I've gotta say, I really like this site! It's THE PRODUCERS against the world - and the world doesn't know what's hit it!! LOL

This I hope is an interesting one:

What things can I do as an up and coming producer/writer to ensure my mixies sound equally good on all the usual suspect platforms?

Any tips/Best working method etc most appreciated xx

 

Last edited: Sep 24, 2019

Sounds really nice. Congrats.

 

That's because you're not only allowed to do so, you're welcomed.

The main reason for this are unbalanced low freqs.
You should carve a small gap between 100 - 200Hz, that's where it sounds boomy and tame the freqs below. This will even out the overall freq response and make your songs sound better on small systems.

Pro studios use at least three different systems for this task. Midrange monitors, (mostly 8'') nearfields and a small system like NS-10M.

 

@Classicalbanksy 100-200 Hz is where guitars' bass live. Your tracks don't have guitar so there's no usable sound there. But 100-200 Hz is also where the bass for small speakers come out! It is an important frequency. However, I am not sure about guitarless music

 

Guitars are overrated.

No, seriously, that's why I wrote small gap. Furhtermore small speakers are quickly overchallenged with a too high level here.

Additionally that's why so many studios use NS-10M, to avoid exactly what you mentioned.

 

Last edited: Sep 7, 2019

Actually NS-10M's have a bump in the midrange that make them kind of honky, and not much below 100Hz. They sound like shit basically. If you can make a mix sound good on them, then that usually translates to other types of speakers well.

 

Pardon my ignorance, but what is boom 3 and who is the developer?

 

Say WHAATTTTT!"!!? Bite me old fluffy!

 

Find a pair of Avantone for checking your mixes.It's a standard that sounds like consumer speakers.
https://www.thomann.de/intl/avanton...LCJjdXJyZW5jeSI6MiwibGFuZ3VhZ2UiOjR9&reload=1

Or the cheaper solution is to listen your mixes on your HiFi system if you still have one.

 

I have a hifi in the junk room. How can it help me, I thought they don't use hifi systems for mixing.

 

Great idea, please continue it!

 

You don't use your HiFi system for mixing,you may use it for checking your mixes once your mix is finalized.You mix with your main monitors,Tanoy,Focal,Adam,etc...

 

I once worked in a studio with HiFi speakers in one of the mixing rooms.
Interestingly, when I listened to a mix one of the owners made and switched back and forth between HiFi and studio monitors, I could recognize which of them they used for mixing mainly. And it sounded worse when they used the HiFi system mainly.

IOW, if you mix with studio monitors and it sounds good on them, it's quite easy to make small adjustments to other systems. However, when you start with HiFi monitors, making adjustments to other systems is almost impossible.
As to my experience, that is.

 

I've actually got a pair of Avantone MP1s. They're great, esp for vocal recordings as they don't leak, by MY God They're heavy!

So I switched to a pair of AKGs, for most things, and these I could sleep in, they're so comfy... In fact many's the time I'woken up with them on LOL...

Can I thank whoever it was - they've given me a medal, or something, I'm not quite sure. New to the site, was prepared for it to be all singing and dancing, but this is like "The Price is Right...!" )
Anyway - having the time of my life, thank you Sir Saint for sanctifying this space for us! xx

 

If you're talking about "In Memoriam," there are 3 bass-lines: one a muted Strat, courtesy of Trilian, one the Spiccato Double-basses from the Spitfire Symphony Orch Collection, and oner a Classic Moog bass, provided by Omnisphere.

 

Man Parrish, who was both a friend and mentor to me, until he took it into his head to try to steal my Klaus Nomi tribute track earlier this year, ALWAYS mixes on headphones. I got the feeling he was a little insecure about it all...

And seriously: This track: "Sei il mio Nomi (You're My Nomi)" was written by me, and features Andrew Watts as vocalist, plus. Oliver Preece Flügelhorn and Andrew Keeping (Acoustic guitar and he was also engineer on the vocal sessions). These guys were all fellow students at the Royal Academy of Music in London, and gave of their time and expertise for free, as this track is a CHARITY single (Parrish's idea, no less!) with every cent pledged to charities such as the Elizabeth Glaser Foundation.
Sei il mio Nomi (You’re My Nomi)

https://itunes.apple.com/gb/album/sei-il-mio-nomi-single/1447251286


If you come across a track by Parrish called "Caro Klaus, Dear Klaus" by Man Parrish, Emmanuel Parrish, Emmanuel J Parrish, or even Dan Parrish, please let me know.

Parrish mixed my track. I asked him to - he was Klaus Nomi's MD. He did a wonderful job. But he's not a happy camper, and within a week was bitching about as "Producer" his name was appearing below that of the featured artists, who'd ACTUALLY played on the track. Next thing I know he'd blocked all means of communication, apart from hen he'd try to frighten me with some pretty nasty brief email about suing my ass.... I mean, please...

It took me quite a while to get CD Baby to ACTUALLY do anything, but in the end we managed to get all EU and USA links down. At which point he began selling the track in the Far East via Yandex etc.

 

hhmm what...
----
how much money did he made..make a guess..?
--------
far east ...yandex ..

 

i mix on creative speakers which are 11years old. i don't even remember the model number.

 

I hope I'm doing this right, because you site takes a bit of getting used to, and to be honest because I am so upset and angry at the same time, I just had to get this off my chest.

This is my original track, I've Ade a screen shot from my Apple Music page:

But if you look above, Parrish sometimes doesn't even bother to alter the artwork, he's used my artwork, and with impunity is selling MY music - a track which HE suggested we could use to raise money for charity, so he's now also stealing money pledged to Charities who look after kids with HIV, for God's sake. I mean - how low can you go..?

The damage his "ego" has caused... Well, let me qualify - I don't think ego here is the problem. The problem is he hasn't had a hit in years, and when he could see I was up and running, and writing, that made him get desperate, I suspect.

CD Baby are, not to put too fine a point on it, lazy shits! That Spotify link, next to the Google screen screen shot - that's from this last weekend. So He's basically started again... And as I look at that screen shot I can see how those fucking Google bots that don't have a clue what the date they hoover up means, have just made things worse. Even if you type in "Sei il mio Nomi" - Manny's face is there!

Since the launch of MY CHARITY single, to coincide with the 30th anniversary of World Aids Day, 1st Dec 2018 - I have sold precisely 1 copy of "Sei il mio Nomi." That means I have a total of 29p to donate to one of the HIV charities....

She didn't want to tell me initially, but I insisted. And I was told by Mariska of the Legal Dept at CD Baby, that Parrish's version (which had also been distributed by them, until they've assured me they removed it - they didn't try very hard it's still available via Shazam!) had generated, and `I quote "well in excess of $5, but that's all I'm allowed to go up to, $5."

So he's decimated the sale of my music, thereby stealing money pledged to childrens' charities, stolen my copyright without bothering to cover his tracks, utterly ignored and insulted my friends, who are now top professionals in their field (he never once quotes any of their names - or mine, obviously) and after we'd cleared all he links, he's starting to reupload again. With absolute impunity.

I'm about to release that George Michael track, fuck knows how much damage he's done to my profile as a recording artist, and I'd only just begun.

So - I think, with some justification, I've been emailing CD Baby, and copying in Derek Sivers, who - although he no longer owns the company, is a friend of mine. I've sent CD Baby a list of 10 questions. I won't quote them all here, but the bottom line is:

When an artist whose work you distribute is found clearly guilty of copyright theft, and is demonstrating no intention of stopping, WHY are you continuing to distribute ANYTHING by that artist? Why haven't you pulled Parrish's complete discography? Why isn't CD Baby making an example of him, by removing every track of his either indefinitely, or at least until he hands over the final stems that I had sent him, and all other material pertaining to this track... Why aren't they mounting a major "We're Cleaning Up - Zero Tolerance on Copyright theft" campaign. One that, in my opinion would attract a heck of a lot of new business, as kids starting to make music would be attracted and reassured by the camapaign and message.

Why was I even having to write and suggest (now - since he's started up again, demand!) that such action is taken by CD Baby. If the protection of their Artists' copyright is not CD Baby's first priority, front and centre, WHAT THE FUCK IS??

I've been promised a response by a Supervisor, that was in July. I was back onto them last night, as I could see Parish was at it again, and I'm worried this might affect the chances of "In Memoriam," which she have said could be my breakthrough single, actually getting noticed at all. If the bots all associate Parrish's face with my song, my profile is already down the pan, and I'm scared that a REALLY good song is about to follow it.

I'm ashamed on behalf of my friends, because I told them they could trust him, when we clearly couldn't. I'm angry at what I see as CD baby "not wanting to rock the boat.." which is think is unforgivable. If your business is built around the protection of copyright - a legal possession already under attack from all sides, then fucking well pull your finger out and protect it. And make a pubic embarrassment out of anyone who behaves as Parish has.

The guy I was talking to last night, at CD Baby (via Artist Chat), said at one point "well we all know it's a wicked industry..." To which I replied: "We do... But that doesn't mean we cant change that fact... If we felt strongly enough about it..."

The bottom line here, is that Parrish has been around for eons, knows the guys at CD Baby, bla, bla, bla... No one has a clue who I am, because they never went to the opera when that was my career, and so couldn't really care less about the damage done to a career, that as far as they're concerned, has no value, because it hasn't started yet.

There's a reason I wrote tribute songs to both Klaus ad George. I was diagnosed with HIV 16 years ago, at the height of my opera career, managed by Pavarotti and living in Italy. That diagnosis turned my world upside down almost overnight. Bologna General were unsympathetic (you can thank the Catholic Church for that), messed up my meds, and I ended up coming back to the UK in 205 with full blown AIDS.

I started messing around with music production, while undergoing chemo in 2006. I remixed Madonna's "Ray of Light" on my Italian laptop, on a cracked copy of Cool Edit Pro and FL7. It took me 6 months to do - coz I'm a headstrong son of a bitch, and wanted it to at least be as "epic" as William Orbit's! On 2 cracked apps...? That couldn't run at the same time!! Here it is, btw : https://metapop.com/classicalbanksy/tracks/ray-of-light-queen-of-the-desert-remix/72747

So I have fought to stay alive. I have fought, and am fighting to turn my hobby into a new profession, a 2nd career... A 2nd life... That's how it feels..

And THAT'S why what Man Parrish has done, with his fragile ego, fragile grip on reality, and fragile moral compass, MATTERS... It matters a LOT...