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![]() The main tools for crafting the dynamics are compressors and limiters. Of course those are the typical genre-based occasions, sometimes breaking the rules could lead to something great. Jazz music has different needs in this field from electronic music and progressive rock needs more dynamics than a heavy metal song. There are a lot of parameters to check like the genre also. The last years there is a trend to less and less dynamics and this is something to consider as well. So the whole thing about the dynamic balance of the track is to find the sweet spot where it will not be flat and in the same moment we will not have to play with the volume know while listening to the track. The latter leads to a track that while we can listen to the parts with the highest amplitude when it goes lower in volume it is hard to listen to anything so we have to turn the volume knob up - then when the higher volume comes again we have to turn the volume down now. Also while overcompressing stuff and the sound is flat - something with negative impact and fatiguing result - the same goes when the mix has a vast amout of dynamic range in dB. ![]() There are also rules here regarding to the genre we mix. The higher the difference the more dynamic the song is while the lower the difference the less dynamic ( aka flat dynamics) the song is. Dynamic range is the difference between the loudest and softest sounds, or the difference between the highest and lowest volume levels. So equing is a very dynamical aspect and also it has a vast field of artistic touch and experimentation - always within some rules that exist.ĭynamics in audio is the way that sound changes over time. Eqing one instrument individually, may sound great for it as its own but in the whole project it may not sound proper. We have to be more precise and now we have to take our decisions always in relation with all the other instruments. Using equalizer while mixing is a different approach. Although we could also add some coloration coming from software even while recording.Īlso the microphones are coloring the incoming signal with their own way that is different for each one. Today within the digital domain it could be very ease to record neutral without extra character of hardware stuff. While recording through console each instrument carries the coloration that the console gives with its electronic components. Digital clean ones, emulation of hardware units with extra coloration and of course the hardware units. The most important tool for this step is the equailizer - there are many types of EQ. All the instruments have their own characteristics within the frequency domain so they need their unique manipulation. It is crucial for a professional mix to give each instrument the color it deserves. My main genres are rock, progressive rock, metal, cinematic, electronic music, folk and pop. In my core of mixing procedure I mostly mix ITB to get the precision I need and I combine it with some analog hardware goodies to add coloration and interesting sonic characteristics to the mix. Whatever the method for mixing or whichever tools a sound engineer uses has no importance - the only important thing is the final result. I have been through many sound mixing processes, including analog, digital and software-based mixing. I am a sound engineer and I have been working in this field for over 5 years. These tools can include equalizers, compressors, limiting devices, and other effects hardware or software. While audio mixing may be a simple concept at its core, there are many different techniques and tools that can be used to create a final mix. The art and science of audio mixing has evolved over decades through technological advances in sound recording and reproduction equipment as well as changes in musical styles. ![]() Audio mixing is the process of combining multiple audio signals to produce a final stereo sound mix. ![]()
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