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BTW, almost all well balanced mixes tend to have a downward curve with the bass end being a little higher. Well, depending on the analyzer of course, but most look that way.
Analyzers and meters are great because they let you learn to associate what you're hearing with real world numbers and measurements. Spectrum analyzers are good at teaching you which sounds occupy which frequencies. Level meters can teach you everything from relative loudness to the effects of dynamics manipulation. They're a great way to learn on your own.
Just remember that they are ancillary to music making process. They can better inform you what you're doing, but they shouldn't drive it. Don't try to mix your song to a certain RMS value, or make it look a certain way on a graph. When it SOUNDS right, those things will happen on their own
True about the downward curve being typical but my curves were more like a capital P on its side than a reasonable slope/curve.
And great point about it being analyzer dependent. It's also really dependent on the analyzer's sample size/time.
It's almost hard to admit now because I so agree about putting that stuff away and using your ears but I actively mixed to the analyzer for a couple of weeks (pulling up old projects after I noticed the reference mix difference the first time) and it really did help and definitely taught me a lot. It was the late 90s — I used The Bends (John Leckie), OK Computer (Nigel Godrich) and 10 Cent Wings (ok album, astounding Bob Clearmountain mix) as reference mixes for rock stuff and A Nation of Millions (PE/Hank Shocklee) and Stakes is High (De la/Tim Latham) for hip hop stuff. The sample size on the analyzer makes an even bigger difference with something generally sparse like hip hop where there's a lot of sonic space between hits.
So, I'm somewhat begrudgingly on board with using your eyes for a bit, as an educational tool anyway. Where it all falls apart is using them in common practice - the song is going to dictate what the analyzer looks like and if you spend a bunch of time trying to get the song your mixing to "look" like a different song with different goals and possibly different instrumentation/playing/room you're probably shooting yourself in the foot, ruining the mix in the process. The curves for Suffragette City and Under Pressure are going to be miles apart. Both great songs and both great mixes. Hell, Sound and Vision vs Heroes will probably show extreme differences — same artist, same producer, same engineer, same studio, same year. Great songs, great mixes.
I run regular tutorials on EQing, Compression, FX etc. Whilst this is a bit of a shameless plug if you subscribe to my blog at www.aaasounddesign.com you will recieve these tutorials straight to your email. What I have learnt through college, studio work and my own experiences is it is very easy to overcomplicate things. That is why I have written a rule of thumb series. There are certain Dos and don'ts to EQing and there are certain common practises that should be adhered to. There are no hard and fast rules, every mix is different but understanding each instrument and where it fits in the mix is what you should aspire to. spend time learning this information before blindly eqing instruments and it will save you time in the long run and your mixes will benefit
Thanks, I checked you out on @tonapps recommendation.
On the environment,
Know thy monitors, on ported speakers know the port's resonate frequency, check the manufacturers page for technical data. Or google LFSineTones, play them and watch your cones, watch the motion blur, the narrowing excursion will be the resonant frequency of your speaker port, report the track time to me and I will give you the frequency and the pitch that you are resonating at.
Another trick, a sock stuffed into the hole, thereby defeating some of the resonance and getting a better feel for the bass balance, but keep in mind you will create other distortions and alter other frequency responses, "don't wash the sock or you will destroy the vintage sound"
The listening environment is paramount, you can't mix what you can't hear. Here is a good tutorial on building your own room treatment that I followed some years ago.http://ethanwiner.com/basstrap.html you'll find blueprints and a parts list from which I was able to get almost all my materials from a Home Depot.
Does any one know of an upward expander on Ios?
Fabfilter Pro_MB and Pro-C in Auria.
Thanks gies, seems fabfilter is the only game in town?
@j_liljedahl I would like to see Aufx along the lines of expanders, compressors, gates and the like. Just a humble request and a subliminal implant. I really like that series of apps and use the eq and space quite a bit, they are lightweight, efficient, sound great and have a clean interface. What could be better? Essential to my workflow.
Mix With the Masters Q&A my personal favorites are the ones with Andrew Scheps and Manny Maroquin
Lost In Translation: Audio quality for streaming media great seminar from talks at google on digital mediums.
@Fitz said:
To be more specific to the previous answer, It sets sound stage, depth. 1ms per foot. See reverb
LISTEN. Listen. Listen dynamically !! Rules are there to be broken but what you have to do is to listen to what is coming out of those speakers. And I don't mean Beats headphones
Also, mixing is not mastering. You Master after Mixing.