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whodatboi

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About whodatboi

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    Just Startin'
  1. You all could be damaging your hearing over time but it's most likely just the psychological effects of familiarity. You're getting "fatigue" from the same tones and effects, but they're still the same tones and effects. They're just as good today as they were last year, and your new fans won't know or care, nor will your old ones. This is one of those situations where we end up fixing what isn't broken.
  2. To give some context, there's actually a style of parallel compression known as New York Compression and even serialized compression on individual tracks and then aux stems and then even a 3rd on the mix bus, and a 4th in mastering. So no, it's not unheard of at all. Sometimes you need that to tame gain, especially in a live situation where you could end up destroying a lot of expensive gear without a high ratio compressor or limiter with a high threshold. But as always, use your ears. If it sounds good, then you're good. Without more info about the settings being used in each compressor step, nobody can say much more.
  3. I absolutely agree with two of the members specifically above. You don't need to drop $225 or whatever on headphones. All you really get above about $100 is diminishing returns. You spend more to get tinier and tinier improvements in quality. If you want transparent headphones that let you hear accurately that are also closed-back so you're not bleeding sound into your recordings, I can also recommend the Sennheiser HD280 Pro's, which I bought based on this recommendation and they've served me well. Just a heads up, when you get "mixing headphones" they aren't like consumer Beats By Dre and all that with crazy bass responses. They're true to the recording and are flat in their frequency response. They may not sound as exciting, but they tell you the truth so you can make good decisions.
  4. Your question has been answered but I'd like to give clarification on this question. No, that is not the case any more than the headphones only working with that interface. All three pieces function completely independently from one another. Another solution to your main question would be to consider an outboard preamplifier which would not only provide phantom power but superior and clean gain. You'd could then run its output into the UX1 like you do your guitar.
  5. While Macs haven't had any decent adoption from the gaming community, the music and office communities are all over it. And the DAW you use doesn't matter so much as it follows the proper conventions for plugins to work (they all do). In terms of home office functionality, you can get all of the same Microsoft Office programs but the native Mac ones run a lot better and get the same job done (like Numbers replacing Excel, Pages replacing Word, etc). I've been on a Mac for about a decade now and haven't looked back. In terms of workflow, it's a much faster and intuitive experience. In terms of viruses and all that other crap, I've not had any virus protection the whole time and it's never been an issue. The operating system is isolated from user files anyways. It's all in all an entirely more well-thought out system. The only issue is you pay the "apple tax," meaning the hardware is more expensive than it should be, but what you're really getting is access to the far superior software.
  6. This does sound like a software issue, perhaps jitter from the wordclocks not syncing if I had to force a problem to be defined based on software, but based on what you've said about the problem appearing in different DAWs and having tried different cables and what not, I'm wondering if you don't have an issue either with your microphones' diaphragm having some condensation on it or your microphones' tubes. That does sound like it might be off the mark since you've tried multiple mics, but if you're storing them together in the same fashion the problem could persist across all of them too. Good luck with this, just trying to point the way to other places where the hidden problem could lie.
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