kralik wrote:Thank you for the answers!
I often edit even by a single note).
Ah! That's how's done! :thumbup:
That being said, here is one thing and I think it is a good thing: I do not have to control my drums by lowering the levels. Since my drums are VST drums, I can change their dynamics. When my loudest drum hit is 110 velocity in the chorus, I can make it 95 or so in the verse. I think it would sound more reallistic instead of just lowering the level by automation. I am not a drummer, but I believe that real drummers do not play the same velocity for the whole song. Maybe...
They most certainly not! It's good if they keep somewhat the same tempo :D As of realism, it's not so different, but it depends on the sample pack. Lower velocity may actually use slightly different samples and impact the sound. 99% of the people won't notice however. Just go for what's faster and easier.
Talking of what, often a band will get a little bit faster for exciting bits and slow down again for quiet ones. If you load any classic song (i.e. pre-DAWs) into your DAW and look at the relationship between the average beat and the actual one, you can get an idea of the differences.
Now we're often talking little BPM changes, nothing massive, but it can contribute a lot to the realism. And sometimes drifitng is pretty big. A few weeks ago I made a background base for Bryan Adam's "Run to You" for a singer friend, and the timing was quite something! This is often something that contributes (or not) to the feeling of classic or modern sound - much more than the actual instrumentation and tones.
Here is the second thing: I used to brickwall my bass a lot. To "lock the bass into place". But maybe sometimes it is not the best approach. Especially when the song is not all about the distortion and power but about quiet and loud places. All the dynamics would disappear then and the bass in the verse would sound as loud as in the chorus. So now I compress but not brickwall that hard.
Sometimes yes, sometimes not.. if you limit or compress heavily, you may get a chunky sound or change the attack in a way that fits the piece... in that case you're compressing for color besides control, and removing the limiting will remove that. In that case, once again it's just fine to keep squashing the bass and automate the levels to make it go with the rest.
Again, it's something that a good bass player would do instinctively - keep the tone "consistent" between parts while changing the overall volume. Sometimes at mixdown time you want to accentuate that for effect. Of course the better (i.e. more fitting) the recorded part is, the less work there is to do.
There are no hard rules other than make it sound as you want it, and make it sound good.
The third thing is the EQ. I've found out that there was too much low end in the clean guitars. It was even louder than the bass! So I made a low cut. And I made a sweep check for unpleasant frequencies. Now, when the transition between the verse and the chorus occurs, the chorus has audibly a lot more energy.
Lovely! Often the EQ treatment is very different for acoustic guitar when they are exposed alone (intro, bridge) than when they play together with other instruments. No need to have the same EQ during the entire track.
It is friday tomorrow, so I will try hard and find the best I can do!
Sounds like you have your work cut! The results are really worth it usual, it's what makes it fun. Best of luck!