How To Create Separation In Your Mix For A Wide, Full Mix
Vložit
- čas přidán 22. 12. 2022
- The Objective Mix (book - $5): theobjectivemix.com/
EQ and compression guide: www.dinosaurdogstudio.com/EQ
Ultimate Mixing Checklist: www.dinosaurdogstudio.com/che...
The Objective Mix (book - $5): theobjectivemix.com/
EQ and compression guide: www.dinosaurdogstudio.com/EQ
Ultimate Mixing Checklist: www.dinosaurdogstudio.com/checklist
Great tip. Can't wait to try this. Thank you.
Thanks for watching and glad you found this helpful!! This was a game changer for me when I was first starting to mix in order to create some additional separation and distinctness in my mixes. Hope it helps you on your journey as well!
So helpful!
Thanks for watching! Appreciate the feedback.
Thank you. What I learned is that, "enhancement" is not always the solution by itself. If everything is enhanced its like if everything is a priorty than nothing is a priority. Pocket EQ sounds like Where does it live on the 20Hz to 20khz range. The kick, the guitar, etc. Balance. Everything can't have that boost at i.e.e.g. 250hz. Balance your add with subtractive EQ
I couldn't agree more. Thank you for sharing that takeaway!!
Thanks Tyson
No problem, thanks for watching!
Thank for the helpful info. For pro-standard separation, the arranger will have each instrument dominate a different frequency. If the bass line cannot be written in another inversion, the kick drum can be tuned up or down. When each voice is recorded in a different frequency range, and overlap is minimal, the mix down requires no compromise, and the project does not sound blended (amateurish). Blending is desirable only for harmony.
Yes, this is true, but the tonality of instruments doesn't necessarily mean there isn't any overlap of frequencies that could be improved through additional separation with EQ.
Thanks for watching!
@@dinosaurdogstudio EQ, panning and formant shifts can only do so much. The character (texture?) of the voices, and mostly their pitch difference permit the engineer to render a mix that has thre or four voices up front, without unwanted blending. For example, four tenors will never be separated as well as a bass, baritone, tenor and soprano, no matter how skilled the engineer is.
@@TheBinaryWolf of course you're right. From a purely mixing standpoint, mixing engineers don't have control over those aspects of a song.
It actually makes alot of sense
Thanks for watching!
thank you brother...where can i find plzzz the compression style guide
You can check the description of the video, or go here: www.dinosaurdogstudio.com/EQ
Does the apply to chords and leads? I make edm
100% this is a true concept of all audio.
@@dinosaurdogstudio thanks it is well needed I wonder sometimes like how does my mixes still sound unclear when I eq sometimes.
Why? I thought the idea was to glue them together so why separate.
You need both aspects in your mix. If they are glued together, they won't sound "wide" or in other words, your mix won't sound "big".
Obviously you want it to sound like a cohesive song, but without separation between various elements in the mix you'll end up with a muddy, conglomerated mess of a mix.
Does that make sense?
@@dinosaurdogstudioSeparation of voices permits the listener to hear each distinctly...three or four instruments can then be up front. An amateurish mix is blended, muddy, like a cacophany of sound. Only when harmonizing is blending desirable.
If you stand in the middle of a crowd at a party, you will hear the man with a metallic voice, the lady with a soprano voice, the fellow with a deep voice; but the rest will blend. You will hear everyone talking in the mid-range but won't understand a word they are saying. Only those in a separate frequency will be recognizable. The analogy conveys the basic idea of separation.
@@TheBinaryWolf This is correct when discussing arrangement - as a mixing engineer you're not always given the option to change the arrangement in order to better serve the song and sacrifices will need to be made with frequency control. This also assumes that a single voice won't overlap just because it's singing a different part - which is a logical fallacy when we're discussing harmonics inside of voices. Although if you had the perfect arrangement - then this technique wouldn't be valuable as you'd be able to get to a pro mix just through dynamic control and volume balance.
@@dinosaurdogstudio Oh, I think you are absolutely correct. I was merely pointing out that a mix starts with the composer. If you have the resources to produce a music work from the composing stage to mastering, choosing voices that do not compete against each other results in the best sound. Of course, the engineer does not have such luxory. Hence the video is very useful.
@@TheBinaryWolf I got you. 100% agree.
Outro music is WAY too loud compared to the rest of the content.
Thanks for the feedback! This is one of my older videos where I was still trying to figure stuff out.
@@dinosaurdogstudio I understand. Its just that I nearly had a heart attack when my monitors jumped in volume across the room from where I was listening to you, as I work on cabling my equipment into my parchbay.