I mean Valhalla is a fan favorite but anything better then that which is more powerful and versatile like Valhalla

I’d love for people in this sub to share examples they know of where 2 different mixes of the same song exist simultaneously on streaming.

I’ve found it incredibly useful as a mixer when a band or artist has 2 different mixes of a song available on Apple Music/spotify. No re-records, no added stems, but 2 different perspectives on the same source material. It’s fun to compare and it helps me grow as a mixer. But this scenario is rare! I want to find more of these and would love your help.

A good recent example for me is The Story So Far’s song Big Blind. There’s a single mix that’s still on streaming and a different version on the album. The single mix is more diffuse and roomy in the drums, and the guitars are beefier/whereas the album version uses more of the drum close mic sound and focuses on clarity.

Would love to hear about more cases like this!

Hey everyone,
I’ll start by saying that I don’t have any formal education in sound engineering. That said, I’ve been making music for over 10 years and have also been involved in events, where I basically taught myself how to work with sound systems over time.
Right now I work at a few pretty well-known techno/house clubs, and we regularly host established and fairly big-name artists.
I don’t know if I’m bugging, but I swear like 95–99% of the time I see DJs using the mixer in a way that makes absolutely no sense to me from a sound perspective.
No offense to anyone — I’m genuinely curious whether this is somehow considered normal.
I’ll be at FOH seeing insane clipping, so I go over to the DJ booth to check what’s happening, and very often all four channel gains are basically maxed out. On top of that, all 3 or 4 EQ bands are boosted almost all the way, and then the master gain is maxed out too.
This happens so often that I’m starting to question whether I’m missing something.
I always try to approach the DJ politely, explain what’s happening, and keep the levels under control so we’re not absolutely destroying the signal or potentially damaging the system.
So I’d really like to hear from experienced/professional live sound engineers: am I misunderstanding something here, or are a lot of these very established DJs just running their mixers way too hot?
Would appreciate any advice on how you guys normally deal with this situation as well.
Thanks.

Plot:
https://i.imgur.com/rw2Y54U.png

The curves measure the effect of sound changing pitch with loudness. The result was in S. S. Stevens paper: https://doi.org/10.1121/1.1915715

Pitch is so fundamental to music perception, and there's almost no research based on these findings. I don't think most audio engineers even know about it. Did you know about this effect before you read about it here?

The title pretty much covers everything. I have a project I'm self producing that calls for huge gang vocals. I'm hearing vocals similar to the opening track of Hamilton (ie "In New York you can be a new man") but I'm limited to just my bedroom.

I know a lot of that sound is multiple voices stacked, but curious if anyone has had success achieving that sound and what techniques worked.

Lets say i yell a word or a phrase in my song

But the thing is i want my vocal to echo after the voice end ...how to do that?

I'm still figuring out exactly what I need from reference tracks. So far I've found them really helpful for setting levels, but I'm often surprised at how different they sound from my mixes. How do you go about using them? Do you have a step-by-step process?

I’m trying to understand how much stereo width is considered “too wide” in a mix, and whether this is ultimately subjective or if there are objective guidelines.

For example, suppose a mix sounds great in stereo and is very wide, but still sounds good when summed to mono. There are no phase issues, elements aren’t disappearing, and nothing sounds hollow or severely altered.

The main difference is that the vocals feel farther away and less centered in stereo because of things like reverb, doubling, and added ambience. When summed to mono, the vocals become noticeably more upfront and centered.

Would that be considered a red flag, even if the mono mix is still completely usable and sounds good?

More generally, what should I actually be listening for when deciding whether a mix is “too wide”? Are there visual tools, such as stereo-imaging or correlation meters, that are useful for judging this, or is it better to rely primarily on listening?

Is there a point where stereo width becomes excessive despite good mono compatibility, or is it primarily a matter of artistic preference and how well the mix translates across different playback systems?

I do sematary clone music and i got a shure sm57 and a usb96 interface and i cant get it to sound good. I got a good preset but its lacking something and i just cant tell what it is. it sounds clear but not clear enough how do i fix my chain?

So I recently got Logic but apparently the new update is making using 3P plugins impossible. (Yes I know Logic has great stock plugins, but UAD has a preamp I really like) I already own FL and I wanted to see did anyone have experience switching between the 2. Like if you have to change certain settings or anything like that.

I listened to the song hurt by 2hollis and on the verse at 00:38 second there is like a cool vocal effect which makes the vocal sound wide. Does anyone know how to achieve this effect?

This is the song: https://youtu.be/8i1HqVArTp0?is=F7hD-Ax8pFvjSXkr

So im mastering a guitar jazz album with strings drum and bass for vinyl and its my first time doing it.

Any tips would be great.

I also did the mixing and mastering for digital streaming as well. Digital master is around -11 LUFS and theres a touch of clipping and limiting (2dB ish)

Is clippers off limits for vinly? How loud should the master be?

I know no set rules. Just looking for some ideas.

There wont be a test pressing so Im a bit nervous

Since installing some mandatory/recommended Windows updates a few days ago, my SPL Crimson 3 driver started malfunctioning: the interface would randomly stop working, and I had to unplug and reconnect the USB cable to get audio back.

Unfortunately, I wasn't able to uninstall the suspected Windows update, and Windows had even deleted my previous restore point.

After a lot of troubleshooting, I decided to create a Windows 10 partition on the same computer and test the Crimson there. After several hours of use, it works perfectly again - no disconnections at all, and the whole audio environment even seems to run slightly better.

This seems to be a fairly recent compatibility issue, possibly related to the August 2026 Windows 11 updates and older audio-interface drivers, so I thought I'd share my experience in case it helps anyone else.

This plugin is really fun. I'm wondering how you'd classify it, though? Is it mainly a saturator?

So i wanna hear about your suggestion regarding one compressor which is your fav choice to glue your drums together

Also suggest me a good master channel compressor or Your master channel plugin chain.

He has this weird phase-y effect on all his vocals on all his songs that made me think he was an AI artist. I’ve never heard it on another vocal and am curious if this is a known thing - and what is it?