May 15, 2006 09:01 pm Which is the new ones? I think I have already listened to couple of these.
Guitar Tone and Limiting
Posted on May 15, 2006 01:02 am
StinkyRyan
I can't spell.
Member Since: Nov 10, 2005
My band's newest recordings are up:
www.myspace.com/donbrasi
I'm not to happy with the guitar at all, namely the palm muted parts are lost with the bass. Not to mention I think I over limited with Har-Bal, I think that's whats causing the back and forth sound. Any input and suggestions would be appreciated.
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May 15, 2006 09:01 pm Which is the new ones? I think I have already listened to couple of these.
May 15, 2006 11:33 pm The top two are, I just reposted them again after playing with the eq on the guitars and bringing down the limiter on Har-Bal, but I think it might be the recording on the guitar and for the back and forth thing I have no clue where to start.
May 16, 2006 01:08 am You're having a problem with pumping due to compression issues. Remember, limiting is EXTREME compression. Its better to do hardcore limiting when tracking,.. rather than at the mastering stage. Extreme limiting and compression takes away the stereo image and changes distance perception from verbs and delays. When you mixdown or master an entire mix, don't go more extreme than a 4:1 ratio if possible. Especially with heavy stuff like this. See,.. if the attack times are not set low, the low frequency program material, like the bass drum and bass guitar, will tag-team the entire mix and suck the guitar out with it..... it has an especially detrimental affect on stuff that has bite, like guitar attack and agressive vocal entrances. Thats what that pillowey fading sound is. The compression is adhereing to the low frequency material and it sounds like the release is either set slightly before or somewhat after the attack time. I presume the Har-Bal is being used fof final touches and mastering. Either way, the Har-Bal has a combination of the Threshold, Attack, Release, and or Ratio turned up too high..... Or, and this could be a combination of compression/limiting problems at the tracking and mixing/mastering stage....When tracking or mixing down, instruments like the Kick Drum and/or bass guitar were compressed with the Attack and Release settings set too high. If those tracks are printed that way, you'll have to live with them. Either way, the Attack needs to be set to approximately .5 to 15 milliseconds (roughly 1 or 2 notches to turned to the right from all the way down, and just barely on). The Release needs to be set slightly after that. Then set the ratio to about 4.5 to 1 .. Then gradually turn up the threshold until you get to the point of slight distortion then back that down a touch. Then bring the ratio knob down closer to 4 to 1 or 3.5 to 1 and simply bring up the gain a bit. That will yield the best sound I believe. Do all this while listening to the parts in question in a loop. I hope this wasn't TOO confusing and I'm not sure what you're able to adjust in Har-Bal program since my ser # expired on it. I've only used Har-Bal once .... good luck
May 16, 2006 01:16 am AS a matter of fact, I can tie almost all the problem with the bass drum compression. Good Luck
May 16, 2006 02:28 pm I honestly used no compression on any instrument while tracking and mixing. I find I know too little about it to use in recordings than it is worth. I practice with it, but don't publish any tracks which I've tested it on. I'm assuming at the moment that this is a mixture of the guitar containing too much low end, and Har-Bal over limiting.
May 16, 2006 05:04 pm In that case, yes ...its the Har Bal and too many instruments sharing the same frequencies in the mix to begin with. Its much easier to "place" things in the mix if when in "pre-production", you give some thought to getting the instruments to have their own sound that doesn't stomp on the others... I know its a lot to think about, and now you can see why there are so many schools on audio production....There really is a lot to know. I consider it audio science. I recorded a band last year that had a bass player, keyboard player, drummer, lead singer, and two guitarists. The guitarists and keys INSISTED on keeping their sound even after I warned them that all these instruments with the same low-mid woffy sound will create drop outs in the mix. Also, I had a limited mic selection since it was location recording. I mixed my tail off for a week on ONE song trying to get the parts to settle into a feasible , full-range frequency spectrum. After all that effort, I was still unable to achieve exellency. Yeah, kill the Har-Bal somewhat or all together and take heed to what I said about giving each part its own frequency realm. Next time around, you'll find things going much smoother. Oh yeah, as you get to know more about compression, ther will come a point where it totally hits you exactly what is going on and it will become a VERY useful tool. Until then, use it sparingly or for FX.
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