Tag: SPATIAL
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Mono Mixing
General – Mixing in Mono Helps Cleaning Up Masking and Balancing Levels (Especially Vocals / Bass / Drums) – It Mainly has to Do with Energy and the Fact that Even if you Listen to Mono, the Sound Comes from 2 Speakers which Gives you in Theory 2 Basses, 2 Kicks etc. – so when…
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LCR Effects Tips
General – the Idea is to have the Music in the Middle and the Effects on the Side Workflow 1) Make a Mix, Dry with as Little Masking as Possible and Collapse to Mono – i.e. Either Mix in Mono, LCR or Collapse the Stereo Mix to Mono 2) Use 2 Mono Reverbs Placed Very…
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Out of Phase Tricks
General – How to Play with Phase and Polarity of a Signal Inside “DMG Dualism” to Make it Appear “Outside the Speakers” – this Trick can Do Magic to the overall Mix Picture since you can Place a Sound exactly in a 360 Degree Stereo Field (when No Mono Compatibility is Required) – Important to…
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Space Perception
a) More Reverb = Farther Away, i.e. Less Direct Signal and More Diffusion b) Distant Sounds are Quieter c) More Distant = More Muffled, i.e. Less High Frequencies d) Further Away = Narrower Image
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Most important Reverb Parameters for Depth and Space
General Shape Pre Delay – Dettwiler Refers High Pre Delays to Keep Original Signal Clear (50ms to 80ms or Higher) Size ER / Diffusion
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Orchestra Reverb Far / Middle / Front
Preparation Routing 1) One IR Send with only ER and the correct Pre-Delay to build the Distance w Todd AO Room for Example (Tail Mix set to Zero) 2) One IR Send with only the Tail Mix adjusted to Material with Bricasti Concert Hall for Example (Pre-Delay set to Zero) 3) use as Pre-Fader to…
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Example Chain to Create Depth
1) Use Shape, Pre Delay and Size to Create the Basic Reverb Sound – i.e. Either Attach a Sound to the Wall, or Detached then you Hear it Close, or Somewhere in-between, but Always Without Losing the Force of the Wall (i.e. Wall is the Limit) 2) Compressor After Reverb to Control the Reverb Attack …