#16
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That's more of a herding dog than a heard-ing dog.
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#17
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True but he does know a good lick
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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 Sonoma 14.4 |
#18
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It's not theory...it's practical advice from people who do it for a living (like me). Don't make adjustments in solo, you have no idea how they translate within the context of a mix. The hard reality is, you'll make it sound "pretty" in solo & that will likely not be what works in the context of a mix. Even in your example of frequency masking, if you aren't listening in the context of the full mix you have no way of knowing if it's helping. I mean, you're free to do whatever you want, but that doesn't make it right.
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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 |
#19
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Nudging back to the start of this tread (on compressors and their use), I'm finding I don't think I want to use a compressor at all.
My song is four well mic'd acoustic guitars plus DI bass. I labored on the dynamics with every phrase using gain envelopes. To my fledgling ear, everything now sounds volume-balanced. Nothing pokes out or needs to be compressed. To my ears. I then carved out EQ bands to make room for one another: mostly mildly additive (3 or 4 dB), but I also took down some musty low-mid rumble in the D-18 and wide-Q mids in the bass. That was an improvement; it let in the air. So far, I have to say I like it. It flows nicely to my ears. With the rumble and inference gone, I tried a little mild compression, hoping for a sound quality boost of some sort, but I just didn't care for how it pinched the open tones of the individual notes. The timbres of the guitars themselves were preferable. Plus, I like the dynamic range of the parts. So I may just leave compression out of this one. I sent some 1-second reverb from all tracks to a single Reverb send in a large room, which is how I imagined the piece, and it's time to walk away from it, because it seems pretty good as is. We'll see tomorrow. All of this is a bit premature because I have a dozen measures of bass still to track and a handful of tiny acoustic punch-ins. So that's why I'm not sharing it just yet. I won't try to track the acoustic punch-ins until I can set up again in the studio with the panels. It may be crap, but it's what I can do today.
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1952 Martin 0-18 1977 Gurian S3R3H with Nashville strings 2018 Martin HD-28E, Fishman Aura VT Enhance 2019 Martin D-18, LR Baggs Element VTC 2021 Gibson 50s J-45 Original, LR Baggs Element VTC ___________ 1981 Ovation Magnum III bass 2012 Höfner Ignition violin ("Beatle") bass |
#20
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I'm just not a big fan of compression and the whole "it's the glue that holds things together" has never been particularly true for my mixes, at least ones I have some time to work with. Clip gain automation in Pro Tools, Volume automation in Studio One and I'm good to go! |
#21
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But I see no reason to not solo to hear some subtle anomaly and then immediately audition the adjustment in full mix context.... Especially for those of us who do not have decades of professional critical listening experience ... and are not on a time constraint .... Many of us less experienced at listening (me included ) often can hear only a faint suggestion of something slightly off ---but are not able to determine what it is exactly or how to try to fix it , until soloed. juss sayin'
__________________
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 Sonoma 14.4 |
#22
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#23
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In the back of my mind, I was thinking, I will just take care of the volume balancing this way and see what compression can do later for tone adjustment. The first compression I tried was the standard four-control plug-in: threshold, ratio, attack, and release. It did nothing useful for tone shaping. Maybe one of the traditional emulators (LA-2A, 1176) will have a different effect. Before I give up entirely on compression, I’ll probably try one or both of them.
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1952 Martin 0-18 1977 Gurian S3R3H with Nashville strings 2018 Martin HD-28E, Fishman Aura VT Enhance 2019 Martin D-18, LR Baggs Element VTC 2021 Gibson 50s J-45 Original, LR Baggs Element VTC ___________ 1981 Ovation Magnum III bass 2012 Höfner Ignition violin ("Beatle") bass Last edited by b1j; 03-21-2024 at 12:35 PM. |
#24
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#25
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Regarding the fader, it's been industry standard for a while now that you have quite a bit of fader automation on the critical tracks. However, I'd encourage home recordists not to get too caught up in it. Definitely put it into practice but if you're spending hours manipulating every consonant for a track very few people will hear, it's probably not the best time management. There will come a time when it's appropriate. Until then, don't let advanced editing features rob you of your time to make music.
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#26
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#27
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#28
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I get that, but if you never push yourself to hear the adjustments in context, you'll never get there. Sure solo to hear it clearly...but then get out of solo to make your adjustment. Rinse & repeat. I guess the understood that experience brings is: you never learn to ride without the training wheels if you never take the training wheels off. No one is good at this stuff to begin with. It's a learned/practiced skill. And the more you resist the practice the longer it remains elusive. I'm giving the same advice I give to any noob assistant who starts with me. The struggle is worth it in the end.
__________________
-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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Again. you're free to do what you want...but if you want to get better (and not waste so much time), avoid working in solo or in small groups. you're just making more work as you then have to adjust your adjustments to work in the full mix. Once you get good at working a mix, you can nail a pretty good static mix really quickly.
__________________
-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 |
#30
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As mentioned everyone is different as to how they reach where they wish to be sonically in a mix but as advice to less seasoned folks I'm thinking not so good. Last edited by Joseph Hanna; 03-22-2024 at 09:16 AM. |