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Accorder grosse caisse et basse Il ya aussi une chose à laquelle on ne pense pas toujours et qui se révelle souvent bien plus efficace que de détruire la Phase à grand coup d'eq... Le kick Produit aussi une note!!! Si votre kick produit une note qui s'accorde bien avec la gamme de ligne de basse, ca rentre en général bien mieux dans le mix... couplé à des bons arrangements basse- batterie, ca se suffit déjà presque... Comment faire pour changer la note de votre kick: 1) Avant la prise accordez vos peaux afin que vos futs générent une note bien pleine et bien droite (peu importe laquelle)2) Pichtez votre kick pour l'amener à une note de la gamme de la basse (Fondamentale, quinte, tierce, etc) qui permettent de ne pas changer trop la couleur du kick et qui rentre bien dedans Après, on peut toujours utiliser des traitement spectraux et dynamique sur l'un et l'autre... mais les dosages seront moins extreme et donc bcp plus naturel exempl la basse dans l'ocatve 1 : 30 -> 62le kick dans l'octave 2 : 62 -> 123

Mix Mistakes We explore some of the most common causes of mix failure we've tackled in our monthly Mix Rescue column. Banish these demons and you're most of the way to a devilishly good mix! Mike Senior Over the years, I've listened to piles and piles of amateur mixes from home studios, including thousands of productions submitted by SOS readers to Mix Rescue, Studio SOS, Demo Doctor (the predecessor of the current Playback column), and the My Sound Files section of the SOS forum. What really crystalised this opinion for me recently was listening to over 100 mixes of the same raw multitrack files in order to adjudicate a recent 'mix‑off' contest. The purpose of this article, then, is to reveal the most common of these recurring mix nightmares — and thereby help you to avoid them in your own projects. 1: Dodgy Timing/Tuning Here's the waveform from a live drummer's kick‑drum mic. This is probably the single most common weakness of home‑brew mixes. 2: Mix Tonality Misjudgements 3: Phase Misalignment

EQ Drums One of the things I love most about recording music is that there are no rules. One guy decides to use a cardboard box as his kick drum sound…and it sounds awesome. Another guy decides to sample in the sound of a screaming cat and blend it with the cymbals. (Okay, I’ve never seen that, but I bet it’s awesome.) You’re free to do whatever you want. Maybe that’s why so many people record music as a hobby. But there is one “rule” I almost always follow when mixing drums…and it almost always works. It’s really simple. I’ve heard it over and over again from mix engineers. It’s hard to explain. This is all without boosting the lows or the highs. You’ve got a set budget for the month. You’ve got a set number of frequencies to work with. You decide you want to spend an extra $200 on a piece of gear. You decide you need more low end in your kick drum. You take $200 out of ANOTHER part of the budget to pay for the gear. You cut 400 Hz to bring out the low end down at 80 Hz. What do you think?

L'Egalisation Vous pouvez consultez ces fichiers en ligne ou les télécharger. Mais ne les piratez pas. Pas de publication ni de reproduction. Malheureusement je trouve parfois mes articles, publiés sur d'autres sites, sous d'autres noms - et sans mon autorisation, ce qui est illegal!! Egalisation BATTERIE - BASSE - GUITARE - VOIX ET AUTRES - MASTERING - RÉFÉRENCES (cliquer sur les thèmes) Introduction L’égalisation sert à influencer et à maîtriser la couleur sonore d’un instrument ou d’un mix, Elle est utilisée également pour équilibrer un mix ,c.à.d. Les principaux réglages sur les égalisateurs sont: Sachez que pour pouvoir faire un travail d’égalisation digne de ce nom il faut du matériel de qualité!! (Ces propositions sont assez arbitraires et ce sera l’oreille qui décidera à la fin! (retour sommaire) grave +3 à +5 db à 80 Hz grave - 2 à -4 db à 150 Hz bas-médium - 4 à 6 db vèrs 350 à 630 Hz médium + 6 à 10 db à 3 kHz sur la caisse claire les réglages sont différents selon ce qu’on veut obtenir

Playing With Time In this quick tip, we are going to look at a few ways of playing with the timing of drum patterns to give the illusion that a standard drum ostinato is speeding up or slowing down in time. Rushing the Snare The first and easiest way of creating this illusion is to slightly rush or delay a certain drum element. Here, I have set up a basic ostinoto with a standard four to the floor rock/dance pattern. Now, if I nudge the second snare hit forward by a 192 division, it gives the portion of the bar between the first and second snare hits a subtly faster and more energetic feel. Here, I have added a bass to help emphasize the snare's timing against the rest of the loop. Hi-Hat Displacement One drastic trick that many jazz drummers use is to displace the constant hi-hat pattern to the 2 of the beat rather than the 3 for certain sections. The pattern with one bar of the displaced hi-hat. The Fabric of Time A good way of thinking about this concept is to think of music as a piece of fabric.

Top 10 Reverb Tips and Tricks | EMusicTips With reverb, you can make or break a space Imagine listening to a recording and half a minute into a song you notice something wrong. You can’t quite put your finger on it; you just can’t feel the instruments, you feel attacked by the singer’s in-your-face voice and everything is just too…..dry. It’s like listening to music in a vacuum. Although listening to a reverb-free record is nearly impossible, (unless it was recorded entirely in an anechoic chamber), you can still have a really dry record if you don’t put any reverb on anything. Reverb can be perceived as a glue that holds everything together, yet retains enough space to maintain a perceived distance between each element. Different modes of reverb There are quite a few different types of reverb. Room reverb – These types simulate the sound of having recorded something in a room. So now you know a little bit about the reverb modes you most commonly work with. I’ve decided to do an example of tip #7. Leave a Reply

Égalisation à la carte Erreur ! L'égalisation fait partie du processus de mixage. Au même titre que les réglages de niveau, de panorama et de reverb, qui diffèrent d'un mix à l'autre, les égaliseurs doivent être ajustés différemment pour chaque mix. Et pour cela, il faut savoir comment trouver les fréquences d'égalisation magiques pour chaque type de données audio, mais également savoir quel outil est adapté à telle ou telle tâche. On utilise les égaliseurs principalement pour trois applications différentes : Résoudre des problèmesRenforcer ou affaiblir la position d'un instrument dans le mixModifier la couleur du son Chaque utilisation possède son approche et ses techniques propres. Résoudre des problèmes L'égaliseur peut résoudre une grande variété de problèmes. Ill. 1 : Le MasterQ de PSP Audioware est un plugin d'égalisation de haute qualité pour systèmes de MAO doté de sept bandes de fréquences modifiables. Une solution était de compresser/limiter le signal, mais cela altérait l'attaque de la guitare.

SONY ACID PRO: Route tracks to buses to create submixes Use buses to expand your mixing options OBJECTIVE: Route tracks to buses to create submixes. BACKGROUND: Buses are often used to route the audio from various channels to send effects, but they can also serve as submix buses so the bus’s level control could, for example, raise or lower the level of multiple tracks simultaneously. A default Acid Pro project routes all tracks to the master bus, so to create submixes, you need to assign track outputs to buses instead. Here’s how to do this. 1 In the toolbar at the top of the Mixing Console, click on the Insert Bus button. 2 In the Mixer View Pane, click on Audio Busses (outlined in red) to display buses in the console. 3 For tracks that you want to assign to a submix bus instead of directly to the master bus, ctrl-click on the track number in each track’s header. 4 Click on the Bus icon for any of the selected tracks, then choose the desired bus destination (in this example, Bus A). Tips • To add automation to a bus, go Views > Show Bus Tracks.

WaterFall Records Learning to Record Lesson Two Lesson 1 You're here: Lesson 2 Log In: You must be a 'Member" to view Lessons 3 thur 9 Using a Compressor? Hello all, Ken here. If you are coming here from Recording Tips 7: show me the Magic Frequencies! Using one is really easy; the trick to it is to "listen to your music" and feel the flow of the mix. To set the compressor (assuming you have a constant meter in the song like the snare Mute out all the other tracks so you can work on the track. You want the compressor to breath in time with the song. Look at a compressor as an instrument in your sound. I hope this helps all of you in your mixing and recording. Here are some Magic Frequencies Tip: Set your frequencies up as presets. Good Luck! Web Design by Michael R.