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Questions about making smaller corrections
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| L-H |
Hi!
I was wondering what kind of technique people were using when making smaller corrections when you actually doing the mix?
Im thinking how you listen to the beats. With my setup, I can either listen to master in one ear and whatever other channel i want in my other ear, or i can take any channel i want (including master and get em all in stereo). I can also just use one cup and listen to the speakers. Im usually listening to both channels in stereo on top of each other, which is just fine when i match up the beats. But if I need to make smaller corrections during the mix, Im sometimes having trouble finding out if i should up or lower the pick, and the mix will sound from good to not so good.
The split function is only so good because once both channels go into master channel, they go on top of each other anyway, and same with one cup/speaker listening. Id like to know how people dealt with this problem. If its a technique I need to learn or if its just something that will come in time if I keep practicing?
Thanks! |
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| Dirk W. |
Hmmm, now I don't know exactly what you're asking.... If it is what I think, then you should have your headphones monitoring one channel at a time, not the master. This is what I do anyways. I monitor the incoming track in my headphones. As I blend it in and the incoming track becomes the dominant track in the mix, then I switch my headphone monitoring to the outgoing track's channel. This way I can make small adjustments to the outgoing track if there is any need to. Is this what you're asking about?
I never monitor the master channel in my headphones. |
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| Dirk W. |
| As a side note, this technique I outlined uses only one ear in the headphones and the other on the speakers or booth monitor at all times. |
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| groovable |
You must do it directly hearing the speakers, without monitoring, cause small corrections must be fixed very quickly before the "normal" ear notice the errors. You donīt have time to cue and listen, actually with practise you donīt need it.
I donīt know how to explain but you know which track to push or brake by hearing how does the kick, clap or any other short sound sounds, e.g: if itīs sounding CLAP CLAP CLAP (all ok by now) and gradually it turns into clap-CLAP clap-CLAP clap-CLAP, then the incoming track goes too fast, and viceversa. You can also "feel" which track is faster or slower with practice without this technic but sometimes itīs helpful.
Another technic I use is, when Iīve got a good beatmatch for the incoming track (>40 secs beatmatched w/o correction) I hear what happens after, if then it goes faster or slower. So after cueing back and beggining the mix, if something begins to sound wrong I know how to correct the track. |
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| L-H |
Yea that was my question hehe. Sorry if I was unclear.
I guess trying to change the track I monitor would be a good try. Ill work some on that and see how it goes. Thanks for the advice! |
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| IntegraR0064 |
In addition to what people have said.....just know the tracks really well. If you know exactly which instruments are in each track, it's easy to see which one's faster.
Another thing that helps is if the music starts to sound faster...then you need to slow the incoming track. If it starts to sound slower...then speed up the incoming track. The outgoing track isn't going to change speeds like that. |
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| Dirk W. |
| Integra, thats really good advice with the music sounding faster or slower. It took me a while when I was first learning to figure all that out. |
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| groovable |
| Some more advices, donīt never correct a track when sounding vocals , strings or similar sounds, it sounds crappy, correct the other track even if itīs the main track at that moment. |
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| L-H |
Thank you all for good advices!
I appreciate it.
Ill test em out tomorrow morning and let you know how it went. |
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| Dirk W. |
| Thats a good point too groovable. You get that VERY obvious slurring noise. I hate that.... |
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| kevM |
| quote: | Originally posted by groovable
You must do it directly hearing the speakers, without monitoring, cause small corrections must be fixed very quickly before the "normal" ear notice the errors. You donīt have time to cue and listen, actually with practise you donīt need it.
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Ya, I've found it hard to notice and make small corrections when both tracks are full in the monitors and 1 is queued in my phones. So I've started taking my phones off in the middle of the mix and just listening to the monitor.
I've tried queuing both tracks, but that doesn't help much.
I think there are 3 possible reasons why im finding it leave the phones on and use que:
1. My phones aren't good (MDR-V500)
2. The delay of the sound traveling from my monitors to my ears is messing me up (only 3-4 feet)
3. I need to practice more |
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| groovable |
| Finding which track goes faster slower when sounding both only in monitors is the thing that most time had to practise before learning, perhaps because I learned to beatmatch with only one ear on hp with only one track at a time in it, Iīm not so used to hear two tracks in the same source. Even now I sometimes correct in the wrong way. My advice is to practise a lot that skill, take two records beatmatch them, then move randomly and simultaneously both pitch controls up and down, in small amounts, so you donīt know which track goes now faster or slower, and try to correct them without using hps. |
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