Pouzivate nekdo v praxi nejakej figl nebo spec. techniky ?
Kontrabas- pred el. basgitaru dat kondenzator a snimat ako hrac hra
prstami na sucho bez pouzitia aparatu,trosku sa pohrat s EQ a podobny
zvuk ako kontrabas je na svete.
spev-pouzit dva kondenzatory postavane za sebou 1 z blizka 2 asi 2 metre
daleko pricom na ten vzdialenejsi pouzit gate.ten druhy sa bude otvarat po
prekroceni urcitej hlasitosti.moze vzniknut zaujimavy vokal a ozivenie spevu.
prstami na sucho bez pouzitia aparatu,trosku sa pohrat s EQ a podobny
zvuk ako kontrabas je na svete.
spev-pouzit dva kondenzatory postavane za sebou 1 z blizka 2 asi 2 metre
daleko pricom na ten vzdialenejsi pouzit gate.ten druhy sa bude otvarat po
prekroceni urcitej hlasitosti.moze vzniknut zaujimavy vokal a ozivenie spevu.
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tak jak to popisujes ne...syncro píše:Nedělám v Cubase, takže se možná ptám jako úplnej blbeček, ale z toho, co se tu píše jsem pochopil, že Cubase neumí normální sidechainy? V Logicu si prostě vyberu, která šavle je sidechain pro kterou a hotovo. Tak nějak jsem myslel, že tohle je normální v každým dospělým softu a vy jste mi teď navrtali, že v Cubase to nejde?!?
Saša

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sidechainy dost, i kdyz takhle drasticky ne, spis mezi jednotlivyma stopama.Cyril píše:Nezkousel jsem, ale cetl jsem o technice, ktera spociva v tom, ze normalne smichate nahravku, pak date zvlast vsechny bici a zvlast zbytek a nastavite sidechain kompresi tak, ze se zbytek ztisuje podle bicich. Pouzivate to nekdo?
cyril: v house a podobnych rovnych styloch s dominantnym kopakom sa to robi pravidelne... dost sa to pozna na vysledku, ma to hodne charakteristicky zvuk (i ked, ak sa pusti nestlaceny a hodne navyskovany kopak rovno do mastra, kde je nejaky pomaly opto kompresor, vysledok je dost podobny, kompresor z kopaka zozere vysky a cely master hupe podla kopaka). myslim ze je to drasticke a vhodne vylozene na par stylov a dost
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jo - tohle je trademark zvuk french housu, myslim, ze to delaji dbx-em (tak jak to popisujes, tedy ne pomoci sidechainu).kexik píše:cyril: v house a podobnych rovnych styloch s dominantnym kopakom sa to robi pravidelne... dost sa to pozna na vysledku, ma to hodne charakteristicky zvuk (i ked, ak sa pusti nestlaceny a hodne navyskovany kopak rovno do mastra, kde je nejaky pomaly opto kompresor, vysledok je dost podobny, kompresor z kopaka zozere vysky a cely master hupe podla kopaka). myslim ze je to drasticke a vhodne vylozene na par stylov a dost
cyril: blbost... to ne. zkusime - slysime - zjistime :] ja myslim, ze by byla skoda se nejak omezovat. kdyz jde na kompresoru nastavit 20:1, tak proc to nezkusit. kdyz umi EQ +20dB, zkusme je pridat, ze zvedavosti. staci, aby na konci chainu byl tvuj esteticky filtr, ktery tyhle prasarny zahladi :-]
no asi ne jen "french". u takhle smichanejch skladeb mam nekdy problem s poslechem v miste, kdyz po breakdownu nastoupi kopak - zni to az trapne - vsechno najednou tomu kopaku ustoupi a je to faaakt slyset - nechapu, ze s tim ty lidi co to takhle vyprodukujou nemaj problem. teda samozrejme uznavam, ze je to dan za to, ze kdyz uz si tam na ty pomery zvyknu, hraje to skvele, proste se to tam nejak pekne k sobe chova navzajem. ale proc to neudelat tak aby ten kompromis nebyl tolik slysetBrooklyn / juanita juarez píše:
jo - tohle je trademark zvuk french housu...

"This is not really for a whole mix, but more for a few tracks like bkg vocals or guitars.
In this case it's for vocals.
1. Mix your chorus vocals to a pair of L R stereo tracks
2. Copy that stereo pair to a second pair of L R stereo tracks.
3. Take the second pair and reverse the phase on them.
4. Then on the second pair reverse the panning. Make L to R, and R to L.
Set the first stereo pair up in your mix. And then start bringing up the second pair - which has been phase reversed and pan reversed. As you turn up the volume of the second pair you'll hear the image go very wide. You'll get to a point as you increase volume that it will start to be less wide as you begin to introduce too much phase cancellation from the second track. At that point, just back off on the volume of the second track until you hear that it's at its widest.
Try it. You'll be surprised. It's an old trick. : )
Dan Richards"
In this case it's for vocals.
1. Mix your chorus vocals to a pair of L R stereo tracks
2. Copy that stereo pair to a second pair of L R stereo tracks.
3. Take the second pair and reverse the phase on them.
4. Then on the second pair reverse the panning. Make L to R, and R to L.
Set the first stereo pair up in your mix. And then start bringing up the second pair - which has been phase reversed and pan reversed. As you turn up the volume of the second pair you'll hear the image go very wide. You'll get to a point as you increase volume that it will start to be less wide as you begin to introduce too much phase cancellation from the second track. At that point, just back off on the volume of the second track until you hear that it's at its widest.
Try it. You'll be surprised. It's an old trick. : )
Dan Richards"
bohuzel si u tehle techniky krasne muzes pohasit stereokompaktibilitu--lepsi je to nahrat to 4x na sebe:)
Hudebník a producent, majitel studia Soundevice
http://www.boriscarloff.com | http://www.soundevice-studio.cz
http://www.boriscarloff.com | http://www.soundevice-studio.cz
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Cyril píše:"This is not really for a whole mix, but more for a few tracks like bkg vocals or guitars.
In this case it's for vocals.
1. Mix your chorus vocals to a pair of L R stereo tracks
2. Copy that stereo pair to a second pair of L R stereo tracks.
3. Take the second pair and reverse the phase on them.
4. Then on the second pair reverse the panning. Make L to R, and R to L.
Set the first stereo pair up in your mix. And then start bringing up the second pair - which has been phase reversed and pan reversed. As you turn up the volume of the second pair you'll hear the image go very wide. You'll get to a point as you increase volume that it will start to be less wide as you begin to introduce too much phase cancellation from the second track. At that point, just back off on the volume of the second track until you hear that it's at its widest.
Try it. You'll be surprised. It's an old trick. : )
Dan Richards"
mno - tohle je obycejny nastaveni pomeru mezi M a S (aspon mi to tak pokusne vyslo).
takze kdyz ve vychozim signalu nebude S, nebudeme nic rozsirovat, jen postupne utlumovat, spolu s tim, jak budes pridavat druhej par savli a kanaly se budou fazove odecitat.
s vychozim stereo signalem budeme rozsirovat, ale stejne nastavit pomer M a S svede waves S imager nebo (free) voxengo MSED.