D
dugstervision
Guest
On a really basic level, I'm grappling with the
dynamic differences between foreground tracks and
background tracks. Looking at today's releases, it
seems as though background elements are way up in
volume. So you have a vocal track that finishes
it's phrase and then immediately the following
non-vocal section is also way up there in volume.
During the lead vocal part, the average RMS value
of the entire mix, might only be slightly higher than the rhythm track section, even when there is
no lead instrument fill.
So what strategy should I have where every
section of music along the timeline is almost the
same volume? I could be wrong, but it seems to me
that current albums are alternating the focus
between lead vocals, and rhythm tracks that are
big walls of sound with, hopefully, interesting
textures and complexity. So if the music is in
our faces, during the time when the vocal has
paused, it's up to us as mixers, to make sure the
loud rhythm tracks are interesting, 'musical',
and support the emotion of the vocals.
As an aside, I have to admit liking more
dynamic mixes, because there is more of an emotional range, and more 'drama' in general.
Anyone have some good strategies for handling
(relative)track levels? -doug
dynamic differences between foreground tracks and
background tracks. Looking at today's releases, it
seems as though background elements are way up in
volume. So you have a vocal track that finishes
it's phrase and then immediately the following
non-vocal section is also way up there in volume.
During the lead vocal part, the average RMS value
of the entire mix, might only be slightly higher than the rhythm track section, even when there is
no lead instrument fill.
So what strategy should I have where every
section of music along the timeline is almost the
same volume? I could be wrong, but it seems to me
that current albums are alternating the focus
between lead vocals, and rhythm tracks that are
big walls of sound with, hopefully, interesting
textures and complexity. So if the music is in
our faces, during the time when the vocal has
paused, it's up to us as mixers, to make sure the
loud rhythm tracks are interesting, 'musical',
and support the emotion of the vocals.
As an aside, I have to admit liking more
dynamic mixes, because there is more of an emotional range, and more 'drama' in general.
Anyone have some good strategies for handling
(relative)track levels? -doug
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