Drawmer CMC3, Руководство пользователя

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DRAWMER
16
Mix Checking Tips
Due to the versatility of the CMC3 some very useful techniques for checking your
mix can easily be achieved, that can help improve the balance within a mix, pinpoint
stereo width, phase and mono problems, and also aid when monogising.
The following are a few handy tips to help eradicate problems and bring about a
balance within the mix:
Not too loud...
Give your ears a break. Do not have the volume too loud - frequent monitoring at
anything above 90dB will only make your ears tired, meaning that you won’t really
hear the problems that may be occurring, and give you a false sense that the mix
sounds nice and loud. Also, constant listening at anything above 100dB will probably
have a long term detrimental effect on your hearing.
Shhhh...
Get into a habit of listening to your mix at very low levels quite often. Remember that
not everyone listening to your song has music blasting out. As well as giving your
ears a break, it will heighten problems in the mix - Do the key elements have a
good balance, or are some instruments more prominent than they should be? If
something is too quiet or loud adjust its volume or use E.Q. to fix it. If the mix
sounds good at low levels it’s likely that it will when loud.
Note that on the CMC3 it is better to lower the volume level using the DIM switch
and then turn the volume up, rather than only turning the volume down, as you
maintain greater control over the volume as well as better left/right channel
matching.
Increase the Volume of Quiet Passages.
Because the CMC3 circuitry is active it allows for the signal level to be increased,
rather than only attenuated, making subtle problems within the mix, such as noise
at low levels, or unwanted harmonics, more obvious and easier to iron out, especially
during passages that would normally be quiet.
Here, There and Everywhere......
Listen to your mix on as many systems as possible. The two monitor outputs
allows for the addition of a non standard testing setup i.e. the system could be
forced to emulate low-quality domestic reproduction systems as well as car speakers
or a portable radio, by incorporating limited-bandwidth speakers to output B. In such
conditions you may find that an instrument drops out of the mix, or another is too
prominent, and adjustment to the mix need to be made. For best results calibrate
the speakers to match the output level of the rest of the system.
Phase Reverse...
Make use of the phase reverse switch. If the sound doesn't become less focused
when the polarity is flipped then there is something wrong somewhere. Not only
will the switch help confirm that the monitors are wired up in the correct polarity,
phase inversion on a particular instrument can at times improve the way the
instrument interacts with the rest of the mix by removing the phase cancellation.