become more efficient. Also your mix engineer will thank you.

1. Not labeling your tracks - This is the biggest one. When I get a session that has audio 1, audio 2, audio 3, etc I send it back to the artist or engineer that sent it to me, or I charge extra to label the tracks myself. As a mix engineer in my opinion its not my job to label your tracks, and by doing so it takes time away I can spend mixing. Labeling your tracks will keep your session organized, and good organization means more time, and more time equals more money.
2. Session is at the default tempo of 120 bpm - Having the correct tempo in a session is good for two reasons. 1. Its makes it extremely easy to copy and paste hooks through out the song and move verse’s around. Without the correct session tempo you will be stuck nudging tracks around trying to get them placed properly. 2. With the correct tempo the mix engineer will be able to set up tempo based effects like delays.
3. sends and buses not labeled - This one, like not labeling your tracks, has to do with organization. If you set up a headphone mix or reverb bus for the artist, do yourself a favor and name it. After a couple of sends it can get confusing on which sends are sent where.

These three steps will help speed up your sessions in the studio. I was assisting on a recording session one day and the lead engineer told me to turn down the send of the reverb on the vocal. I go to do it and there were four sends set up on the vocal........unlabeled. So now instead of going right to the reverb I have to play process of elimination to find the reverb send. And trust me, the longer you take to do something in the studio, the more the artist or client can start to wonder or assume you don’t know what the hell your doing. If you ordered at a fast food restaurant and the cashier took 10 minutes poking around the register trying to put in your simple order what would you think? You’d first think what is taking so long, then you’d assume they didn’t know what they were doing. Its the same way in the studio with a client  for the time. Your behind the register and they are giving you their order.

MIA Dallas 2012

So this past weekend I had the pleasure of doing a presentation on audio engineering at a seminar in Dallas, TX called MIA (music industry academy). I learned a lot from from other presenters there who spoke about finances, public relations, brand management, music business, and marketing. Events like these are put together to educate but also to network and build relationships. I admit I haven’t networked in Nashville since moving here like I should have, and this event has motivated me to do so. 7 years ago, while living in Memphis, I would never have missed an event or chance to network in Memphis or surrounding areas. One thing Kevin Shine said that has stuck with me is that you can’t do it by yourself, and I strongly agree. Every successful person has a team behind them. Though you may not see them, trust me they are there. If your like me and believe that “if you want something done right do it yourself” than it can be hard to accept this, as it was for me. The more success you gain the more you will need people to help with certain tasks. I’m not to the point where I have so much work that I need an assistant engineer yet, but when I do get to that point I will definitely be adding one to my team.

People underestimate the importance of networking, especially at events like MIA. As engineers we have to put up with a lot of people’s [expletive] and its gets easier to judge people the more you do it. We know when someone is serious, and we know someone is full of it. People at events like MIA makes it easy for me to take them more seriously because if you weren’t serious you never would of took the time to show up in the first place. To get ahead in this game you have to move forward and higher to separate yourself from the competition. Events like MIA help you do just that with an abundance of knowledge and networking opportunities to help build your team. Even if I know a lot about the subject of a presentation I still attend because there is almost always something you can take away from it.
Back to MIA though, DJ Go Lucky and DJ SupaKen spoke about the DJ game. This really opened my eyes to a lot. There’s so much that goes on in the DJ business that I was not aware of. Producer Erotic D gave a very informative class on music business. I advise everyone brush up on your music business chops, nobody wants to be screwed. In most cases (thankfully not me) it takes getting screwed before you take music business seriously.
In closing I want to thank Shay at Opulent PR and event management for inviting me and giving me the opportunity to speak at MIA, Kevin Shine for the time he took to sit down with us, Erotic D for giving us a tour of his newest studio in the Dallas area, and everyone else who gave presentations and those who attended MIA. And I want to thank Razzo’s on North Central parkway, and Benedict’s on Belt Line rd for amazing meals while we were in Dallas. Can’t wait for the next event!

How to use pipeline in studio one

Winter NAMM 20112 wish list

 So the new year has came and its now January. January is one of my favorite months for two reasons. 1, Winter NAMM, and 2, CES. New studio gear and gadgets, one day I will have to attend both of these events. Here is 10 things I wish to see at NAMM this year.

1. The Avalon 737 is one of my favorite channels strips. Its been years since Avalon has released anything new. Would love see some new gear from them.
2. Same goes for Summit Audio. They were bought out a few years ago and said they would continue to build new gear. Well its been a few years so here’s to hoping we see something new soon.
3. I’m pretty stocked on plugins from last year but if Softube, McDsp, or Sound Toys announces anything new I will be excited to check it out. Hey Sound Toys, if your reading this would be a good time drop juice!
4. Dangerous has been one my favorite companies with products like the d-box, 2bus, and bax eq. Here’s hoping to see a compressor next.
5. JDK audio has been putting out products every few years. In a short time they produced the R20, R22, R24, and V14. I hope the R26 is a channel strip.
6. What ever happened to the Apogee Mic? Maybe we will see it at NAMM
7. Speaking of Apogee I hope see an upgrade to the ensemble. Something to go between the Symphony and ensemble would be much appreciated.
8. Geoffe Daking told me at Sweetwater’s Gearfest he was working on a new 500 series piece. Lets see it at NAMM!
9. Dear SSL, I absolutely love the alpha link. Excellent converter. But everyone doesn’t need 24 channels. I hope they will announce an 8 or 16 channel converter based off the alphalink.
10. I’ve never used a Vintech pre before but have heard great things about it. I want to see a the eq from the x73i shrunk to the 500 series format.

What do yal hope to see at NAMM?

M-audio Profire 2626 review

When I first saw the m-audio Profire 2626 I thought this was one sexy interface! I loved the all black faceplate. This was a huge step up in design from the previous firewire interfaces. I owned the m-audio 1814 and 410. Not because if was the best firewire interface I could get, but because it worked with pro tools m-powered. While I felt they were far short of amazing, they got the job done. The Profire 2626 however, is miles closer to amazing from the previous line of m-audio interfaces. Like the FW1814 and 410, I was forced into buying another m-audio interface in order to work in pro tools at the time. Over the past year and a half with the Profire I have grown to love some things about it, and hate some things about it. Lets talk about the good things first.

First of all 99% of the work I do in my studio is mixing and mastering, so I have never once used the pre's. However, I have an engineer friend with one and he loves the pre's on guitar and vocals. Here is a quote from him on his thoughts on the pres.

“The pres are great. They are really clean for vocals and acoustic guitar and they seem to color the signal in a really unique way.

The 2626 itself is the perfect starter piece for a home recording rig and the Octane pres are just the icing on the cake.” - Trevin Tolbert

The first thing I noticed was the d/a conversion was very nice. A lot better than I expected. Black Lion Audio says the stock Profire 2626 sounds better than the Apogee Ensemble. I can’t cosign on that because I have never used an Ensemble, but compared to my Lynx Aurora the Profire wasn't as wide and had less depth, but certainly was able to hold its own. As far a/d converters once again the Profire preformed well. Not as good as the Aurora, but a very capable a/d conversion. For the price, features, and I/O count the Profire 2626 deserves a trophy for sound quality.

Now for the bad. In printing my mixes back in Pro Tools through the Profire I would sometimes get random clicks and pops. this wouldn’t happen often, but often enough that I had to be sure to check for them before sending a mix to a client. I blamed this on the Profire’s internal clock. After purchasing a Lynx Aurora I clocked the Profire to it. 8 months in and so far not a single click or pop in my mixes.

My second issue I believe is driver related. When I clock to the Aurora and open a pro tools session sometimes I get a “playback device does not support 48k”. (Or whatever sample rate I have the Aurora set to, which most of the time is the sample rate the session is set  to as well.) When this Pro Tools error occurs the clock on the Profire gets reset to spidf/coax. This has never happened opening Logic or Studio One sessions so as far as I can tell it is specific to Pro Tools. Which is pretty funny when you think about that the Profire and Pro Tools should play nicely together since they were made for each other. When this happens I have to go to Profire control setting, set the clock to internal, reopen the pro tools session, go back to the Profire control panel software, and reclock it to the Aurora. This became very annoying and was enough to make me think about parting with the Profire. Last month I got a RME Firerface 800 and it is now my main interface. I have the Profire connected to the RME by adat running in standalone mode. Since then I’ve had no problems opening Pro Tools sessions.

My third issue is the control panel software. You can save your configurations, which is pretty much standard for any interface control software, but I have no idea why the hell m-audio decided to not SHOW you what configuration you have loaded. This may seem minor but was a major FAIL to me. I have 3 different configurations saved. One for monitoring from the D-box d/a, one for monitoring from the Aurora d/a, and one to monitor from the Profire. Since I can’t see what setting I have loaded I have to just load up whatever setting I have saved, which is redundant if I was already in the setting. But to avoid wondering why my session isn’t playing back correctly from certain outputs this is how I had to do it. This is of course not an issue anymore since the RME is now my  interface, and yes, it does show you which setting you have loaded in total mix.

Another weird thing is once I installed the Aurora, I went in the profire control panel to reorder the inputs. I wanted to make the Aurora 1-8 and the profire 9-16. Reordering the inputs did nothing but route the signal out the Auroa into the profire. After a few days I gave up. This was very frustrating because whenever I played Itunes or anything other than my daw I would have to patch the profire outs 1-2 into my d-box. I have no idea why the reorder input wouldn’t simply just work.

So despite the internal clock, I have no problem with the units hardware. Since I don’t record in my studio I had no problem with all the pres being on the back. The line inputs bypass the pres which is something that can’t be said for most interfaces. Some people like full metering but I’m happy with the green signal lights (of course they show red when clipping) on the front of the unit. They let me know the Profire is getting signal, I can check metering in my DAW. This can be very helpful during troubleshooting because it allows you see if your getting signal from the source. I’ve always thought of M-audio as a consumer brand for pro audio, but the Profire 2626 moves them into pro-sumer bracket to me. The hardware design definitely gives it a pro look, and when I saw the new fast track interfaces recently announced it looks like they will continue to go in that direction. Though not mentioned in the conversations with other high end companies like  Apogee, Lynx, and RME, the Profire 2626 is as high end as you can get from M-audio right now.

API eq shootout

Newer Doesn't Always Mean Better

In the audio world, newer doesn't always mean better, though in most cases it does. In electronic products such as smartphones, TV's, video game consoles, and computers, are contanstly being replaced by newer models with more impressive specs and performance. In audio however, this isn't the case. Lets take the Empirical Labs Distressor for example. The Distressor had its 15th year old birthday last year. The Avalon 737 channel strip is also more than a decade old. The RME Fireface series is coming up on a decade. The Lynx Aurora converters are now over 5 years old. Yet these products are still popular and selling well today. If you notice, most of the new gear today is made to sound like the old gear of the past. The Vintech series is made to recreate the classic Neve sound, and the Daking mic pre and eq is modeled after the Trident console. I'm not saying go buy the oldest gear you can afford, but I am saying if your looking at gear and one was built in 07, and one 05, don't expect the one built in 07 to sound better because its "newer". 


Because audio gear made over a decade ago can still be relevant today is actually a good thing. I don't think anyone will reinvent the microphone anytime soon. What I mean by this is you have condenser, ribbon, and dynamic mics. Will there be an awesome new technology to come out that will replace these types of mics making them obsolete? Not likely. So its a good thing because the same mic, mic pre, eq, and compressor you use today will still be able to function 20 years from now. This means you can buy gear and use it for the rest of your career. How many other industries can say that? Another good thing is that after a decade of production there are plenty of used ones available for cheaper. The bad thing about old gear still being relevant is that prices aren't likely to drop because of a products age, which makes sense. It something has been selling well for over a decade then why drop the price? If anything prices go up. An engineer I know was telling me the other day how his friend bought a tubetech CL1B for around $1800 brand new years ago. Now the price is almost doubled at $3500. So don't let the age of a product discourage you from purchasing it. (Unless its truly vintage and may be in need of constant repair.) Who knows, that gear you may end up buying that's a few years old may end up being a classic. Then you can be the one saying you bought it at lower price 10 years later when the price is doubled.