Hot answers tagged

14

You're likely to find that artists that have basslines that stick out well on both proper studio monitors as well as crappy laptop speakers are utilizing a bunch of layering of sounds to create a cohesive bass sound that spans various frequencies (besides the low ones you'd expect). Even when I'm using a bass sound that is essentially a sub (sine wave) bass,...


13

I agree with @AJ Henderson explanation of "Wall of Sound" concept. I'd like to add one more perspective. Some years ago I've ran into a very interesting way to look at a mix. The concept was about thinking of your audio image as of actual 3D image. Where the space can be defined by following means: Right\left - panning\balance Up\Down - EQ Far\Close - Space ...


13

There are a few misconceptions here. Normalization, in the most basic sense, raises the gain of the ENTIRE track to a nominal level. What you are trying to do with normalization is maximize signal. The relative dynamics of the track are not changed. There are actually two types of normalization, but the most common is peak normalization, where the loudest ...


10

The best course I can recommend is to use the best tools and resources you have available. Headphones are not ideal, but they're better than bad speakers, and probably better than even good speakers in a bad listening environment. A lot depends on what you're mixing and what the target environment will be. Mixing music or voice that will mainly be consumed ...


10

Yes, it is possible, but it isn't easy. There are a number of free tools for editing audio in the frequency domain. I haven't had much luck isolating specific sounds with them, but I have been able to do some sonic manipulation that wasn't possible with traiditional audio editors. Tapestrea, from the Princeton Sound Lab. Spectro-edit SPEAR The latest ...


9

A snake is simply several cables bunched together. It is typically used to route all or most of the signals between the stage and a mixing desk. There is usually a box at the stage end to plug all of the microphones and instruments into and simply cables at the other end to plug into the mixer. Here is a Wikipedia article with more technical details on ...


9

This is confusing panning with space in the "wall of sound". There are multiple dimensions to sound. At a minimum you have placement in terms of relative "volume." You also have the dimension of frequency from low to high frequencies. You also have left to right placement in a stereo mix and if you are doing surround, you may have additional axis that ...


8

Using a higher order filter will give you a greater roll-off slope in the filters stop-band. So a 1st order filter has a roll-off slope of -6db/octave, 2nd order filter has a roll-off slope of -12db/octave, 3rd order filter has a roll-off slope of -18db/octave, 4th order filter has a roll-off slope of -24db/octave, etc. This means the filter does not act ...


7

I'm not a great authority on this, but i'll jump in anyway because you seem keen to get an answer: 79 dB spl seems to be the standard calibration for TV mixes. Commercials, from what i hear, tend to be pushed louder by ad agency execs who want their ad to thump people in the face, but it sounds like you're mixing a program so you should mix to standard spec ...


7

There are two questions here that I think should be addressed separately: Question 1: "is this a bad method of practice?" As I understand it, the reason it's considered "better" to compress individual tracks and not the master bus is because you have a finer degree of control, especially in today's digital world where you could instance a ...


7

There are 5 stages/phases in a Album production: Recording > Editing > Mixing > Mastering > Printing. It's worth naming "Pre-production", which is before the 5 steps and can be very important to make things go better. Pre-production can be a wide variety of things. All from making the music arrangements, defining artist identity, vision, and intention; to ...


7

Part of the answer is the fact that the cut is almost entirely made up of short and percussive sounds. With no sustaining voices or long release times there is not much material to clutter the same frequency range at the same time. The few sustaining parts are pretty mid-range and appear to be heavily compressed. Also the use of effects is limited. Reverb is ...


6

This is a perfect opportunity to get inside your protagonists head and use sound to tell the story more effectively. I imagine we all have a different perception of what heaven sounds like...why not try to nail your protagonists POV. This was well done in the movie Contact for example. My perception of the sound of heaven might include a collage of my ...


6

First off this 79 figure is based on room size. Look for the ATSC 85 document to verify. It's typical to mix to 79 for TV and 82 to 85 for film. Theatrical get's sometimes 85 up on LCR and 82 on Ls Rs. You need to take a room size measurement then using the figures in the doc above, and an SPL meter and the blue sky test tones (or pink limited mono wav ...


6

The basics are thus: "What are the specifications of the broadcaster you're delivering to?" You're asking us to distill a very complex process down into a "paint by numbers" process. If it were that easy, there'd be a manual that anyone could follow. I'm not trying to be mean by saying this, only trying to give you an idea of the scope of the question you'...


6

David Farmer did an AMA on Facebook recently where he talked about some of this: https://www.facebook.com/photo.php?fbid=10151753385296286&set=a.101318681285.104099.7513286285&type=1&theater David Farmer: It helps to start with a great performance which Benedict gave us in droves. His voice is arguably the best I've been able to work with. The ...


6

Your real problem is most likely recording technique and possibly the gear you're using. A good sound recorded properly doesn't need any EQ to sound professional. Where you place your microphone is the most important thing in capturing a sound and works just like EQing when in the right hands.


6

The only "natural" (i.e. "using only the data in the sample") way to change the pitch of a recorded sample is to change the speed of its playback. So a sample that sounds an octave lower should take twice as long to play back. But you have a tool that somehow manages to play that sample back octave lower, while somehow keeping the playback time the same. ...


6

Ah, the old question: How do I make the vocals heard over a band with a tiny PA? It's not always easy. Compression won't help you; it may actually make things worse by making feedback more likely. It sounds like you're using underpowered PAs, and if you want the vocals to be loud enough you'll need the band to play more quietly. But the band has to want to ...


6

The first thing to say here is, I'm not a lawyer, nor do I play one on TV. Second thing to say... you should talk to a lawyer to answer questions about your particular situation definitively. Having said that, I found a nice article about the various issues related to DJing, etc. I believe the bit below should be applicable to you, though I'd recommend ...


6

I tend to go manual. When I'm editing VO, its just a matter of a fast breath cutting pass and then a separate pass of other editorial and mixing. For breath cutting, I'll make the waveform and the track very big so that I'm just looking at the softer stuff in the track (not worried about seeing peaks when breath editing) then i'll place my left hand on the ...


5

Since its something in his head, I would start by trying going in the completely other direction, then big. You could try an approach with a deadening treatment to the voice and objects surrounding him. (Like how a voice sounds like in an anechoic chamber). Sounds fun. Best wishes, Mikkel


5

To get the Kickdrum out of Laptopspeakers -> Layer a small click sound, rimshot, hi hat, etc. To get the Bass out -> layer it with saws or use parallel distortion or fm to get some higher harmonics out edit: also the right amount of white and pink noise can give the impression of a burst -> helps with those edm genres to give a big bass drop on small ...


5

Filtering a signal to remove certain parts of the spectrum on the face of it (and intuitively) should reduce the perceived sound level. This is what common-sense would tell us. However, when it comes to the reshaping of sound with filtering, lowering the sound level doesn't always equate to lowering the peak level. Yes, the perceived sound level may reduce ...


5

As we tend to work with up to 50 separate tracks before mixdown, including synths, drums, live instruments, vocals etc.,getting this right is essential in my band. Core to our approach is compression and equalisation: Every channel has a compressor added for final mixdown to ensure we have a predefined range per channel Each channel has an equalisation ...


5

You can do a basic implementation manually in any daw: Copy the track Pan both tracks left and right respectively and symmetrically The dry channel should be around 18dB louder than the Haas channel Add a time delay of 13ms-~50ms to 'Haas' channel' Be careful how much Haas you use, it affects the tonality of the track when summed to mono. If you have ...


5

The process you're describing is broadly known as mixing, and there are a few basic parts to it: Setting volume levels appropriately using track levels and equalizers Moving the sounds left and right in the stereo field (known as panning) Moving the sounds "forward" and "backward" in the mix, generally done using a reverberation effect Getting a good blend ...


Only top voted, non community-wiki answers of a minimum length are eligible