but very insightful.
In the sweet and polite words of mister Cunt (yes I'm blatantly stealing his content, or sharing, giving credit where it is due ... however you wanna look at it).
Original post can be found HERE
Taken from a post from 'Mr. Cunt' on the DNB Arena forums:
Hello.
I just thought I'd share my current thoughts on mixing. There's so many 'guides' out there that I feel could really trip the average n00b right up and end up with them wasting YEARS using stupid ratios and dumb arsed EQ settings...
1: The SONG.
Yes song, I said song, not track or beat.... A fucking song.
The song is everything and by song I mean a piece of music that's going to pertain to some emotional reaction from the listener. Beats are part of this, a track is a component of this but it's the CONCEPT which is most important IMO.
Never loose sight of this.
Seeing as we all pretty much mix and arrange in the same time, this opens up a few opportunities IMO.
Whilst building an arrangement, your choice of sounds should be balanced. Find you're using outrageous EQ to make a sound sit? Just maybe that from an arrangement point of view that sound doesn't work very well, change the octave or the sound.
You want to avoid frequency masking (two sounds with very similar frequency content) and this is much easier to fix in an arrangement rather than spending ages EQ'ing.
I will add, however, if the CHARACTER of the sound is defined by some form of radical EQ, well go for it.
THE SOLO BUTTON IS SENT FROM SATAN VIA HITLERS TROUSERS.
It's true, fuck the cunt off IMO (except when sound DESIGNING).
When EQ'ing or compression, leave the sound in the mix. You will get a much better sense of groove and tone when the sound is interacting with the mix.
Ratio, attack, release settings..... Use what grooves best and controls the size of the sound. Ignore any other bullshit regarding compression (for drums try a 4:1 setting etc).
Adjust the controls, listen for groove and size and forget the science element.
SIZE, SHAPE & GROOVE
This is what compressors do. Need to control wayward dynamics? Well some cunt invented a thing called a fader and it can be automated. Clever eh. Well fucking use it!
Over compression can make your mix very small, very quickly. So use those fucking faders when the sound pokes out too much on a note.
EQ in the mix, sculpt the sound in the context of how it interacts with the other sounds, if it feels like you're crowbarring the sound in, unsuccessfully, go back to the SONG. Try another sound/progression/octave, whatever.
Use this guide as a guide and call people on the inn3t00bz cunts. Normal.
This may help n00bz, it may not. It's too late now. I have typed this.
Cunt out.
PS.
DON'T STRESS! Hum mantras, get a lava lamp, you know it makes sense.
Mixing is easy, if you're forcing your mix your ARRANGEMENT probably sucks.
I just thought I'd share my current thoughts on mixing. There's so many 'guides' out there that I feel could really trip the average n00b right up and end up with them wasting YEARS using stupid ratios and dumb arsed EQ settings...
1: The SONG.
Yes song, I said song, not track or beat.... A fucking song.
The song is everything and by song I mean a piece of music that's going to pertain to some emotional reaction from the listener. Beats are part of this, a track is a component of this but it's the CONCEPT which is most important IMO.
Never loose sight of this.
Seeing as we all pretty much mix and arrange in the same time, this opens up a few opportunities IMO.
Whilst building an arrangement, your choice of sounds should be balanced. Find you're using outrageous EQ to make a sound sit? Just maybe that from an arrangement point of view that sound doesn't work very well, change the octave or the sound.
You want to avoid frequency masking (two sounds with very similar frequency content) and this is much easier to fix in an arrangement rather than spending ages EQ'ing.
I will add, however, if the CHARACTER of the sound is defined by some form of radical EQ, well go for it.
THE SOLO BUTTON IS SENT FROM SATAN VIA HITLERS TROUSERS.
It's true, fuck the cunt off IMO (except when sound DESIGNING).
When EQ'ing or compression, leave the sound in the mix. You will get a much better sense of groove and tone when the sound is interacting with the mix.
Ratio, attack, release settings..... Use what grooves best and controls the size of the sound. Ignore any other bullshit regarding compression (for drums try a 4:1 setting etc).
Adjust the controls, listen for groove and size and forget the science element.
SIZE, SHAPE & GROOVE
This is what compressors do. Need to control wayward dynamics? Well some cunt invented a thing called a fader and it can be automated. Clever eh. Well fucking use it!
Over compression can make your mix very small, very quickly. So use those fucking faders when the sound pokes out too much on a note.
EQ in the mix, sculpt the sound in the context of how it interacts with the other sounds, if it feels like you're crowbarring the sound in, unsuccessfully, go back to the SONG. Try another sound/progression/octave, whatever.
Use this guide as a guide and call people on the inn3t00bz cunts. Normal.
This may help n00bz, it may not. It's too late now. I have typed this.
Cunt out.
PS.
DON'T STRESS! Hum mantras, get a lava lamp, you know it makes sense.
Mixing is easy, if you're forcing your mix your ARRANGEMENT probably sucks.
Geen opmerkingen:
Een reactie plaatsen