Mix Tricks
- This topic has 14 replies, 7 voices, and was last updated 8 years, 5 months ago by ,
Collider.
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2015-07-21 at 10:58:59 #1366,ColliderParticipant
I wanted to start a thread where we can talk about music production. so hopefully you guys are keen and we can start sharing our theories, tips n tricks, track analysis, things that have worked for us or not worked, tips from producer tutorial videos sample genie and other online videos, just anything that could spark that creativeness and help us better our tracks.
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2015-07-21 at 11:11:20 #1367,ColliderParticipant
Im sure most of you picked up on this..Noisia the gods of dnb..there tutorial video..nik mentioned about using fabfilter q in midside mode and scooping out the midrange of the mid signal to make said sound.. sound bigger..he mentioned it working best on sounds where the dry signal and reverb are combined..relatively new to midside eq but this is a really cool way to use it
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2015-07-21 at 12:00:45 #1369,ColliderParticipant
Been watching these mixing videos from Matthew weiss.. worth checking out. he goes over a lot of stuff most of us have probably heard a million times watching tutorial videos but he does talk about compression in a interesting way. he says, “Dont think, I need to compress this sound, Think, I want to change the shape of this sound”.
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2015-07-22 at 13:14:32 #1400,
ocr77ParticipantI like parallel eq , especially over a period of time, e.g. if you slowly suck suck the highs out of a pad sound whilst some brittle crusty percussion creeps in over 32bars, (for example).
When done slickly over time it can be like audio voodoo almost, keeping a listeners attention when they’re unsure why since little seems to have changed in the track.
I’ve been using an envelope follower mapped to a gain on an eq on another track, say if you have a 50hz kick & a 50 hz sub, whenever the envelope follower senses the kick hit it’ll subtractively eq out the 50hz region of the sub, like an alternative to compression. I had a lot of atmos/pads grouped onto a bus with an eq ducking the 250hz region where my snare was because the envelope follower was on my snare track mapped to the gain of the eq on the bus
Actually just ignore my waffle & watch the above! 😉
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2015-09-21 at 15:39:20 #3482,
GeorgeParticipantLol, What’s Up Abletonians? These are useful, thanks man. BTW, if you open all 10 videos in 10 different tabs at the same time, so they all play at once, it’s weird as f**k
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George Deficit
AutomAte label co-owner
http://www.automatednb.co.uk
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2015-07-22 at 13:17:17 #1401,ocr77Participant
ah crap i posted the whole playlist, the envelope follower tutorial for freq specific compression is No.10 on the list. & the whole list is a treasure trove for ableton users. I’m sure most of us know who Fanu is! ( If not, then get to know)!
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2015-07-31 at 00:50:29 #1500
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2015-08-04 at 13:54:32 #2361,ocr77Participant
yeah that’s the one, it’s created more space (without thinning the mix too much) than a lot of stuff I’ve tried previously.
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2015-08-28 at 13:53:35 #2613,
MofischParticipantI´m trying to get a good mixing set up for m/s de-encoding.
So basically, I´m unsure as how to set this up.
I have my Bass seperated in 3 groups in Cubase, sub/mid/high and then all together in one bass group. I also have my drums seperated as for kicks/snares/hats etc. all going into a NY Compression Bus and together in a “drums sum” bus.
I would like to split now all signals into a mid signal and a side signal to compress and mix them individually. Do you guys have an idea how to achieve this for example via voxengos msed?
Should I create two final busses for the master or what do you guys do?
Thanks for the tip!-
2015-08-30 at 18:34:41 #2640,
GENIE HQKeymaster@Mofisch – Great idea…. you’re definitely going in deep – good for you 🙂
MSED is great for that, as you said, you could send the output of your Main drum group in cubase to two other groups (via the sends), each with an instance of MSED on. One with the side’s solo’d and the other with the Mid’s solo’d. As long as the output routing of the main drum bus is set to ‘no output’ this will give you the result you need.
Also remember great plugins such as Izotope Ozone and Brainworks stuff have native M/S options built in, so you can do it all inside one box!
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2015-09-21 at 15:40:26 #3483,GeorgeParticipant
yup. Or in Ableton, Audio Racks are your friend for this sort of thing.
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George Deficit
AutomAte label co-owner
http://www.automatednb.co.uk
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2015-08-30 at 19:48:46 #2641,MofischParticipant
Yeah, thanks, just as you suggested works, really good.
I also just bought Brainworx digital V2 cause it’s on sale at Plugin Alliance. That thing is awesome! When you work 5 minutes on just the mono or side mix to get them straight, and then unsolo it, it’s like heaven opens 🙂
But I’m not yet sure about which way I’ll go, since I have definitely more control over everything when working with MSED as you suggested,
When you start working with the whole M/S stuff, it’s hard to stop,
it’s like a whole new world popping up! -
2015-09-26 at 02:51:34 #3510,JasonParticipant
Ive always found that if you keep things as simple as possible you`ll come out with the best outcome as it starts complicating a track to a listener… well even i find myself getting stressed at the sound when going too far.
With Mid & Side EQ… I use it mainly for high passing the side to around 250Htz or to wherever the Clutch Point (Bite Point) sits in the mix… ducking the upper or Lower Mids is cool as you said Noisia does, i find it great on Snare parts or even automating it on FX or Pads as it keeps it interesting without even trying really.
One thing i found good was to group Percussion and Rides/Crashes into Groups and Compress them together (Obviously Compress on there own tracks too)… it Gels them together alot more nicely and sometimes can remove the spacky tones in them too…
Phase Revers too….
Now this is very good for parts that are making other parts spike on an Analyser.. Phase Reverse the Part and hey presto… it has its own space in the Mix without haveing the Notch or completely Mangle up the Part… Great on Parts higher up the Frequency Ladder.Feel like im rambling on now but these are just things i find have worked for me 🙂
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2016-06-22 at 02:27:10 #14404,ColliderParticipant
Awesome ideas guys will have to try apply some of them. Another we trick i learned recently to blow reverbs up with out affecting the original sound. slap a reverb on say a perc hit with maybe a 2 second decay time turn the mix down really low like 2-5 percent then put fabfilter saturn on it make it two band with the second band starting around the low mids turn the dist gain right down on the low band and then crank up the dynamics knob on the high band now as soon as the source sound dies off your reverb will blow up and have a nice spacey tail that can move in a cool way.
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2016-06-29 at 09:27:44 #14501,ColliderParticipant
Pretty decent walkthrough from the man Lockjaw. some awesome info
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