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The Mother of all Mixing Techniques Thread
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Oni Katsu
Li/fe
Started Topics :
101
Posts :
704
Posted : Aug 4, 2010 22:36
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On 2009-03-01 14:26, x-rayz wrote:
thx for the love D, keep it coming 
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He sure keeps ME coming
  http://soundcloud.com/li-fe
I said I like it dirty, not muddy. |
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TimeTraveller
IsraTrance Full Member
Started Topics :
80
Posts :
3207
Posted : Jan 29, 2013 18:24
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Do you pan your hats,snares,cymbals (the emelents that always 'should' be in a psytrance track) always dead center as kick and bass already is? And if not how do you pan them? Does someone pan f.e. open hat always at -7 R and snare at +7 R or something like this.. ? Tell me your panning in percussive arrangment. Could be intereseting 4 many https://soundcloud.com/shivagarden |
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Grevinsky
IsraTrance Full Member
Started Topics :
75
Posts :
685
Posted : Jan 29, 2013 18:48
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Quote:
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On 2013-01-29 18:24, TimeTraveller wrote:
Do you pan your hats,snares,cymbals (the emelents that always 'should' be in a psytrance track) always dead center as kick and bass already is? And if not how do you pan them? Does someone pan f.e. open hat always at -7 R and snare at +7 R or something like this.. ? Tell me your panning in percussive arrangment. Could be intereseting 4 many
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I try to think of how it would be set up if a real band would play(or perhaps slightley different).
Like i usally pan the hi hats the 5-7 at one side, the snare too the other side.
And then as more percussion come i just make room for them in the different spectra.
Sometimes i take some drum sounds and automate the pan to get it little more interessting stereo effect on the perc´s.
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http://soundcloud.com/mechanical_species |
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Padmapani
Started Topics :
2
Posts :
431
Posted : Jan 29, 2013 18:55
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i usually pan those in the center (especially the open hat). the snare (or maybe the closed hat) sometimes see a bit of panning if i have a panned percussion loop or something to balance the whole thing. that doesn't mean that they cannot make use of some stereo widening effects. a flanger with some stereo spread can sound really nice on a crash or closed hats. |
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PoM
IsraTrance Full Member
Started Topics :
162
Posts :
8087
Posted : Jan 29, 2013 18:57
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as long as there is something in the same frequency range that "answer" on the other side it don t "unbalance the mix " , that can be very usefull to get a wide sound
for example a tambourine more on the left , a closed hat more on the right ot stuff like this, you can go wider as there is something that answer or compensate on the other side.. you can do the same with snares,leads ect .. you can get wide open sound and intresting panorama that way wihtout even using a processors/fxs yet
just kick and bassline i would not pan them for psy |
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TimeTraveller
IsraTrance Full Member
Started Topics :
80
Posts :
3207
Posted : Jan 29, 2013 18:59
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ahh made a fast mistake. I ment of course a bit more balanced paning in my example.
Open Hat at -7R and the snare at +7L
@ Gravinsky : interesting approach. Like in accoustic music mixing.
Sometimes I also got the pan automated (for the whole track) but only on closed hi hats so far.
https://soundcloud.com/shivagarden |
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TimeTraveller
IsraTrance Full Member
Started Topics :
80
Posts :
3207
Posted : Jan 29, 2013 19:20
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huh.. maybe I got a problem with my eyes.. could swear in my first post it was both +7. However.
Pom yes that seems logical, but what when you take for example the tambourine away after a minute, does it sound good to have the closed hats for another minute just on the side?
These are my questions in head about mixing percs elements, not sure so started this question here.
Pamadpani I do very similar, but I'm thinking of maybe change this to make more stereo image with the groove.
https://soundcloud.com/shivagarden |
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PoM
IsraTrance Full Member
Started Topics :
162
Posts :
8087
Posted : Jan 29, 2013 19:22
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if you take out the tambourine you will probably have to introduce something else,or take out the hats too.. no big deal. both sound are mixed to complement each other.. see it like a stereo layer maybe |
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PoM
IsraTrance Full Member
Started Topics :
162
Posts :
8087
Posted : Jan 29, 2013 19:57
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if you remove one it might still sound good too. |
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nutrinoland
Started Topics :
9
Posts :
34
Posted : Jun 3, 2013 23:05
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Hi..Any tips on compressing the bass ? the bass is straight 16th notes, at around 145 Bpm, what do You set your release to on the compressor ? I usually set the attack at around 10 ms to allow the clicky part of the bass note to come through.
The compressor I am currently using has the minimum release value at 50 ms...is this too much release? would I need a compressor with a shorter release ? |
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frisbeehead
IsraTrance Junior Member
Started Topics :
10
Posts :
1352
Posted : Jun 5, 2013 04:33
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with a tempo of 145bpm, 1/16th lasts for 103 ms. the whole amp envelope shouldn't take longer then this, otherwise the notes will run into each other - but don't do this by numbers, by all means.
but considering your question, there's really no correct answer. if you're planning to emphasize the attack portion of the bass, you're doing it right: some attack allows the transient to pass untouched and since gain reduction only happens after that stage, the effect you get is somewhat similar to using a transient shaper (or enveloper) - you're changing the volume relationship between the transient of the note and it's "body". That's one possible use for a compressor, but in that case you could do just fine with an envelope shaper - unless you also fancy the character the compressor adds to the mix, I think. ok, so for this kind of treatment, your compression should go in and out of compression in between the 103ms "breathing" in and out as the notes go by, really fast (50ms does the job nice and easy  ).
but this kind of treatment differs quite a bit from the "ordinary" dynamic range reduction, even though there's "gain reduction" taking place there. you get less dynamic range if you bring louder elements closer to the quite ones. So good compression, while mixing, is probably achieved by a mix between the two: on the one hand you want to preserve the transients to keep things sharp, on the other you're also trying to bring things closer together so as to get more power and loudness.
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nutrinoland
Started Topics :
9
Posts :
34
Posted : Jun 5, 2013 21:41
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Thanks For the response...Could You please share some of Your techniques while compressing, 16th note Bass specifically...Do You try to preserve the transients on the notes or do You use short or no attack on the notes, to control the peaks ? I understand that these techniques are subjective and depend on the situation and required feel of the track ...But Could YOu please elaborate a little more..maybe talk about a few different situations and the compressor settings used. In what situations would You want to catch the transients with a very short or no attack setting, on bass specifically ...? In general what would be the preferred method for compressing 16th note Psy Bass ? No attack, short attack
(1- 10ms), or longer attack times (more than 10ms)...also elaborate a little about release settings... Thank You
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frisbeehead
IsraTrance Junior Member
Started Topics :
10
Posts :
1352
Posted : Jun 6, 2013 07:09
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If what you're going for is a very stable bass line, I'd probably sample the notes instead of using a synthesizer. I mean, usually the higher the note, the louder it gets. I don't think you should fix this - if that's the case - with compression at all.
Sampling the notes will allow you to have an even volume across the whole range of notes, and of course you can always use velocity to, say, give a little accent to the middle note or something like that. That's one way to create a more dynamic bass line and if you choose the right values, you probably don't want to fix the volume relationship of the notes afterwards.
Don't ever feel tempted to fix what isn't wrong.
Typically you'd want to preserve the transients at all times. It's related to how sharp the contour of the elements feels. You usually lose clarity if you round up (or even square) the waves, and who needs a muddy low end, right? If what you're going for is enhancing the attack portion of the bass - on a note to note basis - you'd probably get away just fine with an envelope shaper of some kind.
If you raise the "attack portion" of the bass's wave like this, what you're doing is making it louder then the "body" of the note, right? What the compressor would do is just lowering the "body" while leaving the "attack portion" untouched. The result can be pretty similar. Wouldn't abuse the settings: something like 2 to 3dB change at most.
If you like the Bass patch you've programmed on the synthesizer, there's no point trying to drastically transform it with post processing, right? If it's not wrong, don't fix it. If it's wrong, go back to synthesis mode.
Ok, but up until now we were talking about a "note to note" compression. If you're planning on doing this without sampling the bass and with a compressor, I'd make sure the release time is fast enough for the compressor to get into and out of "gain reduction" before the next note - in other words, to give it time to recycle.
About controlling the peaks. I really don't see why you'd have any peaks there unless you wanted to. Even so, if you want to do this, I would probably use more then one instance with gentle settings in there rather then a low threshold and high ratio (and perhaps hard knee as well). I can't see a reason to squash the sound like that - that's what's called over compression and you'd get different levels of compression/distortion the louder the notes went.
What I usually do myself when I want the roll feel is use some bus compressor on the Kick and Bass group with gentle settings to glue them together a bit . The compressor has to complete the cycle from kick to kick - that's the only strong rule about the settings and also very little gain reduction here.
cheers |
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nutrinoland
Started Topics :
9
Posts :
34
Posted : Dec 26, 2013 01:43
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Just read this..
Thanks for the reply..some good info here.
I will try these techniques. |
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Grevinsky
IsraTrance Full Member
Started Topics :
75
Posts :
685
Posted : Jan 11, 2014 13:41
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What is your techniques and tricks to mix your leads?.
Sometimes especially when i try to achieve a super fat lead i struggle with getting it to stand out and really fit well in the mix.
How do you conquer these problems?.
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http://soundcloud.com/mechanical_species |
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