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Thread: What higher-level mixing techniques are a MUST for professional sounding stuff?

  1. #51
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    On the keep it simple mindset. One does not have to treat the whole room, just the area where the source is. Most of us do not record the entire room, but probably less than 2-3 meters.

    This has been discussed on the threads here so many times. If you can't treat the room, treat the area where you will be recording. Mixing and tracking are not the same objectives.

    If the sound gets to the mic correct, then it is correct regardless of the room.
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    I know.
    And you say what i said. With this example of the condensor microphone you buy yourself the 'problem' of needing to do something with the accoustic. Much less to not needed if you stay with a wide frequency dynamic.
    Things to think about for making choises. What do you want, what's to expect, and what can you handle at this moment. As there are many things to think about when extending, as this doesn't per definition make it all easier. It can simply become a bigger struggle eventually set you more away from becomming pro.

    Nothing wrong with expansion, but i often see people strumble getting lost in reaching extended pro levels.
    And some even get drifted into desperation that much that it makes them stop. And that's a pitty if they only made it to difficult for themselfs.
    Don't run to hard becomming a pro. Walk to it steady and firm.

    Some chinese wisdom. About an old and young bull on a mountain looking at a lott off cows.
    Google the wisdom for the clue

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  5. #54
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    Quote Originally Posted by alterman View Post
    Some chinese wisdom. About an old and young bull on a mountain looking at a lott off cows.
    Google the wisdom for the clue
    I heard this when I lived down in Texas from an old Native American colleague. Chinese, are you sure
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    Not shure about the chinese part. Many chinese labourers in western america 19's. Brought by those perhaps?
    Or perhaps even pre-historic wisdom? Didn't the native americans came walking the frozen beringsee from azia?

    The basic massage, the wisdom part for sure is wise.
    Last edited by alterman; 5 Days Ago at 08:28.

  7. #56
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    Quote Originally Posted by alterman
    With this example of the condensor microphone you buy yourself the 'problem' of needing to do something with the accoustic. Much less to not needed if you stay with a wide frequency dynamic.
    Sort of. Only if you use that dynamic as a nearfield pickup. When the mic is farther away from the source you get more room sound. Condenser mics generally have higher sensitivity (meaning they output a higher signal level) and faster transient response (meaning the sound will start and stop being picked up more quickly in relation to a lower mass pickup element). The polar pattern used will also have an effect, regardless of the type of mic. The biggest influence on the ratio of direct to reflected sound is the working distance.

    Getting the acoustics right at the mix position is critical. You can't mix properly to what you can't hear properly.

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    Yes your right, again, on minor details. Lot's off details, spoken in nice words. My core message was to not make it more difficult.
    The fact that you bring in more details after details on the mic example with lot's off words meanwhile calling in new and perhaps even bigger problems is exactly what i mean.
    Off course you need some (basic) technique. But don't make it confusing much.

    Like i said.
    Go for good core recordings. Clear, good volume, and not clipping. Where good artists are the most important for that quality. And how you get that good recording is of lesser importance as long as you get it (many roads lead to Rome).
    If so, your ready for more than 80 percent needing no difficult edits. Good core recordings only need a slight push up.
    If not you need 120 percent or more editing (which is impossible).

    It's that simple.

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    When I worked at a studio the owner never spent time showing me how to mix, because it doesnt exist. We worked on dynamics and eq. Mixing is too personal, and too specific for each song. At mix time we would start with a rough mix and kind of make decisions together. Sometimes he just let me do it and see if the artist was happy. But I learned my own way.

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    well said ashcat

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