I have a list of doubts that I guess the pros could help me on that.
1 - Using different reverbs on the bus ?? (sending tracks individually)
2 - Compression on the bus??? is that alright?
3 - How to analyze the spectrum analyzer in an effective way? So I can separate elements frequencies from colliding each other
4 - About the digital mastering: What do you use on the master channel, and in what sequence (the chain)? Any rules?
5 - I want my mix to get tight, to make the tracks to glue together. (so everybody does, duh!)Any tips?
And the final one
6 - anyone using Logic's Match EQ? Does it work?
Any feedback is highly appreciated
Old doubts about compression, reverb and digital mastering.
since im not a pro i don't really think i can help you.
but, i use reverb on individual tracks and then send them to a bus.
i compress buses (most of the time, but not always)
mastering, if mix is good i just use highpass filter at 35Hz and a lowpass Filter at 18 Khz. after that limiting and thats it.
as for glue, this glue does wonders!
but, i use reverb on individual tracks and then send them to a bus.
i compress buses (most of the time, but not always)
mastering, if mix is good i just use highpass filter at 35Hz and a lowpass Filter at 18 Khz. after that limiting and thats it.
as for glue, this glue does wonders!
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Martin Decara
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Re: Old doubts about compression, reverb and digital masteri
It works, and it is lots of fun. try it!kronik wrote:I have a list of doubts that I guess the pros could help me on that.
6 - anyone using Logic's Match EQ? Does it work?
hi mate, not sure what a pro is, but i can give you advice from my experiences.
i'm not sure i understand all your questions, but.........
2 compression on the buss....
i tend to avoid compression, but when i use it, i always use it on the buss.
i sub-group sounds which require compression and insert compression on those subgroups. ( no compression on effects subgroups, or reverb tails are affected etc, )
compressing whole mixes is only viable if used in a very subtle way.
which brings me to 5 glue.........
if the elements of a mix dont sound 'together' then compression can give it coherence, infact any outboard processing usually helps. putting the whole mix through a valve (tube) EQ is my favourite way to glue a mix together. i dont work with samples, i'm a hardware guy, but i would advise anyone who is working in software, or with sampled material to invest in a hardware tube EQ, in my opinion its the best way to glue a mix together, and warm up digital material, but if thats out of your reach, then the equivalent software.
3 the best way to avoid clashing frequencies to not put them in there in the first place. it depends on how you work, but i'm generally very careful about which notes i use when writing a tune. i tune my percussive sounds so they dont clash, but invariably there will be times when i have to use a spectrum analyzer to unravel certain areas in the mids. for instance if you are using any sort of chord structures.
i will look for spikes in the spectrum, then zoom into those spikes with the analyszer till i can decipher which frequencies are clashing and which sounds are causing the problem, then go back to the tune and change/ delete notes or even re-write the parts so theres no clash.
if i cant change anything because its integral to the tune, then i will use an appropriate filter, low pass on bass sounds to clean up the low mid harmonics, hi-pass or notch filters on midrange sounds.
i hope thats some help,
http://www.myspace.com/steevio
http://www.mindtours.co.uk
i'm not sure i understand all your questions, but.........
2 compression on the buss....
i tend to avoid compression, but when i use it, i always use it on the buss.
i sub-group sounds which require compression and insert compression on those subgroups. ( no compression on effects subgroups, or reverb tails are affected etc, )
compressing whole mixes is only viable if used in a very subtle way.
which brings me to 5 glue.........
if the elements of a mix dont sound 'together' then compression can give it coherence, infact any outboard processing usually helps. putting the whole mix through a valve (tube) EQ is my favourite way to glue a mix together. i dont work with samples, i'm a hardware guy, but i would advise anyone who is working in software, or with sampled material to invest in a hardware tube EQ, in my opinion its the best way to glue a mix together, and warm up digital material, but if thats out of your reach, then the equivalent software.
3 the best way to avoid clashing frequencies to not put them in there in the first place. it depends on how you work, but i'm generally very careful about which notes i use when writing a tune. i tune my percussive sounds so they dont clash, but invariably there will be times when i have to use a spectrum analyzer to unravel certain areas in the mids. for instance if you are using any sort of chord structures.
i will look for spikes in the spectrum, then zoom into those spikes with the analyszer till i can decipher which frequencies are clashing and which sounds are causing the problem, then go back to the tune and change/ delete notes or even re-write the parts so theres no clash.
if i cant change anything because its integral to the tune, then i will use an appropriate filter, low pass on bass sounds to clean up the low mid harmonics, hi-pass or notch filters on midrange sounds.
i hope thats some help,
http://www.myspace.com/steevio
http://www.mindtours.co.uk
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northernlight
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what hardware EQs do you recommend for this task?steevio wrote: if the elements of a mix dont sound 'together' then compression can give it coherence, infact any outboard processing usually helps. putting the whole mix through a valve (tube) EQ is my favourite way to glue a mix together. i dont work with samples, i'm a hardware guy, but i would advise anyone who is working in software, or with sampled material to invest in a hardware tube EQ, in my opinion its the best way to glue a mix together, and warm up digital material, but if thats out of your reach, then the equivalent software.