30-06-2012, 02:12 AM
All,
I listened to something here some days ago and thought "hm, I may like the first version better", but then I forgot which song it was. Now I rediscovered it, it's this one :-)
I did an A/B comparison on my monitors now, and it's true: I like the first version better. Its general idea about the role of the guitars, to be precise. I see the first guitar as the 'second voice' in this song. While overly edgy and vocal-drowning in the first version, it lost too much prominence and abrasiveness in the second for my taste.
What I would try is to eq the bottom out of the vocals (as Mike suggested) and then eq a hole in the guitars for the remaining key frequencies of the vocals. I would try to do that to the extent necessary for the vocals to cut through, but not more, both in terms of level and envelope (think automation or multiband-ducking, if there is such a thing). I would expect this to allow bringing up the guitars again and still coexist peacefully with the vocals. But it's just a theory.
In terms of "personal taste and established standard", I am clearly advocating "personal taste" here... then again, is there such a thing as an "established standard"?
Oh, by the way, Artbass, would you mind to elaborate a bit about the idea of "mixing with low volumes"? What exactly does that mean, what is it supposed to achieve, and how?
Marc
I listened to something here some days ago and thought "hm, I may like the first version better", but then I forgot which song it was. Now I rediscovered it, it's this one :-)
I did an A/B comparison on my monitors now, and it's true: I like the first version better. Its general idea about the role of the guitars, to be precise. I see the first guitar as the 'second voice' in this song. While overly edgy and vocal-drowning in the first version, it lost too much prominence and abrasiveness in the second for my taste.
What I would try is to eq the bottom out of the vocals (as Mike suggested) and then eq a hole in the guitars for the remaining key frequencies of the vocals. I would try to do that to the extent necessary for the vocals to cut through, but not more, both in terms of level and envelope (think automation or multiband-ducking, if there is such a thing). I would expect this to allow bringing up the guitars again and still coexist peacefully with the vocals. But it's just a theory.
In terms of "personal taste and established standard", I am clearly advocating "personal taste" here... then again, is there such a thing as an "established standard"?
Oh, by the way, Artbass, would you mind to elaborate a bit about the idea of "mixing with low volumes"? What exactly does that mean, what is it supposed to achieve, and how?
Marc