A - D - X are oversampled IMO. This is my first answer listening to from my tv. I turn on the monitors and I realised the opposite situation! Great video!
I try to do bottom up as much as I CAN, but I certainly do not exclude the idea of top down. Most of the times I see myself doing BOTH, and at the end of the day, if you reached the sound you wanted you got the job done. You cant listen to a track and guess if it was top down or bottom up mixed (that doesn't even make sense). So everything is valid to achieve the desired sound.
Personally, I'm dead against the top down, having tested the results of both approaches. Getting it right from the source is my primary focus and bottom up mixing aligns with this philosophy for me.
The oversampled ones sound so much more open. Like there’s room to put your feet up in the mix and stretch out. A, D and X sound more cluttered. Not bad but I definitely prefer B C and Y. Great tests!
What I explain in the video has nothing to do with perception, it's about understanding the fundamentals of how a compressor works. The resulting tone could skew more low-centric, and in most cases it will, but this depends on how the compressor is reacting to the bandwidth limited signal in the sidechain. Not all compressors will react the same way and it depends greatly on the nature of the signal that's left in the sidechain. But don't believe me, we just met, try it out for yourself.
Big thanks for this video! It was pretty easy to hear the oversampled ones (B, C, Y), However, since I have been hoarding the "analog modeling" plugins recently, this is a very good reminder about the actual sound quality that can be achieved. Thank you 🙏
BCY, totally audiolble on 10$ headphones. More oversampling - less high freq for me in this test. But high freq almost always anotal, aliasing atonal - no problem here at all
Hello Daniel! I hope you're well ! Thanks for the great informations about this wonderful new Waves plugin "Spice Rider". Sorry to go a bit out of context !... Please ! could you tell me with which Virtual instrements, you programmed your " Drums and your BASS " ?... because they Sound Really Great !!! 👌👌👌👍 Thanks again and Good Continuation !!!..
Thanks, you didn t told that those clip plugins sound very good, might be better than Fab filter. It would be nice to buy them apart for the standard track plugins as well, if possible
I've only just started playing around with home studio production, but I've done a little bit of live mixing and some studio and location recording in the past. The only time I would imagine myself doing a strictly top-down mix is if it's a live recording with a limited number of tracks and you want your mix to sound like the performance. Otherwise, I don't see the point, as if you spend a lot of time on a mix, then work your way down, by the time you've played with the tracks the top-level mix will sound different and you'll have to spend time re-doing it. I'd do a very basic top-level mix first, to see where everything sits and plan what I'm going to do to the tracks, but the real mix would come at the end. Maybe that's inefficient, but I'm still working this stuff out. Good video!
Yeah, audio system specs can be a delicate balancing act to get right if you're on a PC especially. Throw in the need to update drivers and software regularly and you're bound to get issues at some point. I'm using an AMD Ryzen 9 3900X which handles large sessions pretty well, but occasionally I find the limit with certain plugins.
@@SPLMixing i’m on my dying 2015 macbook pro haha. When i do large sessions i have to bounce or freeze a some tracks and even then i still get time outs every now and then. Probably because of plugins like these
I grabbed NX as a way to test out the EQ correction for my Sony 7506 cans. On one hand, I absolutely hate working on headphones but figured it time to join the rest of the world or at least have the option to reference them as an option. One feature that really irritates me is the head tracking. Why is that necessary? It drive me nuts having it on so I'm thankful to be able to turn it off. What is the actual benefit to head tracking? It seems to me it's just a technical gimmick that ultimately does nothing to help or speed up any task. What am I missing?
It's simulating the environment as realistically as possible, so that if you want to feel like you're in a real room without headphones, you can experience that feeling 100%. Put NX on a reverb or delay and add some movement using your own head, pretty cool.
To reduce boominess in the bass, your first step would be eq, either low shelf, high pass filter, bell filter... The purpose of using the high pass filter on the compressor is to stop it hearing and reacting to low bass frequencies that might otherwise push the compressor too hard. The high pass on a compressor only affects what the compressor hears, not what we hear. Does that clear things up?
Hi@@SPLMixing OK. I get it now... I completely misunderstood because I guess I wasn't really listening after all. I was mixing up EQ with Compressor. Thank you so much for getting back to me! Paul
No, they serve a different purpose. Superchunks work well from floor to ceiling in all room corners. For the tube traps, I followed a RU-vid tutorial I found. Still, you can get similar results using regular panel traps placed around the perimeter of your room, with less effort and space requirements. I didn't know this when I made the tube traps, but I have since learned otherwise. Don't waste your time with tube traps. The data does not conclusively support them being any better than regular insulation panel absorbers.
Hi and Thanks for your helpful video! one question that remains is why you pulled the close attack kick mic track more forward, like two amplitudes, before the in-mic and the third kick mic. could you please explain? thanks :)
@@SPLMixing ok i get this point. i just couldn't see why all other tracks were moved just a little fore- or backwards, to fit the main track. but the attack mic track was way ahead bofre the other kick tracks. or. did i see this one wrong? thanks for answering :)
The attack track is more about texture than getting waveforms lined up, which is itself about extracting the most bass information from the two or more tracks. It's been a while since I made this video, but I'd say that the attack didn't have any relevant "partner" to align with, as sometimes it's not clear how to make the waveforms line up. I definitely recommend checking out my drum recording video for a more in depth understanding of how phase problems can be adjusted using the microphones. The correlation meter techniques I use in the video are a great way to overcome the obstacle of not being able to "see" a clear answer when the waveforms are complex. It's also a pretty fool proof method.
Thank you very much for the explanation, the best I have seen on the subject to date. There you talk about mixing at a higher sample rate. Do you recommend recording at 44,100 and oversampling the plugins/session, or recording at a higher sampling rate? Or would this bring no benefit and just more processing and storage usage? Thanks!
It really depends on the strength of your cpu and storage capacity. I'm partial to recording at 88.2 kHz and working at that sample rate. My PC can handle it, so long as I don't get too crazy with plugins. As far as investigating the potential invreased benefits of working with higher sample rates versus the equivalent oversampled audio, this is something that I plan to test out in a future video. No doubt it negates some of the aliasing artefacts, but if you lack cpu power and space, then oversampling the plugins that need it most is your best strategy.
Thanks for posting this. I wonder what would happen if one was to leave the compressed insulation in the bag and stack them up like blocks? Maybe they would be too dense. Acoustics is weird science and I know that seemingly logical solutions are OFTEN wrong. Thanks again.
Nice video! I also prefer the CLA NX. I do wish you could turn on/off the sub with the NS10s. Also, I always like the ambience control turned all the way down.
Enabling oversampling allows the plug-in to accurately calculate the harmonics, before filtering out those that are too high for the sample rate. Without oversampling, the extended upper harmonics bounce back into the audible range of frequencies but not in a musical way. See my video "Can You Really Hear Aliasing?" for more information.
@@SPLMixing Thanks for the answer. I see that you use some Waves plug-ins, but they don't have oversampling. How do you handle aliasing in these plugins? Thank you in advance.
