Equalization and mastering tips
Definitely is an art more like alchemy to me it would seem. Vocals sometimes seem to be the more challenging aspect in mixing relative most other things. Generally agreed with the tips seen. Have found generally shelving or rolling off female vocals lower then 1k seems to have a 'feminizing' effect. I've tried to work a bit differently with male vocals here. A lot of it depends on music style, context, and desired effect too I'd imagine.
A lot of muddy sounds seems to be oriented in the high mid ranges...sometimes with too much roll off translates into instruments (especially guitars) sounding like flies...so there's an art and balance to rolling off/cut off here.
High pass filtering can make stuff sound like old time radio productions, but can also make stuff sound as if produced in a tin can. If you find yourself resorting to this consistently much for breaks in music, ask yourself is this a production/writing crutch?!
Generally if you attempting to achieve sound clarity: address immediate annoyances which would include notch filtering annoying frequencies, and use spectrum analysis if need be if you can't hone in on this in the auditory sense, work mixing from the de constructive sense and then re build sound in the additive sense. Rhythm cadences when too layered and cadence dissonant can really make a mix sound really muddy. Try to avoid too much novelty here, or forcing a recording to be something that it isn't...then there is balance to painting yourself into a corner of cliche. Try working minimally, then work in the additive sense from here. If you find a good minimal sound that you like, consider going with it. Work with time instead of adding more to an existing set of sound over a given time interval. This is to say maybe it helps to remove an element while adding another over the series of time in a recording. It also maybe also important to ask the question: what elements need to be consistent in the recording throughout as a backbone to rhythm and overall flow of the song?
Part of this cultural residence is likely based on accumulated experience as a listener I'm sure...for instance when I am inclined to hear a guitar in a folk recording. Its hard to imagine vacating the acoustic guitar completely for the song after it has established something...not to say that it isn't possible to remove it, but normative expectations in instrumentations from a perspective make for interesting psycho acoustic expectations.
Definitely is an art more like alchemy to me it would seem. Vocals sometimes seem to be the more challenging aspect in mixing relative most other things. Generally agreed with the tips seen. Have found generally shelving or rolling off female vocals lower then 1k seems to have a 'feminizing' effect. I've tried to work a bit differently with male vocals here. A lot of it depends on music style, context, and desired effect too I'd imagine.
A lot of muddy sounds seems to be oriented in the high mid ranges...sometimes with too much roll off translates into instruments (especially guitars) sounding like flies...so there's an art and balance to rolling off/cut off here.
High pass filtering can make stuff sound like old time radio productions, but can also make stuff sound as if produced in a tin can. If you find yourself resorting to this consistently much for breaks in music, ask yourself is this a production/writing crutch?!
Generally if you attempting to achieve sound clarity: address immediate annoyances which would include notch filtering annoying frequencies, and use spectrum analysis if need be if you can't hone in on this in the auditory sense, work mixing from the de constructive sense and then re build sound in the additive sense. Rhythm cadences when too layered and cadence dissonant can really make a mix sound really muddy. Try to avoid too much novelty here, or forcing a recording to be something that it isn't...then there is balance to painting yourself into a corner of cliche. Try working minimally, then work in the additive sense from here. If you find a good minimal sound that you like, consider going with it. Work with time instead of adding more to an existing set of sound over a given time interval. This is to say maybe it helps to remove an element while adding another over the series of time in a recording. It also maybe also important to ask the question: what elements need to be consistent in the recording throughout as a backbone to rhythm and overall flow of the song?
Part of this cultural residence is likely based on accumulated experience as a listener I'm sure...for instance when I am inclined to hear a guitar in a folk recording. Its hard to imagine vacating the acoustic guitar completely for the song after it has established something...not to say that it isn't possible to remove it, but normative expectations in instrumentations from a perspective make for interesting psycho acoustic expectations.
No comments:
Post a Comment