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> Caveat: I love doing this in a musical context for a specific part (e.g. vocals or drums or guitar) amongst many, and so I tend to fine-tune the exact frequen
by iagooar 7y ago
> Caveat: I love doing this in a musical context for a specific part (e.g. vocals or drums or guitar) amongst many, and so I tend to fine-tune the exact frequencies in the context of the other parts so they evoke the memory and emotion of a telephone line more than the exact specifications of a POTS[0] line.
That is super interesting, now I'm intrigued. What's exactly the difference between the memory and emotion and the real sound of a telephone call? Do you have this kind of approach with other sounds as well?
- djaque 7y agoJust a guess, but I imagine he's talking about how we've been taught certain context clues from media that aren't exactly accurate. For instance, that bubbly low passed sound when a character is underwater or the crunchy punch sounds that aren't what a real fight sounds like.
- noizejoy 7y ago> What's exactly the difference between the memory and emotion and the real sound of a telephone call? When mixing a song, one of the many things to consider is, if a specific part is intended to blend in with other parts, effectively creating a merged sound vs. which parts are supposed to stand out. Since I use the telephone effect to make a part stand out a little extra, it becomes more important for it to be focused in a frequency range not already crowded with other parts. And therefore it’s less important if the highlighted frequency is a precise match to a telephone line. > Do you have this kind of approach with other sounds as well? Yes, very much so. For example in a very full pop or electronica mix with many parts, a grand piano track can overwhelm and muddy too many frequencies used by other instruments - for example the very low end (left side) of a good grand piano occupies the same frequencies as a bass guitar, upright bass or synth bass. So typically I would make the piano track be less prominent in the competing range, by lowering the EQ settings in that range. And I might increase the EQ settings for the frequency range where I want the piano track to me most obvious to the listener. — There are fancier versions of that mixing technique via variable multi-band compression with side chaining, but that might go beyond the interest level of the HN audience and take this thread too far off-topic :-)