Hi Doug. Thanks for your comments. All the work is done on my PC, from start to finish. I use Adobe Sound Booth for mastering - it has some great finishing tools including a fab reverb, compressor/limiter and stereo enhancement. Most of the instruments are recorded 'dry' as most bundled fx within VST instruments are pretty poor - with the exception of the Pro-verb included in Omnisphere - but that uses a ton of processor power and is practically useless once you've got more than half a dozen tracks recorded. Of course, any limitations can be overcome by upgrading procesor and memory, so that's going to have to be the next thing to spend money on - Widows Vista, another 2 Gig of memory and a dual core processor - bah, it never ends! :-)
Oh ok I understand what you are doing now. That is actually the opposite of what I was talking about. Do me a favor and try this...
Instead of rolling off the frequencies for the bass above the 300hz, roll off the frequencies below that. If I am right, you are actually cutting off overtones that are essential for the beefy sound and maybe that's why it doesn't sound right. Roll off frequencies below 30hz. Even though in theory we can't hear below 20hz haha and it helps your speakers because they probably can't reproduce them anyway! Your ear can't hear the overtones very well but it can still pick them up whether you notice it or not and it will let you know that something doesn't sound right. You can still carve your mix but let those frequencies come through a bit. Let me know how it works out for you?
ha yeah sorry about that :-/
basically it means roll off the low frequencies with an EQ that we dont hear anyway and it will lighten up the mix- "relieve pressure"
as for hearing basses good here and bad there, all I can tell you that low frequencies are not directional as high frequencies there for they shoot out in all directions and also need a longer distance to complete a full wave length compared to high ones. My suggestion is again the resonant shelf, and how about trying to EQ the bass while listening to everything else at the same time. The bass might sound bad by itself but in the end its not going to be listened to by itself, so long as it sounds great with everything else. :D AND try listening to your stuff with other mediums too not just small speakers like example your: car, headphones, big stereo, etc. It gives you a better understanding of where you're at with the mix.
Hi Doug,
Sorry it took me so long to get back at you on this, I had to find the time to sit down with my notes so I can give you my best answer ha. I am assuming you are asking from a mastering point of view, so that's the way I will answer.. Keep in mind there is no right or wrong way, or at least that is how I was thought. This subject was covered by 3 different teachers out in the field right now, and they all had different point of views, so Ill give you what I took from that.
When compressing, again no right or wrong answer, that's really up to you. Most mastering engineers though tend to say "less is more" meaning a good recording shouldn't need to be fixed- especially when its already being mastered. The purpose of the compression is to get a good tight sound all together, for it to be more coherent if you will. Its at your discretion. Don’t over compress though, the meter on the plug-in will be really bouncy which should give it away that you did over compress. I am sure you know that classical music calls for dynamic range. Over compressing will make quiet passages too noisy and their wont be too much of a difference between the loud parts and soft parts. As for the “loudness wars”- BAD IDEA! ALL they’re doing is squashing the signal then pushing it up as high as they can to be the loudest, which in turn makes everything sound the same and makes the listener grow tired of it very quickly.. Very, very quickly. I forgot what band it was, I want to say it was Metallica, but they did just that and many of their fans said they didn’t like their album and they couldn’t explain why, the reason was that they didn’t leave much room for the dynamic range so the ear was taking a constant beating from the beginning. Kind of like when you hear a really loud alarm. Enough said. Haha
As for multi-band compression, I don’t know too much about, so I wouldn’t feel comfortable answering that. I have used it before but still not too comfortable with it, I am sorry.
In mastering, I don’t see the need to be compressing the bass by itself, because by then it should just be a stereo mix. Unless you are talking about EQ…? Have you heard of the “Resonant Shelf”? That is when you lower the bass in an EQ to push pressure up and relieve it. Think like a balloon when you squeeze the bottom and the pressure moves up. Most speakers can’t reproduce those low frequencies, and could be damaging when you later play it through some subwoofers. Keep in mind as well, that a lot of bass will make your highs seem dull, and reducing it will make your mix brighter.
Well I hope this kind of, sort of helped you out or answered your questions, maybe? :] If not, let me know and I will find someone who can!
This is really good man. (of course I know what kick ass means...I'm an old fart just like you...lol) ...I,ve been busy as hell so I haven't got a chance to write.....Drums and bass feel very clean..sounds much better...very professional.....did you add more guitar riffs...I notice the new production...I like this one much better.. one minor opinion......I think you can introduce the first riff a couple of measures earlier....circa 0.57 you modify the initial motive to legato....before 1:12...you you can probably reduce it by one measure or maybe even before 0:.57 in the staccato...it will get you to the first riff quicker and it will should the tune a cleaner and direct impetus...give it a try...see what happens...
I loaded a picture of Nick Kapustin onto photos a few days ago. Here is a youtube of him performing; enjoy.
> http://www.youtube.com/watch?v=2Xht5tUg3K8 <<br />
FZ
Doug I like where Osaka is going, a lot. Very interesting and very listen-able.
What happens if you spread out the intervals a little keeping the rhythm the same, ascending: e a d g c f/ descending: e b f# c# g# d# ?
And then, under the ascending notes two chords also built in 4ths, first (spelled from the bottom up) D-G-C and C-F-Bb/ the descending sequence accompanied by two chords, E-A-D and C# F# B.
Also, you might want to changing a few notes and look at running the ascending and descending sequences concomitantly, providing a little contrary motion that references the slow movement of Beethoven Rosamowsky quartet #1
This is very good work, Doug. I look forward to hearing much more, cutting a CD for my car and having some really fine traveling music.
Well... I did get an A in Mastering Theory and the Mastering Lab haha but im sure its stuff you already know. I can definitely try to answer any questions, if not, I am around tons of people in the industry every day so I can easily find the answer. :)
I like the main melody/theme of Osaka Suite. I do, however, think that the composition could have more depth. For instance, you might experiment with additional instruments for the short keyboard intro and more harmony/instrumentation to augment the guitar theme.
I love guitar, and lately it seems that I'm loving it more. Thanks for sharing your music.
Hello Doug. I've just listen you new version of Osaka. Really good!!! With all live sound instruments you have beautiful result!! Thank you for your message. Write me. Sergiy.
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May I ask you listen to "American Songs", now lurking on my home page.
Thanks
Fred
Will post a String Quartet soon.
I think I need more time to browse through your website - so much:-)
Instead of rolling off the frequencies for the bass above the 300hz, roll off the frequencies below that. If I am right, you are actually cutting off overtones that are essential for the beefy sound and maybe that's why it doesn't sound right. Roll off frequencies below 30hz. Even though in theory we can't hear below 20hz haha and it helps your speakers because they probably can't reproduce them anyway! Your ear can't hear the overtones very well but it can still pick them up whether you notice it or not and it will let you know that something doesn't sound right. You can still carve your mix but let those frequencies come through a bit. Let me know how it works out for you?
basically it means roll off the low frequencies with an EQ that we dont hear anyway and it will lighten up the mix- "relieve pressure"
as for hearing basses good here and bad there, all I can tell you that low frequencies are not directional as high frequencies there for they shoot out in all directions and also need a longer distance to complete a full wave length compared to high ones. My suggestion is again the resonant shelf, and how about trying to EQ the bass while listening to everything else at the same time. The bass might sound bad by itself but in the end its not going to be listened to by itself, so long as it sounds great with everything else. :D AND try listening to your stuff with other mediums too not just small speakers like example your: car, headphones, big stereo, etc. It gives you a better understanding of where you're at with the mix.
Sorry it took me so long to get back at you on this, I had to find the time to sit down with my notes so I can give you my best answer ha. I am assuming you are asking from a mastering point of view, so that's the way I will answer.. Keep in mind there is no right or wrong way, or at least that is how I was thought. This subject was covered by 3 different teachers out in the field right now, and they all had different point of views, so Ill give you what I took from that.
When compressing, again no right or wrong answer, that's really up to you. Most mastering engineers though tend to say "less is more" meaning a good recording shouldn't need to be fixed- especially when its already being mastered. The purpose of the compression is to get a good tight sound all together, for it to be more coherent if you will. Its at your discretion. Don’t over compress though, the meter on the plug-in will be really bouncy which should give it away that you did over compress. I am sure you know that classical music calls for dynamic range. Over compressing will make quiet passages too noisy and their wont be too much of a difference between the loud parts and soft parts. As for the “loudness wars”- BAD IDEA! ALL they’re doing is squashing the signal then pushing it up as high as they can to be the loudest, which in turn makes everything sound the same and makes the listener grow tired of it very quickly.. Very, very quickly. I forgot what band it was, I want to say it was Metallica, but they did just that and many of their fans said they didn’t like their album and they couldn’t explain why, the reason was that they didn’t leave much room for the dynamic range so the ear was taking a constant beating from the beginning. Kind of like when you hear a really loud alarm. Enough said. Haha
As for multi-band compression, I don’t know too much about, so I wouldn’t feel comfortable answering that. I have used it before but still not too comfortable with it, I am sorry.
In mastering, I don’t see the need to be compressing the bass by itself, because by then it should just be a stereo mix. Unless you are talking about EQ…? Have you heard of the “Resonant Shelf”? That is when you lower the bass in an EQ to push pressure up and relieve it. Think like a balloon when you squeeze the bottom and the pressure moves up. Most speakers can’t reproduce those low frequencies, and could be damaging when you later play it through some subwoofers. Keep in mind as well, that a lot of bass will make your highs seem dull, and reducing it will make your mix brighter.
Well I hope this kind of, sort of helped you out or answered your questions, maybe? :] If not, let me know and I will find someone who can!
I loaded a picture of Nick Kapustin onto photos a few days ago. Here is a youtube of him performing; enjoy.
> http://www.youtube.com/watch?v=2Xht5tUg3K8 <<br />
FZ
What happens if you spread out the intervals a little keeping the rhythm the same, ascending: e a d g c f/ descending: e b f# c# g# d# ?
And then, under the ascending notes two chords also built in 4ths, first (spelled from the bottom up) D-G-C and C-F-Bb/ the descending sequence accompanied by two chords, E-A-D and C# F# B.
Also, you might want to changing a few notes and look at running the ascending and descending sequences concomitantly, providing a little contrary motion that references the slow movement of Beethoven Rosamowsky quartet #1
This is very good work, Doug. I look forward to hearing much more, cutting a CD for my car and having some really fine traveling music.
I like the main melody/theme of Osaka Suite. I do, however, think that the composition could have more depth. For instance, you might experiment with additional instruments for the short keyboard intro and more harmony/instrumentation to augment the guitar theme.
I love guitar, and lately it seems that I'm loving it more. Thanks for sharing your music.
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