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spectrum analysis
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minddoctorsmakeacid
IsraTrance Full Member
Started Topics :
74
Posts :
577
Posted : Jan 15, 2010 02:18
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I was using spectrum analizers only when I tuned my drums but now I use it alot,
when Im creating a new preset for a bass line for example to keep it in tune or
whenever I add a new intrument to a track just to be sure that its dynamic range fits well on the track. |
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dj chichke
Chichke
Started Topics :
83
Posts :
705
Posted : Jan 15, 2010 02:29
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On 2010-01-14 23:01, PsyGZ wrote:
Thanks, that is the general consensus I am gathering...I tried in my slow drive track that I posted yesterday on the workshop section (please have a listen and let me know what you think. I would appreciate it).....I noticed most of the energy is in the low end of the spectrum...I don't think it sounds terrible, but I am still pretty new to this so maybe that is my perception.
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in all tracks most of the energy it's at the low end. check some professional's tracks with the analyzer |
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mquirk1
IsraTrance Full Member
Started Topics :
63
Posts :
384
Posted : Jan 15, 2010 04:50
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in the end you have to use your ears.. i've heard tracks from people who swear by spectrum analyses and they've sounded horrible. for a start there's no one 'curve' you can apply to every single track. different tracks/styles/genres demand different sounds.
like i said, in the end you have to use your ears, so a spectrum analyser is just a waste of time. as for using it to find harmonics or the fundamental frequency or whatever, train your ears so you can hear that without having to rely on a graph. it's much faster to work if you can play a sound and be like "ok most of it's energy is centered around 500hz", instead of having to pull up the spectrum analyser to find that out. |
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Speakafreaka
IsraTrance Junior Member
Started Topics :
18
Posts :
779
Posted : Jan 15, 2010 14:20
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There is one curve you can apply to a good sounding mix - its called a fletcher-munson curve. The trick is that it is impossible to define how unique elements in a mix all fit in with that.
I swear by Spectrum Analyzers - does my mix sound horrible?
http://www.zshare.net/audio/709348798dbb536b/
Or not?
Why dismiss a tool - it is afterall up to the workman whether and where it should be used, or how much it should be used. More information is a good thing.
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http://www.soundcloud.com/speakafreaka |
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vegetal
Vegetal/Peacespect
Started Topics :
19
Posts :
1055
Posted : Jan 15, 2010 14:27
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On 2010-01-13 10:25, ohshit wrote:
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On 2010-01-12 22:16, Freeflow wrote:
Also, highpass certain sounds that really dont need subfreqs or at least Eq them out in the lowend.
Notches can be great for making room... as long as they dont take away too much character.
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+1
to distribute sounds try to visualize the mix:
X - left and right: pan
Y - up and down: pitch
Z - near or far: volume
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To the Z-axle add reverb as well
Demand recognition for the Armenian genocide 1915
http://www.devilsmindrecords.org/
http://www.myspace.com/vegetalmusic
http://www.checkpoint-music.com/ |
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mquirk1
IsraTrance Full Member
Started Topics :
63
Posts :
384
Posted : Jan 15, 2010 17:13
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On 2010-01-15 14:20, Speakafreaka wrote:
There is one curve you can apply to a good sounding mix - its called a fletcher-munson curve. The trick is that it is impossible to define how unique elements in a mix all fit in with that.
I swear by Spectrum Analyzers - does my mix sound horrible?
http://www.zshare.net/audio/709348798dbb536b/
Or not?
Why dismiss a tool - it is afterall up to the workman whether and where it should be used, or how much it should be used. More information is a good thing.
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i repeat, there is no one curve you can apply to get a good mix on every track. you think the freq response of a slamming bass heavy minimal track is going to be the same as a mix of a symphony ochestra? or a folk band?
you realise top engineers make conscience decisions to either mix a track 'bright', or 'dark' and everything in between, with the different approaches leading to wildly different frequency responses.
your mix isn't 'horrible' but it's not great.. bass is way too loud for a start. synths are too low in the mix, the whole thing sounds muffled. bass+kick don't sit well together
my point is, your last point of reference is always going to be your ears. why bother using a spectrum analyzer at all, just get rid of it. train your ears like i said to pick out specific frequencies, and just use your ears to mix not a graph.. |
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Speakafreaka
IsraTrance Junior Member
Started Topics :
18
Posts :
779
Posted : Jan 15, 2010 17:19
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I'm happy to let everyone form their own opinion and see who they agree with.
There certainly is one curve that will sound like a flat mix. Sure you may choose to go one direction or another, but the Fletcher-Munson is what a flat mix sounds like. That is the whole point of the Fletcher-Munson curve.
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http://www.soundcloud.com/speakafreaka |
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mquirk1
IsraTrance Full Member
Started Topics :
63
Posts :
384
Posted : Jan 15, 2010 17:20
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Quote:
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On 2010-01-15 17:19, Speakafreaka wrote:
I'm happy to let everyone form their own opinion and see who they agree with.
There certainly is one curve that will sound like a flat mix. Sure you may choose to go one direction or another, but the Fletcher-Munson is what a flat mix sounds like. That is the whole point of the Fletcher-Munson curve.
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i never said anything about a 'flat mix'. i said 'good mix' |
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Speakafreaka
IsraTrance Junior Member
Started Topics :
18
Posts :
779
Posted : Jan 15, 2010 17:23
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mquirk1
IsraTrance Full Member
Started Topics :
63
Posts :
384
Posted : Jan 15, 2010 18:00
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a warning, i haven't made any serious efforts towards producing psytrance for a long time. my time is spent producing and recording for my band which is indie dance type..
these are old (from early last year), but the only full mixes i have online. the top two tracks on here (not the remixes):
http://www.myspace.com/citycalmdownmusic
'you can have it so much better' has been played in prime time on major commercial radio here in australia.
for something more recent, a rough mix sample of a track we are recording now for a forthcoming ep, vocals still have to be done:
http://www.zshare.net/audio/712465105026ce76/
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Speakafreaka
IsraTrance Junior Member
Started Topics :
18
Posts :
779
Posted : Jan 16, 2010 10:26
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Is the first link mastered by someone else? I would have assumed so having had radio time (congrats by the way) ...  . A master is not the same thing as a mix. But that is what I would call a relatively 'flat' mix, and although a completely different sound spectrum in terms of actual freq content not a million miles away from my mix, considering that I have provided bass percussion and background noises (It is also interesting you consider my tune to sound muffled, when other people have made a point of telling me how clear they found the production, and indeed, how much they like the bass).
The second of your tunes is severely short on low end and as a result sounds tinny on speakers, and TB brutally H positively uncomfortable to listen to on headphones, IMO, although that could have been the rather unsubtle compression.
I have looked at neither. .
http://www.soundcloud.com/speakafreaka |
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mquirk1
IsraTrance Full Member
Started Topics :
63
Posts :
384
Posted : Jan 16, 2010 17:06
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On 2010-01-16 10:26, Speakafreaka wrote:
Is the first link mastered by someone else? I would have assumed so having had radio time (congrats by the way) ... . A master is not the same thing as a mix. But that is what I would call a relatively 'flat' mix, and although a completely different sound spectrum in terms of actual freq content not a million miles away from my mix, considering that I have provided bass percussion and background noises (It is also interesting you consider my tune to sound muffled, when other people have made a point of telling me how clear they found the production, and indeed, how much they like the bass).
The second of your tunes is severely short on low end and as a result sounds tinny on speakers, and TB brutally H positively uncomfortable to listen to on headphones, IMO, although that could have been the rather unsubtle compression.
I have looked at neither.
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the tracks weren't sent off to a studio to be mastered if that's what you're asking. i did a quick master on them, mainly just a tiny bit of bus compression and boosting the overall gain. we sent them in to an internet radio site and from there they were handed over to one of the commercial stations. radio squash the shit out of everything they play anyway. we are holding off to get them mastered until the ep is finished, altho i'm gonna re-mix those tracks anyway since i've upgraded my gear since those mixes.
as for the 2nd mix, like i said in my first posts, some mixes are bright, others are dark etc. for the vibe of the track we're going for a very saturated/compressed mid endy sound, bass is pushed very trebly, mainly just the kick providing the low end. not enjoying the mix style is fair enough, however the over the top bass presence in your mix suggests your monitoring environment might not be ideal. and that bass frequencies are under-represented hence you are driving them too hard as a result in your own mixes.. is your room treated?
good to see you're using your ears and not your eyes |
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Speakafreaka
IsraTrance Junior Member
Started Topics :
18
Posts :
779
Posted : Jan 16, 2010 17:25
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Lol, technically speaking my room has nothing to do with it ... Due to funds I mix exclusively on headphones ATM. The phenomena you talk of I am well aware of though - and may well apply in reverse to your own mixes - even with a treated room - how much do you r e a l l y trust your monitors down low? Wise answer however good your rig is 'not much'!
Put it like this, my solution is well capable of comparing my mixes to professional mixes I like either by ear or by eye to the level of 'this has too much bass or not' - I can hear the difference, and that is what monitoring is all about. And I'm right where I want to be. My only issues regarding the method of working I have are working in mono. If anything, bass comes through stronger than true on these cans anyway.
I do work often exclusively using my ears, but if in doubt, I will turn to a tool which can help provide extra clarity, particularly in the time domain. Dismissing a tool out of hand because it doesn't fit your working style is unwise. I'd suggest everyone (including you) learns something when they stretch themselves. If a tool helps someone to train their ears (which a spectral analyzer certainly can) into a better understanding of mix EQ, then its a good thing. Of course there are Caveats. But every tool has a downside. Whilst I understand your concern about people falling into bad habits, I feel you are throwing the baby out with the bath water. .
http://www.soundcloud.com/speakafreaka |
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nonseq
Started Topics :
0
Posts :
18
Posted : Jan 16, 2010 21:10
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1 Thessalonians 5:21
'Let all things be tested; keep to what is good.'
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reEto
IsraTrance Junior Member
Started Topics :
44
Posts :
31
Posted : Feb 25, 2010 23:39
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hi
tools like pinguin audio are standard in normal studios, especially in mastering only studios.
my tip:
try to learn how the music looks to you. learn seeing problematic parts. use your favor mastered track, and take a look @.
learn where physically are your instruments placed in freQSpectrum, and you will learn seeing conflicts...
cheeRs & creativeIn
.reEto
·».¸¸.·*¨`·» .hiB - modular created & tri modular mixed Music - http://www.reeto.de «·´¨*·.¸¸.«· |
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