Voidloss, what u say sounds very true !
i thought that most of percussive and mid high lead sounds could benefit from radical low cutting in the mix as the lows should be reserved for bass and kick (talking about trance natured music)
but than again that was what some people in some other forums told me and it seemed to work for me
but if u sugest using more subtile methods would bring an even better result iam going to try that since i trust alot in ur experience
tnx for ur explanations Voidloss!, thats what i really apreciate
(much mor that the simple hammering bones style bashing ^^)
Lowcut Filter on mixer conclusionModerators: Christophe, Mark
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Lowcut Filter on mixer conclusionWell, I`m not saying never use low cut, it definitely has it`s uses, what I am saying is that it shouldn`t be something you use as a default.
Rules are there to be bent and broken, however understanding why the "rules" are there allows you to break them more.... creatively and usefully. However, you will notice your mixes sounding fuler and more "natural" of you EQ by choice of sound, as well as the actual sound sculpturing process of EQ. Experiment, don`t just take my word for it. And no probs, knowledge better if it is shared. Last edited by voidloss on Mon Jul 27, 2009 11:48 am, edited 1 time in total.
Lowcut Filter on mixer conclusionyeah i know that Eq'ing is all about listening and i did understand that there is nothing to be used as defoult.
i will experiment, and use those low mid eq more frequently by now cheers mate
Lowcut Filter on mixer conclusionWell some of this makes sense, but on the other hand different types of music may require different production techniques.
The music I do is all about the drums and deep bass. So there is a lot of things happening between 40 to 300 Hz that need to be seperated in the mix and a low shelf filter with a fixed 80 Hz filter frequency is in many cases not the best choice for that task. Bones wrote.
I don't have that impression.
Off course I could use destructive offline processing in Audition or similar programs. But isn't that exactly what you always moan about in these discussions about bouncing down audio and describe it as bad work flow? Last edited by T-Breaks on Mon Jul 27, 2009 4:47 pm, edited 1 time in total.
Lowcut Filter on mixer conclusion
Not really, a sound production ethic is a sound production ethic. IF you have the right mindset it matters not what genre you are producing. You don`t get well known producers such as flood making excuses about genre differences. I produce and release dubstep, arguably the most bassy of dance sub genres, and with good production skills and sound choices you really don`t need to go heavy on the EQ cuts, mostly. The only time I really need to cut stuff heavily in genres such as drum and bass, breaks and dubstep, is when I am mixing and mastering for other people and they have made bad sound choices, so I end up having to be surgical with the EQ. With the 80hz cut, which has a reasonably broad Q I think you do cut a lot of energy, and then the low mid goes down to 45hz you can then always plug in a low pass filter, or use the Orion parametric EQ plug in. I don`t see that much need to tinker with the GUI really it`s hardly a major need. I`d rather improve my production skills so that I don`t need to butcher sounds personally
Lowcut Filter on mixer conclusion
A synth line that shoudll normally be constructed to fit it's part in the mix. It has dozens, sometimes hundreds of parameters to allow you to sculpt it into the exact shape it needs to fit in. OTOH, things like kicks and even snares tend to be the basic building blocks around which you sculpt the rest of your mix. So it's a matter of working out where you need flexibility and where it is just making more work for you. That said, I would never want to freeze a DrumRack, because it has useful parameters that I might need at any time to tweak a kick or snare to get it to accommodate something else that becomes more important or that needs a specific space. An example might be a distorted 909 kick sound, as we use on DEADinside on our last album. I could very easily have kept the XR909 in the song, with the distortion on th it just so I could tweak it through the mix to keep it working but the reality was that rendering it out and bringing back into a DrumRack actually gave me more flexibility, so that's what I did. Shoot me if I ever use Tomcat, but if I did I would use it in a session where I just got some sounds from it and rendered them to .wav to put into a DrumRack. It just works better. Too many options can be every bit as limiting as to few. it's about finding what matter s and what doesn't, and putting Low Cut Filter on hi-hats simply doesn't, as teh low content is so minimal that EQ will take care of it effectively. I don't agree with voidloss's point about soudning natural, unless you are working with real instruments. A synth does not have a natural sound, it is synthetic, so I don't see any merit in working methods designed to keep sounds natural, although he is right about the possible outcomes. Of course, if you are using a lot of samples of real instruments, and you want them to sound natural, it definitely becomes relevant. Dell G7 (Hexa-Core i7)|Cubase Pro 10||Analog Keys|Ultranova|MicroMonsta|Uno|Skulpt|Craft Synth 2.0|
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Lowcut Filter on mixer conclusionIt has nothing to do with a synth sounding natural in real world terms.
It is merely a word that I used that means naturally fitting into the mix. If a mix sounds wrong it sounds wrong, and hence unnatural to the ear, regardless if it is full of flutes and harps, or cheesy distorted synth lines.
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