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I'm not sure what the reason to do parallel eq in the mastering example when you can just rein back in the shelf eq. I could get blending in a really complex eq adjustment since in that case it would be more effective than reining back in 5 individually, but if it's a simple eq it just seems like personal preference unless there's some highly technical reason I don't know why it's slightly different for a particular eq (maybe if there's something nonlinear going on in an analog eq, but I haven't used analog eq's personally). In the mixing example, you added saturation, and in that case it makes sense to use it parallel for multiple reasons (choosing which frequencies to saturate or saturate more, the difference between fully wet but subtle saturation versus quietly mixed in but heavy saturation) Still appreciate the video though, there's not much content on specifically working with ambient music so it's nice to have that specialized information.
Thanks for watching! Yes good points, really I just needed to pick a better example track for the mastering example - I will revisit this again in the future with more appropriate material. I was hoping it would be helpful to show how to adapt techniques from other genres of music - I think the concept is solid, just need to work on demonstrating it better!
Request a FREE master sample of one of your songs:
holosuitemastering.com/sample
More free resources on producing and releasing experimental music:
holosuitemastering.com/resources
I'm not sure what the reason to do parallel eq in the mastering example when you can just rein back in the shelf eq. I could get blending in a really complex eq adjustment since in that case it would be more effective than reining back in 5 individually, but if it's a simple eq it just seems like personal preference unless there's some highly technical reason I don't know why it's slightly different for a particular eq (maybe if there's something nonlinear going on in an analog eq, but I haven't used analog eq's personally). In the mixing example, you added saturation, and in that case it makes sense to use it parallel for multiple reasons (choosing which frequencies to saturate or saturate more, the difference between fully wet but subtle saturation versus quietly mixed in but heavy saturation)
Still appreciate the video though, there's not much content on specifically working with ambient music so it's nice to have that specialized information.
Thanks for watching! Yes good points, really I just needed to pick a better example track for the mastering example - I will revisit this again in the future with more appropriate material. I was hoping it would be helpful to show how to adapt techniques from other genres of music - I think the concept is solid, just need to work on demonstrating it better!