wfaraoni said:
I am Thinking this is one of the BIG KEYS to getting a Better mix.
Everything having its own frequencies is a great plan but when I start to eq things, for instance, the guitar part, I wind up with it sounding like its being played through a megaphone
, you know that hollow telephone boxed sound.
Ive read a bunch of recommendations on what to cut for bass, drums, and guitar etc. but they vary (as they should) so widely depending on the piece.
So I am asking,
As a general neutral STARTING point,
What do those of you who can/Do achieve musical separation without muffling the instruments Use for a guideline??
Ie: Drums, Bass, Guitar, vox, keyboard and synth, other strings, horns.
The more feedback the better here I think ![Embarrassment :o :o](/images/smilies/redface.gif)
REQUEST:
maybe Someone can actually post some samples of raw, Then adjusted, then in the mix! So we can get a feel for the ART!
That would be REALLY GREAT not only for me but for lots of folks Im sure.
Thanks
Bill
The answer to your questions is very complex. Remember that what the instrument sounds like soloed is going to be different from its sound sitting in a mix. Your guitar may sound like a megaphone but that could be OK in the mix.
I used to ask the same questions about how to make a mix sound good so I can't blame you for asking. What I have found is that it's a lot of things all working at once that make a mix sound good. First, was it tracked correctly with everything in tune. Next, did you limit or compress things that had too much dynamic range i.e. go from too loud to too soft. Next step, were things EQd right coming into the computer. Far from the end, you have to give each instrument its own sonic space in the frequency range. Find an instrument frequency chart to figure this out.
Then listen to your favorite CD and try to emulate the sounds you hear. Placement of instrument from left to right is important. Now, listen to things that seem to just not be defined well. These could be two instruments in the same frequency range. This is where you fine tune with EQ and panning.
Finally study the delay times of things to determine what type of room did the music occur in, or that you want it to occur in. This can be various reverbs or delays on different instruments to give them the sound you were thinking of.
Then there is buss compression and other tricks.
Learning to mix well is like karate. You have to spend time in each discipline to get good and advance to the next level.
I spent 4 months reading books on compression understanding what it does and how it can be used. The same for delays and reverb, chorus, pitch shifting, sound placement and parametric EQs.
After 4 years I am starting to get the type of results I hear on commercial CDs.
The best 1 tip I can give you is get the book "The Mixing Engineer's Handbook " - Bobby Owsinski. It's got enough tips in it to keep you going for at least a year.