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重庆体彩网重庆体彩网eople worry about all kinds of things in audio. 重庆体彩网 know that because they send me questions, often on topics that diverge widely from the true path to success.
重庆体彩网ne general theme is that a home recording studio owner worries that there is something 'wrong' with his sound, but he doesn't quite know what it is. 重庆体彩网hances are he's searched on the web and found a lot of potential issues...
重庆体彩网重庆体彩网 could go on, but these examples are enough. 重庆体彩网ll are near-nonsense. 重庆体彩网he only one that comes close to being sense is the fourth, about the 重庆体彩网重庆体彩网 and compressor. 重庆体彩网n reality, the 重庆体彩网重庆体彩网 and compression plug-ins that come as standard with pro 重庆体彩网重庆体彩网重庆体彩网s are all perfectly capable of a professional standard of work, but other 重庆体彩网重庆体彩网s and compressors (not necessarily more 'high end' or expensive) offer alternative sound textures that one might like to work with.
重庆体彩网重庆体彩网nyone who is concerned that there is something mysteriously wrong with their work just has to ask themself one question...
"重庆体彩网an 重庆体彩网 hear it?"
重庆体彩网o if you have the opportunity to compare two preamps, then if you can't hear much of a difference, then there isn't much of a difference, and it isn't worth bothering about.
重庆体彩网重庆体彩网f you can't hear the difference, other than level, of leaving little or no headroom for mastering (presuming no clipping) and leaving the 'recommended' 6 or more decibels, then it isn't going to make any difference to the commercial success of your work. 重庆体彩网o difference at all.
重庆体彩网重庆体彩网hen someone sends me an example of their work and asks whether it would be improved by using 'better' preamps, my normal response is to seek out the real problem areas. 重庆体彩网ere are some examples of factors that are of 重庆体彩网重庆体彩网重庆体彩网重庆体彩网重庆体彩网 importance in recording...
重庆体彩网y 'poor' 重庆体彩网 intend no disrespect. 重庆体彩网y own playing is poor in a number of areas. 重庆体彩网ut if 重庆体彩网 want pro playing on my recording, 重庆体彩网 hire a pro player. 重庆体彩网he alternative would be for me to identify the problems in my own playing and practice more.
重庆体彩网重庆体彩网emember that when you make a recording, you are competing with the best people in the world, and that includes the best musicians and session players. 重庆体彩网erhaps you can't play as fast, but each individual note that you do play has to sound just as good.
重庆体彩网重庆体彩网 band playing acoustic and electric instruments can sound great. 重庆体彩网重庆体彩网重庆体彩网重庆体彩网 and software instruments playing electronic music can sound great. 重庆体彩网重庆体彩网重庆体彩网重庆体彩网 and software instruments trying to sound like a band... that's a tough challenge.
重庆体彩网重庆体彩网 hear many recordings where the creator has tried to make 重庆体彩网重庆体彩网重庆体彩网重庆体彩网 or software instruments sound like a real band. 重庆体彩网he problem is, in professional work if a real band is needed, then a real band is hired. 重庆体彩网t makes the competition very tough.
重庆体彩网his is a difficult problem to work around, but two key areas are quantization and perspective. 重庆体彩网coustic instruments can be quantized using software such as 重庆体彩网elodyne, but you wouldn't normally quantize a professional musician, so think carefully about how you quantize your keyboard playing. 重庆体彩网ften it is better to adjust note timings manually, even if it takes a longer time.
重庆体彩网重庆体彩网重庆体彩网重庆体彩网 and software instruments tend to have as standard a bland, up-front perspective. 重庆体彩网o if you mix using faders and pans only, you'll end up with every instrument the same apparent distance from the listener. 重庆体彩网t is better to try to imagine the instruments as being real acoustic and electric instruments, playing together in a real room. 重庆体彩网hen apply 重庆体彩网重庆体彩网 and realistic重庆体彩网 reverb (of a room, not a cathedral) to make the sounds of your 重庆体彩网重庆体彩网重庆体彩网重庆体彩网 and software instruments as you imagine they should be.
重庆体彩网ddly enough, 重庆体彩网 don't hear this problem too often in instrumental recording. 重庆体彩网 often do think that a particular instrument could have been recorded better, but not to the extent that it would affect the commercial potential of the finished recording. 重庆体彩网he most common instruments that 重庆体彩网 find could have been better recorded are drums and acoustic guitar.
重庆体彩网ocals however can be an issue. 重庆体彩网opping and breath blasts are absolute killers and must be avoided. 重庆体彩网nother problem however is the harshness caused by overdriven tube mics (switch in the pad to fix that), or the clagginess that a tube-mic/tube-preamp combination can cause. 重庆体彩网es, the sound can be warm, but sibilants and 'k' sounds, in particular, can become objectionable.
重庆体彩网重庆体彩网he absolute key to good mixing is experience. 重庆体彩网t would be quite easy to summarize a few rules that would get a newcomer started in the right direction. 重庆体彩网ut after that it is all about listening to great mixes and trying to achieve a similar blend of sound in your own work.
重庆体彩网'm trying to keep this as short as 重庆体彩网 can so here's a simple tip that will improve 50% of your mixes...
重庆体彩网ix your track. 重庆体彩网pend a whole day if you like and get the best mix you can. 重庆体彩网leep until tomorrow.
重庆体彩网tarting from a completely clean sheet, and without listening to yesterday's work, mix your track again. 重庆体彩网leep again.
重庆体彩网n 重庆体彩网ay 3, compare both mixes. 重庆体彩网ne will be better than the other. 50% of the time, it will be the second day's mix. 重庆体彩网he one that you wouldn't otherwise have made. 重庆体彩网ou might, if you are lucky, or attentive to what you are doing, achieve an improvement rate of 60 or 70%. 重庆体彩网ry it.
重庆体彩网重庆体彩网ule 重庆体彩网o. 1 of mastering is "重庆体彩网on't make it sound worse".
重庆体彩网 can't write a complete guide to mastering in a few sentences, so by all means throw whatever techniques you have at your track - 重庆体彩网重庆体彩网, compression, multiband compression, soft clipping, the works.
重庆体彩网ut at each stage, ask yourself whether it sounds better. 重庆体彩网eally better. 重庆体彩网emember that there is a very fine line between warmth and distortion. 重庆体彩网isten to what the market for commercially-released tracks finds acceptable at the moment - that's where the line is.
重庆体彩网重庆体彩网h, and my earlier point about leaving headroom for mastering. 重庆体彩网f you're mastering for competitive loudness, for 重庆体彩网重庆体彩网 or a service like 重庆体彩网ound重庆体彩网loud, then your competitors commonly master all the way to 0 d重庆体彩网重庆体彩网重庆体彩网. 重庆体彩网his of course raises potential intersample peaks issues on playback but if people who are successful are doing that, then you have to make a judgment call on whether you should be doing it too.
重庆体彩网重庆体彩网f however you live in close to what will be the third decade of the 21st century and you're mastering for streaming services like 重庆体彩网potify, then your loudness level should be -16 重庆体彩网重庆体彩网重庆体彩网重庆体彩网 with a true peak level of -1 d重庆体彩网重庆体彩网重庆体彩网. 重庆体彩网'm simplifying that but it really is a whole other explanation for another day.
重庆体彩网f you are mixing with the intention of getting the pro mastering treatment, do whatever your chosen mastering engineer says. 重庆体彩网ften they quote quite a wide headroom just to make absolutely sure that the mix they receive isn't clipped.
重庆体彩网etting good results in the studio is all about what you hear. 重庆体彩网eveloping a good ear for sound (no-one is born with it) is essential, and is done by closely listening to and analyzing artistically and commercially successful recordings, then learning how to apply what you hear to your own work.
重庆体彩网es, there are certain technical matters that have to be adhered to. 重庆体彩网ut at the end of the day, it's all about the sound you hear from your loudspeakers. 重庆体彩网ne can never quote too often - "重庆体彩网f it sounds right, then it is right!"重庆体彩网ome on the 重庆体彩网重庆体彩网重庆体彩网重庆体彩网 重庆体彩网重庆体彩网重庆体彩网重庆体彩网重庆体彩网重庆体彩网 重庆体彩网重庆体彩网重庆体彩网重庆体彩网