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Samson trouble...

Discussion in 'Recording' started by SlimCognito, Aug 18, 2006.

  1. SlimCognito

    SlimCognito Guest

    Maybe its just me - but im working with Resolve 50a's. When I mix on these baby's I take my time, get the mix RIGHT where I want it, then record live from my MPC straight into Cool Edit... Believe me, Before I burn the mix onto the CD, my mix is sounding rich - a full, even sound. Then when I take the mix on CD to my friend at Guitar Center (who I pass my material through) - my mixes sound like crap on the monitors set up over there. Not to mention they sound really thin on my car's stereo system - or any other system for that matter.

    straight doo doo.

    is it Samson in general? This specific model? The difference from MY monitors to theirs? Or because Im recording live through an M-Audio interface - into Cool Edit from an Akai MPC...

    any feedback would be appreciated. I need to get to the bottom of this issue before I pull a delilah on these samsons.

    Slimly Yours,

  2. corrupted

    corrupted Guest

    I don't have experience with those particular monitors, but I have some ideas...

    Just about any monitor will be hard to mix unless you reference something through them first. Take a commercially produced CD or track that you like... something similar to what you're going for, and reference this through the same setup and monitors. Then go back and compare to your track.
    Without referencing something you "know", even a perfectly flat monitor setup will be tough to mix through unless you work with it all day every day and have trained yourself to it.
  3. therecordingart

    therecordingart Well-Known Member

    Jul 28, 2004
    This has nothing to do with monitors and everything to do with your mixing enviroment. Look into treating your room.
  4. Reggie

    Reggie Distinguished Member

    Dec 20, 2004
    Well, I don't know if I would say NOTHING to do with the monitors. Trying to get a honest mix on those Samsons is probably like trying to mix biscuit batter with a spaghetti strand. If the room is bad, it is probably like trying to mix biscuit batter with a spaghetti strand while riding a rollycoaster. :lol:
  5. corrupted

    corrupted Guest

    What I really need to do is get a regular "home stereo" in my studio as well. I've got some decent extra speakers and I can pick up a cheap receiver. I just need to hear my mixes in other environments (through other speakers) before I mixdown. I end up really close, but usually there's something I didn't notice. So, I need to set up an A/B system for my studio. Maybe something like that would help you too?
    But, I'll still say, reference a track that you are "aiming" for... that's the best way to make sure. Keep going back to it or you'll gradually step away from it and not notice...
  6. therecordingart

    therecordingart Well-Known Member

    Jul 28, 2004
    I stick by my opinion that this case has nothing to do with monitors. I have owned those and while they aren't Adams, ATC, K&H, or any other hi-end monitor....they do work. It all comes down to knowing the monitor and hearing it properly. If the room is wacky, and the placement isn't right, your mix won't translate.

    Fix the room, learn the speakers, and you'll be good to go.

    I just moved from my house and I had my room treated to death, and my mixes translated awesome from Event TR8s which are known to be hyped, and generally a shitty speaker.

    I'm now mixing in an un-treated room, and my mixes are translating like $*^t.
  7. Chulio

    Chulio Guest

    Great forum! I can't believe I have never seen it before.
    I have a project studio at home and work at several studios around town
    and from the experience I've learned that
    THE RECORDINGART is dead on. It's the room.
    Different monitors do mix different but the room is very important.

    Basicly certain frequencies get trapped or cancelled out, and the you over compensate in your mix. Then when you hear it on a different system you hear either what you could not hear in your studio or you hear what you did to compensate.

    The best way is to fix the room with sound treatment. It is not really that hard to do and you can use basic things as well as fancy stuff.

    The second thing you can do is bring in some music you know really well into your studio and listen to how it is affected by your room.
    If the bass is gone (but you know it is on the recording)
    you know not to overcompensate when you mix.
    The more you mix the better you will get.
  8. kupgas

    kupgas Guest

    different sounding mixes

    If your mix doesn't sound good in your car, I suggest using monitors consisting of a cheap boom box with an aux input to test the mix. I agree the room is the place to start, but I can go crazy spending alot of money revamping the room, when I could be playing.

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