#16
|
|||
|
|||
If I can offer up one small tip -- the ear is always pulled toward the "new thing." When a vocal first comes in, that's definitely a new thing and it's easy to have it be a bit too loud. Maybe a bit too bright as well. You don't want to pull the listener out of the moment and make them reach for the volume control.
|
#17
|
||||
|
||||
Quote:
|
#18
|
||||
|
||||
Thanks guys, I agree. I see them as being too bright. I hope to remedy that soon.
__________________
https://www.mcmakinmusic.com |
#19
|
|||
|
|||
Personal Reference Mix CD/Tracks
Quote:
While mixing, I'll have some of my references mixes pulled up into some of the DAW tracks so I can A/B all the time.
__________________
Jan |
#20
|
|||
|
|||
I think compression is a major tool in terms of consistency - along with mic positioning and good eq.
Compression needs to be used cautiously. A lot depends on your playing a vocal style - I have a powerful voice and find I get consistent results with two compressors on the vocal channel - the first is a very quick attack and quick release to tame the attack a little. On fingerstyle guitar sometimes I don’t use compression at all - depends on the track. One great go to for me is to set up a bus channel that uses a .25 delay - this offers a full and rich sound which often minimises the need for track compression. Try it on both vocals and guitar. Finally, with compression ignore presets and use your ears !!!!
__________________
------ AJ Lucas Pavilion Sweep fan fret Santa Cruz OM/E (European Pre War) Martin J40 |
#21
|
||||
|
||||
Quote:
__________________
David Webber Round-Body Furch D32-LM MJ Franks Lagacy OM Rainsong H-WS1000N2T Stonebridge OM33-SR DB Stonebridge D22-SRA Tacoma Papoose Voyage Air VAD-2 1980 Fender Strat A few Partscaster Strats MIC 60s Classic Vib Strat |
#22
|
|||
|
|||
I guess my only comment about the Pensado compression video would be that he's talking about a pop-record context where there's 12 things going on at once and competing for the ear's attention. My guess is that most of the folks here are making recordings that are far more sparse and natural and call for much more subtlety in the processing.
What Dave's doing is appropriate in that context, but way not subtle. |
#23
|
|||
|
|||
Quote:
FL Studio tends to be very popular with the electronic dance music crowd and last time I looked it didn't seem to support linear audio tracks as well as more traditional DAWs. It has many excellent features such as pattern based sequencing, full automation of everything, excellent piano-roll editing for midi based stuff, excellent handling of samples of audio, easy drum programming etc. I hope you like it as it is very powerful but may take a while to learn.
__________________
Yamaha AC3M Acoustic Guitar Gretch G5220 Electromatic Squier Classic Vibe 50s Telecaster Squier Vintage Modified Telecaster Special Yamaha BB414 Bass |
#24
|
||||
|
||||
Quote:
__________________
https://www.mcmakinmusic.com |
#25
|
|||
|
|||
Aloha Bonedigger
Aloha Bonedigger,
The BEST thing you can do to achieve consistency in your recordings is to make sure that your tracking space, mixing space & the whole room are adequately treated. Gotta treat those early reflections & know where the problems are in your space. It wasn't until I finally made the commitment to ROOM TREATMENT, that I was able to get the control I needed, especially in separation of the full spectrum of frequencies, and finally, the session-to-session consistency I was looking for. It took me decades to make that commitment. Learn from my mistake. If you haven't, do not hesitate to DIY treatment, Bonedigger. Put a meter on that room! RE: DAW's. I used to recommend trying out all the free DAW samples to find one that works best for your sensibilities. Now, I say if you are spending lots of time recording, it makes no sense to use any DAW that is not fully professional. And that limits the field to Logic Pro or Pro Tools. Those are the pro DAW's that are found in every pro studio. That's important if you want to take tracks to a Mastering Engineer for the magic touches. FL Studio, or Reaper, are not in most studio's & it doesn't translate in PT or Logic. Those two have everything you need, Bonedigger. I went with Logic Pro 10 years ago & haven't had a crash yet. Love the workflow & Apple & Apogee completely integrated the soft & hardware. The most stable computer/DAW/interface combo I've ever experienced in home recording. And Apple's one-to-one training program will teach you how to use that wonderful DAW. Check it out, Bonedigger. Treatment is the place to start, my friend. Once treated, do yourself a huge favor & move up to some pro level monitors & headphones. That really helps with mixing consistency & eliminating ear fatigue as well. For over 40 years I've used AKG Studio 240 cans & for over 10 years, my monitors have been Adams A7x monitors, which I really love. https://www.soundonsound.com/reviews/adam-a7x All the best! A Hui Hou! alohachris Last edited by alohachris; 11-25-2017 at 05:11 PM. |
#26
|
|||
|
|||
A while back, I posted a question not unlike this and got excellent advice (just like everything here):
EQ, compression, and good reverb (lately, I've been in love with the Waves Abbey Road plates plugin; it just glues everything together wonderfully). This all assumes that you're using halfway decent mics, placing them well, and playing well on instruments that track well. |
#27
|
|||
|
|||
I picked up "Mixing Secrets for the Small Studio", by Mike Senior. He presents a process for mixing, which is excellent. He does not follow it step by step all the time, and says that most professionals tend to move around, too. But it's a great starting point, and he really makes you think about the steps, the order in which you should do things. Small stuff, like, there is not point in slapping a whole bunch of effects/eq/reverb on your guitar when you haven't recorded the vocal yet.
Definitely worthwhile if you're trying to build consistency. https://www.amazon.com/Mixing-Secret...e+small+studio
__________________
Rick's SoundCloud Site |