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Final steps
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Blubberbert
Started Topics :
2
Posts :
32
Posted : May 12, 2016 12:10
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| but btw is a daw never enough for the waveform and the peaks? after all this data in a synth would be much more nearer to the source that causes the irregular peaks? |
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If your daw has an audioeditor that shows you the waveform with a sufficient detailed scale then it won´t matter. After all its just a trick that helps you to find sections that you might not have been aware of when listening.
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| I wouldn't look into things like parallel processing or complex routing schemes, or ways to build fx chains prior to feeling comfortable with the things I've mentioned. |
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| First, you should watch your levels. Your meters should never get into the red zone, even with all the mix playing. How do you avoid it? Well, don't think of a quick way to fix it, like placing a limiter to avoid overs. Instead, try and think about what generated the problem in the first place. Quite simply: your levels are to high. |
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These are the most important tips. Despite all things you can try ... keep it simple and do as little processing as possible, every step will introduce another issue to deal with.
(I should also have noted that producing into a limiter (turning it on/off during the process) is controversially debated and is only a thing you CAN try - as all other mentioned techs are as well ..)
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PsychoActiveVibes
Started Topics :
0
Posts :
2
Posted : May 12, 2016 19:46
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smexoscope is a free plugin that shows the waveform
i dont know how detailed it is compared to other plugs or programs, but you will be able to get live feedback while you are tweaking |
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moki
IsraTrance Junior Member
Started Topics :
38
Posts :
1931
Posted : May 12, 2016 21:44
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i have to summerize some of the last foundings in this topic for easier access.
So the following subjects have been mentioned recently:
- Gain staging https://www.soundonsound.com/sos/sep13/articles/level-headed.htm
- Headroom http://therecordingrevolution.com/2013/07/12/3-ways-to-create-more-headroom-in-your-mix/
- PLugins based on analog gear have a frontier of -18dBFS on which it turns to read
- Never ever ignore compressors
- fx channels can be handled like other channels: More compressors for fx channels
- Dynamics handling: still unclear, is this only the sound controll, compression, threshold, attack, release, gates or more? maybe look for tools to observe transients , sudden changes within the dynamic range.
- In case of progress try out IKMultimedia ARC2 for "emulation"
- Export the stereo file of the master and check the peaks in any editor, f.e. Adobe Audition
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frisbeehead
IsraTrance Junior Member
Started Topics :
10
Posts :
1352
Posted : May 13, 2016 00:23
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Agreed for the most part.
On the headroom article, you'd do well by using the trim/gain plug-in instead of relying on the channel faders. Otherwise it's fine.
On the fx channels:
Try and look at it this way: imagine I have a drum kit, each sound assigned to its own channel and I've set up some reverb on an auxiliary/fx channel. By using sends, I've send a portion of the snare signal, for example, to this reverb. You can dial in the amount of the snare's signal you send to the reverb and listen carefully until they blend well, adding a sense of impact and natural ambience to the drums. But then when you bring the rest of the mix in, you may feel that your reverb easily gets lots and only adds but a blurry, almost unnoticeable shadow. Besides, it may be also muddying up in the lows and low mids. How do you cope with this? Easy. Just like you would with any other channel. You EQ the parts you don't need, mainly by rolling off the low end rumble and you compress this signal so that you can find it in the mix, but its absolutely controlled.
So this is why I mentioned using a compressor, or to word it differently, normal processing on your fx channels. It's all about finding ways to blend things together nicely, really.
Handling dynamics can be thought of as something within the same lines. For example: you've certainly noticed how, say, a Bass sound might jump up in volume in higher notes and go to low in lower ones. Now imagine you have your balance between kick and bass on the right place, but there's still this problem to cope with. How do you handle it? Compression would help reduce this difference, shape the tone a little better and its overall attitude too, and thus contribute for an overall more solid feel and sound. See what I mean here? 
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moki
IsraTrance Junior Member
Started Topics :
38
Posts :
1931
Posted : May 15, 2016 20:52
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On 2016-05-13 00:23, frisbeehead wrote:
See what I mean here?
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Yes, I see what you mean:). Thanks for the comprehensible description.
But I can't hear what you mean, which is a problem. Anyway I admire you for being able to describe so precisely a situation in the daw. I could not describe my status on the daw with every detail, this would take pages, because almost 80 percent of it is achieved on experiments and coinscidence, not on knowing what comes at the end: so I should describe click paths. I guess this is what makes my approach a bit different. Or who knows.
May be you give me a visit and explain to me this stuff with real music, or take a video tut. Otherwise , yes, I comprehend what you say, it is not even that far from what I already know on theory, but a demonstration with real music is of course more efficient. For my case I 'd be certainly be busy with loads of video tutorials before I catch in with everything. If it is ever possible to catch up with everything.
The new star for me at the moment is presonus notion for notes in the ipad which is what i am gonna intensively try out. Life feels so good, if there are new weird tools to try out. The hard work with mastering and dynamics is for the people with more discipline. May be more time. And I just want to enjoy life and the daw.
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