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Now I’m not saying the rest of the elements are not important to the emotion or impact of the song, but what I am saying is that these will usually take up the most real estate between your speakers. Make Room for the Important Stuffįor most songs you are going to have 4 important elements: The vocal, the drums (yes I classify these as one), the bass, and the lead instrument. Some ways of achieving that are discussed below. What you are trying to do is make it sound louder while moving your peak levels as little as possible. One mix is actually not louder than the other, it just sounds louder. The short answer is perceived volume or apparent volume. So how can it be that one mix sounds louder than another when they are both peaking at 0 dB? If your mix is peaking at 0 dB than you are the loudest engineer on the block right? Wrong! It’s amazing at what psychoacoustics can do in mixing. It’s not unusual, especially in the learning stages of mixing, to view loudness as peak volume.

I second set of ears can do wonders at pointing out flaws in your mixes and not only make your song better but also your future mixing as well.

YELAWOLF MP3 DOWNLOAD LOUDER PROFESSIONAL

If your mix is unintelligible, lacks punch, lacks a sense of depth and the balance is off then a limiter is probably the least of your worries.īefore proceeding I should mention that whenever possible, it’s always best to seek a professional opinion when it comes to mastering your mixes. A limiter just amplifies the way your mix already sounds, good or bad. The problem with making your mix louder is that it’s not quite as simple as throwing a limiter on you master bus. Granted a good song and production are important but so is overall clarity and loudness. It’s important to be able to stand up to the big boys when your record is thrown into a pile of commercially released songs.

It’s also about satisfying the MP3/Ipod/Playlist generation.

It’s not just about satisfying a client who wants their stuff as loud as ‘x’ artist and you have to do what you can to compete. Maybe I’m just optimistic but I really do see dynamics becoming more and more a part of music in the future.īut alas we are still living in a world where being loud or better yet, just as loud, is still important. I don’t ever see us going back to the old days of dynamic range and lots of headroom but I do see us settling into a zone where we can have the best of both worlds – Dynamics and Loudness. It’s almost as if we hit a plateau in the ‘loudness war’ and we are now starting a descent. They seem to be at a level of loudness that the listener has become accustomed to but not to the point where it’s unbearable when listening. I’ve been pleasantly surprised with the way some new records have been sounding.

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