
Qwerty
New member
Howdy,
I am getting the shits with this game. I feel like I am getting nowhere fast. Here's my story -
I record and mix in the box in a little room upstairs about 1130 cubic feet.
I am using Yamaha MSP-10 nearfields with the SW-10 sub-woofer. I have treated my room with traps and fibreglass rockwool insulation. I have applied a corrective EQ solution to give me one cubic foot sweetspot at my mixing position.
I have generated sine wave test tones from 20Hz-20KHz and used an RTA on C-weighting to give me flat response across this spectrum in 1/3 octave increments, 31 bands. I have pumped out pink noise and ensured that it was evenly distributed across the spectrum.
If I A/B these corrective EQ changes at my sweetspot with commercially released stuff with which I am familiar, I can certainly here a major difference in sound which has enabled me to "see" further into the mix - bigger, wider and deeper.
I have remixed my greatest hits collection, but it is the same old story. They sound fantastic on the PC, either as source or "mastered/finalised" stereo .WAV file but when I play it in anything else it sounds WWWWAAAAAAYYYYYY different.
Why?
Am I wrong in thinking that if I am mixing in a "flat" environment, then my mixes should be transferrable?
Or is it just time to re-tune my ears?
When I am making this mix, am I looking to make it sound "good" or make it sound "flat"? I am attempting to make it sound "good" while trying to make sure nothing pokes out of the mix to far. Should I just be going for flat?
Another way of asking this question is to imagine you are mixing the latest hit from RHCP. Like all their songs, Flea's bass lines are critical and need to be fairly upfront. Does the mix engineer create a mix which has the bass pumped, the bass a little to the front or just plain old normal and let Joe User crank the BASS controls on his stereo?
If you want an example, my most recent effort is posted in the mixing clinic -
https://homerecording.com/bbs/showthread.php?threadid=103648
When I was mixing this song, the top-end sounded way too hot so I pulled it back down a little. When I play it on the car CD or stereo downstairs, it sounds like mud - if I put the treble back in at about +4, then it starts to sound more like what I hear on my PC. This I just don't get............
I post this here not looking for specific reviews of the song, but for more general feedback on approach and methodology.
Apologies for the vent.........Thanks for your time.
Q.
I am getting the shits with this game. I feel like I am getting nowhere fast. Here's my story -
I record and mix in the box in a little room upstairs about 1130 cubic feet.
I am using Yamaha MSP-10 nearfields with the SW-10 sub-woofer. I have treated my room with traps and fibreglass rockwool insulation. I have applied a corrective EQ solution to give me one cubic foot sweetspot at my mixing position.
I have generated sine wave test tones from 20Hz-20KHz and used an RTA on C-weighting to give me flat response across this spectrum in 1/3 octave increments, 31 bands. I have pumped out pink noise and ensured that it was evenly distributed across the spectrum.
If I A/B these corrective EQ changes at my sweetspot with commercially released stuff with which I am familiar, I can certainly here a major difference in sound which has enabled me to "see" further into the mix - bigger, wider and deeper.
I have remixed my greatest hits collection, but it is the same old story. They sound fantastic on the PC, either as source or "mastered/finalised" stereo .WAV file but when I play it in anything else it sounds WWWWAAAAAAYYYYYY different.
Why?
Am I wrong in thinking that if I am mixing in a "flat" environment, then my mixes should be transferrable?
Or is it just time to re-tune my ears?
When I am making this mix, am I looking to make it sound "good" or make it sound "flat"? I am attempting to make it sound "good" while trying to make sure nothing pokes out of the mix to far. Should I just be going for flat?
Another way of asking this question is to imagine you are mixing the latest hit from RHCP. Like all their songs, Flea's bass lines are critical and need to be fairly upfront. Does the mix engineer create a mix which has the bass pumped, the bass a little to the front or just plain old normal and let Joe User crank the BASS controls on his stereo?
If you want an example, my most recent effort is posted in the mixing clinic -
https://homerecording.com/bbs/showthread.php?threadid=103648
When I was mixing this song, the top-end sounded way too hot so I pulled it back down a little. When I play it on the car CD or stereo downstairs, it sounds like mud - if I put the treble back in at about +4, then it starts to sound more like what I hear on my PC. This I just don't get............
I post this here not looking for specific reviews of the song, but for more general feedback on approach and methodology.
Apologies for the vent.........Thanks for your time.
Q.