"Arny Krueger" wrote in message
...
"Iain Churches" wrote in message

"Keith Garratt" wrote in message
...
On 10/01/2010 21:12, Arny Krueger wrote:
"Keith wrote in
message
Normally, I don't solicit (or usually get) comments
and/or criticisms when I post little 'fun' recordings
and vinyl transcription clips but this time I'm
curious - anybody got any comments on this one:
http://www.moirac.adsl24.co.uk/showntell/GeorgiaM.mp3


Is it *too* mellow?

Yes.

Sounded better with a broad dip around 100 Hz, and a
linear 15 dB rise starting at 1 KHz and ending at 15
KHz.

OK.

No. Not OK.

An EQ slope starting at 1kHz and rising to +15dB
at 15kHz makes the track glassy and unnatural.

I'm buying some of that, but notice that I only said it sounded better
than the origional which is excessively mellow.

A clarinet in the clarino register *is* mellow.
A tenor saxophone *is* mellow* in all but
altissimmo register.

Do you have a clarinet in your Baptist ensemble?
If so, stand in front of him/her so that your head is
in an approximate equilateral triangle between the
bell of the instrument and the first open hole while
he/she plays E2 (that's only the first hole at the
top covered) Then listen -mellow isn't it? Try to
keep the two bottom angles of the triangle equal
and pull back even further. What do you notice?

If someone wants me to really fix something, they can pay my going rate.

Nobody asked you to "fix" anything, AFAIK.
Going rate? You are a volunteer church worker -
there is no "going rate" :-))

What I did for free was provide some guidance.

Misguidance? :-)


Arny should be taught how to evaluate a track by
listening, not by looking at a frequency analysis plot on a PC, and
trying to fill in what he thinks might be missing.

You're shooting off your mouth again, Iain. I did both.

Clearly not. Your recommendation "looks" passable but
"sounds" awful!

One should listen carefully to the instruments in their
own acoustic environment before even attempting to
capture them in a recording.

You're shooting off your mouth again, Iain. I currently spend more time
every week listening to instruments in their own acoustical environment
than you do.

Most unlikely. But your 1 000 projects do add up to
many more than most professional recording engineers
work on in a lifetime. But it is quality not quantity that
matters.

I's not how many hours you spend, but what accomnplish
and learn from those hours, and how you put that knowledge
and experience to use. I am pretty sure that any formally trained
professional recording engineer would be able to teach you
more in a few hours than you have been able to teach yourself
in a *dozen* years:-)


EQ on overall mixes is best kept to very moderate amounts,
perhaps 2-3dB.

That depends on how bad the problem is and where, Iain.

No. That's a general rule. You cannot apply large amounts
of EQ to overall mixes without adverse effects instrument to
instrument, section to section. That's were CD mastering
can, and sometimes does, goes wrong.

Larger changes need to be made on
individual instruments if they are required.

And that is one of the charms of multitrack recordings.

So why did you suggest a "total destruction EQ" for an
overall mix?

Iain