[Dream] Help with Levels please ?!

[Joao Vilaca]

some loss less compression type... i think...


On 7/7/07, Doofus McFluoro <doofus.mcfluoro at gmail.com> wrote:
> What the frack is FLAC?
>
> On 7/7/07, Mark <dream at primatesynthesis.com> wrote:
> > On 7/6/07, willow wisp put forth:
> > >Hi !      Its Ms. George....
> > >
> > >I was hoping that I could get some advice on how to properly level a
> > >song.  I think I've got the content, timing, etc. where I want it but
> > >I am adrift when it comes to knowing when the elements are properly
> > >leveled in the mix.
> >
> > If you are asking about how "loud" different sounds should be in
> > relationship to each other, then that is is not a matter of knowing
> > anything.  It's purely subjective.  It's entirely up to you and how
> > you want it to sound.
> >
> > >I've tried to follow guidelines from the web (kick the loudest, around
> > >-6db for headroom..viewed it with Waves Analyzer, etc.) but the rest
> > >is down to my as-of-yet-not-that-experienced ear!
> >
> > Looking at it in an analyzer isn't going to tell you much unless you
> > are trying to diagnose a specific problem -- the ear has much greater
> > resolution than the eye.
> >
> > My advice in mixing any type of music, is to start out with the
> > master faders potted down because that's where they will be when you
> > are finished.  Having to bring the master down as you mix, and
> > potting it up occasionally to check things, is OK, but people who are
> > new to mixing often start with the master at full volume which is a
> > sure source of ear fatigue.
> >
> > If you are using nearfields, it will have the effect of making reverb
> > sound louder.  Unless you are going for a special effect, try to set
> > reverb levels so that the reverb is most noticeable in its absence.
> >
> > If possible, use groups/buses to create submixes.  This way you can
> > set arrangements of sounds where groups of instruments and their
> > effects have their levels and panning adjusted in relationship to
> > each other.  For example, you can group all the synth lines, all the
> > high line, all the percussion, etc. together as separate submixes
> > such that their levels are each controlled by one pair of faders.
> > Doing this can also be a more effective or efficient way to use EQ or
> > compression.  Some people call this "stem mixing".  That way your
> > final mix is a matter of tweaking a small handful of levels rather
> > than trying to consider every individual element all at once.
> >
> > If you are making psy-trance these days, starting with the kick,
> > making it as loud as possible, then adding the bass, and doing the
> > same, is probably good advice as you won't be able to bring them up
> > later without clipping.  Although if you listen to early psy-trance,
> > such as the Pleiadians or something, you'll notice that wasn't always
> > the case.
> >
> > >Here is the song in question, a critique and opinion of the mix of
> > >course would rock, but even more authoritative references on how to
> > >develop an ear for mixing would be welcome...
> >
> > I would listen to it, but like most people, I don't have a player
> > that supports FLAC.
> >
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> >
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