Mixtape DJ's Beware

New Camron Record

Mixing Vocals

PMP producers

Camron Interview Part.2

New Artist Discussion

:More talk on hip hop

Jadakiss New Album

Internet Age, Guru + 9th Wonder

Just Blaze and Chopping Samples

Just Blaze: www.mikechav.com chopping samples in Logic from Mike Chav on Vimeo.

Lil wayne,Jim Jones,and Juelz Santana Hosted by Scoob Doo! Mix House Did the audio.

check out the trailer to the highly anticipated episode 07 of streets talk dvd
"THE THREE AMIGOS" starring LIL WAYNE,JIM JONES,JUELZ SANTANA. Guest Appearances include Mike Epps,Baby,Dame Dash,Redman, & more!!!



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EXECTUTIVE PRODUCER:
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Mix House,LLC did the audio.Tell them we sent you!

The role of Compression

The Role of Compression at Mixdown

First of all, if you plan to have your material professionally mastered, don't add compression at mixdown. A professional mastering engineer will have a better compressor than you do and they cannot remove the layer of compression you add. Just get the mix sounding great without compression, record the mix so it's top peak is several db below 0db. Let them make it louder, that's their job.

But if you are not sending the piece off for mastering, and aren't going to add a pass later through mastering processors, then, yes, patch in the compressor at mixdown or do a separate pass later with the mixed file.

On it's way to the recording device, you can patch a compressor/ limiter/gate. The Gate simply cuts out any audio below a certain threshold so that any hiss or noise coming from your synths or mixer is eliminated before the music starts. The limiter keeps your peaks under a certain fixed level and will not let them go higher. A Compressor is a volume slope applied to the audio material going through it. It can amplify the "valleys" and attenuate the "peaks". Essentially compression reduces the dynamic range we have just struggle to achieve in our mix. You might wonder why you would want that. In many circumstances, you don't want it. However, in the majority of cases you will find it useful, especially if you want your music to be "hot", "have punch" "be as loud as possible", or have the consistency of a radio mix. The stereo compressor also helps balance the song and give it a uniform character we are so used to hearing in commercial music. It essentially gives you the strongest and smoothest mix and calms down some of the 'jaggged edges' that might disturb the casual listener. However, it is also very easy to make a mix totally lifeless with a compressor and reduce its dynamic power. What started as a powerful orchestral arrangement can end up a wimpy piece of Mall Muzak so be careful and bypass it frequently to make sure you like what you are tweaking up. I think compression works well to attenuate that occasional peak that rips through the roof of a digital audio recorder and ruins the track. Also if you have the cash for a fine analog tube compressor. or even a high quality compressor plugin, there is lots of magic you can do at this stage.

Advice for upcoming Engineers

Mixing With Kanye

Limiting

Limiting

Main article: Limiting

Compression and limiting are no different in process, just in degree and in the perceived effect. A limiter is a compressor with a higher ratio, and generally a fast attack time. Most engineers consider a ratio of 10:1 or more as limiting, although there are no set rules.^[7] Engineers sometimes refer to soft and hard limiting which are differences of degree. The "harder" a limiter, the higher its ratio and the faster its attack and release times.

Brick wall limiting has a very high ratio and a very fast attack time. Ideally, this ensures that an audio signal never exceeds the amplitude of the threshold. Ratios of 20:1 all the way up to ∞:1 are considered to be 'brick wall'.^[8] The sonic results of more than momentary and infrequent hard/brick-wall limiting are usually characterized as harsh and unpleasant; thus it is more appropriate as a safety device in live sound and broadcast applications than as a sound-sculpting tool.

Some modern consumer electronics devices incorporate limiters. Sony uses the Automatic Volume Limiter System (AVLS), on some audio products and the PlayStation Portable.

See also: Clipping (audio)

Limiting and Clipping compared. Note that clipping introduces a large amount of distortion whereas Limiting only introduces a small amount while keeping the signal within the threshold.

-Wikipedia

Basic's on compression

Basics

The relationship between input level, output level, and gain reduction in a compressor

In simple terms, a compressor is an automatic volume control. Loud sounds over a certain threshold are reduced in level while quiet sounds remain untreated-- (this is known as downward compression, while the less common upward compression involves making sounds below the threshold louder while the louder passages remain unchanged). In this way it reduces the dynamic range of an audio signal. This may be done for aesthetic reasons, to deal with technical limitations of audio equipment, or to improve audibility of audio in noisy environments.

In a noisy environment, background noise can overpower quiet sounds (such as listening to a car stereo while driving). A comfortable listening level for loud sounds makes the quiet sounds inaudible below the noise; a comfortable listening level for quiet sounds makes the loud sounds too loud. Compression is used in order to make both the soft and loud parts of a sound more tolerable at the same volume setting.

Compression reduces the level of the loud sounds, but not the quiet sounds, thus, the level can be raised to a point where the quiet sounds are more audible without the loud sounds being too loud. Contrast this with the complementary process of an expander, which performs almost the exact opposite function of a compressor, i.e., an expander increases the dynamic range of the audio signal.^[1]

A compressor reduces the gain (level) of an audio signal if its amplitude exceeds a certain threshold. The amount of gain reduction is determined by a ratio. For example, with a ratio of 4:1, when the (time averaged) input level is 4 dB over the threshold, the output signal level will be 1 dB over the threshold. The gain (level) has been reduced by 3 dB. When the input level is 8 dB above the threshold, the output level will be 2 dB; a 6 dB gain reduction.

A more specific example for a 4:1 ratio:

Threshold = −10 dB

Input = −6 dB (4 dB above the threshold)

Output = −9 dB (1 dB above the threshold)

Signal Flow

Guru Speaks on Engineering

How to Eq Using Waves.

Let's talk Preamps..

Let there be no doubt that with the mic pre you pay for sound quality. That is what the whole game is about! But the preamp alone is not wholly responsible for quality, it is just one component. Your a\d converters, the cleanliness of your signal paths, the acoustic properties of your recording room, your choice of microphone and choice of monitors (so you can hear the fine differences) are all critical to quality. Those who want "the best" sound quality might spend $4,000 on preamps, $3500 on converters, $1500 on an audio interface and $5,000 on mics and $3,000 on room treatment. That's $17,000 just to get into the pro ballpark, still far from "the best", and we haven't included the cost of monitors, DAW, software or cables. So my first bit of advice is to scale your choices to your overall budget. In other words...

Face reality. If you are just starting out and have a $1000 budget for everything, you should use the preamps on your mixer or audio interface and choose your mic carefully. Do you have to then settle for crappy sound? No! Let's consider technique. You can get surprising results out of mediocre preamps and typical consumer soundcards by meticulously setting the gain or trim level till its perfect, keeping a clean signal path, training your vocalist to use good microphone techniques and doing what you can to reduce your room reflections. A poorly set level on a great preamp recorded in a nasty reflective room will not sound good. If you want to sound like a pro, work like a pro, and then, after much deliberation, saving money, weighing options, get your preamp. Don't scrimp. Remember I told you several pages back I'll tell you where you can compromise and where you can't? The preamp is a piece of gear where you should not compromise. Get one you are convinced will give you better sound quality.

-Tweak