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another EQ question (pg. 2)
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| lowski |
| quote: | Originally posted by Blake_Jarrell
i usually set up a high pass on everything but my kick and bassline with the rolloff starting at 250hz...i usually cut the rumble out of the entire mix too at around 40-50hz...for hi hats i cut out ALOT more.
if you are having problems with synths clashing try widening one extremely with a stereo imaging plugin...this sounds good especially repetitive and rhythmic synths that really should take a back seat to your leads melodies and chords. great example of this is prydz remix of 1983 with the arp he has widened from beginning to end. sounds great. |
Thanks, thats good advice but someone in an other thread was telling me about phase distortion? when you start high passing everything at the same frequency. Or do you meen at different frequencies but starting at 250Hz, cuz that im already doing. As for the rumble i always have an MClass mastering suite set to default with the 30Hz cut botton on. As for the stereo imaging i have been playing around with that and found exactly what you just said to do, working out fairly well for me. Although i haven't full grasped the concept of how wind and at what piont in the freq the widening should take place, but im still experamenting |
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| Blake_Jarrell |
| quote: | Originally posted by lowski
Thanks, thats good advice but someone in an other thread was telling me about phase distortion? when you start high passing everything at the same frequency. Or do you meen at different frequencies but starting at 250Hz, cuz that im already doing. As for the rumble i always have an MClass mastering suite set to default with the 30Hz cut botton on. As for the stereo imaging i have been playing around with that and found exactly what you just said to do, working out fairly well for me. Although i haven't full grasped the concept of how wind and at what piont in the freq the widening should take place, but im still experamenting |
diff frequencies but starting at 250hz
you should just widen the whole sound all together, puts it in a completely different place in the mix from the other synths. |
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| lowski |
| quote: | Originally posted by Blake_Jarrell
diff frequencies but starting at 250hz
you should just widen the whole sound all together, puts it in a completely different place in the mix from the other synths. |
Ok i understand the first part, about cutting. But with the stereo imaging do you meen widen the whole mix? or a whole sound including the lower freq of it?. As for doing it sound to sound, im gonna guess that the higher the octave the wider the stereo can be? |
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| Blake_Jarrell |
| quote: | Originally posted by lowski
Ok i understand the first part, about cutting. But with the stereo imaging do you meen widen the whole mix? or a whole sound including the lower freq of it?. As for doing it sound to sound, im gonna guess that the higher the octave the wider the stereo can be? |
i mean to widen 1 certain synth sound that is clashing with another...and yes i mean widen all the frequencies of that one sound, im not sure how you could isolate the widening to just certain frequencies unless im missing something? im not sure how you are relating this to the octaves of the sound...im not sure that has anything to do with imaging? |
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| 3F05Q |
| I take widening to mean stereo placement/imaging. So i can see the confusion. |
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| lowski |
| quote: | Originally posted by Blake_Jarrell
i mean to widen 1 certain synth sound that is clashing with another...and yes i mean widen all the frequencies of that one sound, im not sure how you could isolate the widening to just certain frequencies unless im missing something? im not sure how you are relating this to the octaves of the sound...im not sure that has anything to do with imaging? |
In reason theres a X-cross over frequency, which you can set where you want the stereo to take place. Theres a lo width dial and a high width dial which you can either set to mono or stereo. Then theres a solo botton that lets you here either the lo band or high band.
As for the octave, I have no solid foundation of why i do this, but it just kinda makes sense to me. I usually always make my back ground sounds wider like airy pads and that sort of thing. I guess it really has nothing to do with octaves your right. But i meen for the back ground sounds, the ones in the mid range i make wider by like 16 and the higher ones i make wider by around 32. I dont know if that really makes sense if you don't use reason. :conf: |
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| RichieV |
| stereo placement should be a last resort in dance music. your music is played on mono systems |
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| 3F05Q |
| quote: | Originally posted by RichieV
stereo placement should be a last resort in dance music. your music is played on mono systems |
Stereo placement is NOT a last resort. Nothing is a last resort, really. True, your mix should be able to come across well in mono, but I do most listening at home on a stereo system or wiht headphones. It's noticable when stereo space has been paid close attention to. Don't rely on it to solve a frequency issue, but also don't deny its importance. |
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| Chronosis |
| quote: | Originally posted by RichieV
your music is played on mono systems |
Your perhaps, but don't generalize. |
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| RichieV |
your professional medium is in a club with mono systems. Stereo imaging doesn't exist. Why would you even bother sacrificing playability so it will sound better on a soundsystem nobody will be using to listen to your music ?
i didn't say don't do it , but it should really be a last resort after methods that are more mono friendly. |
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| Chronosis |
| quote: | Originally posted by RichieV
your professional medium is in a club with mono systems. Stereo imaging doesn't exist. Why would you even bother sacrificing playability so it will sound better on a soundsystem nobody will be using to listen to your music ?
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Your medium is what you want it to be. I make tracks for the people who listen to them at home with a decent stereo system. If it gets more play on clubs then nothing wrong with that, but that wasn't my main audience.
Making stuff in mono is what is sacrificing imo. |
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| Derivative |
Your audience is as many people as you can get to listen to your tracks. One is in clubs. Others will buy the record and listen at home on their hifi or on the radio. Others will download the mp3 and listen on their computer speakers. Others will listen on headphones on the way to and from work.
If you produce mixes only in mono, it will sound rubbish on everything but a PA stack and radio. When what you really should be doing is mixing in stereo and preserving some degree of mono compatibility so it doesn't fall apart when summed to mono. Its really not that hard. |
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