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Marcus Dino

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  1. [quote name='Reginald L. Seay Jr.' timestamp='1347935539' post='4981114'] I'm still trying to get the hang of compressors, but I believe that this is a good start. [/quote] If you want to hear the effects of compression easier, turn the volume of your speakers down and set the threshold to maximum so it really crushes the sound. If you play around with the attack and release you'll hear the effects. Attack gets the "squeezing" or "grabbing" sound pulling the signal down. The longer it's set the more of the original signal you can hear go through before it gets caught and pulled down. The release is how fast that signal returns to 0db, so faster you set it, the faster it'll return to 0db for a snappy sound and the longer you set it etc...
  2. I do agree with what you're saying, but what I'm trying to explain (poorly) is when you get an inexperienced person leaving 3 or 4 channels right up in the red constantly (for what ever processing reason) for the whole duration of the track and instead of correcting the problem they pull the master fader down just because they don't want the master to clip, then start fiddling around with the other faders only to spend wasted time trying to get things to sound right. It just isn't a great way to go about things. Or worse yet, not even touching the master and sticking a limiter on there to stop it clipping and to make it louder, that's when the real mess starts. As you said, if the channels are all not clipping at unity, but causing the master to jump then, by all means pull it down a little on the master, or just mix at lower volumes and crank the speakers.
  3. [quote name='GeneralQuery' timestamp='1346851778' post='4976809'] It makes absolutely no difference, it's all a relative perspective. Having your loudest element at unity means that none of the other faders will even approach unity. THat's how I mix as it gives me an instant relative peak level of all other mixer channels simply by glancing them. -3dB on a channel means that it's half the volume of my loudest element (nearly always my kickdrum), it's as simple as that. Nothing else approaches unity. Of course, this means that the master bus will clip unless I pull down the fader but that's absolutely no sweat and has no impact on my mixing workflow. Going back and forth wasting time adjusting all faders when one reaches unity or when the master clips is extremely inefficient and not grounded in reason. [/quote] I'm not quite sure where you see I'm coming from. I'm talking from an extreme POV. My point is that people who are not to sure about setting levels correctly before mixing will, more often than not, will try to make things as loud as possible by cranking the gain way to high on a channel, boosting the bass going mad with processing will result in a crushed mushy distorted dynamically dry mess, pre master fader. May not say it's clipping, but it'll sound bad. No point cranking down the master to compensate for a terrible mess. [quote] This has nothing to do with faders. Plugins can clip a mixer channel, but the channel itself will not clip, i.e. you will not hear any clipping artefacts. Going to great amounts of effort to achieve something that can be achieved simply by pulling down the master fader is not a good use of time. Everyone has their own mixing style and that's absolutely fine, but propagating myths about master fader = bad is not helpful. [/quote] Yes, nothing digital can go over 0db. Which is the main reason why it sounds bad! Values that sum to a value greater than 0db get chopped off. Period. This murders waveforms and you can see it as flat tops & flat bottoms. Where as in analogue clipping it still retain a rounded shape. So you may not be peaking, but you can still hear "clipping" from a) audio being crushed too much by processing (such as hard limiting) or b) audio getting chopped off It's not pleasant, and my point is being aware of your levels and setting them correctly. I rarely let my channels go above -2db when mixing I never let them touch 0db, and the I leave about -3 / 4db headroom before mastering the track. But that's how I like to do things.
  4. RMS yes, but for some one new to mixing it isn't a good idea to whack all your faders up to maximum only to use a master to pull the volume down. That's just bad mixing etiquette it leaves you with little room for automation, and encourages new people to go OTT on processing. There's no need for you to keep pushing faders up to hear your music louder, just turn your speakers up, (unless you've not recorded x-instrument properly with a good gain setting) then when you get to mastering you'll get the volume back. When stuff starts distorting badly from having too much gain, from EQ boosting, compression make up or gain boosting, you can still hear it even if you're not going over 0db on the master. If it's the odd minor clip then yeah, not too much of a problem. Anyway, my 2p.
  5. What you have to remember is that lower notes carry more energy and when you're music's got a lot of low end content you really have to start looking at controlling it by taming peaks and creating space with EQ / minor panning. Generally speaking anything below 40hz is worth cutting, unless want to make use of sub rumble and low noise. Most speaker systems (without a sub) only go down to 40-50hz. Rolling off 40hz will free up wanted head room in your mix. Now there are way's to make things sound "lower" than they actually are by adding harmonic content. There's a couple plug ins out there for this such as Maxbass which allow you to do some trickery. Compression also helps get you some extra head room, but when the difference between a soft note and loud note is too great then riding the level (automating the bass volume) is a better option. You can then add small amounts of compression to keep things tidy and not worry about destroying dynamics. Also rolling off frequencies on other instruments will free up even more space. The idea is to get rid of, or tame, all the unwanted noise where there's no information relevant to the instrument. When you're mixing you should naturally try leave at least -4db of head room if not -6db on the Master Fader so it gives you room for mastering. If you're mixing to 0db it gives you no room to do anything really... Apart from making thing's worse when you come to master. None of the other instrument channels should be clipping at all especially in the digital realm, analogue you can get away with some clipping.
  6. Hey all, I'm new to this forum but a bit of an old dog when it comes to music! Recently started going down the game composition rout as it's become more appealing as a creative outlet. I normally work as a songwriter for unsigned artists and make short jingles for adverts or make music beds for various media types. I have a couple demo tracks up (provided in the link below) and some work I've recently done for a game. I know some of it may sound repetitive but that's was intended. Will get something more evolving up soon, just wanted a critique on my sound / style really. All comments are welcome, even the insulting ones! [img]http://public.gamedev.net//public/style_emoticons/default/smile.png[/img] [url="http://marcusdellicompagni.wix.com/redaudio#!music/c1x9v"]http://marcusdellico...io#!music/c1x9v[/url]