Member Dana Nielsen
MemberForum Replies Created
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Heck yeah, Jesse!
What you’re describing is exactly how/why I use my beloved little Radio Shack ‘Realistic’ speakers, which are positioned on a shelf on the other side of the room, pushed together to simulate mono sound, and far enough away from me so I’m never listening to those in the “sweet spot”. There literally is NO sweetspot for those, lol. Just “mono” midrange boom-box-style audio … the most important stuff to focus on. And I probably spend 50% or more of my mixing time on those lil guys! 🙀
This concept and process is outlined in my “Chaos to Clarity” pdf. Check it out and lemme know what ya think!
https://mixprotege.com/chaos-to-clarity/
mixprotege.com
Declutter any mix in 4 simple steps!
Bring definition and focus to any mix with my 4-step
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OMG! I have a zillion wonderful memories of that epic adventure while watching this video again, @jlew, @horse, and @phillipbroussard!!! Gonna post a few pics here if I can. That particular day was a freaking SCORTCHER! 🥵 And the hike to that spot, carrying all our equipment … @detective just be happy we wore anything at all! LOLOL
What an UNREAL album and experience I will never ever forget.
Backstory for readers unaware of Jesse and Ike’s duo, Endless Field, these “field recordings” are done in remote wilderness using only battery and solar power for our recording equipment. You can check out all the videos from this album, each song filmed in a different remote location, at their website, https://www.endlessfieldband.com/
You really should – they’re all freaking amazing!
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Here are some chapters to help navigate the replay a bit easier
You can also access the chapter list directly within the video interface by clicking on the hamburger-looking Chapter Menu.- 00:03 Greetings and Introductions: Casual greetings, introductions, and expressions of happiness to see each other.
- 01:12 Work and Education: Updates on work, freelancing, sound engineering degree, and curriculum.
- 02:56 Music Production Tools: Exploration of Ableton software and its features for music production.
- 04:00 Community and Collaboration: Encouragement for community interaction and sharing experiences.
- 08:32 Technical Challenges: Discussion about distribution issues and volume levels in music production.
- 35:19 Loudness and Dynamics: Discussion on achieving loud mixes, headroom levels, and the balance between loudness and dynamics.
- 36:54 Metering and Sound Quality: Importance of monitoring meters, understanding loudness levels, and using ears over numbers.
- 38:57 Using Avid Heat: Experience with Avid Heat, its settings, and its impact on mixing.
- 42:39 Experimentation and Learning: Encouragement to explore parameters and learn through experimentation.
- 46:07 Vocal Mixing Techniques: Considerations for using effects on vocals and the impact on vocal sound.
- 46:40 Community and Music Quality: Appreciation for the quality of music shared within the community.
- 71:19 Audio Mixing Techniques: Discussion on using headphones, quality of vocals, and mixing techniques for clarity and balance.
- 74:34 Noise Reduction Tools: Utilization of RX software for noise removal, addressing mouth clicks, and enhancing audio quality.
- 78:35 Editing Techniques for Bass: Discussion on editing bass and drums for phase alignment and maintaining natural sound in recordings.
Here are a few example Q&A takeaways based on our lively discussion:
- What mastering techniques were mentioned in the Zoom?
The Zoom replay details mastering techniques focused on preventing distortion through true peak limiters and using plugins like Waves NLS for subtle compression. It also emphasizes the use of FabFilter Pro-L2 for managing output levels and achieving increased loudness while advocating for a simple master bus processing approach. Finally, the video compares console emulation with using compressors or limiters on the master bus. - How is audio loudness addressed on Spotify?
Spotify uses audio loudness normalization, but the video suggests disabling this feature. This allows users to experience the original, unprocessed sound of each track as intended by the artist. Mastering engineers should focus on achieving high-quality audio rather than rigidly conforming to specific loudness targets. - Should mixers pay attention to LUFS and other visual feedback from specialized meters?
Mixers should be aware of LUFS meters, but not overly reliant on them. Prioritize achieving high-quality sound through careful listening and attention to detail. Mastering engineers should similarly focus on sonic excellence over strict adherence to loudness standards. - Where does Dana prefer to utilize compression and limiting rather than on the master bus?
Dana’s approach in the video avoids master bus compression or limiting. Instead, he emphasizes careful EQ and compression on individual tracks and the drum bus to achieve the desired loudness. This method prioritizes track-level dynamics control for a balanced and powerful final mix. - How does iZotope’s “RX Monitor” plug-in aid mixing?
RX Monitor provides real-time audio monitoring through a DAW’s effects, even when RX is used in as a standalone app. This consistent sound monitoring prevents problems caused by volume differences between the original and processed audio. The seamless integration with RX Connect streamlines the editing workflow.
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Super cool, @jlew, thanks so much for sharing this! And FREE, no less! I don’t know about this one and will check it out. Great to have @detective‘s (partially) ringing endorsement, too!
PS – are you using this in addition to your new snazzy TC Electronic Clarity M meter? 🤓💜
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Hey Drew!
Such a great question, AND a great challenge. Upright bass is a beast that can be difficult to wrangle, especially when you want sub-y low-end out of it.
For me, this process begins with mic placement. (I know … “yawn.” And prob also “too late,” as you’re working with already-recorded tracks, but bear with me. Perhaps these ideas will help your next recording. Plus, I’ll include some mixing tips that’ll help pre-recorded bass as well.
My Best Microphone? My Ear.
I always start by listening to the player in the room. This is my method for recording any instrument. I pretend my ear is the microphone (or ears, plural, if I’m placing a stereo mic). I move my head around like a weirdo while the musician plays, and I find the spots that sound the best to me, and I put the mics there. Works every time.
My Go-To Two Mic Upright Bass Technique
For an upright bass I’m usually looking for a two-mic setup: one large-diaphragm condenser near the f-hole to pick up the deepest, richest, sub-iest sound my ears can locate; and one LDC on the neck facing down(ish) around where the neck meets the body of the instrument to pick up the mid-range definition, which helps define the bass “note” especially on small speakers. As long as those two mics are in-phase with each other I can adjust them during mixing to suit each individual song. A slow ballad might favor the F-hole low-end bloom, whereas an uptempo song might favor the neck mic so that the notes pop out nice and clear, and the tempo doesn’t get weighed down with sluggish low-end.
Bass Bussin’
Regardless the tempo, both of these mics (and sometimes a D.I., too, if available) will get bussed to a mono Aux Input, where I’ll apply any additional EQ and compression. EQ’ing and compressing the combined signal helps avoid EQ phase weirdness btwn mic’s, and helps solidify the instrument’s envelope (attack, decay, sustain, release). As an added bonus it also sums things down to one fader for easier balancing and automation.
Parallel Extremes When Needed
From there – if needed – I might add a couple “parallel” processes by sending the Bass buss (via pre-fade send) to an aggressive compressor Aux Input, and/or an amp sim Aux Input, and/or a subharmonic effect Aux Input (this is similar to what @detective recommended in his helpful post – thanks, Paul!). Sending the bass buss to multiple returns using a “pre-fade” aux send, allows me to turn the original dry Bass buss fader all the way down while I dial in my aggressive parallel effects returns. I always go “aggressive” with parallel FX ’cause otherwise what’s the point? The beauty of parallel is I can add these faders to the dry Bass buss in small increments. Kinda like adding a few dashes of ghost pepper hot sauce to huge pot of chili. A little goes a long way, and its potency is what makes it so useful in a large batch– err, I mean so useful in a dense audio mix.
Hope these tips help, Drew! Feel free to share a sample of your current mix as well as a sample of one of your fav references, and maybe we can get some more ideas flying. Good luck! 🎚️⚡️
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Oh, one last thing about adding low-end EQ to stuff like bass and kicks …. try reducing the frequency above where your boost is at. This often helps me get a more focused sound and eliminates mud. Like, try a low shelf boost at 100Hz in tandem with a significant bellcurve notch reduction at say 200Hz, or wherever the mud or resonance is building up.
Hi pass is also your friend for low-end, backwards as that sounds. i.e., try boosting 60Hz with a steep hi pass filter at 40Hz for example. You’ll be able to push that 60Hz harder without the sub frequencies below 40 eating up all your mix headroom and destroying your speakers. 🤘
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Awe, this means the world to me, @dave – thank you SO much!!
I’m so glad you enjoyed the replay and that it jogged your memory about RX, too – haha. That software is absolutely bonkers!
Happy holidays to you and yours as well, man! Thank you!
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YESSS! You’re en fuego, homey!! Love that you’re diving deep into this stuff – and crushing it!
Lookin fwd to hearing your next masterpiece! ⚡️🎚️🥰
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This is so great, Paul!!! Excellent points (and pretzels 🥨🤤)!
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science still works. At least through the end of the year . 🇺🇸
😂 Wow, I almost spit out my coffee when I read that, Paul, LOL
This is super cool and scientific and enlightening, man – thanks for putting this together and sharing your results!! Very cool, Doctor Detective!
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😂😂😂
You’re too kind and too funny, Paul.
No need to list me in any particular order, @drewb – It’s a team effort here! 😂 🥰
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Right on, Drew! Happy to help!
And, while I do use SubSynth quite often (love that plugin), I know what you mean … it can quickly add the wrong vibe to a natural-sounding acoustic record. In those cases I might try only using the highest frequency knob of the SubSynth (50-60hz if memory serves) as that tends to sound less like an octaver. Or I might try waves R-Bass as an insert on the bass bus, which works a bit differently – more psychoacoustic than synthetic octave.
Happy bass-boosting! 🔊
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Dude! Listening on my MBP speakers and it sounds beefy and warm and hug-tastic! Fantastic work, man. Looking fwd to giving a listen on the big speakers tomorrow when back in the studio.
Only thing that stood out were a few of the tom fills feel perhaps a bit too loud or too “modern rock” sounding for the track. 2:11 is a good example where they feel maybe a bit too loud and/or could use a hefty 2k-3k reduction for my taste. Don’t get me wrong – the toms sound awesome! And I boost 2k-3k all day long on toms for that scoop-y snappy modern tom sound. But for this track I feel like a more chill, warm, jazz tone on the toms would be nice. Sometimes close-mic’ed brushes on toms will accentuate that midrange “attack-y-ness”, and if it’s a jazzier tune I might roll off some of the top or mids to make them sound a little more natural as if the listener were farther away from the kit in the room. Just a thought! And a super duper minor one at that!
Really awesome, Joe!!
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Absolutely gorgeous!!! Visually and musically! 🙌💜⚡️
@andrew-feltenstein would surely recognize this backdrop! Looks like Livingston!
