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What if it were logically organised?

Then it wouldn't be random...

Nessie wrote:-Use an EQ - Saturator chain on your drums (wish someone told me this a few years ago)

Good points, but do you do this on every track? Surely the saturator is more a of a creative element than a technical mixdown-making-good-sounding thing, no?

therapist wrote:This thread is stupid.

Good in theory, but actually terrible.

Please elaborate.

RmoniK wrote:

therapist wrote:This thread is stupid.

Good in theory, but actually terrible.

Please elaborate.

It started off really. There's some good stuff in here*. But a lot of these tips are really vague, completely subjective, have no context or are just illogical mix-wise. It is largely just a random list of the processing people have done on certain tracks with no mention of the style of music or the intended effect. I don't see how they are useful.

Yeah, there's a fine line between brain storming and a need of quality control.

*Bear in mind I hate everything and am too lazy to sift through all the crap to find the good bits.

therapist or the rapist?

Or both?

Rappone wrote:therapist or the rapist?

Or both?

Wow.. That's deep

I think he's right imo, techniques and process information is all good but if it sounds good, it sounds good !

Find a friend to produce with, when there is more than one person It usually sounds much better. More ideas in the air = much more fun.

RmoniK wrote:

Rappone wrote:therapist or the rapist?

Or both?

Wow.. That's deep

Deep indeed.

Send kick and snare to a aux, slap a reverb on there with full wet and just a few ms of decay time and small room size. Compress the fuck out of it with distortions in between to taste. Towards the end of the chain eq out low and high frequencies, make a subtle roll off from 700-800 as your low and 1500-3000 as the high. Mix that in very lightly and it makes things sound HUGE!! same can be done to anything really. I like to automate the send levels to excite things in a certain space at specific times in the mix.

Scarcellex wrote:Send kick and snare to a aux, slap a reverb on there with full wet and just a few ms of decay time and small room size. Compress the fuck out of it with distortions in between to taste. Towards the end of the chain eq out low and high frequencies, make a subtle roll off from 700-800 as your low and 1500-3000 as the high. Mix that in very lightly and it makes things sound HUGE!! same can be done to anything really. I like to automate the send levels to excite things in a certain space at specific times in the mix.

makes sense nice! I did something similar to kicks recently (not as EQ) focused and it sounded not only more chunky but the reverb made the drum sound more authentic / live

Motivation might be the number 1 thing.

you can get a noice shuffle using 1/4D or 1/8D (dotted) on hihats/shakers
adjust the the dry/wet to taste and ye
random tip but its all i can think of now and thats the point of this thread anyway right

the dry/wet of what...

RmoniK wrote:the dry/wet of what...

The delay plug in.

I always put dry/wet on max, send on unity and adjust the level of the reverb or delay with the return.
That way you can adjust levels on the dry and wet signal separately.

AxeD wrote:I always put dry/wet on max, send on unity and adjust the level of the reverb or delay with the return.
That way you can adjust levels on the dry and wet signal separately.

Best way innit, most flexibilty.

kaili wrote:you can get a noice shuffle using 1/4D or 1/8D (dotted) on hihats/shakers
adjust the the dry/wet to taste and ye
random tip but its all i can think of now and thats the point of this thread anyway right

good on bongos too, but i would usually use a bit less delay (assuming you are on about delay you bludclart). if you are doing this its sometimes good to knock the delay (in milliseconds) up or down slightly to get a even more exaggerated shuffly thing happening.

AxeD wrote:I always put dry/wet on max, send on unity and adjust the level of the reverb or delay with the return.
That way you can adjust levels on the dry and wet signal separately.

or keep the return at unity and adjust the send amount like a normal person??

Sinestepper wrote:

kaili wrote:you can get a noice shuffle using 1/4D or 1/8D (dotted) on hihats/shakers
adjust the the dry/wet to taste and ye
random tip but its all i can think of now and thats the point of this thread anyway right

good on bongos too, but i would usually use a bit less delay (assuming you are on about delay you bludclart). if you are doing this its sometimes good to knock the delay (in milliseconds) up or down slightly to get a even more exaggerated shuffly thing happening.

lol wuz high when i wrote tht didnt realise i didnt put delay haha