Super Secret MIXING/MASTERING Info!

i think dry. the sound engineer might be able to help better if the sounds are dry. you can then tell him what you want on it then he can properly mix it. having effects might make it harder, but it could still be possible.
 
Thanx one-derkid

Thanx one-derkid 4 ur reply i really thought about exporting it dry but i might not found the same effects thaT i need there in the studio specially my own presets u know ............. but really thank u.


M * A * Z
 
i got a question...

Does it makes any difference if i EQ before i compress or Reeverb before i compress. I'd like to know does it matter in which order i do my plugins or the final product will always be the same!?
 
!matiz said:
i got a question...

Does it makes any difference if i EQ before i compress or Reeverb before i compress. I'd like to know does it matter in which order i do my plugins or the final product will always be the same!?
It absolutely positively makes a HUGE difference.
 
damn, i didn't know that...
but can someone explain me about that or just talk about it?
 
You just have to think through the chain and it'll be obvious.

If you have a signal with a low end resonance at 150Hz, do you want to compress that signal (having the resonance trigger the compressor early all the time) and then EQ it out (once it's being squashed)?

Or, do you want to correct the resonance right away so the signal isn't driving the compressor?

Do you want to add reverb to a distorted signal (such as a synth pad or a guitar) or do you want to add distortion to a reverberated signal?
 
i always saw this thread but didn't have the patience to read it all. just finished reading. very good information in here. taking everything i read into consideration.
 
what projects have you worked on...where can i hear your work
 
"It should be a given that you need the highest quality equipment... and that goes for mixing, recording and mastering EQUALLY.

...you shouldn't need someone to tell you that... even though it has been told to you countless times."






Not true.


"The Roots" used 3 sm57's to record a complete live drumtrack. John Mayer uses a single sm57 to record his guitarm electric and acoustic. sm57's aren't the highest quailty mics, but they are a staple in the recording industry as a mic to have. All mics are vauled for their imperfections(dips or boosts in the frequency response, their lacks/exagerations), thats what gives them character. even if you're looking for a true (flat response) mic, there's alot of affordable small condenser mics(i've even seen a pair of homade ones that we put into smaart and tested and they pulled a flat frequency response) that can give you a pretty true response. Again these mics are not the highest quailty.

ever hear of wu-tang? do you think rza used the highest quailty equipment to make his beats? or half the people who produce anything, do you think they always had the highest quailty equipment there whole life, some how they made it using lesser quality equipment get where they're at. When they were growing up do you think technolgy was at the same level that it is now, but they still acelled and there were still great recordings made. Alot of producers and engineers choose to stay with the equipment they grew up with too, instead of upgrading to the highest quality of stuff they can afford.

why do you need high quailty equipment if you're not looking for a high quailty sound? Punk music and heavy metal some rap and other geners are based on there distortion and not sounding high quailty. why would i need a U87 to record a kick drum thats going to be high passed and used for the low freq, or a blue bottle to record a backing vocal thats going to be washed in reverb, low passed, delayed and pitch corrected and put in the back of a mix. I knew a guy who had a matched pair of blue bottles, and he used them as overheads on a drumkit once, and the only reason he could give me for it is "because i can".(he actually said that whenever he used them, haha.) he never said anything about them being the highest quailty.


Tell me this, how many professional recording studios have closed in LA and NYC in the past 10 years. This is a straight correlation to not needing the highest quality equipment to record/mix/master EQUALLY. Its because of the digital age, now everyone has the ability to make a professional recording in there house (if they know how) without needing the highest quailty equipment. why is over half the recording population mixing in pro tools or any other DAW instead of doing it on a million dollar ssl? The ssl is deffintely higher quaility than a mac or a dell.


Show me a song you recorded that you don't like or that you don't think sounds good. I bet i can put the blame on the quality of the Musicians, their instruments, the engineer, or the mic placement that would play more of a role of the subpar quality of the recording than the quality of the equipment.

My point being, its not what you have but how you use it. Now don't get me wrong, you need equipment of a certain "quality" to record, but hardly anyone uses the HIGHEST. If you ever start having that "if i had this or if i had that" mentality when trying to record, mix or master just remember, some of the greatest recordings were recorded straight to tape, one take(no multi-tracking) with limited to no eq or compression and equipment that would be consider very low quality to todays standards.


other than that i do agree with everything else you said. cheers.
 
I consider SM57's and SM58's (same thing) to be high quality mics. It's not just about the price tag, but the performance.

You mention the mics, SM57's are hard to argue against many times. But, you also have to consider which pre's were being used. They didn't likely go SM57's, into Behringer 10-channel mixer, into recorder.

I don't believe other names such as Wu-Tang and RZA fit into the conversation. There's a different between good music (relative) and high-quality sound. You can have good music that doesn't have the greatest of sonic qualities and you can have horrible music with great sound quality.

You can make an argument for not needing the best of gear for recording as so much more goes into it but you can't make the argument for mixing and mastering. Mixing and mastering require critical listening which entails high-quality listening encironments.

Not to say that you can use a Radio Shack mic and get U87 results but as you wrote, it's about what type of sound you want, which also means you should use a Radio shack mic if you need that distorted sound that it may produce when driven.

At the mixing stage, you do need to be able to accurately hear that distorted sound and same goes at the mastering stage.

Not many would use an LDC on a kick because the signal can, and will, damage the microphone. As a room mic, sure, right in front of the kick, no. Also, when you high-pass a sound, it's because you don't want the low-frequency sound. So in a sense, I might use the u87 for low-frequency content if I want to capture the little highs it may have.

If we refer to high-quality sound and not to necessarily mean good music, then it is a given that the highest-quality gear is needed. The right mic for the right sound still needs to go through good-quality gear to capture the signal properly.
 
Hi.

I've read this topic but lol I dont understand it completely.

I wonder if anybody could do the screens with the eq for example lead, piano and hats.
For example in the waves parametric eq.

Im sure it will be the best guide. If I could see how to do one I will do other myself.

Please try.
 
Ehh I wrote it in da wrong thread. My bad.
Wanted it in the thread: Understanding EQ....

Sorry. Please delete it here ;]
 
dvyce said:
moses' response still applies equally well, though.

moses' response is too sarcastic imo.
for me best guide is screen.

comparing the equalizer with the driving is sooo sarcastic :hello:
 
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