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The Reverse Engineer
1.8k members • Free
Mastering.com Members Club
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40 contributions to Mastering.com Members Club
4d •
Montreux Jazz Festival
Anyone going this year? To me, the lineup isn’t too appealing but maybe this is the year I learn about some new acts. Can anyone recommend which of these groups to see? I only know a few of them and they are widely scattered across the calendar. https://www.montreuxjazzfestival.com/en/programme/
6d •
Mixing with Reverb and Delay (Problem)
My mix sounds good and clean when it’s dry, but the moment I add reverb it turns dull and messy. I’m already using sends, EQ’ing the reverb, and even trying different types (room + plate/hall), but it still kills the clarity. What am I messing up here? Can someone please help me?
1 like • 5d
I have some deeply ingrained habits on delay and reverb. Agree with @Rick Sanders that you don’t apply it to the 2 bus. I use a Lexicon 960 Which is 8 stereo machines. On a typical mix, I will use between 3-8 different machines. A lot of that depends on instrumentation. I’ve done a lot of work for an 8 piece band with horns and a percussionist and 4 singers. I’m going to use a lot of machines for that as opposed to recordings of more limited number of sources. Typical Reverb Delays: Snare : usually plate. reverb decay time of less 1 second. Early reflections minimal. Lead vocal: Hall type. Reverb time of ~1.3-1.7 seconds. Background vocals: similar to lead but slightly shorter. Heavy early reflections. Solo instruments: Guitar solo or horn or other monophonic type: longer reverb time judiciously applied. I will apply delays for Haas effect to balance stereo field for some instruments. Less than 45ms. Doubling in the range of 55-80ms for some vocals. Two things I do a lot is compress and EQ the signal going into the effect. I tend to lean on the release time of the compressor to add finer control of decay envelope. Attack time always fast. I typically roll off below 300hz and above 5k.
Mar 29 •
Logic Session Players use of Plugins
I was just noticing Logic automatically assigns a myriad of plugins to their session players. For example: Session Bass uses 9 plugins. Seems like a lot to me. Right? The one I use often is Session Drummer. When you use the producer packs the tracks are separated which is what I want so a drum kit is around 14-16 instruments plus rooms plus sub groups plus fx returns. In total it's about 24 tracks. No problem with the tracks but the plugins? 46! Wow! Am I wrong? And the routing? 32 sends! I mean it sounds okay but creates a chore for me. I have no trust of other people making that many decisions for me. I have to touch it all and evaluate it. Brings to mind another thread where a user was having CPU issues with Logic. Session players were my first thought. I have noticed things play fine unless and until you flip the widget to display all the individual tracks and / or try to edit midi if you have converted to midi which I eventually always do. The work around is to only make edits while the drums are in solo when the whole mix won't play without CPU problems. My ultimate workaround is to use a laptop as a midi player and offload the entire task to a 2nd computer. I bring the audio back via Danté using Danté Virtual Soundcard.
0 likes • 15d
@George Palmer I don't believe we have that but a recent poll showed about 3x more Logic users that other DAWs. There are many experts in the general population of TRE.
0 likes • 14d
@George Palmer coincidentally, he just announced his retirement.
16d •
I'm disappointed in these classes. I don't know what to do.
Could I speak to someone privately please? I wanted to enroll in The Reverse Engineer and was using these classes as a way to scope out the quality of this education, but I'm not so sure I want to enroll anymore. I guess I need some reassurance that TRE is better and more thoughtful than these classes, but I'm not confident on that.
5 likes • 14d
@John Lardinois I joined TRE and I’ve been getting paid to mix music since 1981and made a living as an audio engineer. I love to learn new things. Even if you have already developed your own winning processes for handling a wide range of mixing challenges, there’s always something to be gained from learning other methods and new perspectives, even if only to rule them out and reinforce your existing ideas. The interaction with the kindred spirits alone is worth it. It’s a positive culture. Maybe you’re much more experienced and you could be a mentor here. Tell us more about your background in audio and music.
15d •
Question about mixing a live recording
Hello everyone! I have a question to ask . I had to mix a live recording that was recorded in a small venu with tenor , drums , piano and vocals . However , when I received the stems of the direct input mics everything was extremely low !! The room stems were not great either as they were dominated by the OH and Sax . What would you do in this scenario? I tried my best by putting in a meter on the main output to watch levels , balanced each group as much as I could , but then had to compress the mic stems . I do not think I knew what to do and was wondering if anyone could give general advice for very low wav files from the direct inputs in a live room :) Thank you so much for any suggestions Denise
1 like • 14d
In a venue that small, there majority of the sound is coming from the stage. You’re going to have sources on the recording in roughly inverse proportion to their stage volume. That is to say, mostly vocals, and very little drums. Don’t despair. You can actually do a lot to repair and rescue this. I have one project I did in a similar situation. It’s time consuming and there are some artistic compromises but the results can be rewarding. I’ll give you basic steps now and happy to go into detail later if you have interest. 1) Stem split everything to the greatest extent possible. 2) Stem split drums to next level using tools like Fadr and Re-stem. 3) Split tracks even further using filters and gates. 4) Convert separated drum tracks to midi. 5) Manually repair midi tracks ( Artistic compromises happen here) 6) Clean up tracks with gating and / or manually region clipping. 7) Repair remaining issues with RX At this point, you can select replacement drums to blend with whatever is usable from the acoustic drum stems and move forward with typical mixing process. I would estimate 10-20 hours per song for this scope of work.
0 likes • 14d
@Denise Jahnigen Oh, I misunderstood. You have 14 separate tracks? (Not using the word tracks to mean songs but separate channels for mics?) If so, most of what I told you still applies but less need for stem splitting; however, I have found the quickest and cleanest way to begin processing already separated tracks is still to use stem splitting. For example, on a vocal track, Stem splitting will clean up all the ambient noise and other instruments much better than gating.
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@william-yung-4822
Professional full-time Audio Engineer 1981-1993. Audio Systems Designer 1994-2019. Software Engineer. Cisco Network Engineer. Danté Level 3
Active 37m ago
Joined Dec 12, 2025
ENTJ
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