+1

Keni
Not much of a studio if they can't/won't interface your computer... I can understand if they don't know your software, but that's another issue...

 
Bingo. When it comes to the mixing stage, it's 90% about levels and processing. A fader adjusts level whether the DAW is SONAR or Pro Tools. 3.24 kHz on an EQ is 3.24 kHz on Pro Tools or SONAR or Logic. Or an SSL board.
 
Experienced producers would often work in studios with entirely different consoles and backlines. The one concession they made to familiarity is sometimes they would bring monitor speakers that they knew really well.
 
If you gave me tracks, I would produce pretty much the same end result with any DAW. It's not like I'm special or great or anything, it's ultimately all about audio and the emotional impact of the music, not which plug-in you use. If someone is capable of working only with a specific DAW, I question how much they know about audio and production.

In my experiences, a producer usually needs to listen to the musicians though the decisions might not seem to reflect such.

Bingo redux.

Hi Beepster...

I understand how you feel and there is a lot of truth in what you say...

As is true with what Craig just posted and other comments...

Experience working is the main thing... It's not a big deal to use different brands if you understand the device basics...

From what I've followed in your approach and diligence to learning, I'm sure with more experience you'll get there quickly! Throw yourself into some extra projects for others and you'll learn even faster! ;-)

I have my preferences such as using Sonar, but whether it's analog tape, or a half dozen different DAWs I've had to use over the years, I belueve I always achieve he results I'm looking for...

Instead of exporting the individual tracks, try saving in the OMF format.

Thanks for all the referrals. I will print this and save. Tom sounds like a good starting point since he is local.
 
Dan

I do think it's cool to meet in person and mix.
- It's fun.
- It's interesting.
- People work off each other. 
 
What it isn't:
- Fast
 
I do sometimes wish I had more engineer friends. Performing brings musicians together with other musicians. I have tons of musician friends. Engineers often work alone and then mix alone, master alone.

ive sent out a lot of stuff to be mixed and mastered in my past (now I do it myself most of the time / stress most of the time) sometimes you need that other ear to hear what you buried because you've recorded and listened too long.
you hear that little thing because you recorded it...but others ? they don't hear it.
that's why at some point...some times, its necessary to hand it off.
 
with that said, ive got mixes back that I hated but after listening to them for a few weeks, realized the mixes were great/ it takes time to listen.
 
best,
Chuck

I myself find a lot of today's mixes are overcrowded and not what there cracked up to be.Especially Top 40 music of today.Even Tv and films the music Is too loud and you cannot hear the actors speak. FACT!!!
Also on Tv the volumes are all over the place .You would think there would be a standard.
I am not a mixer of any sort ,but I can tell whether something Is muffled or too toppy /bassy etc.
Now going back to the 70s, Robin Trowers Bridge of Sighs album is streets ahead and even on the first Emerson,Lake and Palmer album which was Greg Lakes Spontanious Combustion the mixing was Impeccable.
I would say mix yourself and try It out on car stereo's ,Hi-Fi or In a local club ,till you get a good template.
I am just getting my head around Spectrum analyzers and eq.
 
I suppose you could also get a song In the style you love and put It on a spectrum analyizer and try to match It with trial and error. That Is what I having a go at at this moment. It is flaming hard though!!!!
I reckon keep bashing away and It all will somehow get lodged brain cells!!
It is all In the frequencies
Also I reckon you can over hear and lose where your going.
Most of the human race would not tell the difference between a mp3 and Wave nowadays,Especially Motorhead!!! There all ruddy deaf!!!
 
 
 
All the best
John

I can see some studios that are busy ( because they are good? ) would turn away almost finished work. It's sort of like trying to fix your car and only running to the mechanic when you get into trouble and need their help. Or calling a drywaller after you put on two coats of mud and have made a mess. Some pro's will want to have been involved from the ground up to put their name on it.  
Tom sounds like your man depending on you and him having similar taste in production. That last 20% is all about your taste and ideas about what music should sound like. 

I still have a guitarist who wants to rerecord and remix a song everybody else is happy with.I tell him I'm happy to do so provided...
 
a) He brings the money.
b) He convinces the band to play it again who are already bored of the song.
 
Even if that happens the chances of getting a better performance is almost zero, yet it's still far from perfect. Sometimes you have to just call it 'art' and walk away...