But you shouldn't judge an engineer or producer by the tools they use. Some of the world's greatest records have been made with far less than I have. And the M-Box, IMHO, is a nice little piece of equipment.
It's common in the industry to mix for whatever system the music is most likely to be heard on. These days, it's an iPod. You'd be surprised how many "big name" producers have been mixing for car stereos all these years. Many producers actually have car speakers mounted on the back of the board in the control room. I'm not saying that this is how I track or do production, I have expensive monitors for that. And when I mix I check it on several different monitoring systems. But my final product in mind is an iPod with earbuds. I'm not unique in my approach.
BTW--I used to earn my living cutting vinyl masters for record pressing. I owned a top of the line Neumann cutting system that, when new, was about a quarter of a million dollars. Also used $30,000 Sonic Solutions system for CD mastering. Cut records that went to number 5 on the CMJ. Mastered CDs for Forest's Waveform Records. I've also done work for Morton Subotnik, who invented the first synth as we know it (CV), and he also did sound fx for 2001: Space Odyssey.
So "audio engineer" or "m-box owner"? You decide.
\m/ Moto \m/
BTW--I used to earn my living cutting vinyl masters for record pressing. I owned a top of the line Neumann cutting system that, when new, was about a quarter of a million dollars.
So "audio engineer" or "m-box owner"? You decide.
It's common in the industry to mix for whatever system the music is most likely to be heard on. These days, it's an iPod. You'd be surprised how many "big name" producers have been mixing for car stereos all these years. Many producers actually have car speakers mounted on the back of the board in the control room. I'm not saying that this is how I track or do production, I have expensive monitors for that. And when I mix I check it on several different monitoring systems. But my final product in mind is an iPod with earbuds. I'm not unique in my approach.
iTunes does allow joining tracks for "gapless" playback of dance mixes and such. iTunes also has a level matching feature like the ReplayGain you asked about. Both of these features have been standard in iTunes for a LONG time. From what I've heard, the iPod is also capable of greater output volume than competing players, simply because Jobs is hard of hearing and demanded that the go to "11". I'm an audio engineer and though I have near field monitors that cost thousands of dollars I mix most of music for the iPod these days. It sounds quite nice.
\m/ Moto \m/
The first designed for a musician using electronics was commisioned by Morton Subotnik and built by Don Buchla. It was released a full year before the Moog. I did some studio work for Morton a few years ago. Real nice guy!
Troy
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But you shouldn't judge an engineer or producer by the tools they use. Some of the world's greatest records have been made with far less than I have. And the M-Box, IMHO, is a nice little piece of equipment.
It's common in the industry to mix for whatever system the music is most likely to be heard on. These days, it's an iPod. You'd be surprised how many "big name" producers have been mixing for car stereos all these years. Many producers actually have car speakers mounted on the back of the board in the control room. I'm not saying that this is how I track or do production, I have expensive monitors for that. And when I mix I check it on several different monitoring systems. But my final product in mind is an iPod with earbuds. I'm not unique in my approach. BTW--I used to earn my living cutting vinyl masters for record pressing. I owned a top of the line Neumann cutting system that, when new, was about a quarter of a million dollars. Also used $30,000 Sonic Solutions system for CD mastering. Cut records that went to number 5 on the CMJ. Mastered CDs for Forest's Waveform Records. I've also done work for Morton Subotnik, who invented the first synth as we know it (CV), and he also did sound fx for 2001: Space Odyssey. So "audio engineer" or "m-box owner"? You decide. \m/ Moto \m/
BTW--I used to earn my living cutting vinyl masters for record pressing. I owned a top of the line Neumann cutting system that, when new, was about a quarter of a million dollars. So "audio engineer" or "m-box owner"? You decide.
It's common in the industry to mix for whatever system the music is most likely to be heard on. These days, it's an iPod. You'd be surprised how many "big name" producers have been mixing for car stereos all these years. Many producers actually have car speakers mounted on the back of the board in the control room. I'm not saying that this is how I track or do production, I have expensive monitors for that. And when I mix I check it on several different monitoring systems. But my final product in mind is an iPod with earbuds. I'm not unique in my approach.
iTunes does allow joining tracks for "gapless" playback of dance mixes and such. iTunes also has a level matching feature like the ReplayGain you asked about. Both of these features have been standard in iTunes for a LONG time. From what I've heard, the iPod is also capable of greater output volume than competing players, simply because Jobs is hard of hearing and demanded that the go to "11". I'm an audio engineer and though I have near field monitors that cost thousands of dollars I mix most of music for the iPod these days. It sounds quite nice. \m/ Moto \m/
The first designed for a musician using electronics was commisioned by Morton Subotnik and built by Don Buchla. It was released a full year before the Moog. I did some studio work for Morton a few years ago. Real nice guy! Troy