Selig Audio September Live Stream Thursday Sept 1 20:00 UTC

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selig
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Post 31 Aug 2022

Here's the link to the recorded live stream:


Summer is coming to an end, time for another (semi) random live stream from Selig Audio.
This week I'll be covering all things 'workflow' related, from "what is a workflow?" to "how do I workflow", and everything in between.
Who knows what else will come up, all part of the fun of a live stream - hopefully no puppy interruptions etc…

https://www.youtube.com/user/SeligAudio/

See you tomorrow - top by and say hi or ask questions (or ask them here) or watch later (will post the link after the stream ends).
:)
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deeplink
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Post 01 Sep 2022

selig wrote:
31 Aug 2022
See you tomorrow - top by and say hi or ask questions (or ask them here) or watch later (will post the link after the stream ends).
:)
Awesome, always keen to hear from you Selig. Some general questions / topic ideas;

- What does your Browser look like, and how have you optimized it for your productions?

- Does your workflow include the use of Pattern Based devices and the automation of the same in the Sequencer? At what point may you commit the pattern to midi clips?

- Do you incorporate Blocks, if so - any guiding principals when using it?

- So you want to high pass a sound - what do you do? 1) Place the effect after the device 2) Place the effect in the Insert section 3) Use the SSL/Track Mixer Filter [and why]

- So you want to incorporate the use of a sample in a track - what do you do? 1) Use NN19 2) Use NNXT 3) Use Mimic 4) Use Kong/Redrum 5) Use an audio track [and why]

- If you have upgraded to R12 - has it changed your workflow in anyway? e.g perhaps more reliance on combinators

- Have you implemented the use of any gear to improve your workflow? i.e External/dedicated midi Mixer, monitoring, midi instruments, 2nd/3rd Monitor

- Any notable 3rd party software or RE that assists you?

- Do you use a custom starter template? If so, how is it set up for you?

Lastly, more of vague question; Personally, I find there are two competing ideas/forces that I face;

1) Having fine control over all the sounds in a project - which generally means numerous Parallel Tracks, Buses that bus into Busses as well as having a one element in my song being represented by its instrument track (e.g for parameter automation), player track (pattern automation) and Mixer Channel (for filter automation etc.).
Versus
2) Having a manageable project to actually work with and not feeling frustrated and lost while within a session or coming back to a session. As well as being unable/hesitant to make a change to arrangement or composition because it would require extensive/repetitive/difficult changes through multiple areas at once.

Have you ever been challenged by the above and have figured a way through it?
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RobC
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Post 01 Sep 2022

Hmm, I think it's workflow related, what we work with, so:

I would be curious about your personal views on speaker/headphone/IEM use. Which you prefer, and why/when?

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selig
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Post 01 Sep 2022

RobC wrote:
01 Sep 2022
Hmm, I think it's workflow related, what we work with, so:

I would be curious about your personal views on speaker/headphone/IEM use. Which you prefer, and why/when?
I’ve never used IEMs (proper ones), I’ve checked mixes on ear buds, have half a dozen pairs of headphones, same for speakers (don’t have them all set up), plus a Sonos system for the TV and 3-4 portable bluetooth speakers. I also occasionally use my computer and laptops speakers as well as my phone/pad. Then there’s the two cars in the driveway…
Part of the reason for having numerous speakers and phones is product review and friends in the industry. ;)

As for preference, depends on what I’m doing. Some editing all but requires head phones, other things like vocal tuning requires speakers for me (I can’t hear pitch as well on phones). Basic mixing was always on speakers for me, learned at a time when most folks still listened on speakers!
My findings: the few times I tried to mix on phones the results did not translate well at all to speakers - BUT, every time I mixed on speakers things translated very well to phones.
As a studio musician I’ve spent LOTs of time on phones, so not sure why I can’t make things translate from that direction…
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selig
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Post 01 Sep 2022

I’m happy to address any of these in greater detail and with examples in today’s live stream (starting in just over an hour. Otherwise, here are my quick responses:
deeplink wrote:
01 Sep 2022
Awesome, always keen to hear from you Selig. Some general questions / topic ideas;
- What does your Browser look like, and how have you optimized it for your productions?
I have four main browser ‘favorites’: Instruments, Effects, Utilities, Players. Inside are the most common devices I use, so I pretty much never use the main areas of the browser because I can put my devices in any catagory and in any order (and leave out the stuff I hardly ever/never need). Only did that in the past few years, made a huge difference in being able to find things QUICKLY!
deeplink wrote:
01 Sep 2022
- Does your workflow include the use of Pattern Based devices and the automation of the same in the Sequencer? At what point may you commit the pattern to midi clips?
Yes, things go “to track” as soon as I need even a simple variation. Sometimes I use a hybrid, a simple pattern with some additional parts on the MIDI track (fills, variations, etc). JUST did this on a track yesterday!
deeplink wrote:
01 Sep 2022
- Do you incorporate Blocks, if so - any guiding principals when using it?
Mainly use Blocks for markers, but also for comping multiple tracks (poor mans “edit groups”). I figured this out when I needed to do some drum track copy/paste on a project where drums were laid down first (an experiment that actually worked, btw!). I put the whole drum track in “block 1” then was able to create other blocks for edits I needed to make, like ‘flying’ in a bridge part into the intro (but just on the drums in this case).
deeplink wrote:
01 Sep 2022
- So you want to high pass a sound - what do you do? 1) Place the effect after the device 2) Place the effect in the Insert section 3) Use the SSL/Track Mixer Filter [and why]
Probably most often on the SSL since that’s how I learned to mix (and it is super CPU efficient). I keep the channel routing defaults so that the filter comes before any inserts - as a general rule I use HP filters early in my overall workflow, and also as early in the signal path as possible since this is a ‘technical’ and not a ‘creative’ part of mixing (the way I approach it). If I need a different slope I dial it in on ColoringEQ because of it’s variable slope feature.
deeplink wrote:
01 Sep 2022
- So you want to incorporate the use of a sample in a track - what do you do? 1) Use NN19 2) Use NNXT 3) Use Mimic 4) Use Kong/Redrum 5) Use an audio track [and why]
If it’s static with little to no manipulation, as an audio clip - it’ more ‘visual’ to me and will play correctly even if I start in the middle of it (unlike a sampler). If I need to ‘perform’ it in any way, such as pitch manipulation or stutter edits, then likely NNXT (NN19 if wanting to manipulate loop points). Mimic if it needs all of the above!
deeplink wrote:
01 Sep 2022
- If you have upgraded to R12 - has it changed your workflow in anyway? e.g perhaps more reliance on combinators
Yes, I’m on 12 and the biggest workflow increase is definitely Combinator 2.
deeplink wrote:
01 Sep 2022
- Have you implemented the use of any gear to improve your workflow? i.e External/dedicated midi Mixer, monitoring, midi instruments, 2nd/3rd Monitor
I have 8 motorized faders on my aux mixer (MIDAS M32r LIVE), tons of speaker options, and a second monitor mostly useful for mirroring so I can see the screen when away from the desk (playing drums, for example). I also have a Novation SL mkIII controller but don’t often assign the buttons/sliders. I have a few hardware synths I use along side Reason including a rack full of Eurorack modules. I also have a couple of external mic pre/EQ/Compressors (LA-610, UA-6176) which can also be patched into Reason. Everything integrates nicely into the overall system with few issues!
deeplink wrote:
01 Sep 2022
- Any notable 3rd party software or RE that assists you?
I have NI Komplete (Kontakt and Reaktor get the most use), Arturia’s synths, Korg Gadget, for starters. I really DO use the heck out of my own products too! My ‘mastering’ is just Ozone elements 9, and I sometimes turn to other DAWs (Logic/Luna) for additional work.
deeplink wrote:
01 Sep 2022
- Do you use a custom starter template? If so, how is it set up for you?
My song startup file is just this: side chain filter setup for the Master Compressor, my personal mastering Combi 2 between the Master Outputs and the Hardware Interface (Ozone 9 elements, youlean’s free meters, Selig Gain). I also adjusted the click level down, set the meters to Peak + VU, and set the Big Meter to read the final output. I also have one actual template, which is all my drum mic’s setup and routed for me so I can open it, copy the channels I need (and the drum bus), and paste into any current project to quickly record drums. There really should be a way to directly import stuff like this IMO…
deeplink wrote:
01 Sep 2022
Lastly, more of vague question; Personally, I find there are two competing ideas/forces that I face;

1) Having fine control over all the sounds in a project - which generally means numerous Parallel Tracks, Buses that bus into Busses as well as having a one element in my song being represented by its instrument track (e.g for parameter automation), player track (pattern automation) and Mixer Channel (for filter automation etc.).
Versus
2) Having a manageable project to actually work with and not feeling frustrated and lost while within a session or coming back to a session. As well as being unable/hesitant to make a change to arrangement or composition because it would require extensive/repetitive/difficult changes through multiple areas at once.

Have you ever been challenged by the above and have figured a way through it?
I am an old school “less is more” guy, always looking for ways to reduce channel count or processing devices at every stage. It comes from the analog world where you don’t have so many options, but also from the “do no harm” philosophy of being VERY picky about adding ANYTHING to the signal path. At the same time, I’m comfortable going full tech-nerd on a project if it calls for it!
That said, the simpler the project, the quicker one can move around in it and get work done.
I’ve also found I can do more with less the older (and more experienced) I get. When I first started it was huge EQ boosts/cuts on everything, then smaller and smaller amounts to finally no EQ at all in some cases. Part of that evolution is learning what I need in the first place (getting it right from the start), and part is better ear training to recognize when I’ve gone too far!

One of my favorite quotes along these lines is from Einstein: “keep things as simple as possible, but not simpler”. So I don’t make things simple for simples sake, I try to keep them simple for the sake of the music - but at the same time I’m careful not to over simplify, so if I need 12 sends and 30 parallel busses for my 100+ track masterpiece I’m fine with that. As long as I can prove to myself I’ve kept things as simple as possible! ;)

As far as making big arrangement changes, even when it’s difficult I grit my teeth and DO IT (always leaving a bread crumb trail in case I need to find my way back). Sure I’d rather have it easy, but I don’t let complexity stop me from doing something to improve the overall musical experience. Sometimes I go down ‘fighting’ till the last possible minute, then take a deep breath and THEN get to work - but I’ve not once regretted at least TRYING those sorts of ideas. I find I also get better with knowing which ideas have the better chance of satisfying my personal tastes over the years. Which is why I feel it is so important to “know thyself” so you don’t keep second guessing yourself and can get more work done (and have more fun doing it).

Fun is also a big part of everything I do, sometimes it’s direct fun, other times it’s delayed gratification fun. Like working my ass off to get a killer drum sound (which isn’t always fun) for the payoff of seeing everyone’s face when I play it for them (which IS fun). Another thing I do in this regard is when things stop being fun I take a break, step away and get some perspective. It’s almost always fun again after even a short break, as opposed to just keeping going and getting more and more frustrated! That approach has maximized the fun factor for music/studio work for me and kept me engaged for my entire life. I’ll quit when it stops being fun… ;)
Selig Audio, LLC

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selig
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Post 01 Sep 2022

Going live in five, ya’ll!

https://www.youtube.com/user/SeligAudio/
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motuscott
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Post 02 Sep 2022

Good talk! Look forward to seeing the whole thing on the video.
Vlad "Party like it's 1894" 🧂

RobC
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Joined: 10 Mar 2018

Post 02 Sep 2022

selig wrote:
01 Sep 2022
I’ve never used IEMs (proper ones), I’ve checked mixes on ear buds, have half a dozen pairs of headphones, same for speakers (don’t have them all set up), plus a Sonos system for the TV and 3-4 portable bluetooth speakers. I also occasionally use my computer and laptops speakers as well as my phone/pad. Then there’s the two cars in the driveway…
Part of the reason for having numerous speakers and phones is product review and friends in the industry. ;)

As for preference, depends on what I’m doing. Some editing all but requires head phones, other things like vocal tuning requires speakers for me (I can’t hear pitch as well on phones). Basic mixing was always on speakers for me, learned at a time when most folks still listened on speakers!
My findings: the few times I tried to mix on phones the results did not translate well at all to speakers - BUT, every time I mixed on speakers things translated very well to phones.
As a studio musician I’ve spent LOTs of time on phones, so not sure why I can’t make things translate from that direction…
Wow, that's a lot of speakers! I'd probably throw most of them away x D - which is a bad habit of mine, almost getting rid, even of what I might need.
Honestly, most people still prefer speakers when casually listening. Heck, I know I'm too lazy at night to plug in earbuds into my phone. Bluetooth speakers might be fun though!
It depends on what the problem is. In one video, Dan Worrall said that he tends to mix bass too loud with headphones. I bet that has something to do with compensating for not feeling/sensing bass, such as with a subwoofer.
Then there is the wideness and detail. An interview with Andrew Scheps revealed that he checks on speakers, then fixes issues on headphones. That's how he learned, I think, how things need to sound on headphones, so that they translate.

Anyway, the stream was interesting to watch. I wasn't bored, and it didn't seem like rambling at all. Tops a few times things got a bit hard to follow for me, but I managed to keep up. Mostly the history part, but luckily, I knew the basic stuff, so I managed to follow by focusing harder.
But jesus, that studio is something most of us can only dream of! Even if I only would use the huge space for vocals.
Also, we felt the dry weather, too! Though rather for delivery trucks - one got stuck in the sand, and it cost more to get it out, than the stuff I ordered. x D Next time they cancelled the order; but luckily, a few hours later they delivered it anyway.
What was the ambience, btw? Sounded like some plane or truck nearby, or was it some wind SFX you played? I watched on my phone, so yeah, phone speaker.
The most important lesson for me was indeed the time saving. Often, I got frustrated with two things: time-wasting repetitive tasks VS being lazy creating templates, batch processing scripts, etc. But I know now, that it made sense that I spent sometimes a day on creating templates and alike, even if they only saved a little time - but more importantly, they minimize the risk of getting distracted when creativity strikes.
One more important note, which will come in handy for plugins, is balancing simplicity/accessibility/flexibility. Rack Extensions are superior here because of having a folded view, a main panel, and yet another folded, 'advanced' panel, or even the possibility to add different modules within an RE - plus flipping the device, and setting additional calibration parameters on the back. I think Thor was one of the first, using most of these features.

One thing that's sad? That Reason is not enough for the corporate world. I was hoping that the engineer in that other video said "No Protools" : D - but then I realized it was "know Protools". Though a 30 day trial might be enough, in case... Just needs non-stop practice.

Also, the technical hiccup at the end was still fun. x D If you played the stream on a tablet to double check, then yeah, it was a mistake to put it away. : )

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