> 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 i

> 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 :-)