You're asking a thousand questions at once.

There are some mixing basics, but then there is also massive scope for mixing creativity (which sometimes goes against the basics).

Any instrument can be compressed. Any instrument can be left uncompressed. Some people may always compress their kick drum, others may never compress their kick drum. Same with pads, basses, other instruments.

You can try other people's advice, and if it works well for you, you can keep doing that. But that doesn't mean it's the only way of achieving an excellent overall sound.

Regarding the topic of detuning, it generally doesn't mean detuning it to the point where it's half a semitone out (which would sound quite dreadful). A typical range of detune may be around +/- 7 cents (where 100 cents is a semitone). It means that sounds can be made a lot "lusher", with the slightly detuned voices spread out across the stereo spectrum.

I'll end with a plug for my website InsideMixes (www.insidemixes.com). It's designed to help with the process of taking strong musical ideas and turning them into great sounding songs. The song packs contain all the information about the synths that were used, the effects/ EQ/ settings/ etc, with comments about why they were used in that way. They also contain the full multitrack files so you can isolate each sound and hear what's going on/ compare it to the sound in your own mixes. Send me a private message if you'd like a demonstration song pack.

As dude said above me, you are asking 1,000 questions at once. In regards to Equalizing, this is rather helpful;

http://www.tranceaddict.com/forums/...threadid=383094

Try to find threads, and google such things as compression, and different parameters with in the VSTS you use. I learned pretty quickly that hands on experience and doing some reading was the only way to move forward. It comes with practice, just like anything else. read read read read.

I think you tube too if you can sniff out the crap amongst the good. Im not sure what DAW ur using but logicninja seems to be rather knowledgable of things above mentioned.

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Originally posted by CalvP It's sunday & i'm tired so i'll keep this short Many many questions, which is good because you're inquisitive! unfortunately they're all based on theoretical situations. No two tracks will ever be the same, therefore you can absorb all the theory in the world, but you need to constantly apply it session after session...do that & you'll gradually find your way, find your unique style & come to learn when to cut or boost or compress or limit etc etc Keep with it

Thanks for the tip man, but it would really help if I knew the basics of what these filtering tools do? Like in simple terms what does compression, limiting, lowpass, detuning etcc do?

You're confused because you're approaching things from the wrong direction.

You're asking what instruments to apply certain effects to, and expecting us to enumerate a list of instruments and the effects to apply in this sort of mechanistic way. That's not how it works.

You'll find that understanding what the effects do will allow you to make those choices for yourself, and work out when you should apply them and what the results should be. So you should probably look at what compression, "soundgoodizer" (wtf) and everything else is actually doing to the soudn to determine whether thats something that needs doing to YOUR sound.

PS
And it should be bleedingly bloody obvious that these details would be found either by the mystical powers of google or using the stickies (which you undoubtedly looked straight past in your quest for the "new post" button).

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These are not intermediate questions.

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quote:

Originally posted by tehlord These are not intermediate questions.

They're barely suitable beginner questions.










I say this at my current rank of advanced dilettante.

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my old stuff, not quite up to snuff - but I still dig it - UPDATED 9/23/2012

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Originally posted by CalvP I know right now you're probably feeling daunted by all these details, but you have to remember not ALL of this will be relevant. If you take it one subject at a time (making sure you do as much practical as theory) it will all start to click believe me Nick Thomas Guide To Mixing this is a great free in depth PDF on all things mixing. Sound Synthesis Education this has all the synthesis info you could ever need. Rick Snoman Dance Music Manual: Volume 2: Music Theory and Practical Composition & this is a great book if you fancy splashing some $ Everyone favours a different learning style, some like following videos, some like reading books, some like trial & error etc work out which method works best for you & get your head down...make sure in 6 months time you come back & share your new found knowledge on here though ok

That sound synthesis education website is awesome, thanks for posting it!

Go to www.boyinaband.com

Dave, the dude over there, uses Reason but his 7 day song tutorials will give you a great insight into different ways of using effects and why. These tuts are pretty thorough and helped me immensely starting from scratch. His tut on Trance covers everything from sidechaining to arps to gating to pretty much all of it.

There are far more detailed/specific tuts available and you may love or hate the songs themselves but he covers a lot of ground professionally and in an easy to understand manner. There are a number of genres he covers so give them a shot. And no, I am in no way associated with him or his site/band.

Be prepared for British humor

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Originally posted by lp026713389 Like in simple terms what does compression, limiting, do?

It may help you to approach this in the following manner;

Before a compressor was invented, the engineer had to 'tame' a dynamic sound (one which went from loud to quiet) by using his hand to ride the mixing desk faders.

Then someone came up with the idea of using electronics to mimick what the enginner was doing, that is, to even out the volume so that it was smooth and listenable.

After these early days engineers started using these new tools as something to add an effect to a sound. They for example pushed the input volume hard and recorded the drums through it. This gave a nice roomy feel with lots of impact.

As Kit says, the only way to really understand when to apply what, is through lots and lots of practice.

The interpretation of good musical ideas into a a decent well crafted track is what producing is all about.

We all have a view on this but my own personal view is that the musical ideas bit is the easier part. Putting them into a context that people want to consume is the hard bit. There are a million highly trained competent classical musicians out there, but although having that grounding is very useful, a very different skill set is employed in production.

One of the common themes I've picked up is noob / frustrated producers complaining they 'have these immense ideas in thier heads but cannot translate them into a track'. I have immense paintings in my head, but fuck tyring to get em onto canvas! The only way to get it done would be a load of practice. No amount of reading would be 'that' useful - I'd need to hit the brushes.

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quote:

Originally posted by Richard Butler It may help you to approach this in the following manner; Before a compressor was invented, the engineer had to 'tame' a dynamic sound (one which went from loud to quiet) by using his hand to ride the mixing desk faders. Then someone came up with the idea of using electronics to mimick what the enginner was doing, that is, to even out the volume so that it was smooth and listenable. After these early days engineers started using these new tools as something to add an effect to a sound. They for example pushed the input volume hard and recorded the drums through it. This gave a nice roomy feel with lots of impact. As Kit says, the only way to really understand when to apply what, is through lots and lots of practice. The interpretation of good musical ideas into a a decent well crafted track is what producing is all about. We all have a view on this but my own personal view is that the musical ideas bit is the easier part. Putting them into a context that people want to consume is the hard bit. There are a million highly trained competent classical musicians out there, but although having that grounding is very useful, a very different skill set is employed in production. One of the common themes I've picked up is noob / frustrated producers complaining they 'have these immense ideas in thier heads but cannot translate them into a track'. I have immense paintings in my head, but fuck tyring to get em onto canvas! The only way to get it done would be a load of practice. No amount of reading would be 'that' useful - I'd need to hit the brushes.

Well said IMO.

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