Fixing the mud in my Mix... OMG

[Ward Pike]

I'm just going to go out on a limb here... I don't think there is any problem with mud in your mix. I think your mixing room may be the issue and you have room nodes going on accentuating frequencies that are throwing you off. Have you listened to your mix in various other environments such as a car, truck, headphones earbuds etc?

[TeamContra]

Originally Posted by Ward Pike

I'm just going to go out on a limb here... I don't think there is any problem with mud in your mix. I think your mixing room may be the issue and you have room nodes going on accentuating frequencies that are throwing you off. Have you listened to your mix in various other environments such as a car, truck, headphones earbuds etc?

I have it it sounds ok to me, but I don't fully understand your saying?
You think the mix is ok with no mud? If thats the case then my room would sound ok no? I tried this trick, I was using Lamb of God as a reference for this mix, I would stand in the corner of my room and hear all this low end from the LOG mix, then I would put my mix, (yes I matched the audio lvls) and hear way more boom, so I would drop some bass or kick and try to match the low end. I don't really know if thats stupid of me but I though it was getting a tighter sound over all.

[Ward Pike]

As you add more true low-end to the mix, you may (as what happens to me) be adding too much low mid to the mix which is where the mud truly is. If you're adding 20 to 80 hz, you may be inadvertently boosting the 160 to 250hz range.

Also, don't forget that when listening to Lamb of God, you are listening to a mastered CD where selective frequencies have been boosted or cut to achieve the very goal I speak of, and what you are looking for.

Room nodes, btw, and anomalies in a room where certain frequencies hit resonance points that make the whole room "vibrate" to those particular frequencies and over accentuate the problem you are dealing with. I grew tired of a project in 2011 after spending nearly a year at it and had a colleague mix the album. When I went to his mixing suite, there was a problem with room nodes that affected the perception of the mix... but in reality, it wasn't a problem outside that room.

[TeamContra]

Originally Posted by Ward Pike

As you add more true low-end to the mix, you may (as what happens to me) be adding too much low mid to the mix which is where the mud truly is. If you're adding 20 to 80 hz, you may be inadvertently boosting the 160 to 250hz range.

Also, don't forget that when listening to Lamb of God, you are listening to a mastered CD where selective frequencies have been boosted or cut to achieve the very goal I speak of, and what you are looking for.

Room nodes, btw, and anomalies in a room where certain frequencies hit resonance points that make the whole room "vibrate" to those particular frequencies and over accentuate the problem you are dealing with. I grew tired of a project in 2011 after spending nearly a year at it and had a colleague mix the album. When I went to his mixing suite, there was a problem with room nodes that affected the perception of the mix... but in reality, it wasn't a problem outside that room.

Well I hope I can get my room fixed soon. It's bugging me, I'm not sure what else I can do for the time being. I do have some good headphones, I guess I can try.

[DaveC]

You didn't mention the bass, the converters and the physical recording-chain.
Almost any mid-60's Fender Precision
can solve lots of problems.
The RE20 is great for basscabs, especially Ampeg.
Recording several amp, DI and pedal-signals seperately is one thing. Wanting to mix them all is another.
Keep it simple.

[TeamContra]

Originally Posted by DaveC

You didn't mention the bass, the converters and the physical recording-chain.
Almost any mid-60's Fender Precision
can solve lots of problems.
The RE20 is great for basscabs, especially Ampeg.
Recording several amp, DI and pedal-signals seperately is one thing. Wanting to mix them all is another.
Keep it simple.

The chain was,
Bass was a Conklin groovetone 7 string, into split between a Sans split into a MXR both into API 3124 into Apogee Symphony.

[TeamContra]

pump