#16
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And I would say especially in more complex mixes that High pass goes a long way to cleaning up low end mud on many things besides just verb and delay.
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Ventura 12.2.1 |
#17
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yeah there's usually a lot of rumble that builds up that a high pass can help. One of my favorite preamps, the very simple Neve Portico 5012 features a variable high pass, and that's all I really need to get recording. I think it really helps when it comes to final mixes when you address alot of the problems right at the source. It sure helps me anyway.
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#18
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Yes - low end management is so important. Well, frequency management in general is usually an important aspect of a great mix.
__________________
-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#19
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If you record a singing guitar player using the dueling figure 8 microphone method the proximity effects double. Lots of mud if you're not careful. It helps a lot to have a mic pre with sweepable hi pass filtering.
Last edited by Al Acuff; 04-11-2018 at 07:51 PM. |
#20
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I'm very much on the same page as you. I think reverb is frequently used to hide rather than to help. I'll counter with this. The Church's "Under The Milky Way" is a good example of lots of reverb that does work, but every time I hear it I wonder if they could have used a little less. There's this line, "When the only tool you have is a hammer, everything looks like a nail." I think the tendency to add one more guitar track (usually to hide the defects of the first one) is the death knell for many recorded pieces. It frequently takes away from the piece. Only you can decide whether you can do that one part better. I usually force myself to and and am happier with the results. |
#21
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And a close cousin of the "fix it in the mix" is the rampant use of many tracks "just because", which leads to lazy arranging & pre-production. "ah just lay it down, we can decide if t works later". I dunno...maybe it's just me
__________________
-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#22
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You can imagine the crazy-quilt that results. |
#23
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In fact I just bounced a mix minutes ago that was done this way. I was talking with one of the guys on the track and we both agreed this would be a much better track if they had just booked some studio time and got everyone in the studio together. And this is no small time artist, either. So, go figure...
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#24
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Just last week I went next door to sing some BGV's on an end-stage mail-order record, and there were something like 65 tracks on the screen. And this was an Americana roots-rock kinda thing. It seemed like it took forever for the poor guy to mute enough stuff that I could tell what was going on.
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#25
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Quote:
__________________
-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#26
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I spent about 3 hours today dialing in reverbs and then de-mudding them for a project.
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#27
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I want someone to invent the lo-hat mic. You turn it up and the hi-hat gets softer.
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#28
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LOL. I love it!
__________________
-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#29
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Regards, Ty Ford |
#30
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Boy I was a huge fan, well not the music so much as the women and being single and unattached in the pre AIDS era. . And then clad in Levi 501's, cowboy boots, and cotton shirt, apparently it was unusual enough in that scene, all I had to do go in sit at the bar order a beer, and just sit watch and wait. Almost without fail within 1/2 hour some gal would ask me to dance and things usually just got better an better from there
__________________
Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Ventura 12.2.1 |