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Old 2012-12-20, 02:56
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djfm1983 djfm1983 is offline
 
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Any tips for mixing with loudness in mind.

I learned on a video I bought on audioschoolonline.com how important it is to A/B while compairing compressed and dry signals at the same peak db to see how it effects the VU. From whenever I A/B comp setting I noticed that I really only gain more loudness (more VU db) from faster attack/release times. I've been able to achieve sometimes 2-3 VU db more (and both signals A/B hitting the same peak db) at time using faster settings.
Any one have any other mixing techniques to achieve more loudness out of signals then compression (if there are any beside compression). Please keep in mind I'm not talking about mastering here I'm talking about mixing techniques, so please don't post anything about mastering chains.
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Old 2012-12-20, 05:25
jlgrimes jlgrimes is offline
 
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Quote:
Originally Posted by djphathead View Post
I learned on a video I bought on audioschoolonline.com how important it is to A/B while compairing compressed and dry signals at the same peak db to see how it effects the VU. From whenever I A/B comp setting I noticed that I really only gain more loudness (more VU db) from faster attack/release times. I've been able to achieve sometimes 2-3 VU db more (and both signals A/B hitting the same peak db) at time using faster settings.
Any one have any other mixing techniques to achieve more loudness out of signals then compression (if there are any beside compression). Please keep in mind I'm not talking about mastering here I'm talking about mixing techniques, so please don't post anything about mastering chains.
High pass filtering tends to make stuff cut through more.

Also freq distribution of arrangement. Many arrangements will sound quiet because they don't fill up the spectrum.
  #3  
Old 2012-12-20, 05:27
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djfm1983 djfm1983 is offline
 
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Originally Posted by jlgrimes View Post
High pass filtering tends to make stuff cut through more.

Also freq distribution of arrangement. Many arrangements will sound quiet because they don't fill up the spectrum.
What does that have to do with mixing for loudness? I'm taking about taking one sound sources VU db reading and increasing it while keeping the peak db the same.
  #4  
Old 2012-12-20, 05:59
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Quote:
Originally Posted by djphathead View Post
What does that have to do with mixing for loudness? I'm taking about taking one sound sources VU db reading and increasing it while keeping the peak db the same.
A compressor? Well, maybe you could boost the high end between 2khz and 6khz and lower the bass frequencies to compensate for the increased gain.
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Old 2012-12-20, 06:47
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djfm1983 djfm1983 is offline
 
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Originally Posted by Lunesis View Post
A compressor? Well, maybe you could boost the high end between 2khz and 6khz and lower the bass frequencies to compensate for the increased gain.
Compression as far as I understand is the only way to gain more perceived loudness. I usually use fast attack/release settings to achieve this just wondering if any one had any other ways they use compression to gain more perceived loudness.
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Old 2012-12-20, 19:08
jlgrimes jlgrimes is offline
 
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Originally Posted by djphathead View Post
Compression as far as I understand is the only way to gain more perceived loudness. I usually use fast attack/release settings to achieve this just wondering if any one had any other ways they use compression to gain more perceived loudness.
A few things I do using compressors:

1. Sidechain compression on bass signals using kicks as triggers. What this does is duck your bassline to help make the kick cut through the mix better. Not needed on every song. Some songs or styles this may even sound wrong. But using a little can help your kick cut through if your bassline is drowning it out.

2. Using multiple compressors at very light settings. Usually using multiple compressors at light settings can get you a cleaner sound than going heavy on one compressor. Another thing is to have one compressor do the general dynamic range reduction and another one just catch the stray peaks. I like doing this on vocals.

3. Parallel compression. Typically good for drum (although some people use this for vocals). You can go crazy on the settings here because you mix in the squashed signal with the uncompressed signal. Great for adding weight to drums. Sometimes you can add effects like reverb to the squashed signal depending on song or EQ in extra lows and highs for a meatier sound. Often referred to as NY style compression.

4. Level automation. Many purists hate compressors and swear by level automating in a DAW. This exclusively for creating upfront vocals generally sounds wrong for my style of music, but usually I might do a few level tweaks after the compression to perfect the levels. This would probably work perfectly for less main instruments that don't have to be the center of attention but offer more supporting roles in your mix.

5. Learning your compressors. Every brand of compressor has pros and cons. Some sound great on vocals or bad on drums and vice versa. Some are very versatile but harder to use. Others are easy to use. But there are no wrong compressors. One wrong compressor for one person's voice might sound great for the same person's voice on a different song.
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Old 2012-12-20, 12:16
jlgrimes jlgrimes is offline
 
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Quote:
Originally Posted by djphathead View Post
What does that have to do with mixing for loudness? I'm taking about taking one sound sources VU db reading and increasing it while keeping the peak db the same.
Most people ears are not linear devices. Our ears are tuned for speech so a lot of high mid frequencies can sound louder than tracks without it.

Also subsonic Frequecies often clash with bass frqs. Also many speakers can reproduce these properly but these frqs still use up headroom, so by taking these out you can get a louder more cutting mix.


But sure compression is the standard way to make something louder (distortion could be another), but I wouldn't leave out other effects. It is often a combination of many things that makes a professional mix sound louder, punchy, and more cutting than an amateur mix.
  #8  
Old 2012-12-20, 13:13
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Compression is one... Layering is another thing... Also, parallel processing.
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  #9  
Old 2012-12-20, 13:51
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400 hz is the loudness frequency, sometimes boosts in that area can give you a lot more perceived loudness. For example, guitars or lead synths.
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