Quote from: Marrow Machines on February 17, 2016, 04:54:40 am

mono.

the more mono the sound, the more likely it will be present in the mix.

typically you reserve things more stereo to be in the back ground. This is including harder pans and volume adjustments. Also depending on the buss setting (pre and post) and buss effect (reverb) will also depend on it's width and location in the mix.

It's good practice to slap on a width control aspect and make things more mono in the mix that are more important. Things with less importance can have less mono, or more stereo. If you're using buss effects correctly, this will allow you to adjust the amount of effect (pre and post send inputs in conjunction with channel volume) being projected, then you will ultimately create the buss effect that is placed well around the original sound source.

By doing this technique, you will achieve a better stereo image over all, because you controlled individual aspects that are being summed as one unit.

This will apply to drums and any component you want to use.

Interesting perspective in regards to things being more present in mono. I'm not sure whether I understand though because I always felt that when I gave an instruments stereo it made it louder in the mix versus being in mono. Then again I do notice that whenever it came to mixing lead guitar melodies or vocal melodies they were always kept in mono with the exception of the reverb/delay.

It's not a loudness thing, it's a perception thing.

it's not really an opinion, i've researched this to be a pretty fool proof and consistent method way of doing things.

It's only mono in the stereo sense of things, but not mono in the panning sense of things. I could give two shits about how you pan stuff, what i do care about is how you control the stereo aspect BEFORE you pan the stuff. and this control before you do any panning (or after but as long as you do it), is where you'll ultimately balance effect and signal as i've stated above with the bussing effect (more on that later if you want to pm me or start a new topic).

Quick google search, if you haven't done so.

GearSlutz
^highly recommend you browse this

This blog
^more about recording, but if you understand this you can better understand creating your own samples and the samples you'll be analysis for use

The moral of the story that you should of got was that, you need to control the image of the individual components in order to best deliver the clarity of the mix given the parameters and the desired results of the parameters.

And this is not panning, that's location of the space you're in. this is about, how big of an area you want the original signal to cover with in that location.

mono.

the more mono the sound, the more likely it will be present in the mix.

typically you reserve things more stereo to be in the back ground. This is including harder pans and volume adjustments. Also depending on the buss setting (pre and post) and buss effect (reverb) will also depend on it's width and location in the mix.

It's good practice to slap on a width control aspect and make things more mono in the mix that are more important. Things with less importance can have less mono, or more stereo. If you're using buss effects correctly, this will allow you to adjust the amount of effect (pre and post send inputs in conjunction with channel volume) being projected, then you will ultimately create the buss effect that is placed well around the original sound source.

By doing this technique, you will achieve a better stereo image over all, because you controlled individual aspects that are being summed as one unit.

This will apply to drums and any component you want to use.

i try my best to get as close as possible to getting something that i like initially, because i can always go in and tweak it later.

that's really the trade off if you're looking for speed. It's not getting bogged down in the details early on, and just getting what ever you have in your head or on your fingers out in the daw.

then you can segment things as it comes.

I think from a novice or starting approach, this is good to have those sort of segments. but with out self analysis of where you're at or what you've done, you can't get quicker if you just continue in that approach, or expand upon the that idea as it's foundation.

i watched queens of the stone age on austin city limits and they had an interview with Josh Homme and the lead guitar player (can't remember his name), but they said that as long as they can pay their phone bill, rent, and all the living stuff they're good.

I think what makes me different from other people is the fact that i draw on my ancestor's way of how music is presented, performed, and recorded. Cajun music has influenced me in a lot of ways, and there's a deep connection. I often finding myself paying respects to tradition and still embracing new ideas, that's the thing that i take in when composing electronic music. All the rich traditions from any point in time during music's evolution to what we have today. there's so much to draw on, and very little is utilized. I see other people pushing boundaries in ways, but not sure if the music as a whole is being pushed as it should be due to the time it took to get here.

Both.

Headphones are like microscopes where speakers are like looking through glasses. Best metaphor i can come up with.

But you should always be biased towards monitors, because that's how your music will react in an open environment compared to an isolated aspect.

I use both for different reasons, but you should try to match quality of speakers and headphones.

Speakers relate to headphones, but headphones don't always relate to speakers. (unless you drop like 2grand USD on some headphones, then i'd be expecting some things...)

Don't be afraid to take a course or two, or take lessons from some one. But consider what you ultimately want.

I am going to school for mechanical engineering, and i still took some music classes.

It depends on your resources and what you're willing to do. You get out of it as much as you put in, those classes won't give you any thing that you shouldn't have to work for and earn.

But it's a bit of both to be honest. either way, you'll eventually be learning on your own. But if you start at that route, it might be rough. Where the school will give you some tendencies and ideas to fall back on. You can also, like i said, go get lessons if you do so happen to start on the bed room route.

I figured. I'm more interested only in the networking and finding local people who are into the same thing I am.

You can do that by going to shows, trying to get in the know with the dj's, promoters.

I would find out if there are any studio's near you, and literally try to see if you can talk to some of those people or something. Just to get a foot in the door. It may take more than one attempt.