Beat This! Competition - July 12-13, 2023

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Hitting it without distortion or horrible pumping or killing your transients.

Can be hard to hear in the moment too when working on it.
When its pumping I want it to be deliberate, but yeah, when you have been working on something for hours on end, its likely the mix will be fucked. Best to take a break and mix again with fresh ears. But thats pretty impossible when you leave your beats until last minute dot com, we have all done it and will continue to do it, because its something we do
 

Iron Keys

ILLIEN MBAPPÉ
ill o.g.
Battle Points: 670
When its pumping I want it to be deliberate, but yeah, when you have been working on something for hours on end, its likely the mix will be fucked. Best to take a break and mix again with fresh ears. But thats pretty impossible when you leave your beats until last minute dot com, we have all done it and will continue to do it, because its something we do
Exactly that!

Can be hard to hear it even when you volume match or turn it down. Then suddenly you hit export listen to it back and you're like hangon what's going on here!
 

OGBama

Big Clit Energy
Not gone’ say which one I voted for but it had me free flowing like some “99 and 2000” Juvie in this bitch.
 

stfushawtyy

Newbie
Battle Points: 1
To all my producers...please learn how to mix/master your songs. I know you want to be lazy and take the easy path in life but trust me....you will thank me later. Hitting -9 lufs is not that difficult and most plugins can be downloaded for free or cracked :cool:

 

junkee

Newbie
Battle Points: 1
To all my producers...please learn how to mix/master your songs. I know you want to be lazy and take the easy path in life but trust me....you will thank me later. Hitting -9 lufs is not that difficult and most plugins can be downloaded for free or cracked :cool:
bruh this you?:geek::geek::geek::geek:
 

VVS

Banned
Battle Points: 133
Exactly that!

Can be hard to hear it even when you volume match or turn it down. Then suddenly you hit export listen to it back and you're like hangon what's going on here!

Volume matching what? Just get a loudness meter and check if the lufs are bouncing around -9. Dynamics and perceived loudness are two separate things. Obviously, you don't want to over compress the life out your channels/buses for the sake of increasing "loudness". I use 0db gain staging for those who want to google it. Knowing which frequencies to cut, how to use parallel compression on a kick and bass will greatly enhance anyone's mix. Add in a sprinkle of glue compression and throw on a decent limiter on the master bus and you're 90% there.
 

Iron Keys

ILLIEN MBAPPÉ
ill o.g.
Battle Points: 670
Volume matching what? Just get a loudness meter and check if the lufs are bouncing around -9. Dynamics and perceived loudness are two separate things. Obviously, you don't want to over compress the life out your channels/buses for the sake of increasing "loudness". I use 0db gain staging for those who want to google it. Knowing which frequencies to cut, how to use parallel compression on a kick and bass will greatly enhance anyone's mix. Add in a sprinkle of glue compression and throw on a decent limiter on the master bus and you're 90% there.
Volume matching - matching the before/after levels after processing to see if you've altered the sound in a beneficial way and not just fooled by volume changes. Sometimes it's necessary to do so. I find one of these times being the mix bus.

You might think "yeah the kick bits harder now" but it just might be because the track overall is louder. If level matched and the kick punches better than it did before, then we good. It's not always as straight forward as that. But generally speaking
 
Volume matching what? Just get a loudness meter and check if the lufs are bouncing around -9. Dynamics and perceived loudness are two separate things. Obviously, you don't want to over compress the life out your channels/buses for the sake of increasing "loudness". I use 0db gain staging for those who want to google it. Knowing which frequencies to cut, how to use parallel compression on a kick and bass will greatly enhance anyone's mix. Add in a sprinkle of glue compression and throw on a decent limiter on the master bus and you're 90% there.
When using compression you will volume match the after compression signal with the pre compression signal, because compression lowers the volume you adjust the gain to volume match the original. The peaks will be lower but the overall volume will be the same and the perceived volume will be louder. Volume out equals volume in is a very important thing about compression I learned from a member here many many years ago.
 
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VVS

Banned
Battle Points: 133
Volume matching - matching the before/after levels after processing to see if you've altered the sound in a beneficial way and not just fooled by volume changes. Sometimes it's necessary to do so. I find one of these times being the mix bus.

You might think "yeah the kick bits harder now" but it just might be because the track overall is louder. If level matched and the kick punches better than it did before, then we good. It's not always as straight forward as that. But generally speaking

I use a simplified approach lol. But yes, logically that makes sense. We can talk engineering theory all day long...what's important is the final result. So let's do a comparison after the winner is chosen to see who's got the best mix! :cool:
 

Iron Keys

ILLIEN MBAPPÉ
ill o.g.
Battle Points: 670
West West y'all


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