Show Notes
Why does your mix sound great in the studio and terrible in the car? And six more questions every producer ends up asking. In Episode 10 of KNOBS, Simon Moro and Terry Hart run a rapid-fire round of the questions that come up again and again, with honest, road-tested answers. They cover the car test and why translation, not talent, is usually the culprit, what actually makes a mix sound professional, whether expensive microphones are really worth it, why professional vocals sound so much bigger than yours, how loud you should record, whether to EQ before or after compression, and the biggest myth in audio production. Along the way: why a great mix is one you don't notice, why it's less about mic price and more about the product, why the answer to bigger vocals is almost always the vocalist, how to think about gain structure and headroom, and why being the cheap option is the worst career move you can make. Whether you're mixing in a bedroom or a commercial room, this is a fast, practical episode you'll want to keep coming back to. Topics covered: • The car test and translation • What makes a mix sound professional • Are expensive mics worth it • Why professional vocals are bigger • How loud to record and gain structure • EQ before or after compression • The biggest myth in audio production
More from Knobs
For the last episode of the season, Simon and Terry try to catch each other off guard with the tricks and questions they actually use.
You do not want to see the canvas under the Mona Lisa. So why do so many records let you hear the technology, the effort and the mix?
Room correction software promises to fix your monitoring. So is it a genuine tool or a crutch that lies to you?
You have two speakers and a flat file. So how do you make a mix sound like a real three-dimensional space?
It might be the most confusing job title in music. So what does a producer actually do?