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Obtaining a clear sound / more highs
Old 1st February 2013 | Show parent
  #61
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Spede's Avatar
 
🎧 10 years
Quote:
Originally Posted by Dr. Mordo ➡️
I think this is a fascinating insight. When you think about the evolution of mixing, you can hear it change from nailing the crucial parts toward super-tight control over every single second of every single track.
That's true. Hell's gonna have a special place for control freaks like me.

Sliding slightly into offtopic, I've just recently noticed that this evolution has been moving on even during the 00s. When those first "Pro Tools"-heavy albums were released ~10 years ago, many engineers (at least here in Finland) reckoned that this is only a temporal phenomenom in contemporal music and will eventually die away. And where are we now? Lots of those albums sound actually quite organic compared to majority of present-day efforts. (I guess I might be talking mostly about rock music here).
Old 1st February 2013
  #62
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psycho_monkey's Avatar
 
🎧 10 years
Quote:
Originally Posted by isawsasquatch ➡️
I've worked alongside more than a few famous names who begin a mix by adding a couple db to the mix buss, often with the Massenburg EQ, but Pultecs seem to pop up frequently too.

It's really surprisingly common.
Me too - mix into the eq, add a few dB at the start (I do it from 15k on the hammer, but of course the shelf starts much lower).

By far the most common suspect in the uk is the gml eq, followed by massive passive.

Every pop/dance mixer of note I've worked with has done this, many rock mixers too.
Old 1st February 2013 | Show parent
  #63
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gruenburger's Avatar
 
🎧 10 years
Quote:
Originally Posted by psycho_monkey ➡️
Me too - mix into the eq, add a few dB at the start (I do it from 15k on the hammer, but of course the shelf starts much lower).

By far the most common suspect in the uk is the gml eq, followed by massive passive.

Every pop/dance mixer of note I've worked with has done this, many rock mixers too.
what is the benefit?
Old 1st February 2013
  #64
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psycho_monkey's Avatar
 
🎧 10 years
Quote:
Originally Posted by gruenburger ➡️
what is the benefit?
In an OTB world, you're adding top end from one $3k+ box rather than lots of channel eqs. Hybrid it's the same, but maybe you've got one analogue mixbuss eq.

Above all, it's a workflow thing - with a pop or rock mix you're generally adding a bit of top to lots of elements, might as well do it on a group.
Old 1st February 2013 | Show parent
  #65
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gruenburger's Avatar
 
🎧 10 years
Quote:
Originally Posted by psycho_monkey ➡️
In an OTB world, you're adding top end from one $3k+ box rather than lots of channel eqs. Hybrid it's the same, but maybe you've got one analogue mixbuss eq.

Above all, it's a workflow thing - with a pop or rock mix you're generally adding a bit of top to lots of elements, might as well do it on a group.
Makes sense, but why add it at the start?
Old 1st February 2013
  #66
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psycho_monkey's Avatar
 
🎧 10 years
Quote:
Originally Posted by gruenburger ➡️
Makes sense, but why add it at the start?
To mix with it on and make judgements correctly.
Old 1st February 2013
  #67
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sbechristos's Avatar
 
🎧 5 years
I always to eq on the mixbus to gain some clearity and crispy highs. I am clear to leave the limiting and often the compression to the mastering guys but I dont see any reason why I shouldn't do some equing on the 2bus. I like using the Digital EQ by brainworx for that.
Old 1st February 2013 | Show parent
  #68
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Helge's Avatar
 
🎧 10 years
Quote:
Originally Posted by psycho_monkey ➡️
(I do it from 15k on the hammer, but of course the shelf starts much lower).
Doesn´t the Hammer only has bell slopes on the 3 adjustable frequency-bands ? I think so...

Since it hasn´t been mentioned so far: I tend to use little bellcurved boosts when adding highs to individual tracks (mostly even in conjunction with hicuts).
If I use couple of shelves all opening up to the end of the hi spectrum I feel like I´m loosing definition pretty fast...
Old 1st February 2013
  #69
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psycho_monkey's Avatar
 
🎧 10 years
Quote:
Originally Posted by Helge ➡️
Doesn´t the Hammer only has bell slopes on the 3 adjustable frequency-bands ? I think so...

Since it hasn´t been mentioned so far: I tend to use little bellcurved boosts when adding highs to individual tracks (mostly even in conjunction with hicuts).
If I use couple of shelves all opening up to the end of the hi spectrum I feel like I´m loosing definition pretty fast...
True, but as far as I understand it, like an API graphic the q increases as the amount of boost/cut increases...at more conservative levels, it's effectively a shelf if you're boosting at 15k.
Old 1st February 2013 | Show parent
  #70
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by psycho_monkey ➡️
True, but as far as I understand it, like an API graphic the q increases as the amount of boost/cut increases...at more conservative levels, it's effectively a shelf if you're boosting at 15k.
I've never seen a plot of the unit's response, but it certainly sounds this way to my ears as well. The 15k boost functions not unlike a baxandall curve, where it gently lifts neighboring frequencies with its wide Q, and the point where the slope begins to decline above the center frequency, you're already moving well beyond the human threshold of hearing.
Old 4th February 2013
  #71
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Winegarden's Avatar
 
🎧 5 years
Thanks to emetsweet and Frans, those were the best tips Very useful, and it worked really well. Makes the track also louder! Cheers guys.
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