Personally I found it very easy to use once I actually started. But all you really need to do is try a mix as above: try to land most of the average sections around 0dB RMS, run your climaxes up to +3 or +4dB RMS. I read and re-read the articles on Digido and eventually ordered Bob's book which, while challenging, was definitely also elucidating. I was utterly confused by the K-system stuff at first. When mixing for rock and electric pop music, climaxes and loud choruses will land in this range. For example, when mixing for films, explosions and the like tend to hit this area of the meter. You can use the meter's red zone (above 0dB RMS) for your loudest passages, say up to +3 or +4dB RMS. You want "average" (meaning not loud, not soft) sections of your mix to reach approximately 0dB on the RMS meter. Okay, now that you're calibrated, the essence of the K-14 is like this: It will start to make more sense as you use it with multiple mixes. I usually mix at around 76, raising the monitors to check details and lowering them to check overall balances as needed.ĭon't worry too much if you don't exactly understand the theory behind all this. The key is reference, so that it means the same thing every time you are using your monitors. Personally, I calibrated from 83dB down to 60dB in 1dB increments (it's a pretty small room and 83 just feels too loud for me, even after I've adjusted to it). From there you can adjust for your room and tastes. With the reference noise calibrated for -20dBFS RMS (the file should be all set to go in this regard), turn your monitors up to 83dB. This is the pink noise you're going to use to calibrate. It's above (click on the link Resources, it's under Projects I think). Make sure you use a tripod or something similar, if the meter is moving it's a lot less accurate.ĭownload the K-20 reference project. You'll need an SPL meter the kind they sell at Radio Shack for like 40 bucks will do. Think of the K-System as a coordinated attenuator for both the averaging meter and the monitor gain making this the first integrated metering and monitoring system. According to Bob, the single most important part of the K-System is reference volume. Use the settings Till posted for the Master meter. The essentials of K-Metering without the why: Sometimes you have to tweak an individual part here and there, but generally once I'm happy with a folder's individual sound it all happens on the folder track from there on out. Personally, I mix everything down to folders and then adjust the folders mostly to achieve the overall mix. on the folder track (that top-most track). Perhaps most importantly, mix the drums as an entire unit, control by the volume/pan/etc. Apply FX to all the drums at once (by placing FX in the folder track) Automate the entire drum part (by using automation on that folder track) Now you can use your folder to do stuff like: Mix the individual drum tracks to your liking. This indicates you have set the last track in the folder (that the folder has terminated basically at that track). It should look different than the folder button on the folder itself. Click the folder button on the bottom-most track (your last drum track). Click the folder button on that top-most, empty track. This empty track will be your folder (henceforth let's use the word folder instead of bus since that's what reaper uses and a folder isn't exactly 100% a bus.). Make an empty track and situate it above your drum tracks (which should be sequentially below the empty track). Of course quick, intuitive balancing at normal listening volume may be the best.įolders/Buses are exactly as you described. You may end up with a different balance with each method. Try these at low, normal and high listening volume and note the differences. Then mute the track and move on to the next one. This works for reverb, compression, just about any settings can be set with this method.ġ Only the loudest track playing while adjusting another track. Your optimum level for that track is somewhere between those levels. Then push it to full volume and pull it down. (You may want to keep your eyes off the fader so it doesn't affect your judgment, eyes closed is an option). To find a good level for each track while the loudest track is playing, push the fader up from silence. When you have the approximate levels set by ear, you can sort the tracks from the loudest to the softest on the mixer. You can just quickly set the levels by ear and never bother about the following methods, but you may find them useful: Mute all tracks, then set track levels from the loudest to the softest. Set your loudest track (the kick drum) peaking at -10 or -12 or even -14 dBFS and you're set.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |