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your favorite 'frowned upon' techniques.
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beat you down
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#1
8th March 2013
Old 8th March 2013
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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.
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8th March 2013
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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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8th March 2013
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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.
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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.
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8th March 2013
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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.
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8th March 2013
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Do you mono tghe lows and Haas the mids/highs (not that there are highs by chance?
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Yes, especially when the drums are distorted..
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8th March 2013
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good one, thought of it never tried it, too much frowning lol.
will try soon.
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8th March 2013
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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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8th March 2013
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using an l2 on the master.
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8th March 2013
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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.
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8th March 2013
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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
#13
8th March 2013
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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.
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Quote:
Originally Posted by jbrown1music View Post
using an l2 on the master.
the classic
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"Digital clipping", it's the new "Tape Saturation"!
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#16
8th March 2013
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"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.
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I stack a lot of kiks
#18
8th March 2013
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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
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-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
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8th March 2013
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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
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the bottom line is home or not - get serious about your art. Can't afford it? Stop being a pussy, get a job, and afford it. And make it good. Damn good. So damn good that when you talk about it with other people, they already enjoy it before they hear it. Because your love for it is contagious. And do it different. Have a point. The world doesn't need another beat guy or rapper - so what are you doing where the world needs you?
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overdriving channels
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8th March 2013
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I flatten the vocals and put distortion on top. i dont care. i love it.
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#23
8th March 2013
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high pass drum reverb buss and squeeze it with compressor

mix everything by only using the "compensation" fader on the compressor
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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.
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#25
8th March 2013
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crazy like +10-+14 dB of high shelving on the vox with a lot of deesing.
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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.
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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.
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8th March 2013
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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.
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Having grumpy cat as studio pet.
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Beginners and experts dont mess up a mix, its the people in the middle who know something.
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