Just Blaze and Chopping Samples

Just Blaze: www.mikechav.com chopping samples in Logic from Mike Chav on Vimeo.

Lil wayne,Jim Jones,and Juelz Santana Hosted by Scoob Doo! Mix House Did the audio.

check out the trailer to the highly anticipated episode 07 of streets talk dvd
"THE THREE AMIGOS" starring LIL WAYNE,JIM JONES,JUELZ SANTANA. Guest Appearances include Mike Epps,Baby,Dame Dash,Redman, & more!!!



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EXECTUTIVE PRODUCER:
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Mix House,LLC did the audio.Tell them we sent you!

The role of Compression

The Role of Compression at Mixdown

First of all, if you plan to have your material professionally mastered, don't add compression at mixdown. A professional mastering engineer will have a better compressor than you do and they cannot remove the layer of compression you add. Just get the mix sounding great without compression, record the mix so it's top peak is several db below 0db. Let them make it louder, that's their job.

But if you are not sending the piece off for mastering, and aren't going to add a pass later through mastering processors, then, yes, patch in the compressor at mixdown or do a separate pass later with the mixed file.

On it's way to the recording device, you can patch a compressor/ limiter/gate. The Gate simply cuts out any audio below a certain threshold so that any hiss or noise coming from your synths or mixer is eliminated before the music starts. The limiter keeps your peaks under a certain fixed level and will not let them go higher. A Compressor is a volume slope applied to the audio material going through it. It can amplify the "valleys" and attenuate the "peaks". Essentially compression reduces the dynamic range we have just struggle to achieve in our mix. You might wonder why you would want that. In many circumstances, you don't want it. However, in the majority of cases you will find it useful, especially if you want your music to be "hot", "have punch" "be as loud as possible", or have the consistency of a radio mix. The stereo compressor also helps balance the song and give it a uniform character we are so used to hearing in commercial music. It essentially gives you the strongest and smoothest mix and calms down some of the 'jaggged edges' that might disturb the casual listener. However, it is also very easy to make a mix totally lifeless with a compressor and reduce its dynamic power. What started as a powerful orchestral arrangement can end up a wimpy piece of Mall Muzak so be careful and bypass it frequently to make sure you like what you are tweaking up. I think compression works well to attenuate that occasional peak that rips through the roof of a digital audio recorder and ruins the track. Also if you have the cash for a fine analog tube compressor. or even a high quality compressor plugin, there is lots of magic you can do at this stage.

Advice for upcoming Engineers

Mixing With Kanye

Limiting

Limiting

Main article: Limiting

Compression and limiting are no different in process, just in degree and in the perceived effect. A limiter is a compressor with a higher ratio, and generally a fast attack time. Most engineers consider a ratio of 10:1 or more as limiting, although there are no set rules.^[7] Engineers sometimes refer to soft and hard limiting which are differences of degree. The "harder" a limiter, the higher its ratio and the faster its attack and release times.

Brick wall limiting has a very high ratio and a very fast attack time. Ideally, this ensures that an audio signal never exceeds the amplitude of the threshold. Ratios of 20:1 all the way up to ∞:1 are considered to be 'brick wall'.^[8] The sonic results of more than momentary and infrequent hard/brick-wall limiting are usually characterized as harsh and unpleasant; thus it is more appropriate as a safety device in live sound and broadcast applications than as a sound-sculpting tool.

Some modern consumer electronics devices incorporate limiters. Sony uses the Automatic Volume Limiter System (AVLS), on some audio products and the PlayStation Portable.

See also: Clipping (audio)

Limiting and Clipping compared. Note that clipping introduces a large amount of distortion whereas Limiting only introduces a small amount while keeping the signal within the threshold.

-Wikipedia

Basic's on compression

Basics

The relationship between input level, output level, and gain reduction in a compressor

In simple terms, a compressor is an automatic volume control. Loud sounds over a certain threshold are reduced in level while quiet sounds remain untreated-- (this is known as downward compression, while the less common upward compression involves making sounds below the threshold louder while the louder passages remain unchanged). In this way it reduces the dynamic range of an audio signal. This may be done for aesthetic reasons, to deal with technical limitations of audio equipment, or to improve audibility of audio in noisy environments.

In a noisy environment, background noise can overpower quiet sounds (such as listening to a car stereo while driving). A comfortable listening level for loud sounds makes the quiet sounds inaudible below the noise; a comfortable listening level for quiet sounds makes the loud sounds too loud. Compression is used in order to make both the soft and loud parts of a sound more tolerable at the same volume setting.

Compression reduces the level of the loud sounds, but not the quiet sounds, thus, the level can be raised to a point where the quiet sounds are more audible without the loud sounds being too loud. Contrast this with the complementary process of an expander, which performs almost the exact opposite function of a compressor, i.e., an expander increases the dynamic range of the audio signal.^[1]

A compressor reduces the gain (level) of an audio signal if its amplitude exceeds a certain threshold. The amount of gain reduction is determined by a ratio. For example, with a ratio of 4:1, when the (time averaged) input level is 4 dB over the threshold, the output signal level will be 1 dB over the threshold. The gain (level) has been reduced by 3 dB. When the input level is 8 dB above the threshold, the output level will be 2 dB; a 6 dB gain reduction.

A more specific example for a 4:1 ratio:

Threshold = −10 dB

Input = −6 dB (4 dB above the threshold)

Output = −9 dB (1 dB above the threshold)

Signal Flow

Guru Speaks on Engineering

How to Eq Using Waves.

Let's talk Preamps..

Let there be no doubt that with the mic pre you pay for sound quality. That is what the whole game is about! But the preamp alone is not wholly responsible for quality, it is just one component. Your a\d converters, the cleanliness of your signal paths, the acoustic properties of your recording room, your choice of microphone and choice of monitors (so you can hear the fine differences) are all critical to quality. Those who want "the best" sound quality might spend $4,000 on preamps, $3500 on converters, $1500 on an audio interface and $5,000 on mics and $3,000 on room treatment. That's $17,000 just to get into the pro ballpark, still far from "the best", and we haven't included the cost of monitors, DAW, software or cables. So my first bit of advice is to scale your choices to your overall budget. In other words...

Face reality. If you are just starting out and have a $1000 budget for everything, you should use the preamps on your mixer or audio interface and choose your mic carefully. Do you have to then settle for crappy sound? No! Let's consider technique. You can get surprising results out of mediocre preamps and typical consumer soundcards by meticulously setting the gain or trim level till its perfect, keeping a clean signal path, training your vocalist to use good microphone techniques and doing what you can to reduce your room reflections. A poorly set level on a great preamp recorded in a nasty reflective room will not sound good. If you want to sound like a pro, work like a pro, and then, after much deliberation, saving money, weighing options, get your preamp. Don't scrimp. Remember I told you several pages back I'll tell you where you can compromise and where you can't? The preamp is a piece of gear where you should not compromise. Get one you are convinced will give you better sound quality.

-Tweak

Want to learn how to Mix with Ryan West?

Elements of Mixing 2 needs your help!!

Bob and I need to reach out to as many people as possible to announce our latest Elements of Mixing workshop event. If you know of anyone who is interested in learning to make better sounding records, let them know! If there's a website that you know of that would post our press release (see below) please let us know. We're really looking forward to this event!

FOR IMMEDIATE RELEASE

Ryan West
Bassy Bob Brockman
elementsofmixing@gmail.com


Elements of Mixing founders Ryan West and Bassy Bob partner with Legacy Recording for Sept. 20th workshop

New York, NY
August 27, 2008

Platinum and Grammy winning mixers Bassy Bob (Biggie Smalls, Christina Aguilera, Babyface, Herbie Hancock) and Ryan West (Just Blaze, Jay-Z, Rihanna, T.I.) have partnered with Legacy Recording (formerly world renowned Right Track and Sound on Sound) to produce the next Elements of Mixing workshop. The event will take place 10am-8pm September 20th, 2008. The Legacy 509 facility is one of the premier film scoring rooms in the US and returning students will find the experience bigger, better and full of useful instruction. Bassy and Ryan will cover all the aspects of the professional mixers' work flow, from balancing to panning, effects, and especially the use of compression to handle multiple bass signals, a key aspect of mixing in todays marketplace. A big topic of the workshop will be the degradation of audio fidelity by the widespread use of mp3 with examples of what happens to sound when it gets compressed, why it truly sucks, and why 24/96 rules. Although there will be an emphasis on Hip Hop and R and B in the presentation, Bassy and Ryan will also be tackling mix sensibilities for Rock, Dance, and Indie. Another special focus will be critical listening exercises and techniques to enhnace that ability. Students that attend the conference will also have an opportunity to have their production and mix work evaluated at the end of the day and will get a chance to see and hear their music from a different perspective.


"The seminar is not intended specifically for engineering students from college but also the independent producer and working engineer who wants his/her presentation mix to bang", said Ryan West. "The Elements of mixing seminar will give you the tools you need to make the mix hit hard and yet hear everything. If we are able to train the next generation of mixers and producers to make great sounding records then I will indeed be fulfilled. We're on a mission", says Bassy.


For more information about the Elements of Mixing seminar go to: Elements of Mixing
or email Elements of Mixing EMAIL
September 20, 2008
10am to 8pm
Legacy 509 Studio A
509 W. 38th St. New York , NY 10018
Registration fee: $249
Lunch will be served.

9th Wonder good Interview...Talks bout FL and more.

How to treat your room.

The number one consideration of a home-based project studio is not soundproofing, but the making of a quiet room. I find it kind of funny that some people will spend thousands to treat their room yet never quiet the stuff inside the room itself! You walk in and hear a noise coming from computer fans, whines coming from hard drives, zip drives, scsi drives for samplers, fans in samplers, fans in amps. This is no way to work on music or produce audio. What one finds is that this racket masks other problems in the studio, like 60 Hz hum at the console outs, poorly set up gain on mics, synths and other instruments. It's rather ironic. People who have a noisy studio create their stuff, mix and master it and never really notice that the entire production is imbued with noise problems. When the piece is done, they still don't notice it because, yep, they listen to it in their noise-infected studio. So let us post rule number one. Ready? Here it is.

To create music you must be able to hear your sounds. Doh! OK, I can see you dudes rolling your eyes. Some of you have bought the hype that you need $2,000 studio monitors to do this. Yes. Studio monitors are important, but even if you have the best monitors in the world you are still going to have major problems if you cannot clearly and totally hear what is coming out of them! So let us be clear. The number one enemy to good sound is the noise in your room, coming from the very devices you make music with. The louder your room is, the louder you have to monitor your music, the faster your ears will fatigue in a session and the greater the likelihood you may damage your hearing after years of constant, relentless exposure to high sound pressure levels. On the other hand, with low ambient noise in a room, you can find a lower comfortable volume level at which to work. This saves the ears a lot of wear and tear and you can work longer, and do those major projects that require successive all night sessions.

EQ TIPS! frequencies

Instrument Cutting Boosting Comments

Human voice

Scratchy at 2 KHz. Nasal at 1 KHz. Popping Ps below 80 Hz. Hot at 8 KHz. Clarity above 3 KHz. Body at 200-400 Hz. Aim for a thinner sound when blending many voices, especially if the backing track is full.

Piano
Tinny at 1-2 KHz. Boomy at 300 Hz. Presence at 5 KHz. Bottom at 100 Hz. Don't add too much bottom when mixing with a full rhythm section.

Electric Guitar
Muddy below 80 Hz. Clarity at 3 KHz. Bottom at 125 Hz.

Acoustic Guitar
Tinny at 2-3 KHz. Boomy at 200 Hz. Sparkle above 5 KHz. Full at 125 Hz.

Electric Bass
Thin at 1 KHz.Boomy at 125 Hz. Growl at 600 Hz. Bottom below 80 Hz. Sound varies greatly depending on the type of bass and brand of strings used.

String Bass
Hollow at 600 Hz. Boomy at 200 Hz. Slap at 2-5 KHz. Bottom below 125 Hz.

Snare Drum
Annoying at 1 KHz. Crisp above 2 KHz. Full at 150-200 Hz. Deep at 80 Hz. Also try adjusting the tightness of the snare wires.

Kick Drum
Floppy at 600 Hz. Boomy below 80 Hz. Slap at 2-5 KHz. Bottom at 60-125 Hz. For most pop music, remove the front head, then put a heavy blanket inside resting against the front head.

Toms
Boomy at 300 Hz. Slap at 2-5 KHz. Bottom at 80- 200 Hz. Tuning and adjusting the head tension makes a huge difference too!

Cymbals, bells, tambourines, etc.
Annoying at 1 KHz. Sparkle above 5 KHz. [Analog only:] Record these instruments at conservative levels, especially at slower tape speeds.

Horns and Strings
Scratchy at 3 KHz. Honky at 1 KHz. Muddy below 120 Hz. Hot at 8-12 KHz. Clarity above 2 KHz. Strings are lush at 400-600 Hz.

Old Meek Mill Footage

Just listen to these words

Old Meek Mill Footage

Nas Interview

Mixing Drums

JJP Mixing tips

Courtesy of Waves.com

SSL WAVES PLUG-INS

Developed under license from Solid State Logic,
The SSL 4000 Collection includes four meticulously modeled plug-ins based on the legendary SSL 4000 Series: the SSL E-Channel, the SSL G-Master Buss Compressor, the SSL G-Equalizer and the all-new G-Channel.

These plug-ins sound so close to the original
consoles, even experts who work with SSL
boards day in and day out can’t tell
the difference.

The loudness battle in Mixing

Compression, Mastering Stage

Compression is another tool the mastering engineer uses to bring out the flavor of audio. Used effectively, compression can smooth out the piece. It raises the volume of the softer sounds and reduces the level of the louder ones, to make them all more uniform to the ear. Setting the attack and release of the compressor can yield a pleasing sense of dynamics that can set the whole mix in motion where all the instruments sound like they are on the beat and surging forward in the groove (even when they may not be). The loudest element of the mix that the attack segment "captures" will trigger the subsequent gain reduction. The decay will determine how long that reduction will last and the audio will rise again in volume till the next loud trigger comes through and starts the cycle all over gain. Mastering engineers tend to love compressors as each has a different sonic imprint on material.

Another type of compression used at the mastering phase is a multi-band compressor. This is a processor that works to both tonally balance the piece by breaking up the audio bandwidth into 3 or more bands and having a separate compressor for each.

Using Track Groups in Pro Tools

How to fatten up a Guitar In Pro-Tools

Reverb...

Reverb Effects.

Before the widespread proliferation of television sets in the 1950s, reverb effects were already in use in studios making records. The early reverbs were based on microphone and transducer technology. Reverb was created naturally in good sounding rooms or "chambers" with highly reflective walls and movable baffles. Microphones were placed in the room at various location to pick up the ambient sound. These were large, expensive rooms of about 2000 square feet! Here's a pic of a great reverberant chamber. Few studios could afford to build a room this size, so quite quickly, plate and foil reverbs came about. The Plate reverb was really a large steel plate, held up inside a frame so it could vibrate freely. The plates were anywhere between 6 and 18 feet tall and had to be isolated in a room of its own. Imagine trying to do a home studio in those days! Amplified soundwaves would make the plate radiate, like a large gong does, and microphones would pick up these vibrations and send them back to the control room as an audio signal. So when you look at your digital FX box and see "plate reverb" and "chamber reverb" that's what these effects are tryng to emulate through digital mathematics. Lets move on. . The Spring reverb came about next and was quickly adopted by guitar amps. Inside these units was a metal spring, like a Slinky, that vibrated with the amplified audio. You may have seen guitarists bang on their amps to get the spring to distort, and many radio shows used this effect to simulate thunder and lightning. Here's a pic of how it worked.

Simple Signal Flow

Introduction to the Tracking and Mixing process with the Mixer/Soundcard Approach

What? You want me to draw you a picture? OK I will. Below you see a simple rig consisting of an entry level keyboard, a PCI soundcard, and a mixer with a recording bus with monitors. Add a decent Mic and you can get started. Yes it is that simple.

The basic setup with the Mixer/Soundcard approach: Follow the flow. MIDI DATA (not the sound of the keyboard!) from the keyboard goes to the computer via the soundcard's MIDI port. The MIDI data travels through the MIDI sequencer and is recorded as MIDI tracks. These midi tracks can be routed back to the keyboard (or to software synths), which makes sound and goes down the AUDIO cables to the mixer and the speakers. You can then loop channels of audio back to the soundcard's AUDIO inputs and record an audio track.

In the sequencer, in the box, you can tweak all these audio tracks into a stereo mix that can be burned to a CD, or written as a .WAV file.

C-24 Control Surface Specs

The newest control surface from Digidesign!
Pro Tools is powerful software, and adding a control surface takes that power to a whole new level. The C|24, the newest control surface from Digidesign, offers 24 bankable channel strips, each with a touch-sensitive, motorized fader, motion sensitive encoder and LED ring, and dedicated Mute, Solo, Select, Input, Record, EQ, Dynamics, Insert, Send, and Automation illuminated switches. High-quality analog components provide great sound on the front end along with outputs to handle tasks such as monitoring. Easy-to-read, dual-row LED scribble strip displays let you easily keep tabs on each channel.

The C|24 comes equipped with a 5.1 surround analog monitor section for post-production work, and a built-in talkback mic and inputs for remote talkback and listen-back simplify studio situations. This is the perfect solution for small- to medium-sized studios looking to equip themselves with a smaller Pro Tools|HD system or bolster the hands-on control of a Pro Tools LE rig. Plus, since it compatible with both LE and HD, LE users that are eyeing a move up to HD in the future can add the C|24 to their current setup, and seamlessly add HD when they're ready. It's time to take control with the C|24!

Digidesign C|24 Features:

* 24 bankable channel strips
* Touch-sensitive motorized faders
* Dedicated Mute, Solo, Select, Input, Record, EQ, Dynamics, Insert, Send and Automation illuminated switches
* Dual-row LED scribble strip displays
* 16 high-quality, low-noise mic/line/DI preamps
* 8 x 2 stereo line submixer
* 5.1 surround analog monitor section
* Built-in talkback mic and inputs for remote talkback and listen-back

Q- So So Def Artist

T.I- Whatever You Like

Mix House Video

PRESS PLAY

Must read for ALL Producers and Artist!

OK class, your assignment for today is to put your 2 favorite commercial CDs in the CD player along with your CD you have made. Now take out a sheet of paper and write down the differences you hear between a polished commercial track and yours. If you are a beginner to the craft this is an easy assignment--there may be so many differences that you might not know where to start. For the advanced home producer/engineer you may already be very close. Now it's time to take it the final mile. Here's my list of issues with my audio (see I get to participate in this too).

My list of issues:

Issues Novices Typically Face

Excessive bass at times, some inconsistency Not as smooth as commercial Mixes, especially in the mid range Not as punchy as commercial music Inconsistent imaging between different songs and sometimes in the same song Doesn't sound as good in the car as it does on studio monitors Vocals not as clear or sweet Mid range is harsher, more grainy Image is neither as wide or as 3 dimensional as some commercial mixes

Not as loud as commercial tracks even though it was compressed Track is noisy, harsh, hurts ears at high volumes Weak Bass, weak kick, disappearing kick, or it's too boomy and it drowns the rest out. Drums can't drive the track unless they are too loud One dimensional, flat sound, even though instruments were panned Everything runs together into a mushy, indistinct, sound Unintelligible, buried vocals Sounds "way different" on the car, boomy bass, no presence, muffled Balance between channels if off and it changes throughout the song

Must go to event

Current State of Hip-Hop

The music industry is dead, and the how come doesn't matter. The question now is what next? How does an artist eat in an environment like this where record sales have dropped 20% since last year?

For rock bands, touring and merchandising will become more important than ever. Eventually they will be begging you to download their music for free, as long as you promise to pay 50 in damage for the live show and cop a T-shirt on your way out.

Rap acts though don't tour too tough. However, compared to the rockers, emcees are better suited to survive this new industry fallout. Ever since Diddy declared that anyone who questions how a rapper makes money is a "player hater", it's been open season for even the most indie leaning emcee to appear in commercials and have his own sneaker. Muscicians in other genres have to walk a fine line of art and commerce so they don't offend their fanbase. However, in hip-hop, the number of endorsements you score is part of your marketing plan.

Now, some see this and think there is too much commercialism in hip-hop. Me? I don't think there is enough.

From Sprite to Scion I see corporate sponsors as the new (or the first?) patrons of hip-hop. Back in the day, before recorded music and record labels, musical masters relied on patrons to front them while they made their art. In return for their investment, the wealthy patrons gained a higher social status by being linked to the incredible artists they fronted. Also, they would retain the artist to perform at their parties and write special dedications for themselves or family.

Now, doesn't that sound like how Reebok paid for the pairing of 50 Cent and Jay-Z or how Boost Mobile did the same with Kanye, Ludacris, and The Game?

I'm not mad at any of those examples, because despite the money that's flowing I think hip-hop does a good job of holding to two rules that makes sure the commerce doesn't harm the art:

Rule # 1. Commercials are clearly commercials. Sprite has never tried to pass off one of their famous freestyle spots as an authentic, spontaneous, off-the-top endorsement by a rapper.

Rule # 2. Art is clearly art. When Busta told Pharrell to "Pass the Courvoisier", I don't think he was considering a deal with that liquor brand, even if one came after the fact. He name dropped because it sounded hot, and that's it.

The only pass a rapper can get on rule #2 is if he owns the product he's pushing. Self-promotion is straight hip-hop.

I'm impressed with emcees like 50 Cent who has been able to remain independent and relevant and dangerous with his left hand, yet snatch coin from corporate America with his right. As 50 himself admitted in a Vibe Magazine interview, when asked about declining music sales industry wide, he said he doesn't care if less people buy the record, as long as they buy his clothing, vitamin water, videos game, and movies. 50 is in the business of selling a lifestlye, with music as the bait, a trick that Diddy and Jay-Z learned long ago.

That's the future now of the music business, and I think hip-hop will prosper in it.

Mix House Video Trailer Coming soon!

This video will include A-List Producers and A&R's including:

A&R

Riggs Morales- VP A&R Shady Aftermath

Producer

Scram Jones- ( Saigon, Jae Millz, Mariah Carey )
Versatile- ( Fabolous, Oschino )
Vinny Idol- ( Jadakiss, D-Block )
Amadues- ( Camron, Mike Jones, Puffy )

They co-signed us why not get your project mixed and or mastered?


Trailer and updated site coming soon!

Studio Time

Recording Time
ATTENTION ALL RAPPER'S AND SINGER'S IN THE NEW JERSEY AREA!

ARE YOU AN INDEPENDENT ARTIST LOOKING FOR STUDIO TIME WITH CERTIFIED ENGINEERS?
WELL LOOK NO MORE! MIX HOUSE LLC IS YOUR ONE STOP SHOP FOR ALL RECORDING, MIXING AND MASTERING NEEDS.


*PROFESSIONALLY CERTIFIED ENGINEERS
*PROFESSIONAL STUDIO MONITORS
*32 TRACKS OF DIGITAL RECORDING
*ACOUSTICALLY TREATED CONTROL ROOM AND VOCAL BOOTH
*GREAT HOURLY RATES
*PRO-TOOLS
*WAVES MERCURY PLUG-IN BUNDLE
*Blue Bird Blue Microphone
*Auto Tune 5


Contact info:

Phone: 973.900.5644
Email: info@mixhouseonline.com
Website:www.mixhouseonline.com


-MIX HOUSE STAFF


Mix House LLC

New Game and Lil Wayne

Video coming soon whats your comments on it?

Click the link

Nas Album

This album is more than music.It proves that not only black people but all people need to step to improve society. If you have not bought it yet please support it.It may be our last chance to have real content in music.

Our new addition to the lab!

	With it’s unique look and highly versatile performance, the Bluebird has been designed to deliver the same high-quality, no-compromise audio that Blue users have come to expect. The Bluebird is a large-diaphragm cardioid condenser, utilizing Blue’s renowned microphone technology and Class-A discrete circuit. In a departure from its normally application-specific designs, Blue engineered the Bluebird to be as versatile as possible, with applications ranging from vocals to electric and acoustic guitars, close-miking of drums, drum overheads, percussion, piano, horns, strings, and any other application where crystal-clear sound quality and detail is of the utmost concern. In addition to the microphone itself, the Bluebird also includes a specially designed shockmount - The BirdCage, and a metal mesh pop filter - the BirdNest. So no matter what your sound, the complete Bluebird package offers today’s musician a top-notch recording experience at an outstanding price — all in one nest! Blue Bluebird Large Diaphragm Cardioid Condenser Microphone Specifications: Acoustical Operating Principal: Pressure Gradient Directional Pattern: Cardioid Frequency Response: 20Hz - 20kHz Sensitivity (1kHz into 2.5k Ohms): 27mV/Pa Rated Impedance: 50 Ohms Rated Load Impedance: Not less than 1 k Ohms Noise Level A-weighted (IEC 651): Not more than 7.5dB Max Output (1% THD into 2.5k Ohms): 12dBV = 3.1V Max SPL (0.5% THD into 2.5k Ohms): 138dB Dynamic Range (2.5k Ohms load): 130dB Supply Voltage (IEC 268-15): +48V phantom power (+35V min.) Current Draw (typical ai +48V): 1.8mA Blue Bluebird Large Diaphragm Cardioid Condenser Microphone Features: Frequency response: 20Hz - 20kHz Sensitivity: 27mV/Pa 138dB max. SPL Low self-noise specification (>7.5dB) High output level (+12cBV) Class A discrete amplifier circuit Tonal character makes it ideal for recording almost any instrument or vocals
	Courtesy of www.bluemic.com

What is Mixing?

Mixing is the process of adjusting the volumes, pan positions, and frequency spectras of all your recorded tracks. Typically, these sound sources are the different musical instruments in a band or vocalists, the sections of an orchestra, announcers and journalists, crowd noises, and so on. Our engineers work in an acoustically treated room using professional studio monitors. Our studio monitors deliver clear highs that don’t fatigue the ears with an integrated and well-defined mid range, which allows our engineers to give our clients a top quality mix. We have Pro Tools along with using nothing but top of the line outboard gear and plug-ins. The waves Mercury Bundle is our prime weapon of choice.


Mixing is ultimately the key to having high quality music.You have to understand that without it every sound you have whether it being just vocals,kicks or a snar would clash with one another.A speaker is only circle that is limited into pushing out certain frequencies and without the proper leveling and panning along with Compression and EQing it will sound muffled and muddy.

My personal take on the music industry

This is Ja from the Mix House,LLC. I have alot of mixed feelings as far as music in today's time.We have alot more freedom due to the fact anyone now can have a recording facility.It only takes about $3,000-$5,000.00 to have a decent set up. Set aside the main topic of discussion though is the QUALITY.Why do so many artist want to do it them selves? Is it the lack of drive to actually go out and work for something to get it? Or is it the same lame excuse I DON'T HAVE MONEY ( But you have fresh Jordans on your feet weekly).What ever the case be it's a reflection of you and your music.I feel as though people will only take you as serious as you take yourself.Many serious artist know the importance of having their music properly mixed and or mastered.But it hurts to know that our generation want shorts and cut corners to get ahead.If it was that easy everybody would just be at the top without the grind. IT'S NOT! Do you really think that your the only person with money issues? Get up and grind for yours till you get that budget! Get Management or a team that believes in you and split it! It's ways to go around doing whats is necessary to set you apart from the competition.Bottom line people want to hear quality and trust me you would too.It's too many people recording with clips,pops,discortion ect SET YOUR SELF ASIDE FROM THE REST!



HTTP://WWW.MIXHOUSEONLINE.COM

What is mastering? How important is it?

What is Mastering?

Mastering, a form of audio post-production, is the art of preparing and transferring recorded audio from a source containing the final mix to a data storage device (the master); the source from which all copies will be produced (via methods such as pressing, duplication or replication). The source material is processed using equalization, compression, limiting, noise reduction and other processes. Subsequently, it is rendered to a medium such as CD or DVD( DATA FILE ).

Our process for mastering at the Mix House,LLC

Our mastering process is definitely up there with the top audio cd mastering studios in he music industry. We use a Pro-Tools HD system utilizing high end A/D D/A converters. We run audio through our Manley Massive Passive EQ, Manley Mastering SLAM stereo limiter and Micpre. Then we bring the audio back into Pro-Tools using our high end A/D converters. Next, we edit the beginning and end of all songs so there will be no noise between your tracks on the final CD. We will create a perfect fade out as well. Finally we bounce the audio to disc so that we can create a master CD-ROM. We only use the highest quality CD-ROM media when creating your master CD.

-Ja

Why do I need to mix my music?

It's evident in today's competitive market place in order to stand out you must invest in yourself!Alot of artist are falling to the way side due to the fact they would rather buy some kicks or go to the club instead of paying for the necessary investments to improve their music.Quality is everything, it represents you and your music.Without it you will just sound like every other musician that doesn't care with the same" I do it myself mentality".I suggest please if you are serious enough and want to make music a long-term career don't skip on the most important part which is post-post production ( i.e mixing and mastering ).

A Few tips on mixing:

1.When listening to music listen compare the quality of yours to any major release.This is your competition not the people at the bottom it's the people at the top.And if they are getting their projects mixed and or mastered why shouldn't you?

2.Have an engineer or producer with a trained ear and technical skill tweak your music! PLEASE DO NOT DO THIS YOUR SELF!

Check any major album it always has a specific engineer for every track done that mixed it.Do you think Jay or Nas know how to EQ? No, let the engineer do his job that's why he's there.

http://www.mixhouseonline.com <---- Your personal engineer when in need.

3.Make sure when you dealing with different studio's to hear the quality they produce along with the price.There are plenty of recording facility's and with the over abundance of "poor quality studios" they set a price that consumer's get use to.It's sad to say but rappers want to cut corners with everything. But you CANNOT put a price on your music! Quantity and Quality you cannot compare.It's like going downtown and seeing an official Polo compared to a bootleg one.Yeah, they both look the same but wash it a couple times and what do you have? The quality shirt is a little more but it will last you longer.Ultimately it just boils down in life how bad you want something and if your in the music industry people will only take you as serious as you take yourself bottom line.


-Ja Mix House Engineer

Mixing Techniques

Make sure that if your recording at a facility you have heard the quality of the music mixed! This is essential to what your product will sound like.Mixing includes a lot of different technical skills along with the trained ear. Compression, EQ, Delay, Reverb ect. are examples of the mixing process. Check back with us to get 1 on 1 on daily tips on how to improve your music.