Pretty much this. Took me way to long to figure out that basically everything is a series of even and odd harmonics with different phase relationships. SeamlessR made me see the light though. And since saw waves are literally every harmonic in the FFT series that makes them great for subtractive synthesis. After that it's only a matter of learning what every effect sounds like, i.e. frequency shifters(chorus, flanger, phaser), distortion(overdrive, saturation, waveshaping, downsampling), dynamic processors(compressors, limiters, transient shapers), time based stuff like delays and reverbs, and all the other weird effects you can find. Of course there's a lot of obscure stuff like granular synthesis and spectral effects but most of the time you'll be able to hear distinct signs of that going on in a sound.

not really, once you learn a few things about audio manipulation, and i do mean bouncing your stems, then you can pick up on what is going on.

It took me like years to actually hear what an LFO does, is, and sounds like in application. the summation of the parts is what makes it sound complicated, but the integration process isn't that big of a deal.

Quote from: Lydian on February 17, 2016, 05:00:54 am

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.