feedback: things to avoid: - 4x filter is 48db per octave - normal is 12x to analyse phase https://bertomaudio.com/eq-curve-analyzer.html ![[Pasted image 20251113093510.png]] - eq 8 -> not high quality mode, no adaptive q - saturation instead of limiting low end - frequency masking -> two sounds in the same frequency -> louder masks the other - temporal masking is also a thing - loud sound followed by quiet sound -> latter is masked - quiet followed by loud -> latter is masked? - if you have too much bass, it masks upwards and hides the mids tdr prism - [[tdr-prism preset]] drum buss - scoops the mids - ![[Pasted image 20251113100036.png]] - adds noise in low end glue kick and bass together - ![[Pasted image 20251113100441.png]] - stays controllable and predictable kick - invert the kick? for some reason it sometimes sounds better than inverting the bass shift attention from higher (3) harmonic to lower harmonic -> to keep it from masking the lowest ![[Pasted image 20251113101751.png]] -> the cut gives room to the other frequencies eq: - use shelving to sculp sounds gently pad - if you have a long sound - with an obvious peak - the obvious peak lingers as a resonance - control the most obvious peak use multiband saturator: - to accent mid - and give stereo space to highs - ![[Pasted image 20251113103945.png]] hats: - what we hear - 16th note pattern - we only hear constant shaker - they don't double down on the groove - reduce the patterns - make one louder - one quieter - more intention - shift the new patterns around - more velocity variation - ![[Pasted image 20251113104654.png]] - use it to accent 1-2 hats for groove - simpler use amplitude envelope - Vel>Vol turn up - string grooves - listen to the groove - accentuate what makes it good - remove some notes - needs some more intention - - returns - turn delay return a bit down -> otherwise it might mask high freq limiter - generally over 12khz the unwanted frequencies come in - generally around -6db gain reduction - dry wet 50% dynamic range - more than 6db or range -> opportunity to control it mixing is about combining instruments together session 2: compression: - kick - good kicks looks like a dorito chip (triangle)![[Pasted image 20251126093916.png]] - my kicks need a little more punch - e.g. pull sustain down a bit - volume a bit louder at the front and then let it gradually fall off - smp in digital audio = samples -> smallest increment - bassically - rhytm group - compressing the ADSR stages - attack - fast attack 0-10ms - medium attack 10-20ms (kick sometimes 20-40ms) - fast release (to only hold down ) - - what to effect - high frequencies - fast attack -> cause fast frequencies work faster - low frequencies - slower attack -> slow frequencies are slower - compression: - measure compression - parallel processing - utility with inverted - shows you the difference - -> gain on the compressors must be the same - present strength (presents range) between 1-5khz (speech sits there) -> deharsh - return channels - long return = long reverb -> sidechain it a tiny bit - sidechain to low end group (not only kick) - tiny bit of compression only - sending all returns into a last Bus return - gentle compression - ![[Pasted image 20251126102541.png]] - wide knee so it starts early but needs a bit to reach peak compression - only do 1-2 db - transient reverb - kill the transients before a reverb to make the reverb smoother - https://www.youtube.com/results?search_query=gm%20audio%20transd - kick - truncate ![[Pasted image 20251126104408.png]] - i want just enough mids, but not too much - initial hit should be the loudest - psy kicks often have too much 400hz - make it pushier - go overboard homework - project elevator - use compression on sweepy (screenshot) - think about other places that might need dynamic control -