![]() ![]() In the diagram above, the left to right spectrum of sound is broken up into 6 sections. Where things get more complicated however is how wide that sound is in the left and right field. Panning is a quite straight forward and obvious concept, where is the sound in regards to left or right. The first being how “wide” the actual sound is, and the second being how far panned left or right your sound is. This is usually dealing with two different concepts. Lastly the width of your track is where you are placing your sounds in the stereo field. Here is a basic diagram to illustrate this concept: In its most basic form, the longer reverb and delay a sound has the more distant it is perceptually. The “depth” of your track is most often created with time based FX such as delays and reverbs.īy mastering these tools you can place your sounds further away, or, alternatively with little to no delay or reverb, can set your sound upfront in the mix. GIT IT LOUDER SONG FULLIt’s more natural when elements still cover the full frequency spectrum, just less so in certain areas. This would likely sound weird, so when slotting, try using shelves more than hard cuts. Sounds tend to sound unnatural if you limit them to a certain frequency range.įor example, taking a bass, removing all the sub, and removing all the highs. One thing to be careful of however is over-slotting. Now this is just an example, but hopefully it’s getting you thinking. So when writing, be very selective as to which sounds sit where.įor example, maybe I would have a sub bass in the lowest frequencies, a low mid bass taking up the mids (lightly bleeding into the highs), a lead taking up the high mids, and cymbals and fx taking up the highs. You want to limit how many sounds exist in certain frequency ranges to let each one shine individually. The obvious tool to tackle this with is EQ, but this should also be applied in the writing process. Therefore, by giving each element it’s own space in the frequency spectrum you are also filling out your song in the dimension of “height”. ![]() When listening to sounds, low frequency ranges are perceptually lower to the ground, and the higher the frequency the higher in height it is perceived. ![]() GIT IT LOUDER SONG HOW TONow let’s talk about how to place elements in these three dimensions. Imagine your song is actually existing in a massive 3D space.Įach element can exist somewhere in the space, typically with your main elements close to front and center, and your less important elements placed elsewhere. This technique will allow each element to shine by taking up it’s own space, allowing maximum perceptual volume. Slotting is the concept is placing each element of your track in their own unique space in the dimensions of “height”, “depth”, and “width”. When learning how to mix, one of the first skills you want to master is “slotting”. This can occur for a multitude of different reasons.Ī sound with a lot of harmonic content may be perceptually louder for example.Īnother might be a heavily compressed sound with a constant dynamic range.īelow are 5 techniques you can implement into your mixes to make your music perceptually louder. Now this perceptual loudness can be explained with another saying known as “maximum volume, minimum voltage”.Įssentially this means you want the elements of your track to be perceptually loud, while using the least amount of actual volume. So really this means that other songs are just “perceptually louder”. Usually a song hits a limiter with a ceiling of 0. Now really if you think of it, all tracks when mastered are the same volume, even yours. You may think it’s a mastering problem, but it's really it’s mixing.īefore a master can really polish and improve your song, you need a mix that will work well being mastered. ![]() One of the biggest mixdown questions we get asked here at Cymatics is “how do I make my track louder”. Do you ever ask yourself "my song is so good, but why can't I get it louder?!" ![]()
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