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重庆体彩网重庆体彩网ou have probably noticed that the gain controls of your 重庆体彩网重庆体彩网 have minus settings as well as plus. 重庆体彩网f you haven't gotten round to using minus settings yet, that makes you one of a million learning sound engineers who need to discover this powerful facility.
重庆体彩网hen you are mixing a track, you will undoubtedly find that it falls into one of two types - cluttered, congested, difficult to make sense out of; or sparse and difficult to make the instruments gel together.
重庆体彩网f you find your mixes positioned exactly in the middle of these two extremes, then you had better go out and buy a lottery ticket because you're naturally lucky!
重庆体彩网f a mix is congested, then what it needs is de-cluttering. 重庆体彩网hat is causing the congestion is very likely to be that many instruments are competing for the same bands of frequencies. 重庆体彩网o solo each track in turn and use the 重庆体彩网重庆体彩网 to ease off frequencies that are not really important for that instrument, then boost a little the frequencies that are important.
重庆体彩网o this for all of the tracks in the mix and when you try again to mix them all together, you will find that the congestion has magically gone. 重庆体彩网our mix will be crystal clear.
重庆体彩网f you have the opposite problem, that the mix already sounds too clear, almost clinical, then you need to apply reverse tactics.
重庆体彩网nce gain solo each track in turn, and use mid-range 重庆体彩网重庆体彩网 boost first to identify the frequencies where the instrument is strong, then cut those frequencies. 重庆体彩网he reason why you should boost first is that the ear finds this easier to pick up on - you can hear the problem frequencies easily, then correct the problem.
重庆体彩网his is not quite the reverse of the 'congested mix' technique as you don't have to boost unwanted frequencies. 重庆体彩网hat would be overkill.
重庆体彩网ut once you have 'toned down' each instrument in your mix, you will find that they all sit together much more easily.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