What about parallel compression and side-chain techniques? Do you use them a lot?
I use parallel compression a lot! When you squeeze the life out of a channel to get agression by using a compressor set to a very high ratio ( I sometimes use a limiter ), a ‘living’ channel with the transients untouched adds a lot to a mix. I use it mostly for drums, bass guitars and vocals.
Side chain technique is mostly applied by using a compressor to get some isolation between kick and bass channels. For an interesting side channel example via multi-band compressor, check the link below (See Isolation Via Multi-band EQ) .
I’m pretty new here so feel free to take my advice with a pinch of salt
Here’s a couple of points that I work by & I hope will be of use:
- Do everything you can to avoid the dreaded ‘midi’ sound - This can be difficult - most sample libraries (including the top-end ones) are recorded with absolute perfection in mind. It can be difficult to get virtual sounds that have human character and warmth - the qualities that really stir up emotions. I have a little armoury of sample packs that I’ve felt have a more authentic, almost rough-and-ready sound. This includes NI upright piano (which you can detune), AD brush drums. Programming/playing these parts so they sound real and expressive is a fine art - and think it’s easy to be tempted to remove imperfections when these can often add the expression and realism that track needs to take it from just ‘pretty good’ to ‘pretty special’!
- Everything in it’s own place - The other principle that I try to keep in mind is that every instrument/part should neatly occupy its own space - compression can help you to solidify the instrument confidently within that space (so that it doesn’t poke itself out and duck back behind from time to time) - EQ can really emphasise the character you’re looking to bring with the instrument and can fit it within the jigsaw of other sounds. Then there’s stereo field - this should be used like an instrument in itself, growing and restricting with the ‘emotional architecture’ of the track.
I’m pretty new here so feel free to take my advice with a pinch of salt
Here’s a couple of points that I work by & I hope will be of use:
- Do everything you can to avoid the dreaded ‘midi’ sound - This can be difficult - most sample libraries (including the top-end ones) are recorded with absolute perfection in mind. It can be difficult to get virtual sounds that have human character and warmth - the qualities that really stir up emotions. I have a little armoury of sample packs that I’ve felt have a more authentic, almost rough-and-ready sound. This includes NI upright piano (which you can detune), AD brush drums. Programming/playing these parts so they sound real and expressive is a fine art - and think it’s easy to be tempted to remove imperfections when these can often add the expression and realism that track needs to take it from just ‘pretty good’ to ‘pretty special’!
- Everything in it’s own place - The other principle that I try to keep in mind is that every instrument/part should neatly occupy its own space - compression can help you to solidify the instrument confidently within that space (so that it doesn’t poke itself out and duck back behind from time to time) - EQ can really emphasise the character you’re looking to bring with the instrument and can fit it within the jigsaw of other sounds. Then there’s stereo field - this should be used like an instrument in itself, growing and restricting with the ‘emotional architecture’ of the track.
I hope this is of some use and interest!
Lewis
Outstanding knowledge! I especially agree with the portion about space. I’ve been reading a lot and experimenting with panning and it’s made a world of difference. Giving sections or individual instruments their own space seem to widen out the mix and gives individuality to sections you want the listener to focus on.
I still struggle with the mastering portion and obtaining the great volume without sacrificing sound quality, (as Gareth will tell you, but I don’t think I’m alone on this one.
you can find plenty of tutorials on youtube for the mix and mastering with Logic X. if you need custom work for professional results I am available for freelance, just click on my profile page and send me an email!
you can find plenty of tutorials on youtube for the mix and mastering with Logic X. if you need custom work for professional results I am available for freelance, just click on my profile page and send me an email!
Have a nice day
SC.
SoundCity, great news! I may have to take you up on that myself, however, the reason Szaigoon said that was because several users had offered to mix and master tracks for free as a lesson for comparison. The original poster even said not to bring up YouTube or Google as a source for tuts because he couldn’t find any of help. I would agree with that. It’s not that there aren’t plenty of videos out there, but they’re often frustrating when you’re not sure what’s going on. You miss something, and it helps to have a conversation with people who know what’s what.
I’m looking for someone to work with some of my own stuff but I really would like to LEARN how to do it myself. I often find YouTube videos unhelpful. Not because I’m an idiot, but because they don’t always explain everything the way I like and can understand, when dealing with a program I know little about.
That being said, I’m working on some punk rock stuff. Short, catchy, etc. Would love to have someone tinker with a song and kind of explain what they did, or if you could save a Logic file out or something so I can take a look at the insides of the mix and master… that would be incredible, too.
