Registered: Mar 2006
Location: Berkshire County, MA
So after all of this, I'm doing some psuedo-comb filtering on my own. It's not giving me exactly the results I want. And you're mentioning not to do it on anything important in the mix. Listen to some BT, and he uses it on almost everything on most of his tracks. My question is and continues to be... _how_ do I achieve such an effect?
Importance is relative. In any mix you will have some instruments that are dominant and others that are recessed. Between songs, these instruments will change so you cant say 'only on important instruments.'
As a very general rule of thumb keep comb filtering away from bass and bass drums (although if you listen around, you will hear many artists that get away with doing just that).
As for achieving BT type effects thats something you need to study yourself by listening to BT tracks and by fiddling with comb filters and phase modulation effects. I dont have any BT cds so I dont have a reference except for the soundclips people choose to upload around here.
I can tell you what brush to use and for what purpose but I cannot and will not paint the picture for you.
Jun-14-2006 22:40
-mk-
tranceaddict
Registered: Mar 2005
Location: Tampere, Finland
quote:
Originally posted by Derivative
Yea some artists do.
Yea, well thats exactly what i don't do. I use non-monodestructive methods.
You can try using those "monodestructive" ways on some background sounds, synthbuzzes etc. Just don't use it on your vocals or main melody instruments etc and remember to check how it sounds in mono too.
I haven't heard anything special from BT so i really don't know what's the fuzz about him. Most of the stuff i've heard from him have been just mediocre breakbeat stuff.
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Matti Kotala -mk- www.mkdr.net
Jun-15-2006 02:24
Arudius
Senior tranceaddict
Registered: Mar 2006
Location: Berkshire County, MA
BT's Madskillz-Mic Chekka ...wall to wall production talent.
Im not a huge fan of BT's work but the man is an exceptional producer. His tunes have alot of phase and stereowidth dynamics and hes really very good at creating a sense of 'space' in a mix.
I used to be kind of obsessive about avoiding destructive phasing and my productions used to be very centre channel. But listening back to my old mixes, they sound flat. They dont feel as if each instrument has its own sense of space in the mix. Rather, it feels like I had 4 or 5 instruments all fighting for space in the centre channel and I end up having to use way too much compression to avoid in phase peaks that make my mixes clip. The compression just made everything sound flatter still.
Now I experiment more with phase difference and I admit, I'm not there yet because I still get some fairly big problems when summing channels to mono to test for mono compatibility. A bit more learning to do then, but I think I'm heading in the right direction by moving away from excessive centre channel mixes.
