Nope, not upward compression, you set the peak limiter to invert the bass whenever the kick hits...IIRs wrote:Thats a form of upward compression, and you're changing the subject!
<edit> in fact its a variation on the side-chain compression concept, but using "parallel" upward compression instead of the more conventional downward variety.
Mastering question
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- Banned
- 4073 posts since 15 Mar, 2004
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- KVRAF
- 6740 posts since 25 Mar, 2002 from sheffield, england
Well, (unless Ive forgotten the start of the thread) I believe he was trying to fit a bass guitar with a kich drum, and the two with a mix of guitars. That diagram is no use at all (whats the fundamental frequency of a bass drum then?)...xander wrote:As I said, it's just a suggested starting point for someone who is, after all, asking about a rather basic problem mixing instruments.
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- KVRAF
- 6740 posts since 25 Mar, 2002 from sheffield, england
It becomes a type of upward compression when you mix it back into the dry signal.....xander wrote: Nope, not upward compression, you set the peak limiter to invert the bass whenever the kick hits...
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- Banned
- 4073 posts since 15 Mar, 2004
You know it's all just so subjective. I mean, a kick can go all from around maybe 250 to 40Hz. You want a tight & high rock kick or a jazz 'thump' or a thunder-drone dub kick, etc...IIRs wrote:Well, (unless Ive forgotten the start of the thread) I believe he was trying to fit a bass guitar with a kich drum, and the two with a mix of guitars. That diagram is no use at all (whats the fundamental frequency of a bass drum then?)...xander wrote:As I said, it's just a suggested starting point for someone who is, after all, asking about a rather basic problem mixing instruments.
Also I'm trying to say that the freqs suggested in the chart are not absolute, but they give you a place to start. You then have a basis within which you can comfortably play - a general starting point -- with FREQ mind you, THEN you start to think about amplitude, multiband harmonic compression, peak limiting, etc..
Anyway, just trying to help but now it's 02:30 and I'm gettin a bit weary.
Just tryin to help -- no arguments here! I'm sure the OP appreciates all the good advice!
Cheers,
Alex
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- KVRAF
- 6740 posts since 25 Mar, 2002 from sheffield, england
I'm just trying to help too! I think its worth explaining that bass guitars have very important frequency content higher than 400Hz.. 
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- KVRist
- Topic Starter
- 195 posts since 31 Dec, 2004
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- KVRAF
- 2750 posts since 2 Feb, 2005 from Raincoast of Grayland
This is, however, all academic. Theoretically it's important to separate the kick and bass, however, in reality, it is rare to have the drummer kick the kick and bass player to pick the bass both at the same time. That can take years of practice to happen. And who these days has time for that? 
perception: the stuff reality is made of.
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- KVRist
- Topic Starter
- 195 posts since 31 Dec, 2004
mandolarian wrote:This is, however, all academic. Theoretically it's important to separate the kick and bass, however, in reality, it is rare to have the drummer kick the kick and bass player to pick the bass both at the same time. That can take years of practice to happen. And who these days has time for that?
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- KVRAF
- 6740 posts since 25 Mar, 2002 from sheffield, england
Your "mastering" settings did not improve matters!Todd24 wrote:Updated again with out multibanc mastering plug. Just limited.
I was all ready to critisize your mix, but I now realize most of the problems were caused by inappropriate multi-band compression.. what did you use, out of interest? Final Mix? Do you have a license for that thing?
I would suggest that you turn the bass down a bit, (if it was me I might add a touch of ducking compression keyed from the kick) and turn the snare up..
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electron translator electron translator https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=74301
- KVRer
- 13 posts since 8 Jul, 2005 from Laguna Niguel, CA
Something that helps me a lot is to throw a commercial CD on my system as a reference for mixing. "Kid A" is mixed and recorded wonderfully for electronic/rock. "Wildflowers" by Tom Petty takes the cake for acoustic/rock/blues. If I can mimic the sounds that have thousands of $'s in mixing and mastering behind them, then I get a nice reference sheet.
I've read countless interviews with producers and engineers who mention 30 minutes of listening to commercial cd's on your system, to every 3 hours of mixing/mastering. May not be realistic timewise, but you get the idea.
While it's good to have quality monitors, it's even better to KNOW those monitors. Once you're used to how your mixes sound on your monitors, in your car, on your buddy's surround, on a boombox, etc, then you'll spend less time correcting errors and more time making music. IMHO.
I've read countless interviews with producers and engineers who mention 30 minutes of listening to commercial cd's on your system, to every 3 hours of mixing/mastering. May not be realistic timewise, but you get the idea.
While it's good to have quality monitors, it's even better to KNOW those monitors. Once you're used to how your mixes sound on your monitors, in your car, on your buddy's surround, on a boombox, etc, then you'll spend less time correcting errors and more time making music. IMHO.
P4 3GHz HT - 1.5GB pc3200 DDR - 180GB HD's - ECHO Layla 3G - Traktion 2 - Logic Audio 5.5 - Alesis M1 MK2 Active monitors - Oktava MKL2500 & MK-319's - Shure 57's - AT ATM-41a - "The Mastering Lab" Mic Pre - Presonus TubePRE's (modded) - Win XP sp2