[linux-audio-user] more music produced with Ardour and JAMin

R Parker rtp405 at yahoo.com
Mon Dec 6 03:28:11 EST 2004

--- Florin Andrei <florin at andrei.myip.org> wrote:

> On Sat, 2004-12-04 at 06:59 -0500, Dave Phillips
> wrote:
> > tim hall wrote:

There are some very astute listeners amongst us and I
really appreciate all the feedback. It's something
that can't be purchased and I am obssesed with
producing perfect product. Recieving feedback can be
difficult for all of us because we invest so much into
our work. I really want all of us to share our music
and learn.

> > >This mix lacks space and transparency slightly
> maybe, but the music just 
> > >shines through :-)
> > >
> > Interesting how we all hear things differently. I
> liked the mix, it's 
> > "close" like a club... which tells me that I've
> spent 'way too much of 
> > my life in night-clubs...
> <nod>
> Yes, it's bass-heavy and "cottony" :-) and obviously
> has no reverb, etc.
> Just like a live recording, dry, punchy and
> in-your-face. I think it's
> appropriate for this kind of music. Cool anyway!

In-your-face isn't what I imagine as the typical jazz
mix. The mix you heard is what I played for my client.
He said, "This is great. I do not want the old school
mix...I want you to mix the shit out of this." I was
real happy to hear that. Something to note about this
client is that he's one of the people that played the
jazz and blues music that we study.

The recording is all close mics on everything. What
you heard is a "tight" mix. What I mean by that is
through equalization, levels, panning and compression,
I have isolated every instrument so that it stands out
clearly and can be worked with. A tight mix is
basically my first objective. With the potential of
each track realized, I basically start building the
room. That's the point this mix is at. It's ready!

> Quite notable, on the Sennheiser cans it actually
> has quite a bit of
> breathing room while on the Alesis monitors it's
> much more closed. This
> is one of the mixes that sound very different on my
> two main listening
> tools.

I was gonna suggest that the difference might be
minimized after mastering and then realized I did a
quick master.

The Sennheiser cans can't represent bottom end to the
degree that the Alesis monitors will. That might not
explain the full story though because you indicate
that other mixes are more comparable. Are the
comparable mixes not as bass oriented? Any thoughts on

Perhaps not of much interest is that I seldomly use
headphones and probably never listened to this mix on
phones. I might be guilty of being lazy.

> I would suspect that adding just a droplet of reverb
> (turn the reverb
> down until you can't hear the tails, then turn it a
> bit more) would open
> it up on pretty much any speaker, but that's just a
> wild guess.

I should post the dry and current snare. What you
describe is basically what's on the snare and sax.
It's a little more obvious on the snare than the sax.
So, there is a room there but I'm not using it. Yet!

I wasn't gonna finish mixing this for awhile but maybe
I'll do that while it's fresh. The feedback is very
valuable and will be even more important to the next

Someone else commented on the stereo width of the
organ. The organ is recorded with two mics and a
direct line. The direct line is equalized to remove
the top end and is panned dead center. The mics have
the bottom removed and are panned hard Left and Right.
We'll see in the final mix but I've got an idea for
examining this observation.

What an awesome mailing list. Thanks for all the


> Or just leave it as is. :-) Being an electronica
> fan, i tend to be a
> reverb freak.
> Florin Andrei
> http://florin.myip.org/

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