Automatic Delay Compensation

[selig]

Yeah lol!

Never realised to use it for volume though. Is that what you meant?

Sorry but sometimes the most obvious thing doesn't occur to me lol!

It's because with music production, no-one really teaches you it in a regimented way. Do this, then this, then this...etc!

EQ IS gain, just at a specific frequency. Boosting or cutting at the critical frequency for a specific sound can have the same effect as boosting or cutting the volume. Realizing this changed the way I used EQ forever!


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[Creativemind]

Yeah lol!

Never realised to use it for volume though. Is that what you meant?

Sorry but sometimes the most obvious thing doesn't occur to me lol!

It's because with music production, no-one really teaches you it in a regimented way. Do this, then this, then this...etc!

EQ IS gain, just at a specific frequency. Boosting or cutting at the critical frequency for a specific sound can have the same effect as boosting or cutting the volume. Realizing this changed the way I used EQ forever!


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Thanks Selig. Great tip. I kind of new this already but sometimes things allude me lol!

[Gorgon]

Thanks Selig. Great tip. I kind of new this already but sometimes things allude me lol!

No you didn't.

[selig]

Thanks Selig. Great tip. I kind of new this already but sometimes things allude me lol!

No you didn't.

Yes he did! Wait, what are we talking about again?!?


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[Gorgon]

Thanks Selig. Great tip. I kind of new this already but sometimes things allude me lol!

No you didn't.

Yes he did! Wait, what are we talking about again?!?


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He says he already "new" (knew) it. If he knew it, he wouldn't have to ask it. This CreativeMind person is a nice bloke, but he should be studying the manual instead of hanging on the forum and try to blame muddy mixes on delay compansation.

Although I must say, Polar is indeed useless on things like breakbeats.

[Creativemind]

Sorry, knew lol! my bad.

So Selig, what are you meaning by critical frequency?

[Gorgon]

Sorry, knew lol! my bad.

So Selig, what are you meaning by critical frequency?

The critical frequency is where the particular sound is the loudest.

[selig]

Sorry, knew lol! my bad.

So Selig, what are you meaning by critical frequency?

The critical frequency is where the particular sound is the loudest.

^^THIS^^



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[Gorgon]

Sorry, knew lol! my bad.

So Selig, what are you meaning by critical frequency?

The critical frequency is where the particular sound is the loudest.

^^THIS^^



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Sounds easy right? But it isn't, because the critical frequency can change in the sound itself. That's where the EQ comes in. Try to level it all over the sound. That's where compressors MIGHT come in. But first learn EQ.

[Ottostrom]

Before you do anything else you should look up some videos about EQ and compression. Learn what they do and how to use them, this will give you a much better starting point.

[Creativemind]

I know what eq does. How it works. Just don't know how to use it to achieve much with it. I can do notch eq and stuff but never sure when and why etc.

Same with compression. I know how it works but never know where or when it's needed. What threshold or ratio I should use.

Compression is mainly for drums and vocals I'd say. Where things are leaping out of that track I suppose. I'll stick the m-class on a vocal though say and turn the threshold down until I see signal coming through and then not sure what ratio to set it at. I just listen and go, hmmm sounds different then if it's quieter then I'll turn up the output gain to return the volume back to where it was before it was compressed.

Wouldn't a visual display help?

[Gulale]

Knowing something is not the business of business. Knowing the right one I say.

[Gulale]

If you want to understand about compressor start from the classic one 1176 or LA-2A it is hard to make it sound bad. For starter you will need to worry about two button the left side for gain and the right one to the left to compress if your signal is hot you don't have to use the left one. Only to minimize the gain. Then once your ears understand what it does then play with attack and release.

Finally you will go to other compressors for much more control. Knee to add sustain e.t.c.
I love comp.

[Gorgon]

I know what eq does. How it works. Just don't know how to use it to achieve much with it. I can do notch eq and stuff but never sure when and why etc.

Wouldn't a visual display help?

Start with the EQ, that one does have a visual display.

If you have a kickdrum and a bassline, try playing with the highpass filter on the bassline so you can hear how it creates "room" for the kickdrum.

[Creativemind]

Thanks Gorgon.

For me, with EQ and Compression, it's knowing:-

A) Do I need to EQ / Compress this?
B) What am I doing with the EQ / Compressor?
C) How or what do I do with it once decided?

I found a good article on EQ that might help people here:-

https://music.tutsplus.com/tutorials/8- ... -audio-942

[Ottostrom]

I know what eq does. How it works. Just don't know how to use it to achieve much with it. I can do notch eq and stuff but never sure when and why etc.

Same with compression. I know how it works but never know where or when it's needed. What threshold or ratio I should use.

This is why you should look up some videos. There are thousands of them showing/telling you when and where they should be used.
And compression is not just for drums and vocals, its for everything with varying amplitude = most sound. Even if you don't need drastic compression on a sound it can be used to just smooth things out to sit better in the mix, making sure none of the quieter parts gets lost.

[philosurfer]

Lots of dickheads in this post..

Simple answer.. you need to learn how to EQ and compress your way to "Loudness"

Be careful of clipping

Watch these videos:
-

(PropHead video)
-

(Pensado is the man.. add him to your watch list.. dude is a Grand Master)

[Kronos]

...or produce audiophile recordings! For example:

http://www.chesky.com/album/ultimate-de ... -2-sacd343

"To produce the purist, most natural sound Chesky avoids the use of dynamic range compressors, equalizers, and overdubbing."

Seriously speaking, I much prefer the sound of older recordings where the average volume is lower, with stronger transients and bigger dynamics, instead of the nowadays so common lifeless and dull overcompressed music.

[philosurfer]

.
Seriously speaking, I much prefer the sound of older recordings where the average volume is lower, with stronger transients and bigger dynamics, instead of the nowadays so common lifeless and dull overcompressed music.

Well comeback and tell me that when you need to run your tracks through 50k watts worth of sound..
You want everything compressed with a peak of -6db of for headroom, so the house can handle the rest of the compression
Electronic music is much different from recorded music. Loud is good

[8cros]

After the Loudness War of course has been made possible to mix the material with a different dynamic range. For example the classics and electronics. But there are people on both sides of the dispute, which are in the tank, and for them the war was still going on.

[nooomy]

My tips to reduce muddieness is:
90% of your mixing should be volume and panning the rest is just iceing on the cake

IF u mix like that you will reduce the muddieness by alot

[selig]

My tips to reduce muddieness is:
90% of your mixing should be volume and panning the rest is just iceing on the cake

IF u mix like that you will reduce the muddieness by alot

Just another thought or two on the subject:

Muddiness can occur on a single instrument, so it's not always a "mix" issue. Sometimes it's a mix issue due to a "muddy" arrangement, and in those cases is not a purely "sonic" issue.

I've never felt panning can "correct" any issue such as muddiness - once you step back from the "sweet spot" you are mostly hearing mono, and panning will no longer have the desired effect of "clearing up" a mix.

[nooomy]

My tips to reduce muddieness is:
90% of your mixing should be volume and panning the rest is just iceing on the cake

IF u mix like that you will reduce the muddieness by alot

Just another thought or two on the subject:

Muddiness can occur on a single instrument, so it's not always a "mix" issue. Sometimes it's a mix issue due to a "muddy" arrangement, and in those cases is not a purely "sonic" issue.

I've never felt panning can "correct" any issue such as muddiness - once you step back from the "sweet spot" you are mostly hearing mono, and panning will no longer have the desired effect of "clearing up" a mix.

i do not agree, lets say if you pan your toms, it can really help them stand out from each other
or panning two diffrent hi hats
I usually pan when I have two or more instruments that have the same "fundamental" frequency

And if panning dosen't help i will try changing the volumes and if that dosen't work i will remove the least "important" sound or instrument.

[Kronos]

I agree with Seligs comment regarding panning, only in ideal listening cases this might help. I would rather look into the actual musical arrangement, i.e. which instruments play when, at which octaves the melodic instruments play etc. Try to remove clutter and unneccessary notes. Counterintuitively, sometimes less sounds more!

[selig]

My tips to reduce muddieness is:
90% of your mixing should be volume and panning the rest is just iceing on the cake

IF u mix like that you will reduce the muddieness by alot

Just another thought or two on the subject:

Muddiness can occur on a single instrument, so it's not always a "mix" issue. Sometimes it's a mix issue due to a "muddy" arrangement, and in those cases is not a purely "sonic" issue.

I've never felt panning can "correct" any issue such as muddiness - once you step back from the "sweet spot" you are mostly hearing mono, and panning will no longer have the desired effect of "clearing up" a mix.

i do not agree, lets say if you pan your toms, it can really help them stand out from each other
or panning two diffrent hi hats
I usually pan when I have two or more instruments that have the same "fundamental" frequency

And if panning dosen't help i will try changing the volumes and if that dosen't work i will remove the least "important" sound or instrument.

Sorry if I wasn't clear - my point is that not everyone listens in perfect stereo sitting exactly in the sweet spot. I certainly pan instruments to take advantage of the stereo field, but not to clean up "muddy" mixes or to deal with two instruments that have the same fundamental frequency (which I instead try to avoid if it causes problems). Panning can create some very interesting effects and I absolutely love the results!

The thing I do NOT to is pan to address/fix actual mix issues, because in my experience it won't work for every listener. If your mix won't work in mono, then it's likely not a going to magically work in stereo. Maybe there are exceptions to this, but I've not heard any.

Or to put it the other way around, a great mix in mono should still be a great mix in stereo, if not 'greater'.



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