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Author Topic: Matrix  (Read 6904 times)

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Offline Sloan Simpson

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Re: Matrix
« Reply #15 on: February 02, 2016, 03:40:21 PM »
Wherever your DAW shows a ratio of your mix, or any numbers relating to that, cut out a small piece of a Post-It note and cover that up on your monitor, never look at it again  ;D SBD mixes vary so greatly in my experience that formulas are useless at best, or dangerous at worst (because they discourage critical listening).

smokenburn

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Re: Matrix
« Reply #16 on: February 02, 2016, 09:35:36 PM »
The amount of SBD depends on the board mix.  You might not want to use any at all, on the other hand you might want to use mostly SBD and just a little AUD.  Likewise, the amount of AUD used may vary based on the room acoustics.

Offline admkrk

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Re: Matrix
« Reply #17 on: February 02, 2016, 09:54:57 PM »
When you mix the two sources, the overall volume is additive. There is no reason to try to adjust for that when recording. Just adjust each track in the montage and this:
Quote from: Sloan Simpson
Wherever your DAW shows a ratio of your mix, or any numbers relating to that, cut out a small piece of a Post-It note and cover that up on your monitor, never look at it again

Using Wavelab 6, I've had issues doing martix were I wished I ran levels lower. By no means an expert on martixing sources
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Offline Gutbucket

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Re: Matrix
« Reply #18 on: February 02, 2016, 09:56:57 PM »
Wherever your DAW shows a ratio of your mix, or any numbers relating to that, cut out a small piece of a Post-It note and cover that up on your monitor, never look at it again  ;D SBD mixes vary so greatly in my experience that formulas are useless at best, or dangerous at worst (because they discourage critical listening).

FTW!

Who cares what the ratio is? It's never going to be the same twice.  Unless the two sources are level adjusted beforehand so that they have identical RMS values before combining them, a ratio of the combination of the two is completely meaningless.  And even if that was actually done, identical mix ratios between two different recording dates would still produce different subjective results, because differences in content, spectrum, and dynamics between the two sources will require different mix ratios.  Even if RMS level matched, mixing the two source based on a ratio is meaningless.

Mix ratio only has meaning in some audio software as a rather clumsy way of adjusting the relative levels, and even then only within that particular session with those particular files.  Whatever ratio works optionally for one recording usually will not translate to the next one.

All it takes is listening with a hand on the level controls. Figure out what relative combination levels sounds best, then adjust the level of the resulting combination.

Just like the admiral confirmed as well.
« Last Edit: February 03, 2016, 11:11:01 AM by Gutbucket »
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Offline Fried Chicken Boy

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Re: Matrix
« Reply #19 on: February 03, 2016, 10:36:45 AM »
Wherever your DAW shows a ratio of your mix, or any numbers relating to that, cut out a small piece of a Post-It note and cover that up on your monitor, never look at it again  ;D SBD mixes vary so greatly in my experience that formulas are useless at best, or dangerous at worst (because they discourage critical listening).

FTW!

Who cares what the ratio is? It's never going to be the same twice.  Unless the two sources are level adjusted beforehand so that they have identical RMS values before combining them, a ratio of the combination of the two is completely meaningless anyway!

All it takes is listening with a hand on the level controls. Figure out what sounds best, then adjust the level of the resulting combination however is necessary.

Just like the admiral confirmed as well.

In full agreement with Sloan, GB, and others. 

Another thing to keep in mind, if your mix sounds echo-y, is that you may have to push back, time-wise, your SBD source in relation to the AUD/MIC source to compensate for the distance between the stage and your AUD microphones.  Zooming in on the waveforms and aligning everything up in the beginning on, say, a drum hit, cymbal crash, etc is a good way to do so. 

Offline opsopcopolis

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Re: Matrix
« Reply #20 on: February 07, 2016, 10:24:11 AM »
^ agreed with all of that.  When I start working on a matrix, I hard pan my board to one side and my AUD to the other and align with the clearest snare drum hit I can find.  Then mix from there.  I probably tend to use a bit more board than most of you guys because I love the sound of a slightly more lively board, rather than a slightly more defined AUD.  I have a feeling that I do more editing than most tapers out there, but I occasionally will split my board feed with a crossover at around 250, and essentially mix low end and mids/highs separately.  Apply a bit of compression to the board and limit them on the master for some glue

Wherever your DAW shows a ratio of your mix, or any numbers relating to that, cut out a small piece of a Post-It note and cover that up on your monitor, never look at it again  ;D SBD mixes vary so greatly in my experience that formulas are useless at best, or dangerous at worst (because they discourage critical listening).

There's really no better rule than this.  The idea of having something pre-set/determined before you even get it into the DAW is really dumb and only set to hinder your success.

Here are a few of my better matricies:
https://archive.org/details/nthpower2015-02-21.ca-14matrix
https://archive.org/details/moontaxi2016-01-28.matrix
https://archive.org/details/AQ2015-07-10.CM-33Matrix
https://archive.org/details/fataztec2015-03-22.Matrix

 

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