Mark Bliss wrote:I agree.
Turn Your Tracks Down
This is the most obvious solution to the headroom quandary. Although few people seem to take my advice on this one. By simply turning down your tracks in your DAW you will be sending less signal to your mix buss and consequently will have instant headroom and clarity. You can do this in one of three ways: turn down your faders, use clip based gain to reduce track level, or insert trim plugins across your tracks with a generous level cut.
Apart from this lecture in the same post eh?Mark Bliss wrote:...This (always ) takes us into a whole topic full of contentious opinions that I usually avoid even getting into much discussion about...
I stick to my personal preferences and don't try to "compete" with others loudness levels very much, whether it be commercial mastered or amateur attempts, which usually means compressed, compressed and compressed some more until the life is just squeezed right out. Its just gone too far. If that's what you are into, that's your privilege and decision, but I can't advise as I am not into the mastering aspect.
AHornsby wrote:I watched the video about editing in mono but as the procedure didn't seem fully explained I wasn't too thrilled about it. Is the intent to just leave all the pan settings on center or route the whole shebang though one speaker? -h
marc32123 wrote:Basically, I have a song that starts with one guitar for the first measure. When the third measures hits a new guitar part comes in on top, and at the fourth measure and the start of the 5th, probably like 6 or 7 new elements come in.
I am just wondering, what techniques do people use to keep the sound from getting to loud and overwhelming when all these new elements are added? I have an idea, but I just want to get a new perspective on this, as it is really important in my opinion and something I really am not to sure about...
Mark Bliss wrote: So yeah, panned to center at the beginning of the mix process is the tip.
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