Lets talk about Multiband compression and other compression techniques, maximus, izotope, and other compressors


#21

i dont think thats ignorant at all. compression is far less important when you are building sounds mathematically with precise control over amp envelopes, phase, pitch, etc
you can shape your sounds as you build them and that will take care of 90% of the work you usually use compressors for.
they are good for fine tuning the envelope or when processes applied have biproducts that affect amplitude, but there is definitely far less need for compression when your sounds are synthesised.

i think bfk was referring to applying compression to the master mix of the track to try to repair mix mistakes. maybe i misunderstood though?


#22

I didn’t even read the OP, shame on me! lmao


#23

hahaha schoolboy error :rofl:


#24

Honestly, multiband processing is one of the most insane tools out there. Compression is just the tip of the iceberg of the multiband universe, and all of this is extremely beneficial for sound design.

Traditional mixing is completely different though, which I think you guys are mainly talking about above. That’s where shit can start to get weird with the overuse of multiband processing for sure, but sound sculpting is like worlds away from that IMO


#25

Yea you are right parricide I was mostly using maximus which is a multiband comp with stereo imaging to fix mixing mistakes on a track…tbh this happens a lot for me because I dont have anything to reference to compare my mixes…that and the headphones I use vary in quality…a combination of the two is what actually results in a lot of my mixes sounding bad…yea I should get monitors but with the stuff I make it’s not traditional music it’s more on the wierd esoteric side…sometimes I succeed in trying to push musical boundaries and find my own style and other times I dont…its a trial and error kind of thing…with each experiment…so thanks to all for going out of their way to help me develop my own musical voice… I documented everything so that others can learn from some of my musical trials and tribulations.


#26

i probably sound like an ignorant cunt when i say this, but heres my two cents on your monitoring issue.

if you dont use monitors because of budget reasons, i comlpetely get that and feel your pain. unfortunately some of us just have to make do with what weve got.
but if you choose to not use monitors because the music you make is on the wierd esoteric side then i urge you to reconcider.
IMO the music we make is made with intention. if we want it to sound like it was made without monitors we should use the best monitors we can get to ensure that it sounds exactly how we intended it.

i know that sounds weird, but the better the monitoring we have the more control over the output we have, even if we want it to sound “bad”.


#27

Nah…tbh I wouldn’t know where to start with monitors and also I would have to soundproof where I live as a courtesy to my neighbors of whom I do not expect to be interested in the wierd experimental music that I make…and the soundproofing thing is something that I’m totally ignorant on…but my guess is that soundproof would be beyond my budget…kinda saving for emergencies if you know what I mean and also I’m losing interest in making music hence why I haven’t pony’ed up the cash to buy monitors…also I only bought fl 20 after making music for free on a daw just because I had the expendable income to afford to buy it, even though it took me a while…i did eventually pay what I owed to image line so…


#28

Just get a good pair of headphones then. Use them all the time, listen to other music, listen to yours. You will learn their characteristics, it’s a great referencing tool. I personally do everything on phones and I don’t even own monitors lol. I’m all about convenience but that’s just me. I never settle in so it’s a problem. Also, reminder that people with tons of gear and best studio setup might still suck with music. Sometimes you can’t just feed money in and think it will make you a pro over night after some gear purchase, it’s all practice and trial & error.


#29

You can always get monitors and listen at lower levels.

I know it seems crazy, since we live in a time of loudness wars, but most things sound better at lower levels…

Just my 2 worthless cent


#30

you are correct, soundproofing is beyond most peoples budget. i dont know how much youve got but its safe to say its probably out of budget. imagine how much it costs to acoustically treat a room, then multiply that by fuck loads :rofl:

its sad to hear you are losing interest :frowning:

i agree with both _ms and TvMcC. using good headphones or monitors at low levels are both great solutions in your position.
just because you have monitors does not man you need to be loud. i have monitors that can go loud enough to make the neighbours murder me (especially where i live), but i dont think they have ever gone past half of what they ar capable of. it is far too loud for monitoring music anyway. the ideal monitoring is much quieter than people think.
i was chatting with the woman who lives next door to me, the only barrier is a thin, cheap wall, and she assumed i listen to rap. i had lived here for about a year by then and never listened to rap. i hate it, and my music is VERY different but she had no clue, even after recreational listening at high-ish levels (certainly far beyond what i would monitor at).

that said, i obviously do not know your situation the way you do, but if you have the money and you are willing to spend it to improve your production then monitors is one of the most important factors in the whole process.

that said #2, you said you did notice a difference after running the “mastering” process, so even if you really dont want to, or cant invest in monitoring, then (going back to the original topic) you can still return to the mix and repair mistakes there to the best of your ability with the equipment you have. after that you can always send your music to a mix/mastering house to be finished there.
when my first few tracks were signed i was working on shitty headphones from the worst quality equipment i have ever had, so i sent my music to somebody else to be mixed. it was painful to let somebody else mix my music, but i knew i was in no position to do it myself with my equipment. i did not have to do this until i knew a label was interested in a track, then i would send it to the guy i was working with and he would mix it so i only had to pay for that track to be mixed.
the problem with that is trying to promote your music while it is badly mixed. the mixing is 40% of the production. its very important at that stage to keep good communication with your mix engineer throughout the process. if you can be there, he/she will hate you, but be there, so you can control the mix in the ways you need to.

another option is to hire a studio. once everything is produced you can mix fairly cheaply in a studio. before you go in make sure you are happy 100% with production (do not change your mind once you are in) and bounce everything individually, then go in there with the sole purpose of mixing. you can be in and out in a couple of hours if you focus on the task at hand and only that. that can be expensive though unless you can find a cheap studio to rent.
hint, i found a college once that was renting out their space for cheap because it was a college, not a production studio. the cost was reduced massively, but there was not really anybody around if you needed anyone. they had all the gear i needed, but i was on my own. for me that was nice though :smiley: