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Forums - Music techology
Subject: Euro sounds
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Original Message 1/2 20-Aug-98 @ 12:26 PM - Producing & mixing compact eurosound
Me and my friend discussed about a couple of songs over a telephone yesterday. I wasn't sure what songs he meant and so he put them playing with telephone next to a speaker.
The other artist (Jamiroquai) sounded lousy over telephone (surprise?). All I could hear was the singer. The other artist (Daze) sounded superb (I mean just the sounds) although I heard it over telephone. It sounded compact, clear and crispy and I heard the bass thumping and so on...
I guess it's much about compression and eq-ing. But is there more? Do you know details? I'm not a master when it comes to setting up effects and mixing. Could you share your knowledge about creating that kind of thick & clear sound that would sound good even with small car-stereos and old portable shit equipment??
The other artist (Jamiroquai) sounded lousy over telephone (surprise?). All I could hear was the singer. The other artist (Daze) sounded superb (I mean just the sounds) although I heard it over telephone. It sounded compact, clear and crispy and I heard the bass thumping and so on...
I guess it's much about compression and eq-ing. But is there more? Do you know details? I'm not a master when it comes to setting up effects and mixing. Could you share your knowledge about creating that kind of thick & clear sound that would sound good even with small car-stereos and old portable shit equipment??
Message 2/2 20-Aug-98 @ 12:47 PM - RE: Euro sounds
Monitor on loads of different speaker, as many as you can.
I usually write tracks monitoring with a combination of headphones and my main monitor speakers. Once a tracker is nearing the main mix stage I'll run off a copy to tape and take this to my girlfriends stereo (which has loads of wierd settings for Club / Rock etc) these tend to have really extreme eq settings that can show where the mix is falling down. I'll note down a few things that are obvious like cutting a bit of hi eq of the hats and too mutch low frequency bass on the kick, then I'll take the tape and have a listen to it in the car. Once I have a good picture in my head of what needs to be done then I'll go back and do it. Then the whole process starts again (this is where I start to get really bitchy about people messing with the mixing desk).
Another thing you have to remember is that pop songs are eq'd in a certain way that makes them sound good on radio, dance club tracks are more geared towards a solid punchy sound.
Everyone will tell you to experiment, but it's the only way to learn.
I usually write tracks monitoring with a combination of headphones and my main monitor speakers. Once a tracker is nearing the main mix stage I'll run off a copy to tape and take this to my girlfriends stereo (which has loads of wierd settings for Club / Rock etc) these tend to have really extreme eq settings that can show where the mix is falling down. I'll note down a few things that are obvious like cutting a bit of hi eq of the hats and too mutch low frequency bass on the kick, then I'll take the tape and have a listen to it in the car. Once I have a good picture in my head of what needs to be done then I'll go back and do it. Then the whole process starts again (this is where I start to get really bitchy about people messing with the mixing desk).
Another thing you have to remember is that pop songs are eq'd in a certain way that makes them sound good on radio, dance club tracks are more geared towards a solid punchy sound.
Everyone will tell you to experiment, but it's the only way to learn.
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