Balancing sounds with pink noise
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withthegods
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Balancing sounds with pink noise
Hello everyone! I'm new to this forum, however I have been producing for quite a while and learned many tricks in the process.
I'm still not getting consistent results while mixing.
What I found out recently is a technique I want to share.
I usually start searching for presets I like and modify them, I started noticing that bass presets I select has way too much bass and midrange and in order to make them sit in the mix in a nice way I tend to overEQ them probably causing loads of phase distortion?
I have noticed that if I layer underneath my bassline or other sounds a layer of pink noise I would then be able to pin point better where the sounds are resonating and then tame frequencies that bug me. I noticed that for every bass sound I remove loads of bass and mids and leave the highs untouched. I then compensate the gain and voila the bass sits much more nicely and is really audible on smaller speakers. This is really bizzare because one would think that you actually need bass for bass heavy music, but in my case it turns out to be opposite, bass is just felt, but what gives the definition is mid-high range. I started sclulpting everything the same way, even my kicks get removed tons of low end. I like the sound of 80's electronic stuff and it's always less subby and extremely punchy, so I eq my kicks in a way that the fundamental moves from 50-60hz up to 80-90 hz, this helps. However I really find that I need to overprocess stuff and am looking for a solution that isn't causing phase issues. I heard people say just get a right sample first, but It's really hard to come by. My most beloved kickdrum is 707, this is the sound I'm always aiming for, but it's really hard for me to process it the right way.
Really my problem is that even though my pink noise technique helps I still over-process things as If I could not hear the correct balance of the sound, always too muddy, too bright, etc. How should I change my mindset thinking of this problem? Perhaps someone with experience would love to teach me for some money?
I'm still not getting consistent results while mixing.
What I found out recently is a technique I want to share.
I usually start searching for presets I like and modify them, I started noticing that bass presets I select has way too much bass and midrange and in order to make them sit in the mix in a nice way I tend to overEQ them probably causing loads of phase distortion?
I have noticed that if I layer underneath my bassline or other sounds a layer of pink noise I would then be able to pin point better where the sounds are resonating and then tame frequencies that bug me. I noticed that for every bass sound I remove loads of bass and mids and leave the highs untouched. I then compensate the gain and voila the bass sits much more nicely and is really audible on smaller speakers. This is really bizzare because one would think that you actually need bass for bass heavy music, but in my case it turns out to be opposite, bass is just felt, but what gives the definition is mid-high range. I started sclulpting everything the same way, even my kicks get removed tons of low end. I like the sound of 80's electronic stuff and it's always less subby and extremely punchy, so I eq my kicks in a way that the fundamental moves from 50-60hz up to 80-90 hz, this helps. However I really find that I need to overprocess stuff and am looking for a solution that isn't causing phase issues. I heard people say just get a right sample first, but It's really hard to come by. My most beloved kickdrum is 707, this is the sound I'm always aiming for, but it's really hard for me to process it the right way.
Really my problem is that even though my pink noise technique helps I still over-process things as If I could not hear the correct balance of the sound, always too muddy, too bright, etc. How should I change my mindset thinking of this problem? Perhaps someone with experience would love to teach me for some money?
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withthegods
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Re: Balancing sounds with pink noise
I own a plugin called Slick EQ GE it has really cool function. Ability to detect resonances in sound a remove them. I have used it to demonstrate how my approach works and if it's good. Because frankly I'm not sure if I have to put 5 EQ's every time... Can't it be done with one EQ? I mean SSL consoles had only one EQ per channel... So.. soundcloud preview of before and after and image guide
Re: Balancing sounds with pink noise
search forum for pink noise mixing technique. has been talked about many times.
If not working for you, search forum again for mixing techniques.
a great technique for mixing is search forum.
If not working for you, search forum again for mixing techniques.
a great technique for mixing is search forum.
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withthegods
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Re: Balancing sounds with pink noise
Hey, I have already searched alot here. Was wondering for keywords to look for? I've tried many different keywords but probably didn't get to the top notch posts
Re: Balancing sounds with pink noise
When you talk about bass patches, are you using a synth? Because if you are, I would look to change the patch first before piling on eq plugins. Your example isn't loading so it's hard to say whether it helps the sound, but it does sounds a bit convoluted. If you're that aggressive with filtering it's not really mixing anymore (..yet..), you're in the realm of sound design.
how far do you want to go
Re: Balancing sounds with pink noise
It's been said several times on this forum that it's about context and it's true. Start raw, get it ballpark with eq, work some more, refine it, work some more, refine it some more.
My biggest realisation is/was how one sound can enhance another purely because of how they contrast or compliment each other in a mix. Before that I was low cutting things that didn't need it, dipping eq that didn't need it and all because I "thought" it did.
I guess what I'm trying to say is that there's not much point in trying to perfect how two elements work together when there will be more added as this will throw the tone again each time something new is introduced.
Don't dwell on perfection before it's time to, it's a waste of time and it gets really frustrating ..
My biggest realisation is/was how one sound can enhance another purely because of how they contrast or compliment each other in a mix. Before that I was low cutting things that didn't need it, dipping eq that didn't need it and all because I "thought" it did.
I guess what I'm trying to say is that there's not much point in trying to perfect how two elements work together when there will be more added as this will throw the tone again each time something new is introduced.
Don't dwell on perfection before it's time to, it's a waste of time and it gets really frustrating ..
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Lost to the Void
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Re: Balancing sounds with pink noise
I think the problem/my issue with this method is that it's not very musical and you don't learn anything in the process.
It can help. But I just find the process of mixing in pink noise, is itself unmusical, unpleasant and mechanical.
Your ears don't learn anything, you just look for stuff popping through the noise. It's an awkward process that takes you out of the mix.
A good mix is gained from training your ears. Learning your listening environment, what is correct in that environment. How sounds relate.
Ultimately I think think it's more useful to use reference tunes just to give you overall mix bias.
There is all kinds of software that will allow you to loudness correct your reference source so loudness doesn't distract you.
I use meterplugs perception.
It sounds a bit elitist or something, but there really aren't any shortcuts. Pink noise masking only really tells you what a dead flat mix sounds like. And dead flat mixes sound.....dead.
Also helpful, something I bang in about a lot.
Monitor calibration and consistent listening levels.
Always listen to mixes at the same loudness.
Produce your music to a consistent loudness, monitor at a consistent level, listen (for pleasure) at a consistent level and you will eliminate a lot of variables.
When you listen to music, actively listen. Digest the mix you are hearing. Focus on elements in the mix, separation, space, dynamics.
Active listening is a real meat and bones training tool.
Downside is that it can ruin your pleasure listening as everything becomes analysis. Such is the curse of the mix engineer.
It can help. But I just find the process of mixing in pink noise, is itself unmusical, unpleasant and mechanical.
Your ears don't learn anything, you just look for stuff popping through the noise. It's an awkward process that takes you out of the mix.
A good mix is gained from training your ears. Learning your listening environment, what is correct in that environment. How sounds relate.
Ultimately I think think it's more useful to use reference tunes just to give you overall mix bias.
There is all kinds of software that will allow you to loudness correct your reference source so loudness doesn't distract you.
I use meterplugs perception.
It sounds a bit elitist or something, but there really aren't any shortcuts. Pink noise masking only really tells you what a dead flat mix sounds like. And dead flat mixes sound.....dead.
Also helpful, something I bang in about a lot.
Monitor calibration and consistent listening levels.
Always listen to mixes at the same loudness.
Produce your music to a consistent loudness, monitor at a consistent level, listen (for pleasure) at a consistent level and you will eliminate a lot of variables.
When you listen to music, actively listen. Digest the mix you are hearing. Focus on elements in the mix, separation, space, dynamics.
Active listening is a real meat and bones training tool.
Downside is that it can ruin your pleasure listening as everything becomes analysis. Such is the curse of the mix engineer.
Re: Balancing sounds with pink noise
My solution: Ableton's overdrive, or equivalent, which does both removing lows while boosting mids/highs depending on how you use the filter section. I found this to be a great way to move the bass around the mix.