lucey wrote on Tue, 27 April 2004 14:59 |
Max,
I'd adjust these two just a bit, otherwise ... thanks for setting a standard
1. Compression - Make it sound good. The compressiona at mixing is totally a creative choice and depends on your techniques, tracks, style and gear on hand. With parallel track or sub buss compression you can go ballistic on compression and mix it in with the dry track just fine.
2. Compress for tone, not levels. No limiting, normalization or multi-band compression on the 2 mix.
(With #3 he's talking about his volume at the mix position of 85-90.)
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Gosh, I'm setting a
standard? Wow! (Been accused of lowering standards... but NEVER setting one!?!?) How'd I do that?
As far as my wording on compression... that's what I was trying to indicate... compression to taste... but not over done. As mixing is an art, so an artist must learn not to add too many brush strokes or the work will be overdone.
I
know that what I hear at mix is going to be smaller than what is actually pressed out after mastering. So a little compression goes a long way. At least with my rig it seems that way. When it sounds good at my mix position, I open up the comps just a touch.
I can't imagine doing a mix without any hard limiting. (I think that's the right term. If not I apologize) Any limiting should be the type that is there only as a safety net, to stop some single harsh event. Like a dead limit at 0db. If you go over 0db, the mix isn't generally worth sending to mastering is it? (Assuming delivery of a project in the digital domain... DAT, CD, ADAT)
Which brings up a question... do you guys generally prefer 1/4" analog to DAT? (Tascam 32 vs. DA20) It's all I got!
... and one last point... I would send Starmints or Reisens in the mail, but they melt so easily... would Mentos be an insult?
Max