My mixes are improving drastically with your help Joe. I’ve only released two songs, both recently, and they were ok but the two new singles I’m mixing now are sounding better to me after applying the tips I have received from watching your videos. I’m set to release a new song this Friday, and another song the following week. I’m joining your VIP membership at the gold level today, after seeing how much your experience can potentially help me make more and better sounding music. Thank you, I wish you all the great things in life 😊
So I developed my own frequency vocabulary for each bucket based on the audio at 13:30: (L) Far away car music, (LM) Neighbor's party, (M) lofi, (HM) elevator, (H) headphones off
Great video, Joe. Very useful information. I'm trying to finish the mix on the greatest song of my lifetime... it sounded great on headphones, awesome on my boombox. Then when I tried to listen to it on my Yamaha HS8s my vocal... probably the low mids sounded horrific. I moved the monitors away from my wall and the vocals got 60% better... more like in my cans. I ordered monitor stands and isolation stands, and now I will also try your mute idea. Thanks, Joe!
I often used the technique with a multiband compressor in my Adobe Audition (voiceover stuff) and alternately muting the bands, having come to this intuitively and always thought that this was some kind of stupid approach of an amateur. It turns out that even the pros do it. Wow! Greensleeves always sounds somehow cool. Although probably the guys from the UK roll their eyes at such moments, ha ha ha :D
Hi Joe ! I really enjoy your enthusiasm and helpful content. I was thinking, though ( dangerous ! )...Any single instrument can go through a large range of frequencies and each note can sound fine. One can then record any single instrument and there should be no need to EQ. When other instruments are added, their harmonics start interacting in a way which produces "mud", "ringing" or any other artifact we observe. Does it not then make sense not to EQ individual tracks but rather only the channels where the instruments are combined ( as this is where the unwanted effect "lives" ? )
Two things: first of all, you can avoid a lot of these overlaps and frequencies by choosing better instruments and parts to record. In other words, don’t record a bunch of muddy, sounding instruments on top of each other. Secondly, you are describing a little bit of what goes on inside of top down mixing, where you do a lot of the EQ on buses before moving onto individual tracks. Sometimes that’s exactly what I do.
@@HomeStudioCorner Side note : Because unwanted effects are the result of the interplay between two or more instruments ( ranging from amplification to cancellation ) then no single instrument can be pointed out as the "culprit"
And, when you nail it, it can be so tiresome. Being a live-soundengineer for over 25 yrs it sometimes drives me crazy. Example, I rented a holidayhome in France and the first day we were relaxing I heard my wife talking to me from the kitchen and this horrible 300Hz vibrated into the livingroom, had to restrain myself from putting the spare matras in the possible "trouble" corner. Walking into a Gothic church and getting goose-bumbs in my neck from a 160Hz standing wave. A live TV show where they can't get rid of some 500Hz build up. And so on. I have a hardtime "switching of" since I nailed it.
Your "hoot" was actually 200 Hz--G below middle C. 100 Hz is the G at the bottom of the bass clef staff that basses in a choir make, or the second string up on a cello.
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Multi-band on the mix buss?
what a great idea to train for frequencies!!! thx Joe.
The hairs on the back of my goosebumps stood up.
UR the Best
My mixes are improving drastically with your help Joe. I’ve only released two songs, both recently, and they were ok but the two new singles I’m mixing now are sounding better to me after applying the tips I have received from watching your videos. I’m set to release a new song this Friday, and another song the following week. I’m joining your VIP membership at the gold level today, after seeing how much your experience can potentially help me make more and better sounding music. Thank you, I wish you all the great things in life 😊
Rock on, man. Congrats on the releases. You were at the beginning stages of a great adventure. Excited to see you inside VIP.
this is some great stuff coming from a audio engineering graduate. good job dude
So I developed my own frequency vocabulary for each bucket based on the audio at 13:30:
(L) Far away car music, (LM) Neighbor's party, (M) lofi, (HM) elevator, (H) headphones off
Thanks for sharing this! 👍
You are intriguing💎
Great video, Joe. Very useful information. I'm trying to finish the mix on the greatest song of my lifetime... it sounded great on headphones, awesome on my boombox. Then when I tried to listen to it on my Yamaha HS8s my vocal... probably the low mids sounded horrific. I moved the monitors away from my wall and the vocals got 60% better... more like in my cans. I ordered monitor stands and isolation stands, and now I will also try your mute idea. Thanks, Joe!
I needed this explanation. I'm learning how to tame the muddiness in my voice (it's about 90% mud) for voice-over and video content. Thank you. :-D
Love the content Joe. Hope the website is fixed when I check again
I often used the technique with a multiband compressor in my Adobe Audition (voiceover stuff) and alternately muting the bands, having come to this intuitively and always thought that this was some kind of stupid approach of an amateur. It turns out that even the pros do it. Wow!
Greensleeves always sounds somehow cool. Although probably the guys from the UK roll their eyes at such moments, ha ha ha :D
Hi Joe ! I really enjoy your enthusiasm and helpful content. I was thinking, though ( dangerous ! )...Any single instrument can go through a large range of frequencies and each note can sound fine. One can then record any single instrument and there should be no need to EQ. When other instruments are added, their harmonics start interacting in a way which produces "mud", "ringing" or any other artifact we observe. Does it not then make sense not to EQ individual tracks but rather only the channels where the instruments are combined ( as this is where the unwanted effect "lives" ? )
Two things: first of all, you can avoid a lot of these overlaps and frequencies by choosing better instruments and parts to record. In other words, don’t record a bunch of muddy, sounding instruments on top of each other. Secondly, you are describing a little bit of what goes on inside of top down mixing, where you do a lot of the EQ on buses before moving onto individual tracks. Sometimes that’s exactly what I do.
@@HomeStudioCorner Side note : Because unwanted effects are the result of the interplay between two or more instruments ( ranging from amplification to cancellation ) then no single instrument can be pointed out as the "culprit"
I want a whole video with the Marvin the Martian voice. Ha ha! Thank you Joe!
And, when you nail it, it can be so tiresome. Being a live-soundengineer for over 25 yrs it sometimes drives me crazy.
Example, I rented a holidayhome in France and the first day we were relaxing I heard my wife talking to me from the kitchen and this horrible 300Hz vibrated into the livingroom, had to restrain myself from putting the spare matras in the possible "trouble" corner. Walking into a Gothic church and getting goose-bumbs in my neck from a 160Hz standing wave. A live TV show where they can't get rid of some 500Hz build up. And so on. I have a hardtime "switching of" since I nailed it.
Can you do a how to mix screaming or yelling vocals?
No, sorry not something I do
Your "hoot" was actually 200 Hz--G below middle C. 100 Hz is the G at the bottom of the bass clef staff that basses in a choir make, or the second string up on a cello.
😂
You ought to make a game called frequency sniper. But they already have something called quiz tones, its just not as fun