your favorite 'frowned upon' techniques.
beat you down
Thread Starter
#1
8th March 2013
Old 8th March 2013
  #1
Lives for gear
 

Thread Starter
your favorite 'frowned upon' techniques.

i think we all 'developed' some of these.

absurd compression settings.
hard limiting the main vocal.
excessive boosting eq.
all kinds of shh on the mix bus.
etc etc.

i tend to over eq stuff, almost to the point you could call it sound design.
#2
8th March 2013
Old 8th March 2013
  #2
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raffael77's Avatar
 

What's your point? I don't get it sorry.
#3
8th March 2013
Old 8th March 2013
  #3
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Dayl's Avatar
 

Peer pressure. When I'm reviewing the almost complete product.. figuring out those final details that need to be addressed.. I will often snap myself add this ot that just because my peers are doing it... this will usually result in a kind of no mans land beat that I wont be happy with.
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#4
8th March 2013
Old 8th March 2013
  #4
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Dayl's Avatar
 

I still use compression from time to time but had to let it go and learn to live with out it. Once I got rid of that and and other crutches like eq and anything else that can polish substandard sounds.... as soon as I relaxed off these, my sound selection skillset improved. I'm not the man or anything but it certainly made a difference.

Its like an adult taking something off a child and saying they will give it back when they learn to be responsible.. only we dont often get that in the home stusio world.
#5
8th March 2013
Old 8th March 2013
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Quote:
Originally Posted by raffael77 View Post
What's your point? I don't get it sorry.
Share real world, practical experiences. Learn from each other.
#6
8th March 2013
Old 8th March 2013
  #6
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Some "kind" of haas delay on drums. I frown upon myself each time but I know how to make it work.
Can make the boom of an 808 kick drum very corporeal.
#7
8th March 2013
Old 8th March 2013
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Do you mono tghe lows and Haas the mids/highs (not that there are highs by chance?
#8
8th March 2013
Old 8th March 2013
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Yes, especially when the drums are distorted..
beat you down
Thread Starter
#9
8th March 2013
Old 8th March 2013
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Thread Starter
good one, thought of it never tried it, too much frowning lol.
will try soon.
#10
8th March 2013
Old 8th March 2013
  #10
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Godson's Avatar
i don't know if this is usually "frowned upon" but i turn the bass stupid high when i'm mixing till i can hear it vibrate through the beams in the wall lol

needless to say, i usually have to turn it down at least a dozen times each "bounce" till it's at a reasonable level. so if i can hear it just enough, it's usually perfect. if i can hear it well, it's too much.
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#11
8th March 2013
Old 8th March 2013
  #11
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jbrown1music's Avatar
 

using an l2 on the master.
#12
8th March 2013
Old 8th March 2013
  #12
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-Monitoring thru HiFi devices to hear what it'll sound like.

-Mixing at very low volumes to listen for transients

- I also mix low to check low end, I want to just start to hear the bass and the bottom of the kick at a certain ratio with just the transient of the snare and maybe click of kick.

-Multiple reverbs

-Stereo drum everything, stereo kick, stereo snare, even stereo HH. Sounds better to me. Not a fan of mono.

-Referencing MP3s. I don't care about quality. I am referencing a crude balance just to make sure I'm in a ballpark.

-Unorthodox orchestral arrangements. Double Bass at high registers. So what?

-Piano Strings. I use them.

I'll see if I can think of some other stuff, I know theres a lot.
#13
8th March 2013
Old 8th March 2013
  #13
Gear nut
 

I think Dayl brings up a great point....SOUND SELECTION.

We have unlimited amounts of tools but you can't polish a turd into a diamond.

As far as frowned upon techniques? I don't have any that I know of but then again I could be doing all of this wrong anyway lol
#14
8th March 2013
Old 8th March 2013
  #14
Gear nut
 

I'll use 10 different plugins when the results i want could probably be achieved with only 3 of them.

It's an "if I buy em I'm going to use em" complex.
beat you down
Thread Starter
#15
8th March 2013
Old 8th March 2013
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Thread Starter
Quote:
Originally Posted by jbrown1music View Post
using an l2 on the master.
the classic
#16
8th March 2013
Old 8th March 2013
  #16
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beyondat's Avatar
 

"Digital clipping", it's the new "Tape Saturation"!
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#17
8th March 2013
Old 8th March 2013
  #17
Gear nut
 

"Looking" along with "hearing"....

When working with these "trap beats" that everyones making, the transition between the kick and sine wave usually clashes for a quarter of a second which I personally notice (especially when listening to it in a car with a good system). It's basically just a quick dip that I have OCD over. Sometimes, I move the bass over until it "looks" right by looking at the waveforms, and it always ends up sounding right when doing that.
#18
8th March 2013
Old 8th March 2013
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Nahuel's Avatar
 

I stack a lot of kiks
#19
8th March 2013
Old 8th March 2013
  #19
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Quote:
Originally Posted by jbrown1music View Post
using an l2 on the master.
Using an l2 on something other than the master
#20
8th March 2013
Old 8th March 2013
  #20
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3rd Degree's Avatar
 

-EQing things with crazy boosting with both samples and virtual instruments
-EQing samples with an analog EQ before I have created anything (can't go back)
-Layering samples up to 5x or more, rather than more surgical EQing.
-Taking things with beautiful dynamic range and compressing the hell out of it (useful for samples to maintain consistency or on instruments to bring out any artifacts).
-Ducking the kick behind the bassline (not often and probably way more odd in Hip Hop that it would be an another genre)
-Creating artifacts purposely
#21
8th March 2013
Old 8th March 2013
  #21
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What I always say there is a HUGE line between Producers & Engineers

Producer - create new innovative sound or new technique. Praised for it

Engineers - us, we're idiots or blokes.

Producer - use of tools in a non conventional way. There genius's signed to a major label.

Engineers - WTF!! Did you do with that EQ!! Looks like you tried to draw a picture you freakin idiot. Never get a job ever moves to radio.

Day and life of producer and a engineer. Producers you guys are lucky
#22
8th March 2013
Old 8th March 2013
  #22
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overdriving channels
#23
8th March 2013
Old 8th March 2013
  #23
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ZillahGod's Avatar
 

I flatten the vocals and put distortion on top. i dont care. i love it.
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#24
8th March 2013
Old 8th March 2013
  #24
high pass drum reverb buss and squeeze it with compressor

mix everything by only using the "compensation" fader on the compressor
#25
8th March 2013
Old 8th March 2013
  #25
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skillz335's Avatar
Quote:
Originally Posted by smoke View Post
-Stereo drum everything, stereo kick, stereo snare, even stereo HH. Sounds better to me. Not a fan of mono.
I do the same other then with the kick. for some reason the kick doesn't sound right to me stereo. unless its slightly different dynamically on each channel.

Quote:
Originally Posted by beyondat View Post
"Digital clipping", it's the new "Tape Saturation"!
i do like that gritty harshness you can get out of digital clipping on some elements, especially if you print and re sculpt the transients. still doesnt compare to tape though.

Quote:
Originally Posted by Jaynm26 View Post
Engineers - WTF!! Did you do with that EQ!! Looks like you tried to draw a picture you freakin idiot. Never get a job ever moves to radio.
lol, I say that to myself alot.

Quote:
Originally Posted by Ken Lewis View Post
overdriving channels
lol, not fair! not all of us have a board!! especially an SSL



one of my frowned upon techniques, I gainstage with separate auxes to all to a master aux instead of printing. either Im stupid, a controll freak, or lazy. I still cant tell.
Awesome thread by the way.
DAH
#26
8th March 2013
Old 8th March 2013
  #26
DAH
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DAH's Avatar
 

crazy like +10-+14 dB of high shelving on the vox with a lot of deesing.
#27
8th March 2013
Old 8th March 2013
  #27
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using waves x-noise on music samples to "blur" them... picked it up from here, used it in pretty interesting FX chains (beware of the delays introduced though).

Frown upon as in: "how do you get such a silky background" frown.

Other thing that can get stares is M/S Eqing the reverb sends.
#28
8th March 2013
Old 8th March 2013
  #28
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ncoak's Avatar
 

Quote:
Originally Posted by B.A.S.E View Post
using waves x-noise on music samples to "blur" them... picked it up from here, used it in pretty interesting FX chains (beware of the delays introduced though).

Frown upon as in: "how do you get such a silky background" frown.
40's secret!!
#29
8th March 2013
Old 8th March 2013
  #29
Geariophile
 
Karloff70's Avatar
 

Quote:
Originally Posted by Ken Lewis View Post
overdriving channels
One of the best, little talked about reasons to have channels, i.e. a desk, that overdrives in a good way. Anyone who frowns upon that shouldn't be mixing music.
#30
8th March 2013
Old 8th March 2013
  #30
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LeoLeoLeo's Avatar
Having grumpy cat as studio pet.
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