The mastering book that Michael mentioned earlier is a good book is a pretty good book, I have a copy as well. Also, there's a good piece in the AES Journal, by
Francis Rumsey, "Mastering for Today's Media". <--- and before I forget, it's in
the January/February 2013 issue of JAES, page 79-83.
Regarding the chord progression, changing the tone color is a good compositional
strategy that keeps things interesting. I will typically have more than one track that
is playing the same repeating motif or chord progression, but each track has a
different instrument or different tone color, and then I will alter between them or
cross mix between them to keep things interesting. It's about blending and mixing.
It's a big deal with my music partner and my former electronic music teacher.
Unless you're into drone new age music.
A harmonic progression, some percussions and a flute on top, sounds good.
-Partev
==================================
--- anton.kholomiov@gmail.com wrote:
From: Anton Kholomiov <anton.kholomiov@gmail.com>
To: csound@lists.bath.ac.uk
Subject: Re: [Csnd] Re: How to ballance the csound tracks by volume
Date: Fri, 5 Jul 2013 10:09:52 +0400
One more question. When I'm making these background tracks it's always
some long chord progression going on. I get the impression: it's too much
sound on it. It fatigues the listener. But If I stop playing those chords harmonic
continuity is broken which is bad. Is it possible to process the total output so that
sound is continuous but is not so overwhelming?
2013/7/5 Anton Kholomiov
<anton.kholomiov@gmail.com>
Thank you for all links and guides. An interisting point I've got is that mastering have to
be specific. You have to keep your listener and environment in mind. What do you think
is best fit for open air listening in the crowded place? I'd like to make several csound tracks
and use them as harmonic background to play along with it on flute with my friend playing
on ethnic drums.
Anton
2013/7/5 Partev Barr Sarkissian
<encino_man@netscape.com>
A number of mix and mastering engineers are using compression less
and less these days. Some very slight reverb to give it what they
call, "that overall sheen". Compression affects the EQ, highs can
get lost if one isn't careful, and if you look at some of these cuts
on a soundbite display, you'll see a lack of dynamics in a mix that
is poorly compressed. Some mixer/massters opt for slight limiting,
it moderates the ampitude without mucking up the EQ.
Ironic, that I'm reading this email now, as I am listening to Alan
Parsons Project on my headphones. Have had a few of encounters with
him at NAMM and AES Convetions over the years, and have gotten a few
good tips from him. But better than that is his "The Art and Science
of Sound Recording" set of DVD's. It's a cornecopia of recording
knowledge and wisdom. I highly recommend getting this for anyone
who wants to go down this road in audio.
Was at an AES monthly meeting in May, where the subject was mastering,
a panel discussion with some younger locals mastering engineers. Along
with some old timers in the crowd, it was a knowledge filled room.
What I got out it is-- Mastering,... each project is different, each
genre is different, each EQ curve is different.
Common aspects- compression is bad,... if it kills the dynamics. Use
this point in the process for dialing in the EQ to a gnats behind. Taylor
it to the intended genre. Scrutinize every aspect of the mastering
process,... it's your last chance to do tweaks and final adjustments,...
because,... "fix it in the mix" doesn't work, never has, probably
never will.
Balancing tracks,... it's all about blending. I hear that from teachers
mixers and mastering engineers all the time. What you have and how you
blend it.
In EQ-ing "Don't over-do the bass,... don't use the 3k band, set it to
unity, use the 10k filters, it brings out the transperency in the sound"
and "when all else fails, EQ the hell out of it", is something
Alan Parsons once told me. It was a general over simplification, cause
then we got down to cases.
Good advice I used on a film score and audio dialog and FX sound track I
was working on at the time. It worked, the film got an award at a
film competition.
-PBS
======================================
--- zappfinger@gmail.com wrote:
From: zappfinger <zappfinger@gmail.com>
To: csound@lists.bath.ac.uk
Subject: [Csnd] Re: How to ballance the csound tracks by volume
Date: Thu, 4 Jul 2013 11:38:42 -0700 (PDT)
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