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Old 1st May 2019
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Hey Mark, it was a magical time at U of M indeed!

There's no one answer to this, but to beat a dead horse, I find that the shared parallel compression I use is the key to having multiple elements that seem to occupy the same space all be able to be heard. The more they can interact without crushing the mix the easier it will be to hear all of the individual elements.

The other thing is just to try and separate tings as much as you can, both in the frequencies they take up and in the spaces they live in. Using a few different reverbs can help things separate, as well as using saturation, delays, filtering etc. Also, counterintuitively, the smaller a sound is in terms of the space it takes up, the easier it is to hear. I mentioned in another post about making strings filtered and maybe even a little distorted to get them to cut through a dense rock track, and the same goes here. Not everything can be big, so it's just a matter of trying to find the elements of each sound that make it sound big and trying to not only limit that sound to those characteristics but to keep other sounds out of the way.

Not my most coherent thought, but I can't figure out how to say it better.
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