Volume Dynamics (how to make your mixes translate better) - Music Production and Engineering
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- เผยแพร่เมื่อ 26 ส.ค. 2024
- In today's session, Ken 'hiwatt' Marshall is sharing a technique that will help your studio mixes translate to the outside world in a BIG way! This is all about 'pre-emphasizing' your master for a killer mix!
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Your positivity is infectious! Thank you for such a great tip!
There is an interview with Arthur Rubinstein where he explained basically the same thing, but applied it to both dynamics and tempo.
- Play a bit slower before quick runs to make them seem faster than they really are.
- And play a bit softer just before loud passages to emphasize the dynamics.
I just found this channel today, and I can't stop watching! Great info, that will definitely help on my next EP. Cheers from New Orleans!
It will be another sleepless night for me. I’m going to try to use today’s session. Thanks, Ken. Again.
Oh happy days! Thank you Holy HiWatt for sharing these lessons with us! It really brings it all together to have something that’s been in my mind translated into a demonstration. You’ve take years of “why is that mix so much better?” Moments and distilled it into a clear path of attack for my future! Thank you so much for your wisdom!
Wow, I never thought about making an intermediate master bus before. Thank you so much for this session, Ken!
I guess I'm kinda off topic but does anybody know of a good website to watch new series online?
I used similar techniques with many of my tracks and always thought this is a cheap layman trick to solve the problem; something I have to resort to, because I just don't know better. So thanks for telling me, that maybe I am not such a big noob. (I still am of course, but knowing that pros like Ken would not just LOL at everything what I try is comforting)
Video is fire good job man
Thanks as always for everything. This channel helps out so much.
I absolutely love the way you broke down limiting. It took me a while to figure it out, and I am always learning things when it comes to controlling dynamics. Out of curiosity, do you make use of transient designers a lot? Your drum/percussion mixes are super punchy and in-your-face aggressive, and I love it. I know a lot of that is solid use of compression, but even when I let some of the transient through my compressor for punch, I still fight hard to get them as punchy as yours (perhaps I'm using compression improperly for this). Another question I have for you pertains to managing bass in less than ideal spaces. I know you've touched on this before, but a lot of us are working in some less than ideal environments, and don't have a "perfect" listening environment. It's so easy to slaughter the relationship between kick and bass if we can't hear it properly. Other guys have some tricks to help with that (i.e. putting a finger on the rubber pad of the cone of your speaker to "feel" the groove of the bass, and how the kick interacts with it), but I'm willing to bet you've got some killer tricks up your sleeve, too. Muddy, bass heavy mixes are the bane of all of us new/intermediate level mixing/production folk, and I feel like a lot of that is the result of improper listening setups/environments. But we work with what we have. Thank you for all of these sessions. They've done a lot to help keep me sane during these crazy times. I hope you and yours are keeping well.
I use a modulation buss, so I can send out very controlled modulations, in desired volumes, compressed, clipped, distorted whatever.... same concept...try it. This includes stereo (!) modulation.
Wow, love it... I was seriously just thinking about this a few days ago & was wondering how I was going to go about doing it. You're a sound wizard and I appreciate it a ton!
Super
Great tips as always. Thank you, Ken! Could you show something about the song ICKTUMS? that one always striked me as a perfect example of huge dynamics in a electronic track. I'm curious to how the psychoacoustics got manipulated there.
Hi, ken. Long time fan. I've been playing instruments and recording for a long time now and want to get more serious. I still struggle with good mixes. I guess my question is:
Is there a place where the bass should sit, pads should sit, guitars, etc? I think my mixes are okay in headphones, but the car test proves otherwise. Even when I mixed with my Mackie monitors, it wasn't a great mix when in multiple car systems. So is there a sort of default place to start for all types of instruments or sounds? I do t have mo ey to invest in high end monitors. Tried reference headphones and didn't get good results either. Thanks man and keep rocking, dude.
I've got a question, What is your all time favorite Skinny Puppy track? And why?
VX gas attack! Duh! Lol jk I have too many to choose one! I have a question did Dwight goettel do the guitar work on vivi sect vi?
@@hunterdavis3003 funny you say that cuz if i had to pick only 1, vx gas attack is definitely the one id pick. Lol.
@@erichusayn great minds think alike!!!
Worlock is the best song in my opinion.
@@strik979 now is the only thing thats real....
Guys voice is insane ninja turtle leonardo vibe
Thanks for this Ken. But why introduce a limiter into the master bus, when this could be saved for mastering? In my case I'm using a hybrid system porting out 8 outs from the DAW into a 32 x 8 x 2 analog desk so it gets a little trickier to pre emphasize before the master fader...
But solid advice for sure!
This answers a question I have been wondering about for awhile! However it raises another: you only use a limiter on the master bus, no compressor?