_DJL said:Wow, this really puts my fake pro bullshit to shame. I gues sonusman is the one true pro.
NOTE: I've reported this imposter.
_DJL said:Wow, this really puts my fake pro bullshit to shame. I gues sonusman is the one true pro.
Yeh, they're very good posts. Ed is very good at what he does.Lotus said:Are those posts any good? from a mixing POV I mean (and not a comedy hour POV)...or are they just a crazy mans rantings? seriously though..im a beginner when it comes to mixing and could use some pointers...
"Let's take for example that the hi hat and the vocal are going to have some similar places in the mix. This is not uncommon in Pop music. The sibilance of the vocal is going to be about the same as the hi hat frequency. Make sure that you don't have one or the other dominating in the mix!"
When recording vocals to analog, you would mostly be crazy to use compression, unless it is a cassette based analog format. Wide fast moving tape will provide mostly all the compression you need for a vocal. If you need a little control for a certain part where the singer either belts it too much, or doesn't give enough, a little cut/boost on the preamp will take care of it.
So, to wrap it all up, it is probably better to track thin if you are doing dense productions, or are in a badly tuned acoustic space. Track big if it is a sparse production, and/or you have a good acoustic space. But ALWAYS have a PRODUCTION GOAL. Without that, you are whistling in the dark!
Harvey Gerst said:Yeh, they're very good posts. Ed is very good at what he does.
s_o_n_u_s_m_a_n said:In the midrange, watch for the vocals to have harsh words that jump out at you.