Jun 18, 2005 04:54 pm wow...i just learned about....30 new things id never have tried before...or even learned about without reading this...where did you get this great find? and how many more are you holding out on us?
Jun 18, 2005 05:16 pm heh thanks....
someone posted it up at gearslutz.com and i figured i'd share....
i don't have many places saved here but i share when i find something that you guys here will dig...
Jun 18, 2005 10:32 pm anyone want to give a rough idea of what this is about? it will help bait people into clicking the link. this computer sucks so much that i have to close firefox tabs down in order to run acrobat.
Jun 19, 2005 03:15 pm a sampling:
Pensado breaks his low-end approach into
three components: The Last Octave (40-80
Hz), "where most other engineers don't
work;" the Next Almost True Octave (80-250
cycles), "where you really have to make the
mix stand out on small speakers to give the
impression of an enhanced low end;" and
the Top End-and-a-Half (250-800 cycles)," where most engineers start muddying things up."
He also strongly urges us to never simply turn up the overall bass EQ to get more low end. The secret is in
paying attention to which elements in a frequency range we're actually turning up.
"If we get too much 250 or too much 350, we're going to get that cardboard sort of muddy sound. I'll ask a
student, 'Wait, what are you EQ-ing? If you want more bass just take the fader up.' Now, when you turn it
up you've got some other frequencies you're interfering with, for instance in the vocals a bit. Just pull out a
little 600 or 1k and the bass is still fat and round, and it sounds natural and life is good again. As you do
that more and more, you'll acquire the skills of cutting and notching frequencies out of things instead of
adding more. That's the difference between a major league engineer and a minor leaguer."
Pensado follows the same "stereo logic" when using numerous instantiations of reverb plug-ins. "Instead of
panning it hard left/right at the returns, just open up several versions of [Digidesign] Reverb One with the
same preset open in each, then alter one or more slightly. Set one at hard left, pan the next one hard
right, and experiment with decay times and reflections and such. Now you've got a really great stereo
reverb, and when you pan and mix between them you create the definite perception of a really wide
He also suggests playing around with combinations of different manufacturer reverb plug-ins, adjusting
parameters like pre-delay amount, midrange decay time, and overall reverb times and using various
panning setups to create sweet panning effects.
"Every time you feed a percussive instrument into that setup you'll feel like it's panning left to right. Your
ear will pick up on even the most subtle differences if you EQ the returns a bit, which adds to the effect.
And back to the philosophical, now you're thinking in terms of making left and right unique rather than just
having them be the same thing."
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