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Shooting Tips: How to better mixing
Recording and mixing audio is truly an art form to itself. I like to play the bass is the kind of thing most people can recover quickly and without much effort. How well can take years, however.
I was in my home studio recording since 1995. When I go back and listen to my first demos, I'm appalled. They they look horrible. The EQ is terrible, they are too compressed are muddy, and all tracks merge into a huge "wall of sound" where no instrument is distinguished by one. But I like to think that my current job sounds much better. Take a listen to the songs on my href = "http://www.danatkinson.net/demos.htm"> Demos page. I mixed these in 2006 with a budget. My complete recording "studio" cost me $ 500. I used the micro budget, the budget preamps, budget and PC audio interfaces. (An interesting note: In the song Confession I used a $ 400 microphone in the words "Am I mad? Could you ever turn your eyes my way? "The rest of the song has been recorded with a microphone for $ 65. To this day I can not hear difference in quality.)
What was the secret of a better combination? It was simple. I've heard.
I would listen to my mixes, and other time and again, and then do it again. I listened to my songs on the helmet in my car, my friend's car, on my stereo, CD player laptop, etc. At each meeting of the music that I would find some thing that could be improved. Over time, I realized that the fundamental principles of a good mixture. I also I read a lot of industry magazines, online articles, Internet forums, and all I could find to enlighten a novice like me. Ultimately, could produce mixtures I was very happy.
Here then, are the biggest nuggets of wisdom, I wish someone had preached for me when I started:
- You do not need expensive equipment. That's right. Despite that manufacturers and retailers can tell, the secret of a good sound is not in the team. Use of registration and poor mixing techniques on the train dear always result in a poor final product. No matter how beautiful your API before or LA-2A compressor. If you do not know what you are doing, results will be garbage. Like buying a Les Paul does not make you look like Jimmy Page! A Once you are able to produce a good mix Budget for the arts, can not justify a gear upgrade.
- A little goes a long way process. The abundance of plugins VST and RTAS is both a blessing and a curse. We musicians now have access to an endless series Software compressors, equalizers, limiters, amplifiers, reverbs, etc. But with that power comes responsibility. Use sparingly! Once given the idea that because there had tons of plugins at my disposal, I had to use all wherever possible. I was wrong. Excessive use can ruin a mix plugin. These days the use of compression adjust EQ very light and subtle, and the results more natural sound.
- Create "Space" for each track. Each instrument must have its own "space" in the mix. For "space" I refer to the identity track … things that separate each track with the others so they can be heard correctly. Think of it this way: When you take a picture of a large family, how each position? They are grouped at random? Or everyone is organized according to height and spread evenly? Their music mixes are like photographs. Think of each track as an individual to observe a certain way. Track "space" can be created using appropriate techniques EQ, stereo field placement, volume, compression and reverb / delay. For example, the bass and kick drum occupy much of the same frequency range. If everyone is leveled properly, that step around each other, and are not identifiable. There are tons of articles online good on this subject to read. You can even write one myself.
- Understand how EQ and compression. You'll be amazed to see how much better your mixes will sound if the proper use of EQ and compression techniques. Each has its own set of rules and specific rules for each type of instrument. For example, the electric guitar requires different EQ and compressor voice. Batteries generally need a fast attack and rapid release of the compressor, while the reverse is true for the bass. Again, there are many online articles on this topic alone.
- Assess carefully the composition of their favorite artists. Everyone has their own taste. Whatever the artist (s) to inspire with its sound, attention to the mix. Is it heavy on the bass? If super compressed drums? If the whisper, or formed in the front? A careful study of its and try to imitate. I spent most time listening to the sound of professional CD mixes that I listen to mine. It is very informative.
- Last but not least: NO YOUR overcompress. Master can not be conscious, but there is a current trend in the industry drive to make each CD stronger than its competitors. This is called the "loudness war" and it is getting out of hand. Use levels compression madness destroys the dynamic (switching between quiet parts and higher) of a mixture. The end result is a song that is exactly the same incredibly high level all the time. Not just the strange sound, makes listening to "fatigue". The human ear wants to know natural changes in the volume. Creates more emotion in the listener. His heavy chorus and full of energy will impact much more if it is actually stronger than his verse! Be Part of the Solution: Use wisely your compressor and limiter for controlling the stage! Even for music rock, you do not want more than 3 dB compression during their rule.
That's it for this article. I planned to write articles that examine these questions and more, more detail. I hope this was helpful.
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