Korg electribe First Thoughts

electribe

At long last, it’s arrived.

In some respects it feels like it’s been forever that I’ve been waiting, having pre-ordered my electribe back in September when it was first announced.  On the other hand, in some ways it’s been almost ten years for this moment, when Korg would finally release a successor to the EMX.  Not that I didn’t like the EMX, it’s insanely deep if you spend the time with it, both for performance and composing.  But for some reason it just never had that specific sound I was looking for.  I always wanted to see Korg take it one step further, give us just a little more creative control and depth of features.

It’s no secret I’m a big fan of grooveboxes, it’s by far my preferred way to make electronic music.  I’ve owned most of the major ones, and gotten pretty good at knowing them inside and out over the years.  Recently I decided to take a break from hardware live sets to focus on other musical endeavors, so I’ve been without a groovebox for almost two years.

The big question on my mind, is will the new electribe fill that role for me?  Does it have an interface that sucks you in and makes you lose track of time without realizing it?  Will the sounds match my tastes today, and can I actually perform those live in a way that lets me express myself in a way I enjoy?

I’ll be doing a more in-depth review in the coming days, but for now I wanted to note my first thoughts after only a couple hours playing with it.  Just the things that first struck me about it as I learned my way around.  So, let’s get started.

I was happy when I first picked it up after unboxing to learn that it’s definitely as solid as most people have been saying.  It’s got some weight to it, though it’s not overly heavy at all.  A bit lighter than I expected in fact.  No flex in this thing at all though, it’s definitely a metal body and feels like it.  I don’t see any issues taking this thing live.

The knobs are pretty good overall, nothing spectacular, but they feel solid enough for live use and after a bit of use are loosening up without feeling wobbly at all.  The trigger pads are nothing special either, but again they feel more than up to the task.  They definitely aren’t as responsive as say Maschine in comparison, but I had no issues with double-triggering or not being able to enter different velocities while playing.

The touchpad is probably the cheapest feeling part on the unit, you can feel a sort of bumpy, textured surface underneath.  It’s not as smooth as it looks.  It works well enough in use for most things, but it was a bit tricky so far to accurate play scales with it, for instance.  In time perhaps.  Anyway, not a deal breaker by any means, as most touchpads are pretty cheap feeling to me.

I’ll be honest, I didn’t even listen to the factory patterns at all.  The first thing I did was initialize the first pattern, go through the menus setting all my preferred defaults, and then save it over all the 250 factory pattern slots.  Sorry James, I gotta start mine from scratch 🙂

I did start to have a bit of a panic doing this though, as I realized just how many menus there are, and how often I would have to be using them to write music on the electribe.  Luckily, I tried holding Shift while going through the menu pages, and this jumps you from one edit menu category to the next.  IE, you can skip from global settings, pattern settings, part edit, etc.  That helped a lot.

I later remembered that by holding shift and pressing a trigger pad, I could also access shortcuts to different menu pages.  This works MUCH better, all the major functions have their own shortcut, and the ones that don’t are now only a button press or two away in most cases.  Really speeds up any menu operations, so I’m a lot less worried about this.  It’s brilliant in fact.

This sort of thing applies in a lot of places on the electribe, for instance holding shift and turning the OSC select knob skips you between the different drum types, then different samples, finally the raw OSC types.  Same with the effects, you can hold shift and skip through the distortion category, the delays category, etc.  This type of thing really speeds up the work flow a lot, so I’m happy to see they didn’t just do it in a couple places, but machine-wide.

The sounds and the unit itself sound really good, no disappointments there.  I haven’t had time to really dive into the synth editing as much as I want yet, but the drum sounds are uniformly up to date and useable, and the PCM samples have a lot of potential too.  Some cheese as well, but I think with some clever editing we’re going to see more use ou of these than people would expect.  The raw OSCs have a lot of tweakability thanks to the OSC edit knob, which sometimes drastically alters the sound of the OSC beyond what you’d expect.  Overall there’s a lot more room for sound design than on any other electribe to date I feel.

I did have a few issues with clipping internally causing some clicking noises, but once I adjusted the volumes of my parts down a bit it cleaned right up.  Headroom is apparently pretty important given the complex processing going on.  Keep it a tiny bit quieter than you might expect, and it all works and sounds amazing.

I’ve already read the manual a few times (it’s only 16 pages) so it wasn’t too hard for me to find my way around and start making my own patterns.  The first one sucked, total preset cheese sounding, even I cringed 🙂  The second one was much better though, and had exactly the sort of depth of sound I wanted in a modern groovebox.   Good low end, nice bright mids, and effects are really clean and blend well with each other.

Big sigh of relief!

Basic editing operations all worked as expected and were simply to find via the shortcuts mentioned above.  It’ll take some time to become second nature, but already I feel pretty quick on the unit.  There’s a lot of depth here, and I think Korg did a really good job of making it easy to get to.   It’s still early, but so far I’m still really excited at what I’m going to be able to create with the electribe.

So, what about the not so good things?

As mentioned, headroom is important if you want to keep things click free.  Not really a huge deal, you just can’t get crazy with your levels internally.  I did have one weird lock up too, some notes got stuck and the display always showed the same menu screen no  matter what I did.  A power cycle fixed it, but still a little worrying.

You can save your patterns while they play and you are editing them, but occasionally it seems to throw the timing out.  You get a slight skip in the pattern playback.  Not something you probably want to do live, even though it only happens about 3 in 10 times.

A lot of people are worried about the whole pattern change glitch issue, but for me it wasn’t really something I noticed.  Yes it would be awesome if reverb, delay, and amp release tails carried over to smooth transitions, but that’s just not how this box works.  So far it’s really only with the part delays that I find it’s that noticeable, and I’m sure I can think of a workaround once I get a bit time with the box.  Maybe not ideal, but not something that really is a huge turnoff for me either.

Other than that so far it’s been a mostly positive experience, hell it’s been downright fun to be honest.   I’ll post some more thoughts and a video review in a few days, hopefully I can cram as much time as possible on the electribe so it doesn’t take too long.

If you have any questions, just let me know and I’ll address them if I can.  I don’t plan on using this as a MIDI sequencer, so anything related to that side of things will probably be the last area I dive into though.

Stay tuned!
Tarekith

Inching Forward

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Well, things are slowly marching towards my move to Luxembourg, even though we still don’t have a firm move date which is dragging things out a bit (waiting for our visas).  The process is going well for us so far otherwise, we sold our house without too much issue, and in the meantime have been slowly getting rid of all the crap we don’t need to bring with us.  The one real benefit to any move 🙂

Figuring out all the details involved with getting my studio overseas has been rather more convoluted than I expected.  One of the downsides of moving to a relatively tiny country, had it been England or France information is much more readily available.  The biggest hurdle so far has been news that shipping all the studio gear might take up to 3 months now, instead of the original 6-8 weeks we had been quoted.  Thank you dock worker slowdown.

Oh well, nothing I can do about it, it’s the only practical way to get that much gear overseas.  Gives me more time to work on the book I guess.

Needless to say, all of this hasn’t really left me with much time or brain power for writing music.  At least not in any sort of serious way like working on actual songs or an album, though I’m constantly tinkering with random ideas.  For now I’ve decided to just focus whatever free studio time I have into creating samples and loops to use later.  My Ableton Push jams, guitar ideas, messing about with the Monotron Delay, you name it.

Oh yeah, and I bought a Korg Volca Keys at long last.  Just picked that up a few days ago, but so far it’s a great way to spend short bits of time coming up with fun ideas to record.  At the moment I’m just recording everything into one large Ableton Live session, since it’s so easy to fire that up to capture lots of ideas.  I’m hoping to post a video review once I get a bit more hands on time with it.

VolcaKeys

Like I said, I still have no idea what I’ll do with all this material, but at least I have it recorded and ready once I decide.  Possibly going to use it for a new live set, perhaps with the Korg Electribe sampler when that gets released.  Or maybe I’ll release a sample collection.  We’ll see, at the moment not too concerned with the end result, just trying to have fun and unstress from anything having to do with the big move. 🙂

In the meantime, I’m still up and running when it comes to mastering and mixdowns, trying to get as many of those done as possible before I’m shut down for weeks.  Oh well, like I always say, heads up, chin up, just keep plugging away!

Hopefully I’ll have more news soon, until then peace and beats,

Tarekith

Windings – Downtempo DJ Set

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Windings <- Right click to save.

With all the work that’s going on with preparing to move to Luxembourg, not to mention selling the house, it’s amazing I’m finding anytime to actually DJ.  But I have to say, with something like the Traktor S8 recently in the studio, it’s hard to stop as well!  Really having a lot of fun with the new controller, I more fun than I’ve had DJing in a long time if I’m honest.  Finally the perfect combination of controls for the way I want to DJ, and the screens are game changers.

This mix is more downtempo than the last one, it’s freaking cold this weekend and I wanted something that was chill but still warm.  Err… something.  Anyway, hope you enjoy as always.

Start Time – Artist – Track Name – Label
00:00 – Baghira – Garden Lullaby – Stereoheaven
05:44 – Tipper – Table Flipping – Tippermusic
09:48 – Sesion De Los Floras – Gotas de Agua Dolce – Stereoheaven
14:34 – Aqua Mundi – Beautiful Awaking – Stereoheaven
19:02 – Tipper – Gulch – Tippermusic
22:23 – Soulavenue – Stuck In A Dream – Karmapulse
26:47 – Diario – Throwback – Sa Trincha
31:46 – Stereo Out – The Calling – Drizzlymusic
35:23 – Soulavenue – Try – Drizzlymusic
39:00 – Jon Hopkins – Sun Harmonics – Domino
45:04 – Diario – Two Shells – Ibiza Lounge
48:03 – Witchcraft – Ultraviolet – AD Music

——–

One final note, yes the studio is still open for mastering!  A few people just skimmed my mailing list email or the blog post, and didn’t realize it was happening in January most likely.  If you need some mastering done, there’s no need to wait.

Thanks everyone!
Tarekith

Without Within DJ Set 11-21-2014

Without Within

Without Within DJ Set <- Click to Save
Tech House 11-21-2014

Finally got a break from preparing to move and selling the house to record a new DJ set using my new Traktor S8 controller.  Still enjoying it, having the Freeze function at hand really opens up a lot of interesting possibilities for transitions.  I love having full-time access to the delays for each deck too.

This mix goes into the deeper end of things.  A little housey, a little minimal tribal, and some groovy techno as well.

Tracklist:

Time – Artist – Track Name – Label
00:00 – Stereo Out – Elettro Noise – Drizzlymusic
04:16 – Simplex Sensus – Airdrops – Nidra
08:46 – Lamedusa – You’ll See (Micha Mischer Rmx) – MUM UK
12:24 – Steve Lovesey – Dusk – Pure Substance
19:54 – Ciffre 100 – Amantes – Nidra
24:58 – Steve Lovesey – Push The Sunrise – GR8 AL Music
31:16 – Steve Lovesey – Sea & Air – Respect
37:03 – Self Explanatory – A Part From The Funk – Nidra
41:58 – Agrume – Abyss – Gigabeat
48:27 – Innova – The Deepest – Moxi
53:10 – T Tommy – Quien No Va Coger – Leima House
57:56 – Innova – Don’t Stop – Dance All Ways
63:21 – Steve Lovesey – From The Beginning – GR8 AL Music

Enjoy!
Tarekith

Mixing & Mastering in the 21st Century

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12PM PST – Mixing and Mastering in the 21st Century  | Jake Perrine and Erik “Tarekith” Magrini

“As technology continues to advance, so do the practices for delivery in the audio industry.  With many producers working entirely on their own, how do we deliver the highest quality product we can?  Are CDs relevant?  What aout the MP3 and the many online portals for distribution?  Are there any standards we should be following?  Lead Trainer Jake Perrine hosts a conversation with Erik “Tarekith” Magrini, owner and operator of Inner Portal Studio to help you navigate the many pitfalls of mixing and mastering your own music.”

I hope some of you can stop in for the session!

Tarekith

NI Traktor Review Part 2

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Now that I’ve spent a bit more time with the Traktor S8 controller, I wanted to add to my earlier review with some other things I thought people would be interested in.

For starters, it seems that the meters are improved on the S8. Maybe it’s just me, but I always felt the meters on the S4 were way too fast and never really seemed in time with the music. On the S8, things are definitely more like a traditional DJ mixer.

One thing I do miss from the S4 though, is the loop recorder controls. While you can do a lot of the same functionality with capturing to remix decks, it does use a deck and lacks the simple and focused set of controls you might be used. I know a lot of people say they never used the loop recorder, but it was one of my favorite features.

Another useful shortcut that’s gone is the ability to preview your tracks in the Browser, you have to load them to a deck first to cue. Not a huge deal, but the older method of pushing encoder to cue, then load with a separate button press was brilliant I thought. I hope NI lets us choose to use the old functionality some how.

Speaking of the Browser, one other small annoyance is there’s no way to see if you’ve played a track or not via the S8’s display. This makes it impossible to see what you’ve played earlier in the night, a major disappointment. Hopefully we get a little more flexibility in what gets displayed on the S8 in deck mode, as there’s a lot of things I’d love to customize more. Being able to see minute marker in the waveform display for one, though at least we can see the time played and remaining for each song.

One thing that’s really nice though is being able to grid your tracks right from the controller’s displays. The method is more or less identical to how it works in Traktor on iOS devices, though you can also hear a metronome tick to help you if you want. There’s no way to add Start or Grid marker unless you revert to the computer, but overall the implementation is smart and really speeds up prepping new tracks. Good stuff.

Also I wanted to mention that I watched the free DJ Techtools S8 tutorial videos that came with my order from them. Overall I thought Ian did a really great job a covering the basics and more advanced techniques over the course of the 4 videos. The last video in particular shows you a lot of real world uses for the remix decks and freeze functionality via the S8.

Lots of really good ideas, though many times the streaming from the site reduced the video quality so bad I couldn’t see what was going on. I’m sure that’s partly related to my bandwidth at the time, but it would be nice to have downloads of the videos too. Pirating issues, I get it.

Overall I really am impressed with the S8 still. The remix decks have been easy to learn and make use of, and things are laid out in a way that makes a lot more sense to me. Also just the overall build quality improvements are nice. I never though the S4 was bad, but it definitely was a very plastic looking and feeling unit. The S8 finally feels like a pro-quality DJ tool, something you wouldn’t be hesitant to bring to a big gig. Should you want to deal with the size and weight anyway.

Hoping to finally record a mix with it in the next day or two, we’re in the middle of packing for a large move and finding the time to get in that headspace has been hard 🙂 Stay tuned.

NI Traktor S8 Review

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At long last Native Instruments has delivered an all-in-one controller aimed at digital DJs looking to break completely free from the old school turntable paradigm. But is the wait worth it? Let’s dive in…

First impression count, and the first look I got of the S8 certainly didn’t disappoint. It’s a large unit, probably 20-30% bigger and heavier than the S4 I’m used to, though not so heavy that you’d need to drag a friend with you to the club to help carry it (I don’t miss toting around turntable coffins at all!). While I never personally had any issues with the built quality of the S4, the S8 definitely feels and looks more robust.

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Happily, almost all of the shiny black plastic of the earlier models is covered by aluminum (the area around the displays is the only plastic showing), meaning no more unnecessary fingerprints to clean. For people with OCD like myself, this is MOST welcome! 🙂 The knobs and rotaries feel exactly the same as the earlier versions of the S series, which is fine with me as I think NI has always done a good job there.

The faders however are a noticeable improvement, the throw is much smoother and tighter feeling on the upfaders, and the crossfader actually feels like a proper crossfader now. I still think the fader caps are tiny bit cheap feeling, but it’s a minor point and easily remedied with some ChromaCaps if needed. One benefit of the larger footprint is that you have a lot more room between the controls it feels like, especially in the effects sections. Also, many of the knobs are now touch sensitive, so as soon as you put a finger on them the displays reflect what those controls are ummm…. controlling.

Ah, the displays, now we come to the meat of the new S8, what really sets it apart from earlier controllers. They seem to be identical to the ones on the Maschine Studio I reviewed earlier, which is to say bright and easy to read, even from a distance. Just like with Maschine, NI has done a brilliant job of showing you everything you need to see on those displays, rendering the laptop display completely redundant for everything except searching your library. I didn’t once find myself needing to look at my laptop to DJ with the S8, and that is the real game changer making the S8 feel like an instrument on it’s own in a way the S4 and S2 never did. I’m hooked, and I can’t imagine going back!

While the waveform colors follow the theme you select in Traktor preferences, the actual waveform looks more like the Traktor iOS app than the laptop display. That’s fine though, still super easy to grid your tracks or get the structure of a song at a glance.

Another benefit of the displays is that you can now see your remix decks in great detail, and your effects as well. Since there are now enough knobs on the controller to let you access all 4 effects units at once (finally!), you get a lot more options in how you can affect your tracks in real-time. One note however, the knobs under the displays are endless rotaries and lack the center detent of the top effect knobs. It makes sense as they can also control things like remix deck pitch and filtering too, but it can make setting your group effects back to the center “off” position a little finicky too.

Other improvements are the much more comprehensive IO options on the back, and a louder headphone output on the front. Something that was a common complaint on the S2 and S4, in loud clubs their headphone amps could feel a little underpowered. There’s even a standard 1/8” headphone jack for people using IEM’s or standard earbuds for DJing, a welcome touch as I use those myself occasionally and the 1/4” adaptors always seem to be hiding when I want to 🙂

With the jog wheels gone you’re obviously going to be relying more on Sync to get your tracks lined up, though I’m guessing if you bought an S8 you would be doing this already. The new Touchstrips work great for letting you skip through a track, or push and pull a track a bit to fine tune sync issues. Even if you don’t use the Sync button, it’s still easy to beatmatch tracks manually by adjusting the global Tempo knob and the Touchstrips. It didn’t take me but a couple minutes to get used to doing this, though I doubt I’ll really have much need to anyway.

I’m very happy that the S8 now has a global Tempo knob too. As someone who tends to start out my sets with downtempo and progress to more upbeat songs, this is a much better way of controlling tempo over the course of a set. Much more intuitive than constantly needing to hold shift to “re-zero” the pitch faders on the S4.

The 8 large pads on each side of the S8 give you access to your cue points, user-definable loop and beat jump divisions, Freeze functionality, and your Remix Decks. They feel nice and solid, maybe not as playable as those on Maschine, but very close. Cues and Loop settings are more or less identical in function to the S4, though the new Freeze functionality is an excellent new addition.

If you’ve used the iOS version of Traktor, Freeze will make sense right away, if you haven’t you’re in for a really fun way to remix your tracks on the fly. Combined with the very welcome Flux button right next to them, it’s simple to create your own unique fills and transitions, and have the music kick back in on time and as expected.

The amount of audio you can freeze at any time is determined by the current loop length of each deck, and this is set using the all new loop knob. I find with the new displays, having only one knob for looping works great, you can really see exactly what you’re looping right on the unit with a glance. Though I admit, I did find the rotating LEDs around each knob when the loop is active to be a tiny bit bright and distracting.

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So, what about downsides of the new S8? There are a few things I should probably point out, the biggest one for me currently is that you can’t modify the default mapping of the controller. At all. You either use the default template, or you have to manually map everything with the controller in MIDI mode, which means no HID controls and the displays are blank.

This is a really a shame for me personally, as I’ve been in love with the Xone 4-band EQ ever since I got my Xone62 years and years ago. On the S4, I would just repurpose the Filter knobs to be lowest EQ band, allowing me to access all 4 bands of the EQ as intended. On the S8 you can still select the Xone EQ, but the low-mid band can’t be controlled by the hardware, which makes it pointless. I really hope NI opens this up a little in the future, and judging by the number of complaints I’ve read about this, I’m not alone.

I also found the crossfader curve control a little difficult to adjust, I wish it was one of those knobs that pops out when you pressed it in to make this a bit easier. I did have one small issue with the left display getting stuck showing me a remix deck, nothing I did would get it to revert back to my other deck display. Power-cycling the controller fixed it and I couldn’t replicate, but for the sake of fairness I thought I would mention it.  Finally, with the Browse knobs set to open the browser when you just touch them, I found I kept opening the browser on the displays when I was reaching for an effect knob.  Easy enough to turn this functionality off though.

All in all I really don’t have that much I’d change about the S8 though, I think NI really hit the nail on the head when they designed it. Within a couple minutes I was easily navigating around remix decks, capturing loops on the fly, all sorts of things I never touched on S4 as it just didn’t feel intuitive. It finally feels like there’s a really solid balance between normal two-track DJing, and a more complicated remix deck approach. Not just in terms of functionality, but how easy it is to access all that functionality too.

I think the S8 is a very welcome and well thought-out top of the range controller. Overall it feels much better than previous S models, everything is easier to access, and most importantly the new displays really make it feel like a self-contained standalone instrument (like the Maschine Studio). Once you realize you can focus all of your attention just on the controller in front of you, putting the laptop completely out of sight, suddenly DJing with a laptop feels a LOT more like DJing back in the day did. Focused, fun, and fast to achieve any ideas you might get in the heat of the moment.

It’s probably a bit too big and heavy for DJs that frequently travel, but for occasional gigs and certainly just mixing at home, it’s hands down the best controller I’ve used. I was a little hesitant about the price initially, but after using it even briefly, I think it’s well worth it if you’re someone who never really uses jog wheels or wants better Remix Deck control.

I was forced to admit that NI did a great job on the Maschine Studio, pretty much ticking off all the boxes that took it from good to excellent. With the Traktor S8 it’s clear they are on roll lately, and listening to their users too. Well done Native Instruments, well done.

If you have any questions, please put them in the comments and I’ll answer them asap.  Thanks!

Tarekith

Inner Portal Studio Is Moving!

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It’s been months in the process, but it’s finally official:  Inner Portal Studio is moving to Luxembourg!  While my wife and I love Seattle, we both felt lately it was time for a temporary change, and luckily an opportunity like this presented itself at the right time.

The actual move date is still being worked on, but it’s tentatively going to happen around mid-January we think.  I’m doing everything I can to minimize how long the studio will shutdown during the transition, so hopefully it won’t affect anyone’s upcoming projects.  Luckily the beginning of the new year tends to be a little slower as people recover from the holidays anyway 🙂

I’ll keep everyone updated as I find out more, and I’ll be writing about what is going into moving a studio halfway around the world as well.  First step, find a good step-down transformer so I can use all my gear on 220v!

Peace and beats,
Tarekith

Mastering Trends

bassNow that I have been mastering other people’s music for around 15 years, it’s interesting to look back and reflect on some of the trends I’ve seen come and go over that time. Not so much in terms of musical styles, but rather the mixdowns I’ve been sent. So, how’s does the music I was sent 15 years ago compare to what I get today? Here’s a few examples that stick out in my mind:

1. Bass issues. By far the number one issue I used to deal with when mastering other people’s tracks years ago was the low end. Too much bass, too little bass, bass all over the place. These days it’s still an issue for some people, but the range of extremes seems to be a lot smaller. People generally seem to have a better grasp of what’s happening in the low end of their songs.

I think it’s largely down to studio monitors getting better more than anything. It’s a lot easier and cheaper for producers to buy a fairly accurate monitoring setup for their studio. And more musicians than ever recognize how important it is combined with acoustic treatment.

These days it’s actually the opposite that I find true, people are putting the high end all over the place. Cymbals that will tear your ears off they are so loud, or high hats that are so quiet you can barely hear them. I have no idea why this is happening, but there you go 🙂

2. Tracks lacking stereo spread. Early on I used to get a lot of tracks that were very mono focused, some were straight up completely mono. These days it the opposite, I get so many tracks where everything in the song is panned so far out to the sides, or some type of stereo-widener was over-applied. I’ve gone from spending time to give tracks depth, to working on bringing back some solidity to the center channel.

Lots of stereo effects pushing things really wide, combined with people doing a lot of writing in headphones these days are my guesses to the culprits. Along with people over-applying stereo widening plug ins as I mentioned before. You need the key elements of the song in the center of the mix too!

3. Tracks are clipping or distorted. A pretty common phenomenon early on, people just weren’t used to paying attention to their levels as much as they are now I guess. Or they were DJs used to pinning their signals in the red all the time. Luckily with increased awareness of how to use digital audio, increased use of 24bit audio, and understanding of proper gain staging, this seems to be a lot less of an issue. A few times this year I even got a couple tracks with over 48dB of headroom, oops.

4. Producer confidence. Out of all the trends I’ve seen, this is the one that still surprises me the most. Years ago people would submit tracks and tell me “this is the bomb track, make it really slam for me!” when they submitted a mixdown for mastering. People might not have the best sounding tracks, but boy did they think they did! 🙂

Today I get so many mixdowns where the producer is obviously really insecure with what their work. They apologize for issues that I don’t even hear, or they expect me to send them a detailed mixdown revision list with a ton of fixes. The ironic thing is, usually these mixdowns sound great, fantastic even! I’m not sure if producers are just under more pressure to compete among themselves or what is causing this lack of confidence. The music sounds vastly better, but everyone expects that their work really sounds bad. Weird. Heads up, chins up, have some faith in your music people!

Anyway, that’s just a few things off the top of my head. It’s kind of interesting being in a position like this long enough to even see a trend in music making, here’s to hoping I can do another post like this ten years from now. Who knows what we’ll be seeing then!