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Discussion in 'F.O.H.' started by Arsenu,, Apr 10, 2013.
Maybe you're just a shitty stoner then.
Don't rely too heavily on the Master Bus. If you mix into a Master Bus chain, keep the chain as simple as possible, or you risk entering the eternal loop of damnation.
+100. If you don't do this subconsciously do it so many times until it comes so.
While I'm mastering separately I like to keep an EQ on the maser buss cutting some 2-4K and adding some 9K+ before even starting mixing, as I always do that while mastering.
I often mix with a limiter on the master. I usually get better results with it than without it. You can clearly hear which elements will probably get destroyed in mastering and adjust as needed.
i had to laugh so hard on this one. i smoke every day for years and it´s doing no harm. Especially not when mixing
Yeah this is what he does, i should've made that more clear, he'll tell me what he thinks and any guidance that is standard, but essentially say that you can do what you like as long as it sounds better,
there are alot of basic rules and techniques obviously, but i guess he thinks i know most of them otherwise he would've never hired me
surely nothing new but when recording rythm guitars ALWAYS use two different sounds for L/R. it sounds much wider than a doubled track with the same sound on L/R.
I agree with the weakest link! But in fact go one step futher, the most awesome gear in world will never get you a good sound if your are playing like a 1st grader. Shit In = Shit Out ;-)
Again, saying this as a rule is just dumb. Can different sounds help to widen out a mix? Yes. Can different sounds also throw off your mix symmetry and prove to be distraction? Certainly.
Also never ever, while tracking, say "i'll fix it in the mix". You'll probably regret it later.
if you are using an EMG fitted jackson on the left and a trumpet on the right, yeah, then this may happen
I've slowly come to realize this. Now I can't stand different tones L/R.
My short tip:
Don't let anything slip past you during the tracking phase just because you/your ears are tired. Get up, take a break, go for a walk if need. This works really well for the musician tracking as well.
The last time I recorded my band, we used 2 guitars. 1 with EMG 81 and 1 with EMG 85. Mine is the 81 and I definitely play harder than our other guitarist. His waveform was clearly larger than mine at the same Gain setting on interface. Add to the mix the different playing technique and yeah, a decent difference between L/R.
thank god i live in a time where audio levels can be adjusted
without having to sacrifice my firstborn...
but srsly, i was talking about different tones, which means only that you should not use the exact same tone on all guitar tracks. changes should be minimal, like a bit more bass or less treble or gain. this won't unbalance the mix but it will surely sound wider!
recording with two different pickups is definitvely too much though...
Now having the same tone in both sides and alternating the riffs a little bit from one side to the other is also an idea that has worked really well for.
--Branch out to other genres. Recording/Mixing heavier music is such a singular skill set, and certain aspects of it don't translate to other styles. Try and mix a country or folk record, when the options of impulses/reamping/samples/clipping etc etc aren't really in any way possible. The more styles you mix in the better you'll get at all of them.
--Separate the creative and technical sides of mixing. For me that means doing all the bullshit editing/pre processing and samples at least a day before actually mixing. Sometimes I even mix in 2 stages, where I would start with general tone shaping, then spend a whole other slot of time later just doing automation and fx. I don't know about most of you, but I find it impossible to get inspired when I spent an hour picking samples, and fixing shitty vocals.
--Tracking wise, get the sound at the source, but when in doubt, go neutral. Nothing worse then an overly bright/dark guitar tone. I'd rather get a boring, but clear set overheads that I can manipulate, over an eq'd to hell and back bright set.
While it might be difficult editing these genres you can still use reamping, impulses, samples and clipping.
I've mixed a country type of record a few months ago and I used everything I would normally do. I edited everything to grid, sample replaced drums (that took me much more time than usual thought as I had to manually adjust hits to sound like the drummer played them. i didn't just set them to 127 for say loud parts as I would do in metal), reamped electrics through some old vintage amps i've borrowed for this particular project (it's really fun to work with all kinds of no-name old gear) and clipped the master buss to give some distortion to the overall mix (i mastered it loud enough yet maintaining dynamics). It turned out really well and everything sounded natural