So usually when I'm mixing 2 tracks together, I tend to cut the bass on the track that I am mixing in (Track B). When I find a suitable point, I'll switch the bass from Track A to Track B. I usually tend to not touch the highs or mids. Is this sloppy? I know I should theoretically mix in the mids from Track B, and slowly mix out the highs from A while mixing in the highs from B. However, when I try this, I find that the highs of the master output are noticeably degraded, or flat, and the mix sounds mucky and un-smooth. Is my current technique sloppy? Any tips? What do you do?
P.S. I'm not so concerned with the lows, I have that on lock.. mainly the highs and mids.
Thanks in advance
-Wes-
MIXING question. What do you do?
Re: MIXING question. What do you do?
I am also using an eq3 to control my low/mid/highSnoopWess wrote:So usually when I'm mixing 2 tracks together, I tend to cut the bass on the track that I am mixing in (Track B). When I find a suitable point, I'll switch the bass from Track A to Track B. I usually tend to not touch the highs or mids. Is this sloppy? I know I should theoretically mix in the mids from Track B, and slowly mix out the highs from A while mixing in the highs from B. However, when I try this, I find that the highs of the master output are noticeably degraded, or flat, and the mix sounds mucky and un-smooth. Is my current technique sloppy? Any tips? What do you do?
P.S. I'm not so concerned with the lows, I have that on lock.. mainly the highs and mids.
Thanks in advance
-Wes-
Re: MIXING question. What do you do?
try using EQ8.
i've read that EQ3 is more like the EQ on a DJ mixer or the 3 band type on a car stereo. EQ8 colors the sound less and also gives you more control.
a little boost in the 10 - 12 kHz range should make your hats shine through.
i've read that EQ3 is more like the EQ on a DJ mixer or the 3 band type on a car stereo. EQ8 colors the sound less and also gives you more control.
a little boost in the 10 - 12 kHz range should make your hats shine through.
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awesomesauce
- Posts: 31
- Joined: Thu Sep 13, 2012 1:23 am
Re: MIXING question. What do you do?
I think he's referring to dj'ing and not production.
first off check out takariths EQ8.3. its allows more control over the three range eq by multiple macro manipluation of EQ 8. in laymans terms, its fuckin' bad ass
its under Tarekith's Ableton Live DJ Effects version 8
http://tarekith.com/misc.html
secondly, what you are describing is one of the most basic transitions of mixing. mixing techniques really depends on the tonality of the tracks vs. your ability to monitor both the cue and how the monitors sounds to make real time changes (without second guessing yourself) to compensate for the nuances of manipulating each frequency. don't forget that different genres respond better to different mixing techniques.
I love ableton to death but as far as DJ'ing I would highly recommend burning some CD's and learning how to mix with two decks, a mixer and no synced grids.
first off check out takariths EQ8.3. its allows more control over the three range eq by multiple macro manipluation of EQ 8. in laymans terms, its fuckin' bad ass
its under Tarekith's Ableton Live DJ Effects version 8
http://tarekith.com/misc.html
secondly, what you are describing is one of the most basic transitions of mixing. mixing techniques really depends on the tonality of the tracks vs. your ability to monitor both the cue and how the monitors sounds to make real time changes (without second guessing yourself) to compensate for the nuances of manipulating each frequency. don't forget that different genres respond better to different mixing techniques.
I love ableton to death but as far as DJ'ing I would highly recommend burning some CD's and learning how to mix with two decks, a mixer and no synced grids.
Re: MIXING question. What do you do?
I'm not a pro at mixing. But I find that the best time to change highs are Just before the end of a part. Like a fill or sweep will be happening. People Expect dynamic changes to happen at those points. The half-bar just before the next downbeat hits is like your leeway. So much shit happens at that marker, an abrupt change won't be noticed, or will be heard as an enhancement. If you don't feel comfortable taking the highs down, pull the overall level down a little. Do whatever sounds good.
As for the other track. Maybe save a little for when you want 'full on'. I work at a restaurant that lets us listen to music. Sometimes there are those parts in songs that I really want to hear loudly. Well, if I keep turning it up again and again, not only will I end up being too loud, I might even run out of room to crank it. So I started this whole 'turn it down so I can turn it up again' mindset.
With hats 'losing' their crispness. Perhaps you can approach the problem in reverse. And always find that they Gain crispness when you want it more. Always save a little for that moment later on.
...once again, I must note the I have very little experience in this field so, you can ignore anything that I said if it doesn't work haha
As for the other track. Maybe save a little for when you want 'full on'. I work at a restaurant that lets us listen to music. Sometimes there are those parts in songs that I really want to hear loudly. Well, if I keep turning it up again and again, not only will I end up being too loud, I might even run out of room to crank it. So I started this whole 'turn it down so I can turn it up again' mindset.
With hats 'losing' their crispness. Perhaps you can approach the problem in reverse. And always find that they Gain crispness when you want it more. Always save a little for that moment later on.
...once again, I must note the I have very little experience in this field so, you can ignore anything that I said if it doesn't work haha
Re: MIXING question. What do you do?
If it sounds good, do it. Most of my mixes in Live do not mess the mids/highs when crossfading between tracks, and as a DJ I would rarely use the mid/high knobs during mixing.
Using really properly warped tracks combined with harmonic mixing (see this link!), it's often not necessary to touch the bass of either track either! Simply move the crossfader at the appropriate times. A main reason djs cut the bass is it's near impossible to get the two kicks to stay perfectly aligned and punchy for the entire duration of the mix between the two tracks - one inevitably ends up ahead of the other, and you get some phase cancellation of the kick drums. With perfectly timed warping, this isn't the case. However it's unavoidable that you'll need to do some bass cutting if doing rough musical key changes, or between tracks that have lots of rhythmic swing.
Using really properly warped tracks combined with harmonic mixing (see this link!), it's often not necessary to touch the bass of either track either! Simply move the crossfader at the appropriate times. A main reason djs cut the bass is it's near impossible to get the two kicks to stay perfectly aligned and punchy for the entire duration of the mix between the two tracks - one inevitably ends up ahead of the other, and you get some phase cancellation of the kick drums. With perfectly timed warping, this isn't the case. However it's unavoidable that you'll need to do some bass cutting if doing rough musical key changes, or between tracks that have lots of rhythmic swing.
