Comments on: Pro Mixing Series: Episode two: The Haas Effect http://emusictips.com/2008/08/pro-mixing-series-episode-two-the-haas-effect/ Tips that will help you become a better producer Wed, 28 Jul 2010 23:42:27 +0000 hourly 1 http://wordpress.org/?v=3.0 By: The Haas effect | Nyquist Recording Studio http://emusictips.com/2008/08/pro-mixing-series-episode-two-the-haas-effect/comment-page-1/#comment-542 The Haas effect | Nyquist Recording Studio Sat, 17 Oct 2009 13:44:51 +0000 http://emusictips.com/pro-mixing-series-episode-two-the-haas-effect/#comment-542 [...] Another ultra-cool mixing tutorial may be found in this article Pro Mixing Series: Episode two: The Haas Effect | EMusicTips. [...] [...] Another ultra-cool mixing tutorial may be found in this article Pro Mixing Series: Episode two: The Haas Effect | EMusicTips. [...]

]]> By: Ike Mhlanga http://emusictips.com/2008/08/pro-mixing-series-episode-two-the-haas-effect/comment-page-1/#comment-406 Ike Mhlanga Mon, 12 Jan 2009 06:27:34 +0000 http://emusictips.com/pro-mixing-series-episode-two-the-haas-effect/#comment-406 Hi Both Alex and OpO have great things to contribute. I personaly take the Haasing proccess as part of creating the sound. That way you are not destroying a sound that was created mono or created stereo hard panned L/R. Listening to mixes,its not uncommon to find the tail in one speaker and the body in the other. It depends on the effect one is shooting for. And mind you mixing is a very personal thing and so is musical taste. To further add on what OpO said, it is often neccessary to seperate the sounds through panning. If all sounds are Hard L/R and you Hass them, they all end up cluttering the same sonic landscape.It is essential then to pan different instruments to different parts of the Sound Stage and to place the Hassed component on the other channel or even placing the body at 9.00 O clock and the delay at 11.30. The stereo field might be narrow but an imression of depth is achieved. The ears will naturaly sum the two and locate the sound as coming from somewhere between the two but towards the undelayed source. The Haas effect works well on panned sounds. It is a Psychoaccoustic effect which if applied well can enhance and add depth. What OpO was impying is factual. Ofcause in a short presentation one cannot go into the nity-grities on knob settings. My understanding is that the filter would be applied to TASTE without destroying the character of the sound in any way. However if agressive EQ is the way to take the track somewhere, who can ague with success? Bob Dylan & Hendrix were not great singers but???? In the "Haas" effect Nearby sounds sound bright and distant sounds lose high frequencies due to attenuation. To make a sound distant it needs some HF cut of some sort, appart from the delay ofcause. All Haasing is doing is locating the sound somewhere in the sound stage. PANNING 4 L/R and REV/DEL(Haas) 4 Front to back perspective. Ike Hi

Both Alex and OpO have great things to contribute. I personaly take the Haasing proccess as part of creating the sound. That way you are not destroying a sound that was created mono or created stereo hard panned L/R. Listening to mixes,its not uncommon to find the tail in one speaker and the body in the other. It depends on the effect one is shooting for. And mind you mixing is a very personal thing and so is musical taste.

To further add on what OpO said, it is often neccessary to seperate the sounds through panning. If all sounds are Hard L/R and you Hass them, they all end up cluttering the same sonic landscape.It is essential then to pan different instruments to different parts of the Sound Stage and to place the Hassed component on the other channel or even placing the body at 9.00 O clock and the delay at 11.30. The stereo field might be narrow but an imression of depth is achieved. The ears will naturaly sum the two and locate the sound as coming from somewhere between the two but towards the undelayed source.
The Haas effect works well on panned sounds. It is a Psychoaccoustic effect which if applied well can enhance and add depth. What OpO was impying is factual. Ofcause in a short presentation one cannot go into the nity-grities on knob settings. My understanding is that the filter would be applied to TASTE without destroying the character of the sound in any way. However if agressive EQ is the way to take the track somewhere, who can ague with success? Bob Dylan & Hendrix were not great singers but????

In the “Haas” effect Nearby sounds sound bright and distant sounds lose high frequencies due to attenuation. To make a sound distant it needs some HF cut of some sort, appart from the delay ofcause. All Haasing is doing is locating the sound somewhere in the sound stage. PANNING 4 L/R and REV/DEL(Haas) 4 Front to back perspective.

Ike

]]> By: 0p0 http://emusictips.com/2008/08/pro-mixing-series-episode-two-the-haas-effect/comment-page-1/#comment-369 0p0 Tue, 02 Dec 2008 08:14:13 +0000 http://emusictips.com/pro-mixing-series-episode-two-the-haas-effect/#comment-369 Oh sure man! no worries. It's a great add you made to the post. Thanks a lot! what I intented to make clear about this article was the ability of a little milisecond-delay in a mono signal can make it a very different thing when some one is lacking depth in their mixes. I'd rather not to treat the soun enyways but not all of us have the studio we dream about or have the money to pay a great recording in a super duper ballroom filled with 3000 bucks mics. I just shared a little trick. It's not like I tell everybody to Haas all of their sound, I've done it in experiments and I really know how hollow it sounds when everithing goes through the "milisecond-delay". Then again thanks a lot for your tips too! they are great tricks when you have the time and the performance and/or synth programming ability ;) 0p0. Oh sure man! no worries.
It’s a great add you made to the post. Thanks a lot!
what I intented to make clear about this article was the ability of a little milisecond-delay in a mono signal can make it a very different thing when some one is lacking depth in their mixes.

I’d rather not to treat the soun enyways but not all of us have the studio we dream about or have the money to pay a great recording in a super duper ballroom filled with 3000 bucks mics.

I just shared a little trick. It’s not like I tell everybody to Haas all of their sound, I’ve done it in experiments and I really know how hollow it sounds when everithing goes through the “milisecond-delay”.

Then again thanks a lot for your tips too! they are great tricks when you have the time and the performance and/or synth programming ability ;)

0p0.

]]> By: Alex Fader http://emusictips.com/2008/08/pro-mixing-series-episode-two-the-haas-effect/comment-page-1/#comment-363 Alex Fader Sat, 15 Nov 2008 10:56:44 +0000 http://emusictips.com/pro-mixing-series-episode-two-the-haas-effect/#comment-363 Sorry mate, but this is a very dangerous practice. First af all, depth is always achieved from clever use of mono sounds and mono reverbs. Carefully distributed instruments/sounds acros the panorama always do the trick for my mixes. And it`s not even so much about panning as about producing the right type of sound for the mix. The most common problem many people have is that they try to apply lots of effects on their tracks to make them sound bigger, which is completely wrong and gives away their poor programming skills. Which leads to my second argument. Many experienced producers, including myself, spend hours and sometimes days to create the sound which fits the mix. This takes incredible amount of tweaking on one synth or more, if you decide to employ layering technique, which makes the job even harder, but gives much better results. What you`re suggesting here, is to use EQ to achive a wider, deeper sound, by boosting/cutting the frequencies which makes stereo separation more evident. Now, I could maybe agree with cutting, but boosting is something evereone should keep their hands off, and only boost ( especially the low range ) if it`s absolutelly necesarry, and even then, with extreme caution and no more than a few dB. Sure, what you`re suggesting will sound nice`n`wide, but it will completelly destroy a character of the sound that you may have spent hours to program. What`s more, is that instrument may sound nice in isolation, but when you add it in the mix, you will ruin it`s spectrum. Imagine if you already have an instrument playing somewhere on the left side of the panorama, which contains lots of low frequencies in its spectrum. Then you add your nice`n`wide sound that you have boosted in the low end on the left side as well. What happens? Muddied, distorted sound that overclips and many other nasty things. So, really, this is one bad idea in a list of all bad ideas you could possibly do with your mix. If the mix lacks in depth and energy, that is more likely because of poor programming of your instruments, or because of little instruments playing in your mix. Don`t be afraid to add an extra instrument or two, as long as it doesn`t hurt the overal mix. Cleverly pan all your sequencer tracks ( preferably mono ) acros the panorama, and you will achieve the depth you are looking for. No offence man. Just sharing my experience. Sorry mate, but this is a very dangerous practice.
First af all, depth is always achieved from clever use of mono sounds and mono reverbs. Carefully distributed instruments/sounds acros the panorama always do the trick for my mixes. And it`s not even so much about panning as about producing the right type of sound for the mix. The most common problem many people have is that they try to apply lots of effects on their tracks to make them sound bigger, which is completely wrong and gives away their poor programming skills. Which leads to my second argument.
Many experienced producers, including myself, spend hours and sometimes days to create the sound which fits the mix. This takes incredible amount of tweaking on one synth or more, if you decide to employ layering technique, which makes the job even harder, but gives much better results.
What you`re suggesting here, is to use EQ to achive a wider, deeper sound, by boosting/cutting the frequencies which makes stereo separation more evident.
Now, I could maybe agree with cutting, but boosting is something evereone should keep their hands off, and only boost ( especially the low range ) if it`s absolutelly necesarry, and even then, with extreme caution and no more than a few dB.
Sure, what you`re suggesting will sound nice`n`wide, but it will completelly destroy a character of the sound that you may have spent hours to program. What`s more, is that instrument may sound nice in isolation, but when you add it in the mix, you will ruin it`s spectrum. Imagine if you already have an instrument playing somewhere on the left side of the panorama, which contains lots of low frequencies in its spectrum. Then you add your nice`n`wide sound that you have boosted in the low end on the left side as well. What happens? Muddied, distorted sound that overclips and many other nasty things.
So, really, this is one bad idea in a list of all bad ideas you could possibly do with your mix.
If the mix lacks in depth and energy, that is more likely because of poor programming of your instruments, or because of little instruments playing in your mix. Don`t be afraid to add an extra instrument or two, as long as it doesn`t hurt the overal mix. Cleverly pan all your sequencer tracks ( preferably mono ) acros the panorama, and you will achieve the depth you are looking for.
No offence man. Just sharing my experience.

]]> By: SCOTT EL http://emusictips.com/2008/08/pro-mixing-series-episode-two-the-haas-effect/comment-page-1/#comment-347 SCOTT EL Wed, 15 Oct 2008 11:52:17 +0000 http://emusictips.com/pro-mixing-series-episode-two-the-haas-effect/#comment-347 AWSUM READ MATE WELL IN GOOD INFO AWSUM READ MATE WELL IN GOOD INFO

]]> By: dan b http://emusictips.com/2008/08/pro-mixing-series-episode-two-the-haas-effect/comment-page-1/#comment-345 dan b Tue, 07 Oct 2008 14:19:53 +0000 http://emusictips.com/pro-mixing-series-episode-two-the-haas-effect/#comment-345 Great article, and very clearly explained. It's been a pain in the Haas trying to create depth in my mixes, until now. Great article, and very clearly explained. It’s been a pain in the Haas trying to create depth in my mixes, until now.

]]> By: Rob http://emusictips.com/2008/08/pro-mixing-series-episode-two-the-haas-effect/comment-page-1/#comment-339 Rob Sat, 27 Sep 2008 09:27:06 +0000 http://emusictips.com/pro-mixing-series-episode-two-the-haas-effect/#comment-339 Great article! I've just discovered this site, please keep these articles coming. Great article! I’ve just discovered this site, please keep these articles coming.

]]> By: Marco http://emusictips.com/2008/08/pro-mixing-series-episode-two-the-haas-effect/comment-page-1/#comment-326 Marco Tue, 16 Sep 2008 01:15:54 +0000 http://emusictips.com/pro-mixing-series-episode-two-the-haas-effect/#comment-326 Thanks for the nice summary. I had read about Haas before but your article made it very clear. Thanks for the nice summary. I had read about Haas before but your article made it very clear.

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