Mixdown secrets....... and hot tips

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Post by afdafsf » Fri May 19, 2006 12:32 pm

Headphones kick ass for getting an idea of the stereo image of a track.

I think it's best to go between speakers and headphones routinely.
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Post by mambo dave » Fri May 19, 2006 12:42 pm

i'm not sure about using headphones for stereo. I mean how often in a club ( or in fact any where ) do you have two speakers at perfect right angles to you ears?! IMO headphones just amplify the stereo image.

but yer swapping between em is the same as saying check out your mix on as many systems as you can...
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Post by afdafsf » Fri May 19, 2006 12:58 pm

mambo dave wrote:i'm not sure about using headphones for stereo. I mean how often in a club ( or in fact any where ) do you have two speakers at perfect right angles to you ears?!
I don't make my stuff to sound good in a club.
If your track sounds well balanced in a quality pair of headphones, then it's most likely gonna sound great in a car, or any stereo environment.... that's what my experience tells me anyway. :)
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Post by northernlight » Fri May 19, 2006 1:00 pm

nuskoolbreaks_head wrote: I think it's best to go between speakers and headphones routinely.
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Post by alex_virr » Fri May 19, 2006 1:06 pm

nuskoolbreaks_head wrote:Headphones kick ass for getting an idea of the stereo image of a track.

I think it's best to go between speakers and headphones routinely.
I agree with that - more relevant to a beginner than an experienced professional who simply won't need them.

But when you're starting out, mixing down and hearing finer details is actually easier in headphones. Like distortion for example to the untrained ear is much easier to spot in headphones and therefore you're less likely to overdrive your sounds.....
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Post by BLista » Fri May 19, 2006 1:13 pm

youthful_implants wrote: But when you're starting out, mixing down and hearing finer details is actually easier in headphones. Like distortion for example to the untrained ear is much easier to spot in headphones and therefore you're less likely to overdrive your sounds.....
More Overdrive! :bo:
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Post by alex_virr » Fri May 19, 2006 1:29 pm

B-Listah wrote:
youthful_implants wrote: But when you're starting out, mixing down and hearing finer details is actually easier in headphones. Like distortion for example to the untrained ear is much easier to spot in headphones and therefore you're less likely to overdrive your sounds.....
More Overdrive! :bo:
:evil:

get to the back of class and I want 150 words essay on why digital distortion is no good on a loud system by the end of the day.
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Post by BLista » Fri May 19, 2006 1:36 pm

youthful_implants wrote:
B-Listah wrote:
youthful_implants wrote: But when you're starting out, mixing down and hearing finer details is actually easier in headphones. Like distortion for example to the untrained ear is much easier to spot in headphones and therefore you're less likely to overdrive your sounds.....
More Overdrive! :bo:
:evil:

get to the back of class and I want 150 words essay on why digital distortion is no good on a loud system by the end of the day.
More more ;) :lol:
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Post by Anti-science » Fri May 19, 2006 3:42 pm

Go listen to my latest tune. It was produced and mixed on headphones. Altho I have know idea how it sounds on decent speakers! :(
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Post by soapdodger » Fri May 19, 2006 4:48 pm

Yes I can hear harmonix too when I listen to a 20hz sine.

I can also hear the fundamental and feel it in my ear canal. So its not my brain reconstucting it from the upper harmonics.

belive what you want to belive, I trust my ears personally.
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Post by peejunk » Fri May 19, 2006 11:29 pm

Headphones+Speakers will give you much better idea of the overall sound/frequency content of your mixdown than just teh speakers. Finally, Headphones+Speakers+RTA will give you yet more information. It's up to you can you interpret it well enough for it to actually help you.

People are very different and work in different ways because they react differently to different triggers. Arguing about which is "teh righteous path" is pointless.

These kind of threads are much better if used for brainstorming. I.e. less donts, especially sweeping ones, as they're generally useless, confusing to the novices and deter the thread. But throw in as many dos as possible, especially if they're tested methods that work for you.

So here are mine: Learn how to peak-probe with EQs. Use shelves rather than lowpass/hipass. Use hipass to remove mud and crap from most sounds. If you lack highs, try some carefull overdrive + EQ rather than just boosting highs. Sometimes it might require a send with a hipass->drive->EQ.

As for compression, here is a typical 'instant punhcyness' drum compression technique for those that didn't know it: get a compressor that can clip the attack. You then let through 20-50 ms of the initial click considerably louder than the body of the sound, and squish the bejezus out of the click. Adjust release to taste, it should be around the length of a 1/8th or 1/4zh, or the sample itself (depending on programming). Play it by ear.
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Post by BLista » Sat May 20, 2006 12:35 am

peejunk wrote:Headphones+Speakers will give you much better idea of the overall sound/frequency content of your mixdown than just teh speakers. Finally, Headphones+Speakers+RTA will give you yet more information. It's up to you can you interpret it well enough for it to actually help you.

People are very different and work in different ways because they react differently to different triggers. Arguing about which is "teh righteous path" is pointless.

These kind of threads are much better if used for brainstorming. I.e. less donts, especially sweeping ones, as they're generally useless, confusing to the novices and deter the thread. But throw in as many dos as possible, especially if they're tested methods that work for you.

So here are mine: Learn how to peak-probe with EQs. Use shelves rather than lowpass/hipass. Use hipass to remove mud and crap from most sounds. If you lack highs, try some carefull overdrive + EQ rather than just boosting highs. Sometimes it might require a send with a hipass->drive->EQ.

As for compression, here is a typical 'instant punhcyness' drum compression technique for those that didn't know it: get a compressor that can clip the attack. You then let through 20-50 ms of the initial click considerably louder than the body of the sound, and squish the bejezus out of the click. Adjust release to taste, it should be around the length of a 1/8th or 1/4zh, or the sample itself (depending on programming). Play it by ear.
nice...can we hear some of ur tunes too? 8)
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Post by Erratech » Sun May 21, 2006 2:54 am

soapdodger wrote:Yes I can hear harmonix too when I listen to a 20hz sine.

I can also hear the fundamental and feel it in my ear canal. So its not my brain reconstucting it from the upper harmonics.

belive what you want to belive, I trust my ears personally.
A sine wave has no partials/harmonics thats why its such a smooth tone
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Post by soapdodger » Tue May 23, 2006 9:13 am

theoretically yes,however in the real world distortion from D to A conveters and amplification will generate upper harmonics
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Post by nectarios » Tue May 23, 2006 9:46 am

soapdodger wrote:theoretically yes,however in the real world distortion from D to A conveters and amplification will generate upper harmonics
Theoreticaly there are no percect man made sine waves. But even if those upper harmonics appear as the sine goes through different stages, they will be so low, you won't be able to hear them.
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