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https://www.google.com/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=production%20costsThere are differences otherwise we'd all just use the stock plugins of the daw we use.
Waves would never be able to sell their plugins for thousands if it all sounded the same!
sounded the same or production costs.
wut?
What?
is there somewhere i can look for relative EQ cuts?
ex. kicks should be cut here? is there a table i can look at ?
There are differences otherwise we'd all just use the stock plugins of the daw we use.
Waves would never be able to sell their plugins for thousands if it all sounded the same!
D, F,G and A minor
There's a Japanese concept called "sh ha ri." It's the different stages of learning a craft and ultimately artistry.
https://en.wikipedia.org/wiki/Shuhari
With "shu" you copy and follow the tradition.
With "ha" you break from that.
With "ri" you no longer follow the rules—making up your own.
In the beginning, we all need to follow and copy—just to even get the basics under our belts.
After a while—years perhaps—you get tired of that, and want to start striking out on your own. Even that stage can take a good amount of time to fully develop.
Then you get to a point where you can totally throw it all out the window, and be driven by pure inspiration and passion.
Jimi Hendrix is a good example of this. In most people's book, he's the best guitar player that ever lived. Plus he was a huge innovator. But before he started playing with distortion and his own sound, he played as a backup player for many acts.
Same thing with the Beatles. They played covers for a number of years before ever beginning to write and record original music.
Cooking is similar. You follow recipes until you get a basic understanding of the techniques and processes. Then, if you want, you're free to create your own dishes without following any recipes.
I think most people start out copying. And I think that's a good place. But the problem I see often, is that many people don't ever really move past that to start creating their own original sound and approach.
That seems like the scary part.
I'm older than most here, I imagine. Here's some things I began to learn at different ages:
By 16 I already played a number of musical instruments.
17 I began learning how to work in recording studios.
25 I really got into computers.
28 I began martial arts. I've trained ever since, and teach as well.
28-35 Read about 3000 books.
30 I began learning Danish and lived in Denmark for quite a few years.
30 I began to learn to really cook. I've kept it up, and can cook about any cuisine.
40 I learned HTML, web design and publishing. I still do that.
40 I really focused on learning the craft of writing. I still do that.
Along the way, I've kept up with music production and recording technologies every step of the way.
I think as I've aged, I've actually gotten better at learning with more focus.
Heck, sex even gets better.
Fear not. : )
On consume speakers, i didn't hear one bit of difference between those two loops.
That's great, because the increase in headroom is definitely there. I just wanted someone else to doublecheck me.My biggest problem is that, i am not sure that EVERYTHING needs to be brought together for that particular reason in the mix.
True. Tbh, I don't use this method on my own music but I saw the technique in a Udemy course. I would apply it if someone asked me to make their songs super loud. Mine aren't.
There is the posssibility to high pass the clipped track, not applying clipping to the low frequencies. There are more possibilities of course.I think it might be best suited for drum channels being summed into a drum group and then parallel compressed.
Of course. New York compression is used since the 70's.You do bring up an interesting point about how you get a lower signal, but achieve the same loudness perspective.
Thanks, mission accomplished.
Whats up with all this overcomplicating things? For my tracks I just make sure all the levels are mixed properly. If some instruments, samples or synths have peaks I see if they're too large. If they are, I apply compression or some bitcrush to tame the peaks, but other than that, achieving loudness is just getting your levels right. If you have that right you can turn up the limiter get professional loudness.
parallel compression is life homie.
parallel your track, and it's daaaaaaaaaaaaank. Especially with that tape distortion.
Why would u parallel compress ur master. Wtf.. I think u're seriously making things complicated for no reason. There's no reason to do that if you fix the dynamics in the mix imo.
parallel the entire track?
You must be mad......
Allow me to demonstrate with a sound example:
https://soundcloud.com/silent_frill/reaper-parallel-clip-test
This is a downloadable 24-bit wave file. First 8 bars are unprocessed, next 8 bars are parallel clipped with the master brickwall preset from LVC's clipshifter. I set the wet knob to 40%, so 60 % is dry sound.
The BPM of the song is 115, so you can loop the different parts if you want.
The loudest peaks of the first (unprocessed) part is -0.7 dBFS (left) and -0.3 dBFS (right).
The loudest peaks of the second (parallel clipped) part is -3.2 dBFS (left) and -2.9 dBFS (right).
According to the RMS meter of SpanPLUS, both parts are equally loud but the peaks of the parallel clipped part are about 2.5 dB lower, allowing me to turn up the volume more before peaks are driven into a limiter.
Looking forward to comments on this technique.
Do you think the sound quality differs too much between both parts to justify this way of working?
Whats up with all this overcomplicating things? For my tracks I just make sure all the levels are mixed properly. If some instruments, samples or synths have peaks I see if they're too large. If they are, I apply compression or some bitcrush to tame the peaks, but other than that, achieving loudness is just getting your levels right. If you have that right you can turn up the limiter get professional loudness.
Parallel processing can be a big part to get loudness:parallel the entire track?
Crush your mix to death with a compressor and blend this sound with the uncompressed sound.
Or use a clipper on a whole track (yes, a whole track) and blend that signal with the unclipped signal.
It can give you a massive sound.
