If someone watches a video of you teaching ear training exercises and it really informed them they might be willing to ask, “What DAW is this clearly knowledgeable individual using? Oh, Ardour? And it costs 5% of ProTools? Wow, maybe I’ll look into that!”. Is the goal only to serve as a tutorial on how to Ardour? Or are we also interested (as someone suggested on the Open Source diversion thread that got me here ) in getting more people to use (and hopefully contribute) to Ardour? Because if its the latter, general production/mixing tutorials that happen to use Ardour might be great! I’m sure most of us learned a lot of what we know about mixing, EQ, compression, etc. ![]() I think it WOULD translate well, depending on our goal(s) here. Obviously I would cover some of my specific class teaching stuff, but my course uses Mixbus and various ear training exercises to teach people how to hear primarily, so some of ti won’t translate well to this format.Įven better maybe it can give Dan stuff to work on as well and make it so you aren’t waiting on me to make any:) Seablade As a result, let me ask:Ĭan you name specific topics or material you want to learn more about in Ardour and/or Mixbus? Pretty much while I can’t get anything done right now, if it hasn’t been addressed by the summer when I am no longer teaching and hopefully my live work drops off a bit, I might be able to sit down and record a fair amount all at once and start editing to post it, so long as I have a good clear list of topics to cover. I teach Mixbus in an introductory level at a university setting, so my style of teaching and video would probably be a better fit for people getting started, though a few of you now have asked for a workflow video or two. So I am more than willing to do some videos myself as well, my problem is time. Yes, the video could have included it but I think people might have switched off before the “juicy” stuff happened. “Tactics” vs “Strategy” to use a chess analogy.Īs a prime example, I watched a fantastic Pyramix video on classical editing (I referenced it in the classical mega-thread) but after watching, I needed to seek help with an experienced Pyramix user and re-read the manuals in order to even set up the session to make the editing possible. On the other hand, I also agree that a complete worklow (such as classical) is extremely useful to those who have the basics under their belt and want to know how all the different skills fit into a larger whole. I can’t tell you how much I enjoyed the Mixbus tutorial series! Short, bitesize chunks that gave me what I needed without having to necessarily read a manual. For those new to DAWs, tutorials definitely work. I will add more to this thread as and when Studio One either pleases or frustrates me.I’m less interested in “how to do x in Ardour” (which is mainly what Kenny Gioia’s excellent videos do for Reaper), and more interested in “how do I record and mix a piece of music from start to finish in Ardour, and what are the important considerations along the way?” I wonder if that’s because Mixbus was already doing some analogue modelling through the channel EQs, so the extra difference of adding a modelling plugin was less. On Mixbus, I wasn’t really aware of that. ![]() ![]() I also think Mixbus 32c must do more under the hood than I thought, because I noticed when I was adding plugins in Studio One, even before I’d touched a knob, that I could hear quite clearly the analogue modelling of, say, a Neve preamp or the difference between MJUC’s 3 compressor modes. I’m not totally sold on it, but further investigation is needed. I was expecting something quite subtle but there’s an obvious character even with the gain turned down. But… I’m surprised the Console Shaper, which is a plugin that operates on every track & bus, is so coloured. So far I’ve hardly had time to do anything with it. So, because I’m thinking about doing some more modern production with electronic percussion, virtual instruments etc, I thought I’d get Studio One. While I have successfully recorded & edited tracks from scratch in it, and there are some very well thought through things like the automatic crossfades and translucent waveforms etc, the virtual instrument and midi editing is pretty rudimentary and slip editing multitracked drums can be a slow process. For mixing, I really like it - the limitations of the fixed bussing scheme don’t bother me, and the VST implementation (apart from total lack of VST3, 32bit bridging & ARA capability) is very good in terms of signal flow & flexibility of routing inputs & outputs.įor recording and production it’s a bit less brilliant, though. I’ve been using Harrison Mixbus 32c for the last couple of years.
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