Yendo Starritz

All About Music Production

Tag: SPATIAL

  • Example Put Element Back to Wall

    Yendo Starritz
    in

    1) No Pre Delay = You Want the Reverb Room Become Instantly Active 2) Immediate Attack = i.e. No Fade-In of Reverb as You Want the Reverb Room Become Instantly Active 3) Cut Highs in Reverb (HF Absorption) = Because Sounds Further Away have High Frequencies Absorbed More and More

  • Example Put Element to the Front

    Yendo Starritz
    in

    1) Pre Delay between 50ms to 80ms = You Want the Initial Vocal Transients Dry and the Reverb Room Come After that 2) Slow Attack = i.e. Fade-In the Reverb Slowly with the Initial Vocal Transients as You Want the Reverb Room Come After the Original Voice 3) Increase Highs in Reverb (No or Less…

  • Create ER and Tail Sends

    Yendo Starritz
    in

    General – Create Separate Early Reflections and Separate Tails – Basically a Near ER, Middle ER and Far (Rear) ER via Pre Delay – Pre Delay is Quasi the Time in between eh Initial Sound and the Start of the Delay (i.e. Early Reflections of the Delay) – Notice that ER Reverb Unit should be…

  • Spectral Management Mixing

    Yendo Starritz
    in

    General – Think About the Whole Range of the Spectrum from 20Hz to 20kHz – Slice it Up in a Way that Each Individual Instrument is Gonna Occupy Mostly One of those Frequency Bands – you Must Detect the Competing Instruments and Decide which One to Compromise or which One to Feature  – also Here…

  • Creating Depth 

    Yendo Starritz
    in

    General – Some Aspects to Create Depth in a Mix and how to Put Parts Occur on the Front or to the Back – Remember to Think about the Microphone Recording Distance, i.e. Record a Sound with Body (Close Mic Distance) or without Body (Far Mic Distance) – a Thunder is Much Closer if you…

  • Creating Space with Reverbs

    Yendo Starritz
    in

    General – it is Crucial to Listen if Something is Missing when you Turn the Reverb Off and if you are Able to Tell where the Reverb Sits – Focus on the Different Aspects a Reverb can give you – i.e. Try to Spot: a) Distance = Space Around the Instruments (Room) – or Performer…

  • Ambisonic

    Yendo Starritz
    in

    General W = Non-Directional Mono Component, Corresponding to the Output of an Omni Directional Microphone X, Y, Z = Directional Components in 3 Dimensions (Think of it as “3D M/S” or “3D Blumlein Microphone Array”) – it is Accurately Recording, Processing and Playing Back Sounds from Left/Right, Front/Back and Up/Down – thus Creating the Aural…