Yeah, this is cool....like the bloops and bleeps.....not a huge fan of
the vox sample (but then again I never am am i?:)) but like the rhythms
and the chords your using, nice sounds and nice and groovey....i prefer
in excess but would definitly plug this to my mates....

I really need to send you some cds....

Greg

Greg Spicer
CRMS Co-ordinator

Business Link Wessex - The Independent Source of Business Advice

Tel: 01329 223254 Fax: 01329 223223 Mobile:
E-mail: Greg.Spicer@...

Advice Line: 08454 58 85 58
Events Line: 08454 58 85 57
E-mail: info@...
Website: www.businesslinkwessex.co.uk

This e-mail may contain confidential or privileged information. In case of
transmission error, unauthorised recipients are asked to contact us immediately
and not to disclose or make use of this information.

This message has been scanned for all viruses by the MessageLabs SkyScan
service.

Ok Ok, so after we got a tousing from you last Tuesday (was a good crack
watching from the exec box BTW) ive kept quiet.....we were absolute
shite after all.....but thought id say well done for spoiling Arsenals
unbeaten record....fulham are doing v well and they deserve it- wish I
could say the same about pompey.......

Next time Parmenter, next time!

Greg

Greg Spicer
CRMS Co-ordinator

Business Link Wessex - The Independent Source of Business Advice

Tel: 01329 223254 Fax: 01329 223223 Mobile:
E-mail: Greg.Spicer@...

Advice Line: 08454 58 85 58
Events Line: 08454 58 85 57
E-mail: info@...
Website: www.businesslinkwessex.co.uk

This e-mail may contain confidential or privileged information. In case of
transmission error, unauthorised recipients are asked to contact us immediately
and not to disclose or make use of this information.

This message has been scanned for all viruses by the MessageLabs SkyScan
service.

Please consider these parameters not as rules but a starting point for you mixes for the standard pop song or ballad.  Of course the instruments change if you are doing techno or symphonies, or ambient stuff, but the reference may still be helpful.

Match the following instruments when soloed in place to the db markers on your mixing desk or your mixdown deck or software.

Set the trims:  Solo each instrument in succession and set the trim so the signal peaks a 0db.

Kick drum     0db  +3 eq at 50 Hz  +1 db at 3khz  -3db 275 hz  No FX except maybe subtle ambience  You will tweak the kick again, this is just to get you going. In an instrumental piece, the kick is the first and last tweaked.  It's got to be just right.  

Snare     -2 db  eq to taste in the frequencies above 4khz.  Add reverb if the song calls for it. Do the best you can to keep it out of the way of the vocal, even if you have to pan it a few degrees.  Near the end of the mix you need to come back here to perfect it.  

Lead Vocal  0db  use a low cut filter to eliminate rumble and plosive pops around 100-200 hz.  Carefully enhance the delicate high end around 15khz to add air and sheen and don't overdo it!  This is the trickiest adjustment and may often spell hit or dud. Perfectly center the vocal and pan it not with pan controls, but with very subtle left/right hi freq eq's.  Put on the cans (headphones) and make sure its in the absolute center of your forehead..  Every word must be intelligible.  Add reverb and delays but don't let it get smeared. Before you print to tape or DAT or whatever, check the vocal any make those tiny adjustments that are needed.

Cymbals   -25 db  Avoid letting these get in the way of the vocals.  Pan them to 2 o'clock and remember their main function is to add the glue to a track to hold the music together--they do not have to be loud or present. Think about how horrible they will sound on your girlfrind's or boyfriend's car stereo if you let then get too loud.  

Synth pads   -20 db  Do these in stereo and hard pan left and right with generous effects if needed.  However, keep them in the back.  Pads indeed are beautiful additions to a song but don't let them overshadow any of the main elements of the song.  Yet for a sense of dimensionality, let these create a "landscape" the listener can walk on.

Bass  -10 db maybe hotter Always front and center.  If you use FX restrict yourself to chorusing or a light flange--no reverb.  Note that the quality we associate with "good" music is a tight syncopation of kick drum and bass.  If you hear any duff notes make sure you fix them.  

Rhythm guitar  -15 db  pan off center  eq: use a low cut filter to get rid of any bass and add a mid range eq for a slight narrow boost, but make sure it is not competing with the vocalist's sweet spot.  

Percussion  -20db- put these elements off center unless they are essential to to basic beat.  EQ in a tasteful way if necessary.  I shoot to get a little skin sound on the hand drums if possible,  

Watch the meters when you play the whole mix through the board.  You should have peaks at +3db.  If what you have is more notch down every fader in 1 db increments until you get there.  

Mono Check:  Always check you mix in Mono and look for sudden drop outs or instruments that disappear.  That's phase cancellation at work, and it happens with stereo tracks and effects.  

No faders above 0db rule:  When getting a mix started follow this religiously.  If you find your vocal doesn't sound good unless its at +5db then move everything down 5 db.  Conserve headroom.  You don't want your mix compromised by that awful crackle at the peak of your song.  

Now you fine tune to taste.  Listen for the quality to "lock".  There is a definite point where this happens.  Suddenly it all falls into place, given you have good material.  A great mix of a great song will fill you with absolute elation.  You'll be blown away and in awe.  You will feel in love with it.  No kidding. Might sound corny to the less mature among us, but I assure you its true. A great artist friend of mine puts it this way.  Greatness in art depends solely on how much love you put in to a work.  You put it in, it pays you back, your friends back, and everyone who listens.  Moral of this lesson.  Never take mixing and mastering lightly.  The tiniest fader movements make a difference.  Be exacting!

The Mix is a Dynamic, Moving Process

Don't just sit there while your mix goes to tape, or disc, or DAT.  If you are using a board, assign the faders to subgroups.  For example, if you have 4 subgroups you might want to send your vocal tracks to groups 1 and 2 and everything else to 3 and 4.  This way you can slightly alter the balance between the vocalists and the band as the piece goes to tape.  This technique, while tricky, can yield outstanding results.  You can give the vocalist a touch more edge just when they need that oomph and when the vocalist takes a break you can subtly boost the band a bit.  If you have 8 busses you might dedicate 5 and 6 just to drums and 7 and 8 just to effects, nudging each as is appropriate.  If you have a digital mixer, this is where you want to automate.  

_________________________________________
nemmo
http://nemmo.iuma.com
ICQ#: 41781107
More ways to contact me: http://wwp.icq.com/41781107
_________________Matrix Reloaded Boring ? Wait to see the extended version !________________________

Yahoo! Groups Sponsor

ADVERTISEMENT

------------------------------------------------------------------------------
The information transmitted is intended only for the person(s)or entity to which it is addressed and may contain confidential and/or legally privileged material. Delivery of this message to any person other than the intended recipient(s) is not intended in any way to waive privilege or confidentiality. Any review, retransmission, dissemination or other use of , or taking of any action in reliance upon, this information by entities other than the intended recipient is prohibited. If you receive this in error, please contact the sender and delete the material from any computer.

For Translation:

http://www.baxter.com/email_disclaimer
==============================================================================

yeah ive used this article before- good stuff..i was finding my rms
was just far too low...this article helped a lot, must say rEalm is
right i would attempt these settings wityh a pc...

greg

--- In mc505@yahoogroups.com, erik_magrini@B... wrote:
> I personally think their suggested levels are way too hot, and it
should
> be pointed out as well that these only apply to an analog mixing
desk as
> well.  You never want to run your channel faders at 0dB in a DAW.  -
2 or
> -3dB tops IMO.  Otherwise, thanks for the info!
>
> rEalm

Please consider these parameters not as rules but a starting point for you mixes for the standard pop song or ballad.  Of course the instruments change if you are doing techno or symphonies, or ambient stuff, but the reference may still be helpful.

Match the following instruments when soloed in place to the db markers on your mixing desk or your mixdown deck or software.

Set the trims:  Solo each instrument in succession and set the trim so the signal peaks a 0db.

Kick drum     0db  +3 eq at 50 Hz  +1 db at 3khz  -3db 275 hz  No FX except maybe subtle ambience  You will tweak the kick again, this is just to get you going. In an instrumental piece, the kick is the first and last tweaked.  It's got to be just right.  

Snare     -2 db  eq to taste in the frequencies above 4khz.  Add reverb if the song calls for it. Do the best you can to keep it out of the way of the vocal, even if you have to pan it a few degrees.  Near the end of the mix you need to come back here to perfect it.  

------------------------------------------------------------------------------
The information transmitted is intended only for the person(s)or entity to which it is addressed and may contain confidential and/or legally privileged material. Delivery of this message to any person other than the intended recipient(s) is not intended in any way to waive privilege or confidentiality. Any review, retransmission, dissemination or other use of , or taking of any action in reliance upon, this information by entities other than the intended recipient is prohibited. If you receive this in error, please contact the sender and delete the material from any computer.

For Translation:

http://www.baxter.com/email_disclaimer
==============================================================================

Please consider these parameters not as rules but a starting point for you mixes for the standard pop song or ballad.  Of course the instruments change if you are doing techno or symphonies, or ambient stuff, but the reference may still be helpful.

Match the following instruments when soloed in place to the db markers on your mixing desk or your mixdown deck or software.

Set the trims:  Solo each instrument in succession and set the trim so the signal peaks a 0db.

Kick drum     0db  +3 eq at 50 Hz  +1 db at 3khz  -3db 275 hz  No FX except maybe subtle ambience  You will tweak the kick again, this is just to get you going. In an instrumental piece, the kick is the first and last tweaked.  It's got to be just right.  

Snare     -2 db  eq to taste in the frequencies above 4khz.  Add reverb if the song calls for it. Do the best you can to keep it out of the way of the vocal, even if you have to pan it a few degrees.  Near the end of the mix you need to come back here to perfect it.  

Lead Vocal  0db  use a low cut filter to eliminate rumble and plosive pops around 100-200 hz.  Carefully enhance the delicate high end around 15khz to add air and sheen and don't overdo it!  This is the trickiest adjustment and may often spell hit or dud. Perfectly center the vocal and pan it not with pan controls, but with very subtle left/right hi freq eq's.  Put on the cans (headphones) and make sure its in the absolute center of your forehead..  Every word must be intelligible.  Add reverb and delays but don't let it get smeared. Before you print to tape or DAT or whatever, check the vocal any make those tiny adjustments that are needed.

Cymbals   -25 db  Avoid letting these get in the way of the vocals.  Pan them to 2 o'clock and remember their main function is to add the glue to a track to hold the music together--they do not have to be loud or present. Think about how horrible they will sound on your girlfrind's or boyfriend's car stereo if you let then get too loud.  

Synth pads   -20 db  Do these in stereo and hard pan left and right with generous effects if needed.  However, keep them in the back.  Pads indeed are beautiful additions to a song but don't let them overshadow any of the main elements of the song.  Yet for a sense of dimensionality, let these create a "landscape" the listener can walk on.

Bass  -10 db maybe hotter Always front and center.  If you use FX restrict yourself to chorusing or a light flange--no reverb.  Note that the quality we associate with "good" music is a tight syncopation of kick drum and bass.  If you hear any duff notes make sure you fix them.  

Rhythm guitar  -15 db  pan off center  eq: use a low cut filter to get rid of any bass and add a mid range eq for a slight narrow boost, but make sure it is not competing with the vocalist's sweet spot.  

Percussion  -20db- put these elements off center unless they are essential to to basic beat.  EQ in a tasteful way if necessary.  I shoot to get a little skin sound on the hand drums if possible,  

Watch the meters when you play the whole mix through the board.  You should have peaks at +3db.  If what you have is more notch down every fader in 1 db increments until you get there.  

Mono Check:  Always check you mix in Mono and look for sudden drop outs or instruments that disappear.  That's phase cancellation at work, and it happens with stereo tracks and effects.  

No faders above 0db rule:  When getting a mix started follow this religiously.  If you find your vocal doesn't sound good unless its at +5db then move everything down 5 db.  Conserve headroom.  You don't want your mix compromised by that awful crackle at the peak of your song.  

Now you fine tune to taste.  Listen for the quality to "lock".  There is a definite point where this happens.  Suddenly it all falls into place, given you have good material.  A great mix of a great song will fill you with absolute elation.  You'll be blown away and in awe.  You will feel in love with it.  No kidding. Might sound corny to the less mature among us, but I assure you its true. A great artist friend of mine puts it this way.  Greatness in art depends solely on how much love you put in to a work.  You put it in, it pays you back, your friends back, and everyone who listens.  Moral of this lesson.  Never take mixing and mastering lightly.  The tiniest fader movements make a difference.  Be exacting!

The Mix is a Dynamic, Moving Process

Don't just sit there while your mix goes to tape, or disc, or DAT.  If you are using a board, assign the faders to subgroups.  For example, if you have 4 subgroups you might want to send your vocal tracks to groups 1 and 2 and everything else to 3 and 4.  This way you can slightly alter the balance between the vocalists and the band as the piece goes to tape.  This technique, while tricky, can yield outstanding results.  You can give the vocalist a touch more edge just when they need that oomph and when the vocalist takes a break you can subtly boost the band a bit.  If you have 8 busses you might dedicate 5 and 6 just to drums and 7 and 8 just to effects, nudging each as is appropriate.  If you have a digital mixer, this is where you want to automate.  

_________________________________________
nemmo
http://nemmo.iuma.com
ICQ#: 41781107
More ways to contact me: http://wwp.icq.com/41781107
_________________Matrix Reloaded Boring ? Wait to see the extended version !________________________

------------------------------------------------------------------------------
The information transmitted is intended only for the person(s)or entity to which it is addressed and may contain confidential and/or legally privileged material. Delivery of this message to any person other than the intended recipient(s) is not intended in any way to waive privilege or confidentiality. Any review, retransmission, dissemination or other use of , or taking of any action in reliance upon, this information by entities other than the intended recipient is prohibited. If you receive this in error, please contact the sender and delete the material from any computer.

For Translation:

http://www.baxter.com/email_disclaimer
==============================================================================

___________________________________

<http://www.yahoogroups.com/group/mc505>
or u! nsub with <mailto:mc505-unsubscribe@yahoogroups.com>
___________________________________

Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service.


DjG

"The musical notes are only seven in number but their melodies are so numerous that one cannot hear them all"
A of W 5:8


review/listen to our tunes at http://theorder.iuma.com

Yahoo! Groups Sponsor

ADVERTISEMENT

------------------------------------------------------------------------------
The information transmitted is intended only for the person(s)or entity to which it is addressed and may contain confidential and/or legally privileged material. Delivery of this message to any person other than the intended recipient(s) is not intended in any way to waive privilege or confidentiality. Any review, retransmission, dissemination or other use of , or taking of any action in reliance upon, this information by entities other than the intended recipient is prohibited. If you receive this in error, please contact the sender and delete the material from any computer.

For Translation:

http://www.baxter.com/email_disclaimer
==============================================================================

------------------------------------------------------------------------------
The information transmitted is intended only for the person(s)or entity to which it is addressed and may contain confidential and/or legally privileged material. Delivery of this message to any person other than the intended recipient(s) is not intended in any way to waive privilege or confidentiality. Any review, retransmission, dissemination or other use of , or taking of any action in reliance upon, this information by entities other than the intended recipient is prohibited. If you receive this in error, please contact the sender and delete the material from any computer.

For Translation:

http://www.baxter.com/email_disclaimer
==============================================================================

Depends on what you mean by 0 dB. If it is in reference to "0 dBFS" (o
dB full scale, which is the biggest value your digital wordwidth can
represent) this is not good advice as it will lead to clipping
distortion in all but a few cases.

When you are bouncing what you really want to do is preserve precision.
In other words if your bouncing a -10 dBFS track that has edits you are
trying to consolidate there is no point whatsoever to bouncing with
anything other than unity gain (in a properly calibrated DAW this would
be a channel fader position of 0 dB). So the result should still be -10
dBFS. Any more will raise the risk of clipping (admittedly only a
factor as you get above -3 dBFS) and do *nothing* to improve signal
quality. Anything less than unity gain and you are sacrificing
precision unnecessarily (lost bits).

When bouncing multiple tracks you should not have any track fader above
0 dB (what this signifies is unity gain through the mixer channel, not
0 dBFS), and your peak meter should have adequate headroom. Personally
I'd leave at least -3 dB if I was bouncing to a 24-bit file. If it was
16-bit you will need to get it closer to 0dBFS, but I would still
recommend around -0.5 dBFS or so. Ideally this type of bouncing needs a
dither applied too.

If your using a 24-bit or 32-bit floating point DAW, and generating
24-bit or 32-bit FP audio files you shouldbe very conservative about
setting levels. In fact some pro engineers recommend leaving quite a
bit of excess headroom (6 dB or more) just to protect agains problems
due to EQ peaking and also problems downstream during mastering. In a
24-bit system you need to "throw away" 8 bits, or about 48dB of level
before you compromise the audio quality to that of CD quality.
Obviously if you do a lot of bounces the effect is cummulative so you
can't be too careless. But sacrificing 6dB of potential level as
insurance against clipping merely makes your 24-bit recording a 23-bit
one!

As a general rule be very careful about applying the principles of
analog recording engineering to digital systems. An entire body of
knowledge developed in the days of analog tape and consoles, when
getting 72 dB S/N was an accomplishment, no longer applies and is
actually bad (standard practice then was to ride the faders so that
things peaked in the "red" because tape compressed the resulting audio
anyway in a pleasing way).

Also the rules working with 16-bit digital audio are very different
than working with 24 bits. Care is needed with 16 bits; you have much
less to worry about with 24 bits. So you tend to push levels with 16
bit and really avoid that with 24 bit.


drK

On Monday, December 1, 2003, at 11:28  AM, Dj Gorgeous wrote:

>
> I think the only time you might want to be at 0 db in a DAW is when
> you are bouncing some tracks into another track.
>

Yeah, I was noticing this also...

They said nothing about low end management in here
either.

I'm still quite a bit shaky in my mastering process
and looking for a solution to get that sound. I think
I need to read up a little more because the settings
for kick drums +3 dB @ 57Hz -3 dB @ 275 Hz and +1 dB @
3kHz is something new to me...

I wonder if I shouldn't cut low end in the mix process
but instead slope off my low end in the final mix
process...

Help?


--- erik_magrini@... wrote:
> I personally think their suggested levels are way
> too hot, and it should
> be pointed out as well that these only apply to an
> analog mixing desk as
> well.  You never want to run your channel faders at
> 0dB in a DAW.  -2 or
> -3dB tops IMO.  Otherwise, thanks for the info!
>
> rEalm
>
>
>
>
>
>
> "Jose Saez" <taliesin@...>
> 11/29/2003 09:45 PM
> Please respond to mc505
>
>
>         To:     mc505@yahoogroups.com
>         cc:
>         Subject:        [mc505] advices for mixing
>
>
> The Mix Process
> Please consider these parameters not as rules but a
> starting point for you
> mixes for the standard pop song or ballad.  Of
> course the
> instruments change if you are doing techno or
> symphonies, or ambient
> stuff, but the reference may still be helpful.
> Match the following instruments when soloed in place
> to the db markers on
> your mixing desk or your mixdown deck or software.
> Set the trims:  Solo each instrument in succession
> and set the trim so the
> signal peaks
> a 0db.
> Kick drum     0db  +3 eq at 50 Hz  +1 db at 3khz
> -3db 275 hz  No FX except
> maybe
> subtle ambience  You will tweak the kick again, this
> is just to get you
> going. In an instrumental piece, the kick is the
> first and last tweaked.
> It's got to be just right.
> Snare     -2 db  eq to taste in the frequencies
> above 4khz.  Add reverb if the
> song calls for it. Do the best you can to keep it
> out of the way of the
> vocal, even if you have to pan it a few degrees.
> Near the end of the mix
> you need to come back here to perfect it.
>
> Time Out! You did separate the Kick and Snare on
> separate mixer channels or
> audio
> tracks, right?  Get out of your chair an wire it
> dude!
> Lead Vocal  0db  use a low cut filter to eliminate
> rumble and plosive pops
> around
> 100-200 hz.  Carefully enhance the delicate high end
> around 15khz to add
> air and sheen and don't overdo it!  This is the
> trickiest adjustment and
> may often spell hit or dud. Perfectly center the
> vocal and pan it not with
> pan controls, but with very subtle left/right hi
> freq eq's.  Put on the
> cans (headphones) and make sure its in the absolute
> center of your
> forehead..  Every word must be intelligible.  Add
> reverb and delays but
> don't let it get smeared. Before you print to tape
> or DAT or whatever,
> check the vocal any make those tiny adjustments that
> are needed.
> Cymbals   -25 db  Avoid letting these get in the way
> of the vocals.  Pan them
> to 2
> o'clock and remember their main function is to add
> the glue to a track to
> hold the music together--they do not have to be loud
> or present. Think
> about how horrible they will sound on your
> girlfrind's or boyfriend's car
> stereo if you let then get too loud.
> Synth pads   -20 db  Do these in stereo and hard pan
> left and right with
> generous
> effects if needed.  However, keep them in the back.
> Pads indeed are
> beautiful additions to a song but don't let them
> overshadow any of the
> main elements of the song.  Yet for a sense of
> dimensionality, let these
> create a "landscape" the listener can walk on.
> Bass  -10 db maybe hotter Always front and center.
> If you use FX restrict
> yourself to chorusing or a light flange--no reverb.
> Note that the quality
> we associate with "good" music is a tight
> syncopation of kick drum and
> bass.  If you hear any duff notes make sure you fix
> them.
> Rhythm guitar  -15 db  pan off center  eq: use a low
> cut filter to get rid of
> any bass
> and add a mid range eq for a slight narrow boost,
> but make sure it is not
> competing with the vocalist's sweet spot.
> Percussion  -20db- put these elements off center
> unless they are essential to
> to
> basic beat.  EQ in a tasteful way if necessary.  I
> shoot to get a little
> skin sound on the hand drums if possible,
> Watch the meters when you play the whole mix through
> the board.  You
> should have peaks at +3db.  If what you have is more
> notch down every
> fader in 1 db increments until you get there.
> Mono Check:  Always check you mix in Mono and look
> for sudden drop outs or
> instruments that disappear.  That's phase
> cancellation at work, and it
> happens with stereo tracks and effects.
> No faders above 0db rule:  When getting a mix
> started follow this religiously.
> If you find your
> vocal doesn't sound good unless its at +5db then
> move everything down 5
> db.  Conserve headroom.  You don't want your mix
> compromised by that awful
> crackle at the peak of your song.
> Now you fine tune to taste.  Listen for the quality
> to "lock".  There is a
> definite point where this happens.  Suddenly it all
> falls into place,
> given you have good material.  A great mix of a
> great song will fill you
> with absolute elation.  You'll be blown away and in
> awe.  You will feel in
> love with it.  No kidding. Might sound corny to the
> less mature among us,
> but I assure you its true. A great artist friend of
> mine puts it this way.
>  Greatness in art depends solely on how much love
> you put in to a work.
> You put it in, it pays you back, your friends back,
> and everyone who
> listens.  Moral of this lesson.  Never take mixing
> and mastering lightly.
> The tiniest fader movements make a difference.  Be
> exacting!
> The Mix is a Dynamic, Moving Process
> Don't just sit there while your mix goes to tape, or
> disc, or DAT.  If you
> are using a board, assign the faders to subgroups.
> For example, if you
> have 4 subgroups you might want to send your vocal
> tracks to groups 1 and
> 2 and everything else to 3 and 4.  This way you can
> slightly alter the
> balance between the vocalists and the band as the
> piece goes to tape. This
> technique, while tricky, can yield outstanding
> results.  You can give the
> vocalist a touch more edge just when they need that
> oomph and when the
> vocalist takes a break you can subtly boost the band
> a bit.  If you have 8
> busses you might dedicate 5 and 6 just to drums and
> 7 and 8 just to
> effects, nudging each as is appropriate.  If you
> have a digital mixer,
> this is where you want to automate.
> _________________________________________
> nemmo
> http://nemmo.iuma.com
> ICQ#: 41781107
> More ways to contact me: http://wwp.icq.com/41781107
> _________________Matrix Reloaded Boring ? Wait to
> see the extended version
> !________________________
>
> Yahoo! Groups Sponsor
>
> ADVERTISEMENT
>
>
>
>
> ___________________________________
>
> <http://www.yahoogroups.com/group/mc505>
> or unsub with
> <mailto:mc505-unsubscribe@yahoogroups.com>
>
=== message truncated ===


__________________________________
Do you Yahoo!?
Free Pop-Up Blocker - Get it now
http://companion.yahoo.com/

------------------------------------------------------------------------------
The information transmitted is intended only for the person(s)or entity to which it is addressed and may contain confidential and/or legally privileged material. Delivery of this message to any person other than the intended recipient(s) is not intended in any way to waive privilege or confidentiality. Any review, retransmission, dissemination or other use of , or taking of any action in reliance upon, this information by entities other than the intended recipient is prohibited. If you receive this in error, please contact the sender and delete the material from any computer.

For Translation:

http://www.baxter.com/email_disclaimer
==============================================================================

------------------------------------------------------------------------------
The information transmitted is intended only for the person(s)or entity to which it is addressed and may contain confidential and/or legally privileged material. Delivery of this message to any person other than the intended recipient(s) is not intended in any way to waive privilege or confidentiality. Any review, retransmission, dissemination or other use of , or taking of any action in reliance upon, this information by entities other than the intended recipient is prohibited. If you receive this in error, please contact the sender and delete the material from any computer.

For Translation:

http://www.baxter.com/email_disclaimer
==============================================================================

This is an excellent book, recommended for anyone serious about their
productions. Just to be clear though it is about "mastering", the step
done before getting a CD (or vinyl) pressed. You can glean a lot from
the book that will help improve your mixes, but it is not a
perscription for "mastering at home". After you read the book you will
understand why that is not a valid concept.

That said, for 99% of the folks reading this list what you really need
is a good book (or three) on *mixing*. The issues that keep coming up
here time and time again are mixing issues. Its bad enough that the
expression "fix it in the mix" came into studio parlance. I hate to see
something akin to "fix it in the mastering" become an excepted practice.

I generally find any book by British author Paul White of some value.
I'm sure he has probably written a bunch on mixing (see back issues of
SOS as there may be some specific technique articles). The book "Mixing
Engineer's Handbook" by Bobby Owsinski is a good balance of practical
advice and theory without requiring an electronics degree. Recommended.

drK


On Monday, December 1, 2003, at 01:38  PM, erik_magrini@...
wrote:

> By the way, if this kind of stuff interests you, or if you want to
> know more about digital audio in general, I can't recommend the book
> "Mastering Audio" by Bob Katz enough.  It's a newer book, only a
> couple of months old, so all of the examples are more than relevant.
>  While it may be geared slightly towards mastering engineers, he goes
> into many, many of the details of digital audio that all experienced
> producers should at least have some background knowledge on.
>
> It can be a bit technical in some sections (I know I'll be reading it
> again), but even if you're a complete newbie, there's still a lot of
> great info presented in a clear and easy to understand way.  A good
> read....
>
> rEalm

On Monday, December 1, 2003, at 03:21  PM, Darren E wrote:

> I'm still quite a bit shaky in my mastering process
> and looking for a solution to get that sound. I think
> I need to read up a little more because the settings
> for kick drums +3 dB @ 57Hz -3 dB @ 275 Hz and +1 dB @
> 3kHz is something new to me...
>
>
>

I think the "generic" answer would be "add a touch of lower-high end to
give the kick some presence (important for hearing the kick above the
bass and for playback on systems with sorry bass response); cut the
lower midrange to keep it from sounding boomy and interfering with all
the stuff that is supposed to go there; boost the low frequency
component".

I'd be careful about boosting below 80 Hz as things can get pretty
muddy if you are not careful. Also the "57 Hz" choice  really needs to
be replaced with finding the harmonic in that frequency range. Use a
sharp Q, high gain peak EQ and sweep it slowly around the frequencies
of interest until you find the harmonic (its easy with this method).
Then set your boost (or cut) as needed.

This is mixing work, not mastering work!

BTW a gentle (6 dB/oct) highpass rolloff starting around 30 Hz - 40 Hz
can do wonders for clarity in the low end. Don't use a sharp rolloff
(certainly anything over 12 dB/oct as it drives the frequency
components crazy around the cutoff frequency (lots of time distortions
and some frequency peaking just to make things interesting).

drK

----- Original Message -----

From: drK

To: mc505@yahoogroups.com

Sent: Monday, December 01, 2003 5:00 PM

Subject: Re: [mc505] advices for mixing

On Monday, December 1, 2003, at 03:21  PM, Darren E wrote:

> I'm still quite a bit shaky in my mastering process
> and looking for a solution to get that sound. I think
> I need to read up a little more because the settings
> for kick drums +3 dB @ 57Hz -3 dB @ 275 Hz and +1 dB @
> 3kHz is something new to me...
>
>
>

I think the "generic" answer would be "add a touch of lower-high end to
give the kick some presence (important for hearing the kick above the
bass and for playback on systems with sorry bass response); cut the
lower midrange to keep it from sounding boomy and interfering with all
the stuff that is supposed to go there; boost the low frequency
component".

I'd be careful about boosting below 80 Hz as things can get pretty
muddy if you are not careful. Also the "57 Hz" choice  really needs to
be replaced with finding the harmonic in that frequency range. Use a
sharp Q, high gain peak EQ and sweep it slowly around the frequencies
of interest until you find the harmonic (its easy with this method).
Then set your boost (or cut) as needed.

This is mixing work, not mastering work!

BTW a gentle (6 dB/oct) highpass rolloff starting around 30 Hz - 40 Hz
can do wonders for clarity in the low end. Don't use a sharp rolloff
(certainly anything over 12 dB/oct as it drives the frequency
components crazy around the cutoff frequency (lots of time distortions
and some frequency peaking just to make things interesting).

drK



------------------------ Yahoo! Groups Sponsor ---------------------~-->
Buy Ink Cartridges or Refill Kits for your HP, Epson, Canon or Lexmark
Printer at MyInks.com. Free s/h on orders $50 or more to the US & Canada.
http://www.c1tracking.com/l.asp?cid=5511
http://us.click.yahoo.com/mOAaAA/3exGAA/qnsNAA/XkLolB/TM
---------------------------------------------------------------------~->

___________________________________

<http://www.yahoogroups.com/group/mc505>
or unsub with <mailto:mc505-unsubscribe@yahoogroups.com>
___________________________________

Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/

I'm _so_ behind again...

Excellent track Darren!!!

I love this one a lot. I don't think it's your usual house style - It's
kind of driving me nuts that I can't think of the song/phrase that pad
is playing toward the end of the middle section.
Is it FSOL? or something else? it's not is it.... it's an 80's song...
doggone I wish I could place it. Almost want to say flock of seagulls.
<g>

Really really like the echoey the percussive sounds working in there.

This reminds me of Underworld, and Future Sound of London at the same
time.
Your mastering sounded really good out of my various speakers.
Nice job.

Peace!
Vash

On Nov 19, 2003, at 3:07 AM, Darren E wrote:

>
> http://darrene.iuma.com/  "In Excess"
>
> Style- you tell me, but there is a surprise in it.
> Also, if you can't figure out why I named this song
> the name I gave it- ask me and I'll tell you.
>
vash@...

The song title gives it away...

The synth line is from "INXS" and I think the song may
be called "Don't change"

I'm not sure...but I know that it's an INXS tune I
mimicked the part from.


--- vash <vash@...> wrote:
> I'm _so_ behind again...
>
> Excellent track Darren!!!
>
> I love this one a lot. I don't think it's your usual
> house style - It's
> kind of driving me nuts that I can't think of the
> song/phrase that pad
> is playing toward the end of the middle section.
> Is it FSOL? or something else? it's not is it....
> it's an 80's song...
> doggone I wish I could place it. Almost want to say
> flock of seagulls.
> <g>
>
> Really really like the echoey the percussive sounds
> working in there.
>
> This reminds me of Underworld, and Future Sound of
> London at the same
> time.
> Your mastering sounded really good out of my various
> speakers.
> Nice job.
>
> Peace!
> Vash
>
> On Nov 19, 2003, at 3:07 AM, Darren E wrote:
>
> >
> > http://darrene.iuma.com/  "In Excess"
> >
> > Style- you tell me, but there is a surprise in it.
> > Also, if you can't figure out why I named this
> song
> > the name I gave it- ask me and I'll tell you.
> >
> vash@...
>
>


=====

Darren E
------------



__________________________________
Do you Yahoo!?
Free Pop-Up Blocker - Get it now
http://companion.yahoo.com/

I took some advice from Jose and reworked this a
little...

I hope I didn't have ear fatigue when I re-worked this
because it sounds much better to me right now...but
tomorrow I may be beating myself over the head...

http://darrene.iuma.com/  "Swing Back N Forth"



=====

Darren E
------------



__________________________________
Do you Yahoo!?
Free Pop-Up Blocker - Get it now
http://companion.yahoo.com/

....and set up a soundclick a/c.....

http://www.soundclick.com/bands/6/dubmunkeymusic.htm

Here is where you can find the original and the Mastered by rEalm
version of '...and its all about you'



G-dog

Greg Spicer
CRMS Co-ordinator

Business Link Wessex - The Independent Source of Business Advice

Tel: 01329 223254 Fax: 01329 223223 Mobile:
E-mail: Greg.Spicer@...

Advice Line: 08454 58 85 58
Events Line: 08454 58 85 57
E-mail: info@...
Website: www.businesslinkwessex.co.uk

This e-mail may contain confidential or privileged information. In case of
transmission error, unauthorised recipients are asked to contact us immediately
and not to disclose or make use of this information.

This message has been scanned for all viruses by the MessageLabs SkyScan
service.

i may be able to sort some beats....ill see what i can find...

greg

Yahoo! Groups Sponsor

ADVERTISEMENT

------------------------------------------------------------------------------
The information transmitted is intended only for the person(s)or entity to which it is addressed and may contain confidential and/or legally privileged material. Delivery of this message to any person other than the intended recipient(s) is not intended in any way to waive privilege or confidentiality. Any review, retransmission, dissemination or other use of , or taking of any action in reliance upon, this information by entities other than the intended recipient is prohibited. If you receive this in error, please contact the sender and delete the material from any computer.

For Translation:

http://www.baxter.com/email_disclaimer
==============================================================================

Yahoo! Groups Sponsor

ADVERTISEMENT

------------------------------------------------------------------------------
The information transmitted is intended only for the person(s)or entity to which it is addressed and may contain confidential and/or legally privileged material. Delivery of this message to any person other than the intended recipient(s) is not intended in any way to waive privilege or confidentiality. Any review, retransmission, dissemination or other use of , or taking of any action in reliance upon, this information by entities other than the intended recipient is prohibited. If you receive this in error, please contact the sender and delete the material from any computer.

For Translation:

http://www.baxter.com/email_disclaimer
==============================================================================

All your track belong to us.


--- In mc505@yahoogroups.com, erik_magrini@B... wrote:
> LOL, oh man I I'm choking here.  Sorry Tomo, can't see just GIVING
away
> music like that.
>
> rEalm
>
>
>
>
>
> "Tomonori Matsumura" <iz58291@m...>
> 12/02/2003 02:56 AM
> Please respond to mc505
>
>
>         To:     mc505@yahoogroups.com
>         cc:
>         Subject:        [mc505] OT: Rap Tracks Needed
>
>
> I have to make some rap tracks for an mini album to be released on
next
> June.  Absolutely no pay job, market is only 1000 to 1500 copies,
but the
> labelsay they would credit my name on it.  I don't think the
rappers or
> the label would be big and more poeple would have chance to listen
to my
> tracks in future at all, but I accept the offer only for my fun.
Just
> worked on three tracks, I feel hip hop is bit difficult gerne for
me to
> make.
>
>  Changed my mind now, if anyone has some hip hop tracks done and
could
> give the tracks to them?  No pay job, only your name/homepage URL
would be
> credited on 1000 or 1500 cd copies to be released in Japan.
Actually
> rappers might reject your tracks though, but it won't be much
matter cause
> the job is no money involved anyway.  Kinnda hip hop contest.  No
rewards.
>  I think they would send some copies to you if your track is
included on
> the album though.  Chiba, Ries,  or someone could give your tracks
to
> them?
>
> Tomonori
>
> Yahoo! Groups Sponsor
>
> ADVERTISEMENT
>
>
>
>
> ___________________________________
>
> <http://www.yahoogroups.com/group/mc505>
> or unsub with <mailto:mc505-unsubscribe@yahoogroups.com>
> ___________________________________
>
> Your use of Yahoo! Groups is subject to the Yahoo! Terms of
Service.
>
>
> --------------------------------------------------------------------
----------
> The information transmitted is intended only for the person(s)or
entity to
> which it is addressed and may contain confidential and/or legally
privileged
> material.  Delivery of this message to any person other than the
intended
> recipient(s) is not intended in any way to waive privilege or
confidentiality.
> Any review, retransmission, dissemination or other use of , or
taking of any
> action in reliance upon, this information by entities other than
the intended
> recipient is prohibited.  If you receive this in error, please
contact the
> sender and delete the material from any computer.
>
> For Translation:
>
> http://www.baxter.com/email_disclaimer
>
======================================================================
========

awww come on scrooge it is christmas after all....:P

i thought he was talkin beats...i would have given him one of my old
hip-hop beats....but nothing more...

greg


--- In mc505@yahoogroups.com, erik_magrini@B... wrote:
> LOL, oh man I I'm choking here.  Sorry Tomo, can't see just GIVING
away
> music like that.
>
> rEalm

------------------------------------------------------------------------------
The information transmitted is intended only for the person(s)or entity to which it is addressed and may contain confidential and/or legally privileged material. Delivery of this message to any person other than the intended recipient(s) is not intended in any way to waive privilege or confidentiality. Any review, retransmission, dissemination or other use of , or taking of any action in reliance upon, this information by entities other than the intended recipient is prohibited. If you receive this in error, please contact the sender and delete the material from any computer.

For Translation:

http://www.baxter.com/email_disclaimer
==============================================================================