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Post by RealNoob on Feb 4, 2021 9:26:31 GMT -6
I watched a couple of videos yesterday which were great reminders to not overlook all the interaction in the mids.
Colt Capperrune
JJP discussion
How do you deal with this critical range? Myself, I plan to lean more on the cubes in the initial phases of mixing and to bandpass my bigger boxes to check things. Once there are no more needs to address both ways, should be golden. I haven't paid as much attention to JUST the mids but plan to.
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Post by Deleted on Feb 4, 2021 10:09:40 GMT -6
The magic is in arrangements that can be played live without being sculpted into artificiality for a supermarket intercom.
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Post by Ward on Feb 4, 2021 10:30:16 GMT -6
Both great fellas with great brains and JJ Puig is definitely one of my heroes for mixing and production (I steal my LPF and HPF tenets from him).
This exemplifies additive EQ. I used to spend time in that circus until I worked with someone who made me understand the inherent detraction from work working that way: added distortion and phase issues.
I prefer subtractive EQ and if you start 'cleaning' up, you will end up clearing the junk out and yes... end up with better midrange which is like 90% of the sound anyhow.
JMHO, YMMV, TETO
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Post by Deleted on Feb 4, 2021 12:47:37 GMT -6
Both great fellas with great brains and JJ Puig is definitely one of my heroes for mixing and production (I steal my LPF and HPF tenets from him). This exemplifies additive EQ. I used to spend time in that circus until I worked with someone who made me understand the inherent detraction from work working that way: added distortion and phase issues. I prefer subtractive EQ and if you start 'cleaning' up, you will end up clearing the junk out and yes... end up with better midrange which is like 90% of the sound anyhow. JMHO, YMMV, TETO Yep. Anything additive beyond a slight resonant filter, shelf, or a tick of something like an API EQ tends add ringing, mangle phase, and eat into headroom ime. Parametric and especially digital eqs have a ton of pitfalls. When you remove the junk in a drum, the drum comes through and many of these guys don't sweep around and won't cut something annoying down enough. What I've learned to do is if you think something is reduced enough, stop soloing it and play it back in the mix. Hear what happens. Then double all of your EQ values. Go with what sounds better. Most of the time these top down mixers are not cleaning up the tracks or emphasizing the setup before tracking to ensure they don't need to clean them up. The technical part has to come into play at some point ime.
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Post by Mister Chase on Feb 4, 2021 12:53:34 GMT -6
The magic is in arrangements that can be played live without being sculpted into artificiality for a supermarket intercom. 1,000,000%
I have tried to get this across to people. If anything, you have less space than live to work with as you are cramming a band/room or hall's worth of sound into two speakers.
If it sounds crowded live, it already isn't right.
That aside, we do all have to mix songs that don't follow these guidelines. There is merit in everything Colt is saying.
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Post by seawell on Feb 4, 2021 13:28:18 GMT -6
Both great fellas with great brains and JJ Puig is definitely one of my heroes for mixing and production (I steal my LPF and HPF tenets from him). This exemplifies additive EQ. I used to spend time in that circus until I worked with someone who made me understand the inherent detraction from work working that way: added distortion and phase issues. I prefer subtractive EQ and if you start 'cleaning' up, you will end up clearing the junk out and yes... end up with better midrange which is like 90% of the sound anyhow. JMHO, YMMV, TETO I'm a big fan of JJP too. He did a couple of albums in the 90s with some good friends of mine from my hometown(Greensboro,NC). Check out "Sweeter Love" by Athenaeum. They flew under the radar but man it is some of my favorite JJP work. music.apple.com/us/album/sweeter-love/1241674356?i=1241674511 |
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Post by RealNoob on Feb 4, 2021 13:44:35 GMT -6
Speaking of boosting vs cutting, I too, begin there. I did watch a video of Colton where he A/B and nulled a truck using boost and another using a cut with Fab Filter. They nulled. I know in the analog world that won't happen and I'm sure with emulations ITB, its tough as well. I only mention to say things could be getting better with regards to boosting with plugins.
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Post by tkaitkai on Feb 4, 2021 14:09:36 GMT -6
I saw Colt's video a few days ago and I agree with the general idea. I have to stop myself from cutting too much midrange on a lot of stuff I work on.
I used to obsessively tweeze and fine-tune the lower & upper mids, but I've learned to leave that stuff alone if need be. Nothing worse than a dull vocal or acoustic guitars with no body.
Too much de-emphasis in those areas can also result in overly crispy/sizzly high end, which I personally can't stand.
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Post by dok on Feb 4, 2021 17:09:59 GMT -6
Those videos were really informative, thank you!
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Post by wiz on Feb 4, 2021 20:29:49 GMT -6
Both great fellas with great brains and JJ Puig is definitely one of my heroes for mixing and production (I steal my LPF and HPF tenets from him). This exemplifies additive EQ. I used to spend time in that circus until I worked with someone who made me understand the inherent detraction from work working that way: added distortion and phase issues. I prefer subtractive EQ and if you start 'cleaning' up, you will end up clearing the junk out and yes... end up with better midrange which is like 90% of the sound anyhow. JMHO, YMMV, TETO Testify! |
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Post by svart on Feb 4, 2021 21:52:46 GMT -6
Yes, yes it is.
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Post by Deleted on Feb 4, 2021 22:15:12 GMT -6
I saw Colt's video a few days ago and I agree with the general idea. I have to stop myself from cutting too much midrange on a lot of stuff I work on. I used to obsessively tweeze and fine-tune the lower & upper mids, but I've learned to leave that stuff alone if need be. Nothing worse than a dull vocal or acoustic guitars with no body. Too much de-emphasis in those areas can also result in overly crispy/sizzly high end, which I personally can't stand. Same. I dynamically cut all guitar resonances from 100-200hz or so with TDR Nova GE now. It works much better than cuts and multiband compression while not destroying the tone. Then I leave the bass resonances in and just compress the bass as a whole. If I suck out the body resonances, I get some insanely painful tube or pedal sear. |
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Post by hadaja on Feb 4, 2021 23:37:53 GMT -6
Saving this post to look at the videos.
Thanks for sharing
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Post by RealNoob on Feb 5, 2021 9:10:05 GMT -6
Same. I dynamically cut all guitar resonances from 100-200hz or so with TDR Nova GE now. It works much better than cuts and multiband compression while not destroying the tone. Then I leave the bass resonances in and just compress the bass as a whole. If I suck out the body resonances, I get some insanely painful tube or pedal sear. Is this the dynamic EQ people are raving about over Fab Filter? |
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Post by mrholmes on Feb 5, 2021 10:32:25 GMT -6
I watched a couple of videos yesterday which were great reminders to not overlook all the interaction in the mids.
When the NS10s came into my life, a gift by the universe, I was making this experience first hand. By "magic" my mixes started to sound more balanced than ever before.
Yes it takes some time till your ears get used to the sound of the NS 10s. In conjunction with sonar works they are unbeatable. I know one studio in town which changed extremely expensive near-fields for NS10s, and he was more happy than ever before.
Just in case someone can't afford the real ones there is a British clone for 90 bucks a pair. Ok ordering form the Brits sucks since they left the EU..... the dumbest idea they ever had.
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Post by Deleted on Feb 5, 2021 10:40:41 GMT -6
I watched a couple of videos yesterday which were great reminders to not overlook all the interaction in the mids.
When the NS10s came into my life, a gift by the universe, I was making this experience first hand. By "magic" my mixes started to sound more balanced than ever before.
Yes it takes some time till your ears get used to the sound of the NS 10s. In conjunction with sonar works they are unbeatable. I know one studio in town which changed extremely expensive near-fields for NS10s, and he was more happy than ever before.
Just in case someone can't afford the real ones there is a British clone for 90 bucks a pair. Ok ordering form the Brits sucks since they left the EU..... the dumbest idea they ever had.
There are also the NHT Supers |
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Post by mrholmes on Feb 5, 2021 15:03:13 GMT -6
When the NS10s came into my life, a gift by the universe, I was making this experience first hand. By "magic" my mixes started to sound more balanced than ever before.
Yes it takes some time till your ears get used to the sound of the NS 10s. In conjunction with sonar works they are unbeatable. I know one studio in town which changed extremely expensive near-fields for NS10s, and he was more happy than ever before.
Just in case someone can't afford the real ones there is a British clone for 90 bucks a pair. Ok ordering form the Brits sucks since they left the EU..... the dumbest idea they ever had.
There are also the NHT Supers
Cool but the British clones are 90 bucks a pair.... you can't beat this...
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Post by the other mark williams on Feb 5, 2021 15:52:15 GMT -6
There are also the NHT Supers
Cool but the British clones are 90 bucks a pair.... you can't beat this...
Do those things actually sound anything like real NS10s? Genuinely curious... |
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Post by mrholmes on Feb 5, 2021 16:10:06 GMT -6
Cool but the British clones are 90 bucks a pair.... you can't beat this...
Do those things actually sound anything like real NS10s? Genuinely curious...
Yes I own the Originals and a friend of mine uses Studiospares SN 10. Its pretty much the same bookshelf speaker sound.
I think the low range is a bit extended on Studiospares. But hey what are EQs for cut it out.
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Post by cowboycoalminer on Feb 5, 2021 16:55:28 GMT -6
Both great fellas with great brains and JJ Puig is definitely one of my heroes for mixing and production (I steal my LPF and HPF tenets from him). This exemplifies additive EQ. I used to spend time in that circus until I worked with someone who made me understand the inherent detraction from work working that way: added distortion and phase issues. I prefer subtractive EQ and if you start 'cleaning' up, you will end up clearing the junk out and yes... end up with better midrange which is like 90% of the sound anyhow. JMHO, YMMV, TETO 99% agree... with a caveat. The recording to print must be done with enough hi/mid information to print for this to be accurate. In other words, either record it right, or end up with distortion and phase. Nothing meant toward your post, Ward. You're my horse if you never win a race. My best recordings ever had very little processing involved is all I'm saying. |
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Post by Deleted on Feb 5, 2021 16:57:58 GMT -6
Same. I dynamically cut all guitar resonances from 100-200hz or so with TDR Nova GE now. It works much better than cuts and multiband compression while not destroying the tone. Then I leave the bass resonances in and just compress the bass as a whole. If I suck out the body resonances, I get some insanely painful tube or pedal sear. Is this the dynamic EQ people are raving about over Fab Filter? Yes. The entire Tokyo Dawn suite is the bomb and the best you can get for what they do for the most part. It just gets stuff done. Everything is worth getting. I use them all on every mix except for Kotelnikov, which I only use as a clean mastering compressor, sometimes flattening out stems that are all over the place. Slick EQ GE (Japanese mode is my go to, easy to use, drum clean up EQ and you need the GE to get it and the coolest output stages), Nova GE is my dynamic EQ and the tightest one I've ever used, De-Edger (Think of this as an annoying transient softener to use with your de-essers! I use this + PSP Infinistrip De-esser to replace Spitfish), and Molot GE right now on almost everything. Limiter 6 GE is my final mastering limiter. It's awesome. The TDR Everything bundle is the best 300 bucks you'll ever spend on digital for the whole thing. They're all real tools without major artifacts or weirdness to set them up. |
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Post by Deleted on Feb 5, 2021 17:14:54 GMT -6
You need the GEs to get the best stuff in Slick EQ and the next level insane mode in Limiter 6 and Molot. Insane mode pushed them to the top of the heap.
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Post by the other mark williams on Feb 5, 2021 18:41:10 GMT -6
Is this the dynamic EQ people are raving about over Fab Filter? Yes. The entire Tokyo Dawn suite is the bomb and the best you can get for what they do for the most part. It just gets stuff done. Everything is worth getting. I use them all on every mix except for Kotelnikov, which I only use as a clean mastering compressor, sometimes flattening out stems that are all over the place. Slick EQ GE (Japanese mode is my go to, easy to use, drum clean up EQ and you need the GE to get it and the coolest output stages), Nova GE is my dynamic EQ and the tightest one I've ever used, De-Edger (Think of this as an annoying transient softener to use with your de-essers! I use this + PSP Infinistrip De-esser to replace Spitfish), and Molot GE right now on almost everything. Limiter 6 GE is my final mastering limiter. It's awesome. The TDR Everything bundle is the best 300 bucks you'll ever spend on digital for the whole thing. They're all real tools without major artifacts or weirdness to set them up. All right, Dan. I just downloaded the free version of TDR Nova to give it a try. Currently, when I'm looking for a dynamic EQ or multiband comp, I use FabFilter Pro MB. I also have Waves C6, but don't use it much. I'm going to give Nova a try. |
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Post by theshea on Feb 6, 2021 2:48:34 GMT -6
Yes. The entire Tokyo Dawn suite is the bomb and the best you can get for what they do for the most part. It just gets stuff done. Everything is worth getting. I use them all on every mix except for Kotelnikov, which I only use as a clean mastering compressor, sometimes flattening out stems that are all over the place. Slick EQ GE (Japanese mode is my go to, easy to use, drum clean up EQ and you need the GE to get it and the coolest output stages), Nova GE is my dynamic EQ and the tightest one I've ever used, De-Edger (Think of this as an annoying transient softener to use with your de-essers! I use this + PSP Infinistrip De-esser to replace Spitfish), and Molot GE right now on almost everything. Limiter 6 GE is my final mastering limiter. It's awesome. The TDR Everything bundle is the best 300 bucks you'll ever spend on digital for the whole thing. They're all real tools without major artifacts or weirdness to set them up. All right, Dan. I just downloaded the free version of TDR Nova to give it a try. Currently, when I'm looking for a dynamic EQ or multiband comp, I use FabFilter Pro MB. I also have Waves C6, but don't use it much. I'm going to give Nova a try. i am using nova GE all the time as well. great great plugin. pricewise they could ask way more for it and i would still have bought it. so much useful features, not just stiff and 1:1 cloning of old analog limited gear. |
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Post by theshea on Feb 6, 2021 2:52:02 GMT -6
i recommend watching their nova GE introduction
than trying out their free version. but that one is missing some features.
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