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EQing main trance lead (pg. 5)
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| Storyteller |
*huge edit*
oh well, mystical know all ;) |
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| Storyteller |
| quote: | Originally posted by mysticalninja
If you hard-compress them individually, yes. If you compress them together you will get much more dynamics between them. |
| quote: | Originally posted by wayfinder
What do you mean with that? Dynamics is something that describes a relationship between different times in a song, not between different elements at one time. |
How a wrong choice of words can leed to misunderstanding. Literally taken the statement of mystical ninja is false. However what he probably meant is the instruments could interact more with eachother by using compression. Which can't be denied. Shouldn't have to tell this to wayfinder though, he has been right on everything heh, but I guess he took the first quite a bit too literally... |
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| oFFbalaNce |
To Muzikislife:
Listen to F Massif – Somebody ( Ferry Corsten Remix ). I think the lead in that song sits incredible well in the mix. Just as you say, no to much “in your face” but rather blending with the rest of the song.
First of all I think that to create a lead like this you really need a sound that works with the rest of the song, and often I find that more natural sounds fit better. As soon as you create some plastic/artificial (can’t really find the right word) sound, it often sounds to up front.
Might be because these sounds have a tendency to occupy the frequencies between 1000 – 4000 hz and lack of lower mids?
Anyways, another good way to make a sound sit “back” in the mix is the use of reverbs, dry sounds often sound more upfront than wet sounds. I do not think EQ always is the right way to make a sound sit in the mix, sometimes you just have to let some sounds go an try something else. Perhaps a more natural approach?
I don’t claim these opinions in anyway to be professional or even based on facts, just my thoughts, I hope they help! |
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| wayfinder |
| quote: | | Originally posted by Storyteller Shouldn't have to tell this to wayfinder though, he has been right on everything heh, but I guess he took the first quite a bit too literally... |
The thing is, mysticalninja doesn't really understand the terminology, even if he knows what the compressor does. But whatever :) |
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| Derivative |
| quote: | Originally posted by mysticalninja
Hmm I'm not sure how i'd use a gate for the same effect, the gate will duck the reverb/delay below a certain volume, but I wan't the reverb/delay to duck when the sounds playing, and come back when you stop. A sidechained gate maybe? |
Dude, you are making it way more complicated than it needs to be. Just stick a gate after the reverb on the instrument with the reverb effect.
That will gate out the sound below the threshold on the gate. Set the threshold on the gate fairly low so it only takes out the end of the reverb/delay tail.
Alternatively, if you just want to gate the reverb tail and not the instrument itself, run the reverb through an effect send and put a gate after the reverb on the send channel.
Easy. You don't need to sidechain anything. |
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| RivalMan |
| quote: | Originally posted by Derivative
Dude, you are making it way more complicated than it needs to be. Just stick a gate after the reverb on the instrument with the reverb effect.
That will gate out the sound below the threshold on the gate. Set the threshold on the gate fairly low so it only takes out the end of the reverb/delay tail.
Alternatively, if you just want to gate the reverb tail and not the instrument itself, run the reverb through an effect send and put a gate after the reverb on the send channel.
Easy. You don't need to sidechain anything. |
I think you're missing the point. The purpose is NOT to silence delays/reverbs, when they fall below a certain threshold. If that was the purpose, then a gate would be the normal approach, I agree.
The original discussion was how to make sure that a delay/reverb doesn't drown the sound of the original track (the dry sound). My point (in an earlier thread) was that the "normal" classic approach here is to sidechain a compressor on the fx track that triggers the compression on the fx track, when the original sound is playing. That way the reverbs/delays are ducked when the original sound is playing, but comes out clearly in "silent" parts of the original track. This will save you a lot of automation work on send levels.
I.e. when working on vocal tracks, you often want the delays to stick out clearly on the last word of the sentence. Here your would send the track to a delay unit. But then a problem arise if you turn the delays up too loud - it drowns out the original track and makes the lyrics hard to hear. Then you would do the sidechain-trick to avoid that.
Regards |
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| Reactance |
I call this thread the compression chamber !!
:haha: :haha: :haha: |
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| Storyteller |
| quote: | Originally posted by wayfinder
The thing is, mysticalninja doesn't really understand the terminology, even if he knows what the compressor does. But whatever :) |
:) |
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| Derivative |
| quote: | Originally posted by RivalMan
I think you're missing the point. The purpose is NOT to silence delays/reverbs, when they fall below a certain threshold. If that was the purpose, then a gate would be the normal approach, I agree.
The original discussion was how to make sure that a delay/reverb doesn't drown the sound of the original track (the dry sound). My point (in an earlier thread) was that the "normal" classic approach here is to sidechain a compressor on the fx track that triggers the compression on the fx track, when the original sound is playing. That way the reverbs/delays are ducked when the original sound is playing, but comes out clearly in "silent" parts of the original track. This will save you a lot of automation work on send levels.
I.e. when working on vocal tracks, you often want the delays to stick out clearly on the last word of the sentence. Here your would send the track to a delay unit. But then a problem arise if you turn the delays up too loud - it drowns out the original track and makes the lyrics hard to hear. Then you would do the sidechain-trick to avoid that.
Regards |
Maybe I am getting the wrong end of the stick but - just lower the ouput level of the delay? :conf: |
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| RivalMan |
| quote: | Originally posted by Derivative
Maybe I am getting the wrong end of the stick but - just lower the ouput level of the delay? :conf: |
Well, yes, but then you would have to automate the delay volume (or send) if you want the delay/reverbs to stand out with high volume in quiet parts of the original track. (You could certainly do that.)
Anyway, this thread has been hijacked so many times, I don't even remember how we got here... it all started with a question on EQing a lead :stongue:
Cheers |
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| substorm |
Compression is all about controlling the peaks and troughs (dynamics) that occur in your mix when, for instance, the quieter vocal moments are drowned out by the guitarist during recording and/or playback. In a nutshell, it squashes the loudest peaks and boosts the quieter troughs, meaning you can up the overall track volume to get that extra punch.
Its uses can be both "correctional" and creative - A correctional example might be for maintaining the trailing sustain of a lead note where it might otherwise have tailed off too early below the other instruments in the mix (The sustained note of a lead falls naturally in volume the longer it's held, the compressor can act to keep it prominent in the recording).
Creatively, you could use it for what's called, 'gain-pumping'(sidechaining). Commonly used in edm music today :P for adding extra punch to the kick drum, the initial thud is "pronounced" by the compressor before being quickly released.
Cheers
C |
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| mysticalninja |
| RivalMan have you ever tried that with Cubase? How do I send the FX channel to the sidechain? Do I put the sidechain plugin on the FX channel? |
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