How to get "radio-quality" using Logic Pro 7 ? Please help!

i have not yet but will this weekend....The ENT doc was like oh don't put nothing in your ear but then again he has no answers for my problem....as it remains clogged..

I've used ear candles and got good results. But just recently I started reading up about them online (where everything you read is true) and now I've got second thoughts about just how effective they really are. Hey, if you wrap a damp towel around your ear/head first (for safety) and then, once the candle's lit, not let it burn down too far, it'll probably be fine. It's a cool experience if nothing else.

And to the OP, regarding making mixes sound "radio quality"? Well, that ain't gonna happen overnight unless you have an extraordinary newbie talent for knowing how to apply the right engineering tools to make a mix sound right.

If your music is really that good, consider hiring an actual recording engineer to do the mixing job. Believe it or not, plug-ins haven't made them extinct, and there are still one or two or a few thousand left. Oh, but they cost money. Always a downside, eh?

If you must go the DIY mixing route, read, listen, learn, experiment, and compare the overal quality of your mixes to those of commercially sold recordings of a similar genre to get perspective. Or hire a recording engineer. Oh, did I mention that already?

I agree with everything posted but, along the lines of what Ashermusic was saying, I might suggest that if you need something to sound radio-quality by next week, you might look into a professional mastering house. I've used Bernie Grundman's in LA and they were able to make an extremely basic mix sound "radio quality" plain and simple. I was stunned by what they were able to do with the mix. It was amazing to me, and I recomend them to everyone now.

Go here:

http://bigbassbrian.com/bghome.htm

and try again later (the website is not up yet):

http://www.berniegrundmanmastering.com

Google Bernie Grundman and you will find more answers than you can handle in a day.

We all continue learning. Welcome to the club!

sometimes it is the weirdest things that can make a difference, or fix something that is wrong. i hope it works out for you. i have had good experiences with them, and know a lot of people.
i have really bad allergies, and my ears are always full. so i use them off and on.
it would be good to find someone who has done it before. that is why i suggested a hippee (like myself) jk....:-)

Ear candles are the best, and I am no longer afraid of them, even withouth any protection.

Because: they truly work. If you have it done by somebody who knows what they are administering, the ear candle WILL pull out some pretty cool stuff out of your system. It depends on the candle and the herbs woven in to it.

Personally, I had many different applications performed on myself, and all of them turned out to be having the exact effect my practitioner promised (and of course the ones I asked for).

There were days, after I came back from an ear coning session targeting my sinuses, were my friends asked me if I just got back from a face-lift operation! That's how well ear coning works.

Cheers,
sonther

Anya,

You should write whatever you feel like writing. There are no rules if you're not doing this professionally yet. No musician is born into a musical pidgeon hole. Once they enter into doing music professionally, pidgeon-holing becomes commonplace. But before I go there, know that there are various music fields where having the ability to write in a variety of styles is important, including jingles, film scoring, industrials, and session work.

If you were to establish yourself as an artist, obviously you wouldn't put yourself out there if you didn't feel comfortable with your style, presentation, etc. You can forge ahead and do whatever you want and over time you will learn what various audiences react favorably to. Still, it's always best to write for yourself and not for the audience.

Keep in mind though that people tend to like some kind of consistency when they listen to a CD. So if you put out, say, an EP with a techno/trance track, a highly emotional acoustic guitar singer/songwriter ballad, a jazz tune, a new age piano thing, and a country tune, your audience may get a little confused as to "who you are". But no need to worry about this kind of thing now. Sounds like you're just getting started, so do what you like. Again, no rules.

If you want to pursue a career as an artist (and you're good enough) and you approach a label to get a recording deal, know in advance that they're going to want to see some kind of consistency, and this is where the pidgeon-holing comes in. The commercial music perspective isn't all that flexible when it comes to extremes of variety. Look what happened to John Mellencamp and Snoop Dog when they did nothing but change their names! The audience lost something consistent in their experience of those artists...

So for now, do your thing, learn, experiment, hone your craft, whatever that ends up being.

-=iS=-

Bored? Nope! But then you wrote, "could you live your life without music?" Lemme ask you, what language did you write that in? I don't understand..

(LOL)

No. ;-)

I mean, yes.

I mean, no.

(j/k)

Seriously, life without music? Not me. Thought I did set out to be an architect... Then I discovered that girls liked music. Need I say more?

Me neither... music is life to me! Life without music is about as synonymous as life without breathing.

jord

Since you asked, I have an actual useful tip for you! Spend a day or two exploring the Multi-Pressor, or if you have it, Waves' C4 or LMB. I got into multi-band compression way back in the early '30's with Antares' Multiband Dynamics tool, which was a little offline multiband compressor. After a lot of experimenting, I found I was consistently able to make things much more vivid and exciting and "mastered" sounding, to say nothing of louder, with this thing, but found that in the process I'd wish I could access the mix again because whatever I was doing with MDT was bringing out the snare too much, or what have you. So the next logical step, when it came out, was the Finalizer. I rented one for a day to be sure I could get it to do what I thought, and used it on almost every one of hundreds of mixes I did for years. When C4 and then LMB came out, I used them instead; more flexible and better sounding. When I mix at a client's place, if they don't have what I need, I use the Multi-pressor. The presets are useless; put it in and mess with it and learn what it will do on the mix buss. I don't doubt that there will be those who say "but, but, but, that's the MASTERING guy's job! You're ruining it for him! He can't undo it!" To which I say, well, Apple won't let me say it, but the ability to mix into at least some of the "mastering" is well worth it. It's important to get your mix as good as you can get it before you put this thing in, then continue to tweak after it's in; mixes in which it's used as a crutch are never as good...