In that case it does sound like mutliband compression is what you're
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On Tue, Sep 10, 2013 at 8:58 PM, Brent Busby wrote:
> On Wed, 11 Sep 2013, Ralf Mardorf wrote:
Commerically recorded music is criminally overcompressed, BTW, so I
wouldn't use that as a measure of quality--unless you're trying to be the
next pop star and/or appeal to prematurely deaf 12 year olds. The rest of
us appreciate dynamics.
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On Tue, Sep 10, 2013 at 8:58 PM, Brent Busby <=
On Wed, 11 Sep 2013, Ralf =
On Tue, 2013-09-10 at 21:38 +0000, Fons Adriaensen wrote:
MS is not a 'fashion mixing technique'.
MS for microphony makes sense and I didn't call this a 'fashion mix=
ing technique', I was talking about "mid/side EQ". I never he=
ard the term "mid/side EQ" before and I've got doubts, that i=
t's a useful mixing technique.
For all the appreciated criticisms of M/S EQ, I'm really just starting =
to learn about mastering, so I'm trying lots of things. =C2=A0Up until =
lately, my mixes have been simple enough that it hasn't been that diffi=
cult to get them to translate across different speaker systems, but lately,=
I have been creating some very complicated mixes that are offering me an o=
pportunity to expand my mastering knowledge. =C2=A0So I'm experimenting=
...and learning a lot of things that are new to me.
One of the things I've been disovering is that actually, the EQ that so=
unds right to me doesn't seem to be the problem. =C2=A0I've found t=
hat there are commercial mixes out there that are both colder than mine, an=
d some from the 70's that are warmer than mine, and they all translate =
somehow. =C2=A0So EQ curve is probably not the problem either way. =C2=A0It=
seems more related to compression and limiting -- my newer mixes have lots=
of transients all over the place, which sound great on speakers that rende=
r them well.
But some stereos seem to have woofers/subwoofers that only get engaged when=
there's a fair amount of power, which means that if you don't turn=
the volume up, it creates the impression that the EQ is mostly high mids a=
nd treble. =C2=A0If you turn up the volume, the "problem" disappe=
ars as the woofers begin to engage. =C2=A0Commercially recorded music doesn=
't do this on the same stereo. =C2=A0On other speaker systems, my mix n=
ever manifests a problem at any volume setting. =C2=A0This all seems to be =
I am already using some compression and limiting, but obviously I haven'=
;t nailed it yet. =C2=A0I'm wondering if the Calf multiband limiter and=
/or multiband compressor may be useful here. =C2=A0Obviously, I don't w=
ant to squash the life out of my mix, but I do want to get its transients t=
amed enough that they'll survive playback across lots of kinds of speak=
In that case it does sound like =
mutliband compression is what you're looking for. You should definitely=
at least try Jamin, the idea is that it includes everything you need for m=
astering. *However*, this only applies if you're stuck with a stereo &#=
39;print'. If you have access to the pre-mix, better results will be ob=
tained by applying compression/limiting or other remedies to the problem in=
struments on an individual basis.
Commerically recorded music is criminally overcompressed, BTW, so I wou=
ldn't use that as a measure of quality--unless you're trying to be =
the next pop star and/or appeal to prematurely deaf 12 year olds. The rest =
of us appreciate dynamics.