Sorry have more questions ! Mixing at 24 bit 96 would I hear things better or could I possibly kill the mix when i send it off to get mastered ? . At the moment I have no bass traps in my room so I could be screwed when mixing .
The difference in fidelity between that resolution and bit depth and say 24-bit at 44.1kHz cannot be detected to any great degree by the human ear, even in the best listening conditions. When a tune is sent to the mastering house, just make sure all your stems are consistent in the bit-depth, sample rate and format (wav, aac, aiff…) The best and most common option is wav at 24-bit, of course.
You can use 96kHz but when it comes down to it, all it means is that the engineer mastering your tune will have a different approach to dithering the mix down from 24-bit to the 16-bit, CD-ready MP3 format. The process of doing this essentially destroys all the clarity you thought you had just to make it proper for the iPod or CD player.
CD quality degrades your fidelity. Too bad vinyl is so hard and expensive to produce. Before you buy another plug, speaker, keyboard, microphone or controller, invest in room treatment. It is absolutely crucial if you do your own mixing and mastering.
J
[quote]JamieinNC (08/06/2011)[hr]The difference in fidelity between that resolution and bit depth and say 24-bit at 44.1kHz cannot be detected to any great degree by the human ear, even in the best listening conditions. When a tune is sent to the mastering house, just make sure all your stems are consistent in the bit-depth, sample rate and format (wav, aac, aiff…) The best and most common option is wav at 24-bit, of course.
You can use 96kHz but when it comes down to it, all it means is that the engineer mastering your tune will have a different approach to dithering the mix down from 24-bit to the 16-bit, CD-ready MP3 format. The process of doing this essentially destroys all the clarity you thought you had just to make it proper for the iPod or CD player.
CD quality degrades your fidelity. Too bad vinyl is so hard and expensive to produce. Before you buy another plug, speaker, keyboard, microphone or controller, invest in room treatment. It is absolutely crucial if you do your own mixing and mastering.
J
[quote]Salvation (08/06/2011)[hr]Sorry have more questions ! Mixing at 24 bit 96 would I hear things better or could I possibly kill the mix when i send it off to get mastered ? . At the moment I have no bass traps in my room so I could be screwed when mixing .[/quote][/quote]
excellent tip Jamie. yeahh i totally agree with u . whenever i hear my mastered track sounds like they lost so much quality in the mastering process. now i know why is that . thanks man i am sure i will need to adapt my Eq and try to export as 16bit first before sending to mastering
[quote]Salvation (08/06/2011)[hr]Sorry have more questions ! Mixing at 24 bit 96 would I hear things better or could I possibly kill the mix when i send it off to get mastered ? . At the moment I have no bass traps in my room so I could be screwed when mixing .[/quote]
True I need bass traps I mean its pointless to mix-down if your room is not set up right .
So why not just mix at 16 bit so your not fooling yourself when you send the track off to get mastered ?
No!! You don’t have to export or mix a pre-master to 16-bit. Let the engineer handle the dithering and bit reduction from 24 to 16. Sending a file in 24-bit wav is preferred, actually. It gives the engineer room to work their magic.
Just know what kind of files you are recording in your DAW before bouncing. Your settings might be 24-bit at 48kKhz. Just let the engineer know before sending your stems so they know what they are dealing with. Some are actually pretty specific, because if they have to wrestle with several different bit-depths and sample rates in a project, all it means is more hourly pay! Haha.
Rendering everything in your mix in its original recorded format with about 10-12 dB of headroom for your engineer is the best for them. Just make sure everything is consistent.
J
[quote]JamieinNC (08/06/2011)[hr]The difference in fidelity between that resolution and bit depth and say 24-bit at 44.1kHz cannot be detected to any great degree by the human ear, even in the best listening conditions. When a tune is sent to the mastering house, just make sure all your stems are consistent in the bit-depth, sample rate and format (wav, aac, aiff…) The best and most common option is wav at 24-bit, of course.
You can use 96kHz but when it comes down to it, all it means is that the engineer mastering your tune will have a different approach to dithering the mix down from 24-bit to the 16-bit, CD-ready MP3 format. The process of doing this essentially destroys all the clarity you thought you had just to make it proper for the iPod or CD player.
CD quality degrades your fidelity. Too bad vinyl is so hard and expensive to produce. Before you buy another plug, speaker, keyboard, microphone or controller, invest in room treatment. It is absolutely crucial if you do your own mixing and mastering.
J
Regardless of your bit-depth and sample rate, your mastered song will always sound different from your pre-mastered mix. This is because engineers know the properties of the sound needed to make your tune sound best on ALL systems from the club to the car.
What sounds great in your headphones sounds all kinds of messed up in your car, and on your iPod, and on the club system, and everywhere else. It’s just the nature of fidelity and sound systems.
J
[quote]JamieinNC (08/06/2011)[hr]Regardless of your bit-depth and sample rate, your mastered song will always sound different from your pre-mastered mix. This is because engineers know the properties of the sound needed to make your tune sound best on ALL systems from the club to the car.
What sounds great in your headphones sounds all kinds of messed up in your car, and on your iPod, and on the club system, and everywhere else. It’s just the nature of fidelity and sound systems.
J
[quote]Salvation (08/06/2011)[hr]So why not just mix at 16 bit so your not fooling yourself when you send the track off to get mastered ?[/quote][/quote]
Since I cant find Videos on Youtube or this site can you help me out here ! Should you mix all sounds under or over the kick ? Should I just trust my ears if the kick stands out to much turn it down even if the BDs seem less . A good Mastering will pull out drums right ?
Also to better understand studio monitors what are some things I should watch out for .
Most of the time, I think folks will center everything in their mix around the kick or the bass. The trick with mixing, as far as I can tell, is that you are always going to be making very small changes here and there until you arrive at your “settled” mix. The reason is because whenever you change one thing in the low frequencies, it means something has changed in the mids and high frequencies. Same thing going high to low.
Mixing is all about give and take from one area of the spectrum to the other.
J
[quote]Salvation (08/06/2011)[hr][quote]JamieinNC (08/06/2011)[hr]Regardless of your bit-depth and sample rate, your mastered song will always sound different from your pre-mastered mix. This is because engineers know the properties of the sound needed to make your tune sound best on ALL systems from the club to the car.
What sounds great in your headphones sounds all kinds of messed up in your car, and on your iPod, and on the club system, and everywhere else. It’s just the nature of fidelity and sound systems.
J
[quote]Salvation (08/06/2011)[hr]So why not just mix at 16 bit so your not fooling yourself when you send the track off to get mastered ?[/quote][/quote]
Since I cant find Videos on Youtube or this site can you help me out here ! Should you mix all sounds under or over the kick ? Should I just trust my ears if the kick stands out to much turn it down even if the BDs seem less . A good Mastering will pull out drums right ?
Also to better understand studio monitors what are some things I should watch out for .
[/quote]
[quote]Salvation (08/06/2011)[hr][quote]Salvation (08/06/2011)[hr]Sorry have more questions ! Mixing at 24 bit 96 would I hear things better or could I possibly kill the mix when i send it off to get mastered ? . At the moment I have no bass traps in my room so I could be screwed when mixing .[/quote]
True I need bass traps I mean its pointless to mix-down if your room is not set up right .[/quote]
VRM box will hell with this
[quote]gofunk (09/06/2011)[hr][quote]Salvation (08/06/2011)[hr][quote]Salvation (08/06/2011)[hr]Sorry have more questions ! Mixing at 24 bit 96 would I hear things better or could I possibly kill the mix when i send it off to get mastered ? . At the moment I have no bass traps in my room so I could be screwed when mixing .[/quote]
True I need bass traps I mean its pointless to mix-down if your room is not set up right .[/quote]
VRM box will hell with this[/quote]
Hmm Thanks for the tip going to look into that until I get my acoustics right .
[quote]JamieinNC (08/06/2011)[hr]Most of the time, I think folks will center everything in their mix around the kick or the bass. The trick with mixing, as far as I can tell, is that you are always going to be making very small changes here and there until you arrive at your “settled” mix. The reason is because whenever you change one thing in the low frequencies, it means something has changed in the mids and high frequencies. Same thing going high to low.
Mixing is all about give and take from one area of the spectrum to the other.
J
[quote]Salvation (08/06/2011)[hr][quote]JamieinNC (08/06/2011)[hr]Regardless of your bit-depth and sample rate, your mastered song will always sound different from your pre-mastered mix. This is because engineers know the properties of the sound needed to make your tune sound best on ALL systems from the club to the car.
What sounds great in your headphones sounds all kinds of messed up in your car, and on your iPod, and on the club system, and everywhere else. It’s just the nature of fidelity and sound systems.
J
[quote]Salvation (08/06/2011)[hr]So why not just mix at 16 bit so your not fooling yourself when you send the track off to get mastered ?[/quote][/quote]
Since I cant find Videos on Youtube or this site can you help me out here ! Should you mix all sounds under or over the kick ? Should I just trust my ears if the kick stands out to much turn it down even if the BDs seem less . A good Mastering will pull out drums right ?
Also to better understand studio monitors what are some things I should watch out for .
[/quote][/quote]
Everything in my mix sounds mint my weak point is the kick drum for some reason I cant get it to sit right . To loud to weak to snappy to dry to boomy .