mark4man
MoonMix Studios
Hello again...
I know it's part of the job (on a primary mix), but I really get tired of dipping the T's & P's & S's out of a track by drawing variations on automation envelopes. & sometimes you hit the nail on the head; & sometimes you don't, which sometimes requires sliding the nodes to & fro...man, it seems to take forever (w/ an untrained vocalist, anyway). The other thing is, altering the envelope in this way can also alter the way in which a lyric phrase/word is sung/pronounced, which can make it sound weird or unnatural.
So I'm having better luck say for example in rolling off problem plosives w/ a high-pass & a steep Q; & varying between 150 & 200Hz...applying it to just the problem region (& thereby resulting in a natural sounding fix).
But is there a rule of thumb (or papers circulating around) that identify the form & general band of how & where these anomalies occur? [I.e., "the 'T' plosive waveform looks sorta like this_ _ _ _ _ _ _ ; & generally occurs below 200Hz", etc., etc.]
Sure would be helpful for me. I'm gaining a better understanding looking at the various types of problem waves in the 3D fr. analyzer in WLab, but it would be really helpful to somehow speed this process along.
Also...how 'bout eq plugs (if there are any around that have specific functionality to this)...like starting off w/ say maybe general problem presets & having a steep Q & the ability to zoom in & fr. sweep a region. I've been using Cambridge, which ain't bad, but if there's something better or specially set up...???
Thanks all,
mark4man
ADK Pro Audio Core 2 | Intel DP35DP MoBo/Chipset | Intel Q6600 Quad Core CPU | 4 GB SuperTalent DDR2-800 CL5 RAM | Seagate 160 GB SATA II Primary HD | Western Digital 320 GB SATA II Audio HD | Win XP Pro SP3 | Lynx Aurora8 ~ AES16 | Echo Audio Layla24 | Universal Audio UAD-1 | SONAR PE 7.0.1 | WaveLab 5.0.1 | GEAR PRO Mastering 7
I know it's part of the job (on a primary mix), but I really get tired of dipping the T's & P's & S's out of a track by drawing variations on automation envelopes. & sometimes you hit the nail on the head; & sometimes you don't, which sometimes requires sliding the nodes to & fro...man, it seems to take forever (w/ an untrained vocalist, anyway). The other thing is, altering the envelope in this way can also alter the way in which a lyric phrase/word is sung/pronounced, which can make it sound weird or unnatural.
So I'm having better luck say for example in rolling off problem plosives w/ a high-pass & a steep Q; & varying between 150 & 200Hz...applying it to just the problem region (& thereby resulting in a natural sounding fix).
But is there a rule of thumb (or papers circulating around) that identify the form & general band of how & where these anomalies occur? [I.e., "the 'T' plosive waveform looks sorta like this_ _ _ _ _ _ _ ; & generally occurs below 200Hz", etc., etc.]
Sure would be helpful for me. I'm gaining a better understanding looking at the various types of problem waves in the 3D fr. analyzer in WLab, but it would be really helpful to somehow speed this process along.
Also...how 'bout eq plugs (if there are any around that have specific functionality to this)...like starting off w/ say maybe general problem presets & having a steep Q & the ability to zoom in & fr. sweep a region. I've been using Cambridge, which ain't bad, but if there's something better or specially set up...???
Thanks all,
mark4man
ADK Pro Audio Core 2 | Intel DP35DP MoBo/Chipset | Intel Q6600 Quad Core CPU | 4 GB SuperTalent DDR2-800 CL5 RAM | Seagate 160 GB SATA II Primary HD | Western Digital 320 GB SATA II Audio HD | Win XP Pro SP3 | Lynx Aurora8 ~ AES16 | Echo Audio Layla24 | Universal Audio UAD-1 | SONAR PE 7.0.1 | WaveLab 5.0.1 | GEAR PRO Mastering 7
