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Messages - noidywgnivek

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Mixing/Mastering / Re: Getting a mix sounding good in earbuds?

« on: January 15, 2016, 01:37:42 pm »

Quote from: Puzzlefactory on January 15, 2016, 10:34:52 am

Hi all,

so I've been writing dance music on and off for about 15 years (as a hobby). I've finally been doing some mixdowns that i'm really happy with. As a general rule I listen to my mixes on as many different systems as possible and tweak the mix to get it sounding good on all of them.

The problem I have is I can get my mixes sounding good on all formats (studio monitors, studio headphones, dj headphones, my mates stereo etc etc) except earbuds. Whenever I put my track on my iPhone and listen to my track it sounds nothing like the other mediums. Often it's too bassy, or certain bits of the mix really jump out more then they do when listening to other setups.

I'm really reluctant to tweak the mix too much as it sounds good everywhere else, but nowadays most people will listen to music either through their laptop or earbuds so it's pretty important to get it sounding good in that medium.

Anyone got any advice on getting a good earbud mix, while still retaining a good mix on other sound systems?

if your mix is balanced and sounds good on other systems, don't worry about your earbuds. Like wayfinder said, try to compare it with other dance tracks.

WIPs / Re: Element two EP

« on: January 14, 2016, 01:13:51 am »

Quote from: UsernamesGiveMeAnxiety on January 13, 2016, 10:21:14 pm

This is awesome, seriously. Your use of melodic elements to build and release tension is very effective. I bet this EP would sounds great live. Tainted Love is probably my favorite. You a Nero fan by any chance? Kinda reminds me of them.

Constructive criticism: The mix is good, but doesn't have the intensity that this kind of music might benefit from. If it were me, I would try to mix the melodic elements a bit more aggressively; louder when the emotional intensity is high, and spaciously/quiet when you are still building tension. Speaking of Nero, any of their songs would be excellent reference tracks for this.

Definitely send this to me (or just post it on the forum) when the EP is finished. I really enjoy your songwriting. Good luck!

Your not the first one telling me my mixdowns don't have enough energy. It's a long term struggle I am having.

And yes I love nero! Wouldn't have thought this EP would remind anyone of them though.
Thank you!

WIPs / Re: Element two EP

« on: January 13, 2016, 09:49:48 pm »

Quote from: Maxwellywell on January 13, 2016, 07:56:21 pm

Not sure if 1101011 is finished in terms of length, but if it isn't, I think a gritty, minimalist percussion drop could be cool. For love machines I think the kick should be a lower frequency. In terms of stylistic choices, I like the dark atmosphere!

If this were my EP, I'd probably switch origins and tainted love in tracklist order. Tainted love follows the danceability (that's a word) of the tracks before and the end of origins sounds like a great EP finisher imo.

Great job so far! This EP shows a lot of diversity and has a strong, coherent theme. Keep up the good work!

1101011 is indeed finished in length, it's meant as some sort of intro. I've got a complete track where these elements are all coming back, but it didn't fit the EP.
Thanks for the feedback and your kind words!

Sound Design / Re: Vocal processing techniques

« on: January 13, 2016, 07:48:15 pm »

Quote from: neoesoteric on January 13, 2016, 06:12:54 pm

double the vocal channel, slightly offset the two and have them each panned to a different side

don't do this. You're vocal will get screwed in mono.

CLA vocal is a really easy way to get a great sounding vocal like that in my experience. You should check out the demo if you like it. It's a bit expensive though.

Other ways you can archieve this effect is lot's of multi tracking then panning the individual stems in the stereo file. Then adding some distortion to brighten up the highs and adding chorus for some smear.

WIPs / Element two EP

« on: January 13, 2016, 07:42:33 pm »

Here is something i've been working on for a few weeks.

*
I would like to know what you think!
I always struggle from a stylistic point of view with things.

Mixing/Mastering / Re: HIGH PASS MADNESS

« on: January 10, 2016, 10:23:00 am »

High passing is important because phase issues occur really fast in the bass area. This is because bass frequencies move slower and have more room to conflict with other sound waves.

To high pass while still maintaining the body, try to start with your low pass all the way at 0hz and then moving up slowly untill you can hear the body of the sound starting to dissapear. Then move it back a tiny bit. Most of the times this will get you a nice sound with body and no conflicts in the bass area.

Mixing/Mastering / Re: Like having a supersaw more large and with excellent image stereo

« on: January 10, 2016, 10:16:00 am »

Quote from: Zetions on January 09, 2016, 02:12:49 pm

To start I want to say that I used 3 layers of the same supersaw and panning for larger image stereo. First take a sample of the supersaw and shipping to a channel of the mixer all left and then another sent exclusively to the right and leave the principal in the Center already with this is this expanding more spectrum estreo, only is playing with frequencies in the EQ so that it is as you want it to sound the supersaw.

Also usually use tools like which brings the fl studio both the stereo shaper and the fruity stereo enhancer or the famous stereo image S1 waves plugins is very good to extend the area stereo otherwise serious export in wav every sound in this case supersaw and pass them through the imaging tool stereo iZotope ozone 5 6 or 7

Don't use stereo imagers, waste of time. You will mess up your mix balance and mono compatibility.
To create a nicely controlled wide stereo super saw you will need to create your own saw layers from a scratch.

Try to create a layer of a supersaw in the centre and a piano. Then create a completely stereo saw in massive and mix it in to taste. This way you can control the weight in the mono field while mixing in enough stereo to create the effect of wide saws.

Haas effect(Stereo delay) is only useful on small non base elements in your mix. This is because of the fact they will completely collapse most of the time in mono. At least try to use a prime number on your stereo delay for the best effects.(So don't use 10 ms but use 11 instead.)

Mixing/Mastering / Re: DnB Help - How do you mix the kick and subbass?

« on: January 08, 2016, 02:56:33 pm »

Quote from: Yens on January 08, 2016, 02:17:39 pm

Quote from: TeeBee on January 08, 2016, 02:12:36 pm
Quote from: Mat_Zo on January 08, 2016, 08:25:39 am
Quote from: TeeBee on January 08, 2016, 08:00:03 am
Quote from: Xyroid on January 08, 2016, 06:17:51 am
I don't know how to mix the kick and subbass

What I'm doing is I'm using the sidechain compression method

How about the EQ? from what hz range should the kick be where it doesn't clash with the subbass, or how should the subbass be eq'd

As Mat mentioned,really quick sidechaining , but that isn't always getting good enough results .The best way I find is actually cutting a hole in the element I want ducking and tailoring the volume curve to the curve of the kick/whatever I want prominent for that split second .I also look at a bus with both sources going to that and make sure I manage to keep the volume about the same as when the kick/snare goes by itself to maximise headroom overall .A loud,punchy mix is made on the channels,not the master .-TeeBee

Do you have any tips on getting rid of sidechaining clicks? this is something thats always bugged me

-This is why I came up with a tually cutting into audio .I find in logic,any volume fade shorter than 16 actually creates a click on the file as well btw . the new proc2 has lookahead ,so that one is much less clicky , but the clicks come due to waveforms being drasticly cut beyond the nought line ,a slower attack on the sc comp usually sort this i find anything less than 3ms will get you a click . But then you defeat the purpose of getting the very transient of the sidechain free as it will overlap .A way to do this is to create a silent sc track that is a few clicks off the grid to feed the sc compressor so the 3ms attack hits from that source 3-4 ms early . Do I make sense here ?!?! Hehe

I understand every production related word in this text, but when i put everything together it doesn't really make sense to me. But that's probably because i'm not good in putting theory into practice $:-\$

I think he means that he uses a sidechain thats a few ms ahead of the grid. This way you can set the attack time a little bit longer so you don't have clicks, but still have the entire transient freed up.

Sound Design / Re: Drums for beginners

« on: January 08, 2016, 01:10:16 pm »

Quote from: Bravebeats on January 08, 2016, 10:13:42 am

Then once you get a nice drum pattern, put a tiny bit of reverb on it, then put an EQ on and put a tiny bit of boost on the mids and highs (so it sounds cleaner), and that's really it.

Don't do this.

Boosting with an eq is something you should always try to avoid, because it will bring up nasty harmonics in the form of post phase ringing.
On drums if you eq them incorrectly you will completely destroy the transients.

So instead of making it cleaner you will instantly destroy all transients of your drums and introduce harmonics you never asked for.

Mixing/Mastering / Re: Let's talk clipping

« on: January 08, 2016, 12:30:01 pm »

I want to clear some things up, because i see a lot of misinformation here.

Clipping does not give warmth unless done with an analog table, no exceptions. Digital clipping gives a harsh sound which will never sound the same as analog clipping.

Clipping on the master is something thats done a pretty often by mastering engineers I know. You just got to use your ears and find the right balance between loudness and distortion. I do not, however, recommend doing this on small non monitor speakers.

And it's something you should only do when it will enhance the listening experience, there is no point in clipping the sh*t out of a slow ballad song. It will sound off.

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