WATCH TRAILER

Internal Mixing: Module 6 - Depth

$20

55min

(13)

This is Module 6 of 9 of Friedemann Tischmeyer's Internal Mixing program.

This module deals with reverbs, depth and delays. Here are few topics discussed in this video: layering with reverb and delay, using external reverb modules, pre-delay as a design component, eqing reverb return as a design component, pre-fader or post-fader?, how many reverb units make sense?, delay in reverb or reverb in delay, design with the help of mute and special FX.

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Mentors
Friedemann Tischmeyer

Friedemann has mastered for artists such as Alan Parsons, Steely Dan, Johnny Cash, Iron Maiden, is inventor of the Dynamic Range Meter and founder of the Mastering Academy.

Credits

Alan Parsons

Steely Dan

Johnny Cash

Iron Maiden

What do you have to say?
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giansaggese
2017 Sep 23
Anche se non si vogliono mettere i sottotitoli, sarebbe importante almeno una trascrizione su tutti i moduli, per permettere una traduzione
pabloae@yahoo.com.ar
2017 Jul 16
Please sub in spanish!!
afcastro
2015 Jan 19
This is a great video... a lot of golden nuggets here.
TC Hotrod
2014 Jul 12
Hi Friedemann, Thanks for your fast feedback. That's what I enjoy with Puremix : head Chef is never too far from his restaurant and can have a talk with customers after dinner. :) I had understood highs/lows reverb return and perception this generates but that point regarding predelay was blurring my mind and my mixes too, by the way. Kind regards.
Friedemann
2014 Jul 11
... regarding highs and proximity perception I´d like to mention this: A dry event put into a reverb tends to be perceived as ONE event. Having a bright reverb tail communicates to our subconscious that event must be close because the event haven´t traveled that far through room where it would have lost proportionally more highs than mids and bass. Therefore creates a bright reverb tail a close perception of the overall event. But as long mixing is an art everybody is free to do it different as long the desired results are achieved.
Friedemann
2014 Jul 11
....dealing with dense pop music. Check it out on you own. Have fun. Regards, Friedemann Tischmeyer
Friedemann
2014 Jul 11
Hi Folks, it is great that you have found the only statement within the whole 6h video program which is not 100% clear. So please allow me to point something out. In sound theory it is correct, that a longer pre-delay makes a sonic event appear closer to the listener. From my experience this applies for very acoustical projects. Let´s say a recording with two classical guitar players or possibly also for a live recorded jazz band. However - popular music is in most cases much denser and at least in the realms of my personal experience it appears that this rule does not work very well when....
TC Hotrod
2014 Jul 11
I'm really surprised too, regarding Friedemann's theory about predelay times and instruments positioning !?!?!! Ok, each man get his own little piece of theory about this but sonic effects deal with some physical rules we all have to play with and share, wherever we live. Does anyone from Puremix staff can clarify this, please ?
soundgroove
2014 Jul 07
Up until now I thought that a long pre delay makes the source nearer to the listener because first the listener gets the direkt signal and then the signal the reflection from the walls! In the Internet I found the following: "Bei sehr weit entfernter Schallquelle ist das Pre-Delay kurz, weil das Original-Signal etwa zu gleichen Zeit wie die ersten Reflektionen beim Hörer eintreffen. Bei einer sehr nahen Quelle ist das Pre-Delay länger, weil zunächst das Orignalsignal auf den Zuhörer trifft und erst nach einiger Zeit die ersten Reflektionen." mixen-und-mastern.de/2011/04/29/mixen-und
soundgroove
2014 Jul 07
I am from Germany! I would be cool to use the german sound track and not listen to the translation!
oriolcruixent
2014 Feb 23
I don't know what's going on but it is impossible to watch without repeated stops and loading times every one ore two minutes (already happened with the previous video). Watching from Europe. :(
wwduke
2013 Jul 26
I appreciate the presentations. I have found a new way to think about compression - as a tool for spectral balance and tone shaping. Maybe I should have learned that before. But until now, I had not seen it that way (Module 5).
dmstubbs
2013 Jul 03
yes agreed - removing the top end from a dry "Instrument" does make it move back in the mix. But I'm unsure about removing the top end from the Reverb return (which is what is mentioned in this video) as this would make the reverb move back in the mix wouldn't it? - making the overall instrument more forward?
g
2013 Jul 03
Different presenters have different point of views on pre-delay. Mixing is empirical and a matter of taste. In this case, we do agree with Friedemann that removing top end does make an instrument sound further back as high frequencies do not travel as far as bass frequencies.
dmstubbs
2013 Jul 03
Very disappointed. I'm new to Puremix and I love the Mixing Periscope video so was hoping this would be of the same standard. My main issue is with the mistakes. The presenter says firstly that adding pre-delay to a reverb pushes an instrument back in the mix. From the books I've read (Mixing Audio - by Prof Roey Izhaki and Mike Seniors book) it's the opposite - adding pre delay moves an instrument more forward. I'm doubtful about the claim of removing top end from reverb to make an instrument further back.
pmlogin