CHRISI put a new song in my music website: “Heard My Call” is the song on top, it has Superior Drummer 2 and Rock Solid EZX drums. Please tell me how you like the music, and how it can be improved, and I can return the favor if you wish (leave me a link). Here is my link:
https://www.soundclick.com/artist/default.cfm?bandID=224436
https://www.soundclick.com/aaronaardvark
Cubase 10.5, iMac OSX 10.15.7, memory 8GB, Steinberg UR22 mkII interface
Bear-Faced CowGood song… also listened to “Hey, What you Tryin’ To Do” (liked it a bit better for some reason – not saying the other is bad).
Noticed the usual things I often mention to you, which again are pretty much characteristic of mixing loud with headphones.
jord
CHRISBear-Faced Cow,
Thank you for listening and commenting, I appreciate it! I thought of this weeks ago, though I didn’t want to seem too defensive in the other thread: if I listen to my music with headphones at a pretty consistent volume every time, does that effectively eliminate the Fletcher Munson effect, at least for me? For example: if I listen to my music at a lower volume while mixing, and the bass frequencies seem lacking, am I not more likely to turn up the bass frequencies to compensate for that? And then when I listen to it at more normal volume (for me), then it will be too bassy? Or perhaps you will say I got it bass ackwards? Don’t worry, I won’t be offended if you elaborate on this more.
https://www.soundclick.com/aaronaardvark
Cubase 10.5, iMac OSX 10.15.7, memory 8GB, Steinberg UR22 mkII interface
Bear-Faced CowTrust me, I’ve had the same issues in the past.
The Reader’s Digest version of the Fletcher Munson effect is that the ear is a natural compressor and as the volume gets louder, certain frequencies get more compressed, particularly in the midrange regions. As a result, our brains tend to compensate for this. This will product misleading results at higher volumes. There’s far more to this and you can get a grasp of it here: https://ehomerecordingstudio.com/fletcher-munson-curve/
If you mix at a low volume through your headphones, you will have an improved sense of your mix as your ears and mind will be allowing more frequencies to pass without compressing them. You’ll also spare your hearing (that’s the last thing you want to lose!). You also need to be able to trust what your hearing through your headphones by listening to your favourite songs through them and use them as references. This is important because once you understand how they’re sounding, and you shape your mixes accordingly, then your mixes will translate everywhere just as they would.
If you mix sounds good at a low volume, it should sound just as good at a higher non-damaging volume.
A friend of mine, who happens to be a grammy-winning engineer (mixed a couple of my fave Van Halen albums), bestowed on me his trick: his secret to a better bass was to set the bass level at the low volume and then pull the master fader down really low and adjust so that he could hear the bass with the rest of the song.
All I can say is try it. It works for me, and I’m spending more time in my headphones these days because my wife hates the repetitive nature of mixing. I might make her a widow because of it someday… LOL!
jord
Bear-Faced CowAnd just like everything I post… my opinions along with a couple of bucks are worth a coffee and a donut.
jord
CHRISAs Homer Simpson would say, “Darn brain!” I read the article, though he said to mix it pretty loud! And I’ve noticed my hearing/brain is not consistent from day to day either. Whatever I have recorded most recently, I have that it rather loud, because I want to clearly hear it to make sure it’s OK. And then over the course of a few days, I keep having to turn that track down lower and lower, until it sounds OK, over time. Van Halen is one of my favorite bands, Eddie is my favorite musician. I played at Gazzarri’s in West Hollywood in 1984 in a (mostly) cover band. Van Halen used to play there a lot before they became famous; they even played there after they were famous. A friend of mine saw Van Halen play at a backyard party in Pasadena, CA way before they became famous. I lived in Glendora, CA from 1971 to 1987: bassist Michael Anthony lived there a long time. I have a friend that is a pilot, used to make money doing aerial photography; took pictures of Michael Anthony’s house in Glendora; lived in a gated area. One day, I tagged along with my friend in his truck; we drove to Michael Anthony’s house (roughly 30 years ago), it looked a bit like a castle when I saw it. My friend said to stay in his truck & not talk to Michael; who was in the front yard. While they talked, Michael’s good-looking blonde wife came outside & smiled at me. One day, I was eating lunch at Burger Continental (a Greek restaurant) in Pasadena (roughly 20 years ago). My wife later noticed David Lee Roth showed up, by himself. So I walk up to Roth, and said, “Hey,Dave!” He slowly looked up & clearly wasn’t thrilled to see me. I asked him about playing at Gazzarri’s. He put up with me for a minute, then he said, “Well, good luck to you!” I took the hint & left him alone after that. He was all chatty with the waitresses though, what a surprise! A female coworker of mine lived in Pasadena; she ran into Roth at a grocery store & he was totally hitting on her; she wasn’t interested. My dental hygienist had a female friend that was driving on the freeway, and a big limo pulls up to the side of her car. David Lee Roth rolls down the window & hangs out the window, hitting on this gal. She was interested, but had to pick up her mother at the airport, so she passed on that. So which albums are you talking about?
https://www.soundclick.com/aaronaardvark
Cubase 10.5, iMac OSX 10.15.7, memory 8GB, Steinberg UR22 mkII interface
Bear-Faced CowTotally interesting stories… almost makes me wish I was there instead of having been immerse into the recording industry via cheap country cover songs back in the 70’s, thanks to my mother (she was a rather notable music agent back then). Mind you, I guess if it weren’t for that, along with others in my life thanks to my mom, I might not have had the fascination to put my fingers to the faders. Being half geek also helps (I get that from my dad).
My friend mixed Balance and the concert movie Right Here, Right Now. I’m not sure if he was on For Unlawful Carnal Knowledge, but he worked alongside the late great Andy Johns for a long time and told me a few stories. I’m grateful that he got Andy to agree to put out a drum library before he passed. Although not a Toontrack product (I wish it were!), it was that library that made me really appreciate a well recorded drum kit from an in-demand engineer/producer. Also gives me a larger appreciation for all of the libraries that Toontrack puts out. Like the Andy Johns libraries, the Toontrack libraries are a becoming a legacy. The last two songs used the New York Vol. 2 SDX, which is now a moment in history. However, the drums not only carry on the memory of Allaire by making you feel like you’re there, but they are so amazingly recorded. It also helps that Nir Z knows how to hit a drum.
jord
Bear-Faced CowAnd as far as the article goes (sorry, just thought of it now), never start off by listening to something loud. That will affect both your perception and possibly the way you are physically hearing the mix. This will affect the outcome. Always start at a low level and once you get it, then listen to it at a comfortable level. Make any adjustments after your ears have had a chance to “decompress”.
jord
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