OK, all sounds close... NOW WHAT ?!?!

[OgnKog]

I have come to a point where my mixes sound quite cool, but as happened with some of Kickin.da.speaker mixes, they tend to sound to much in our face... That is not a problem, of course not [img]images/icons/grin.gif[/img] , but after comparing my mixes with others around i've seen that they have more, how to call this... AIR.

How can i get some more space in my mixes, i don't use too much reverb and there are not too many instruments...

Any hint thanked.

Al.

[where02190]

One this that helps to sweeten things is to do good housekeeping, that is delete any part of a track that
has dead space, and if you are mising on an analog console, keep channels mutes unless they are passing audio.

A slight (+1-2db) on vocals around 16khz can add some sparkle, just be careful not to overdo it. Mid bass between 160-400 can often mask a mixes clarity as well. Try rolling off a bit overall, again just a db or 2.

Hope this is helpful.

[bassmac]

One thing to keep in mind - sharp attack makes things seem close, and less attack helps put it further away.

Comps can lessen the attack, and along with some delay, it can really help move things away.

Direct recording makes things seem close up. Micing things helps moves them away...esp. distant mics.

For convenience, I use the POD for a lot of my guitars. I get good tone, but it's totally in your face. To make it sound more distant - like a miced cabinet in a room. I'll pan the track to one side, put a 57 about 4" in front of my KRK V8 monitor, crank it up to get a little air movement, and record it to another track - makes a big difference...check it out!


[img]images/icons/smile.gif[/img]

[bassmac]

OgnKog, I feel you pain...

I also try to buy good gear...but often feel I’m still sooooo far away.

Suggestion; Use a ref CD for the tones you want to get, then use the 737’s eq to try and get them on the way into PT. I use to have a 737, and that eq was sooooo sweet. It seemed like no matter how much you turn those knobs, it still sounded very musical. I find when make big changes with plug-in eq’s, it totally runs the sound, and introduces weird phasing effects, esp. summed across 24 tracks. I beginning to think good outboard EQ can make a big difference in DAW recordings.

Also, put some reference CD tracks into a session and use the Waves Freq. Analyzer to check out how things look. I’ll also do this for individual instruments as well - find a passage in a song that has only drums, guitar or whatever, then check your freq. spectrum against theirs. This has helped me a lot.

BTW: The FATSO really helps smooth out digital recordings - put one on your list. [img]images/icons/wink.gif[/img]

[OgnKog]

I have thought in buying the FATSO and also the DISTRESSOR (number 1 right now on my list). They look really cool.

One thing i have thought about is that all the CD's that i have and that most of us use as a ref are higly mastered with very GOOOOOD board and EQ etc. The thing is, up to what point can we really compare what we are mixing to something that is allready mastered. I know it may sound absurd but my mixes sound WAYYY different once mastered.
I don't know if you people feel the same.

BTW i have also found that no matter which EQ plug-in i use none is comparable to the outboard gear (Avalon in my case). Every day it passes i love plug-ins less... [img]images/icons/frown.gif[/img] [img]images/icons/mad.gif[/img]

Al.

[TimOz]

Bassmac, you say you used to have a 737, since this is one item high on my want list can you tell me why you got rid of it and what did you replace it with.
Ognkog, the sounds to fat thing is common I think with people new to recording. I still listen to some cd's and think the individual instruments are actually quite thin but the overall sound is so big and full, I'm certainly no expert and I'm still learning too. The comment about just a little compression and/or eq I've heard a lot before as well but it seems to me that the more I crank the threshold and ratio knobs on my compressor the closer to professional sound I seem to get. I think the big boys use a lot more compression than they are willing to admit. The higher end gear no doubt has an effect on the sound but you have a bunch of good gear. Mixing is a learnt art, the more you do it the better at it you get.
Cheers and Happy New Year everybody,
Tim [img]images/icons/grin.gif[/img]

[where02190]

<BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:<HR> I have thought in buying the FATSO and also the DISTRESSOR (number 1 right now on my list). They look really cool. <HR></BLOCKQUOTE>

Can't say enough about the Distressors. We have a matched (from the factory) pair that sit across the mix buss in Dist 3 mode with HP in. TL Audio dual valve stereo comps inserted on overheads or stereo drum buss make for fat, tight kits. (set about 2:1 med fast attack and release) They are also great for vocals, varying the valve stages yields a vast variety of sounds.
The limiters on the Focusrite green series of comps is especially good for vocals for that in your face breathy sound.

[OgnKog]

That's my idea for the Distressors, a cool compressor for the mix bus.

I can't wait... [img]images/icons/shocked.gif[/img] [img]images/icons/shocked.gif[/img] [img]images/icons/shocked.gif[/img]

[brasa]

hi there,
what company makes the Distressor?
any links to their website?
thanks and happy new year [img]images/icons/grin.gif[/img]

[where02190]

http://www.empiricallabs.com/distress.htm