[Jon Dobbins[_2_]]

Recently completed a mix to play in the car. The problem I'm running into
is that at least one of the tones is shrill and I can hardly stand to listen
to it at higher volumes. How can I correct this? It seems to stem from a
specific set of tones in general. I've tried adjusting the car's treble
control to the minimum but the tones still come out shrill at higher
volumes.

Thanks in advance,
JD

[Scott Dorsey]

In article 0JVGj.4788$o35.4200@trnddc07, Jon Dobbins wrote:
Recently completed a mix to play in the car. The problem I'm running into
is that at least one of the tones is shrill and I can hardly stand to listen
to it at higher volumes. How can I correct this? It seems to stem from a
specific set of tones in general. I've tried adjusting the car's treble
control to the minimum but the tones still come out shrill at higher
volumes.

This is what equalization is for, or a de-esser. The de-esser is a remarkably
useful tool for salvaging bad mixes; you can center-in on a frequency band
with a problem. It's really more versatile than the name would have you
believe.

A real parametric EQ is a lot more powerful than a Baxandall treble control.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[graeme]

If you have a DAW you could use a plugin eq. Software eqs are no
comparison to a good outboard eq, but they are very good at notching
out specific proble frequencies...

On 27 Mar, 23:39, (Scott Dorsey) wrote:
In article 0JVGj.4788$o35.4200@trnddc07, Jon Dobbins wrote:
Recently completed a mix to play in the car. The problem I'm running into
is that at least one of the tones is shrill and I can hardly stand to listen
to it at higher volumes. How can I correct this? It seems to stem from a
specific set of tones in general. I've tried adjusting the car's treble
control to the minimum but the tones still come out shrill at higher
volumes.

This is what equalization is for, or a de-esser. The de-esser is a remarkably
useful tool for salvaging bad mixes; you can center-in on a frequency band
with a problem. It's really more versatile than the name would have you
believe.

A real parametric EQ is a lot more powerful than a Baxandall treble control.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[cporro]

i had that same problem. lots of my earlier mixes were shrill. for me
it came down to a few things.

1) doing some ear training so i could mix better. check out dave
moulton's golden ears.

2) listening to how other mixes sound on your system. go back and
forth on your DAW. i routinely import mixes i like to a track, then A/
B them.

3) this is outside of mixing but you may want to think about what mics
you use and where you place them. aside from the sound of your source
this is the next biggest factor. i was told this a few years ago but
it took a while to sink in. the difference between your average cheap
condenser (like i have) and a sm57 on guitar cab is HUGE.

[Arny Krueger]

"Jon Dobbins" wrote in message
news:0JVGj.4788$o35.4200@trnddc07

Recently completed a mix to play in the car. The problem
I'm running into is that at least one of the tones is
shrill and I can hardly stand to listen to it at higher
volumes. How can I correct this?

Mix it again.

That's the best solution.

That's one of the beauties of multitracking and DAW software. As long as you
have the origional tracks, you can just do it over again until its right.

BTW, one learns woodworking the same way. ;-)

It seems to stem from
a specific set of tones in general. I've tried adjusting
the car's treble control to the minimum but the tones
still come out shrill at higher volumes.

Sometimes I think that every recordist should have about 3 years experience
regularly mixing live sound. If you have a few people who criticize your
work in real time, so much the better.

[Ty Ford]

On Thu, 27 Mar 2008 22:58:33 -0400, cporro wrote
(in article
):

i had that same problem. lots of my earlier mixes were shrill. for me
it came down to a few things.

1) doing some ear training so i could mix better. check out dave
moulton's golden ears.

2) listening to how other mixes sound on your system. go back and
forth on your DAW. i routinely import mixes i like to a track, then A/
B them.

3) this is outside of mixing but you may want to think about what mics
you use and where you place them. aside from the sound of your source
this is the next biggest factor. i was told this a few years ago but
it took a while to sink in. the difference between your average cheap
condenser (like i have) and a sm57 on guitar cab is HUGE.

+1

Regards,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=4RZJ9MptZmU

[AbsenceStudios]

i had that same problem. lots of my earlier mixes were shrill. for me
it came down to a few things.

1) doing some ear training so i could mix better. check out dave
moulton's golden ears.

2) listening to how other mixes sound on your system. go back and
forth on your DAW. i routinely import mixes i like to a track, then A/
B them.

3) this is outside of mixing but you may want to think about what mics
you use and where you place them. aside from the sound of your source
this is the next biggest factor. i was told this a few years ago but
it took a while to sink in. the difference between your average cheap
condenser (like i have) and a sm57 on guitar cab is HUGE.

=========================

I often A/B CDs when I'm tracking as well as mixing.

I like to get examples of what the artists/bands want their instruments to
sound like. Then I apply their ideas to making a cohesive mix of all of the
instruments. I have found that I work much faster now because of this.

Mic technique could have a lot to do with it. Not only mic choice, either.
For example, if you mic'd a guitar cab, the mic (tell me you didn't put a
Sennheiser e609 right up to the grille of anything) was probably way too on
axis with the cone, etc.

The de-esser is a great idea. The Channel Strip EQ in Logic has saved me
enough times as well.