Interesting, when I go into the "Instrument Separation" menu- 'Electric Guitar' and 'Strings' won't show a 4.2 version only a 4.1, but the others do.
deMIX Pro is pretty damn good at vocal separations! Check this out
- Thread starter JonUrban
- Start date
Help Support QuadraphonicQuad:
I searched their website and could not find any place where they state what is new in version 4.2. Perhaps just bug fixes?
the one fix I knew they were working on is that now mono 96k files can now be processed in local mode - before it could only work in cloud mode without crashing.....
Since we have brought up DeMIX Pro again, I just finished this nice vocal spread. I thought it came out pretty good. Everything was done with multiple vocal separations. The vocals are a mix down of 6 channels. But being an rank amateur, as usual I just kind of plowed along and failed to document how I got to this point.
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Has anybody tried demixing the Sgt Pepper inner groove message? (I don't have this software.) I was listening to it for the zillionth time (inspired by a Beatles podcast) and thought it might be fun to separate the main voice from the background chatter. It could once and for all time help clear up what they are saying. (I'm sure those nice Beatle boys aren't really saying what everybody says they are. 
)
)
Working on it now. For now, here is the center channel only. The voice is singing "Never kiss me any other way." I think most of us knew that?Has anybody tried demixing the Sgt Pepper inner groove message? (I don't have this software.) I was listening to it for the zillionth time (inspired by a Beatles podcast) and thought it might be fun to separate the main voice from the background chatter. It could once and for all time help clear up what they are saying. (I'm sure those nice Beatle boys aren't really saying what everybody says they are.
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For what it's worth, here are the vocal splits of the inner groove. The first two are Vocal 1 Front and Vocal 1 Rear. The second two are Vocal 2 Front and Vocal 2 Rear:
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Thanks! I'm not sure it's helped, though
I was thinking of it backwards. It's supposed to say "We'll **** you like supermen". Who cares about Rubber Soul, Peter Jackson needs to work on this NOW.
You can download them and use the "Reverse" effect in Audacity. When I did so, I found that none of the voices were recorded and then played backwards like on some other notorious tracks.Thanks! I'm not sure it's helped, though
I was thinking of it backwards. It's supposed to say "We'll **** you like supermen". Who cares about Rubber Soul, Peter Jackson needs to work on this NOW.
I don't want to dererail the thread, but just to say, if you take the ordinary stereo and reverse it, it does sound quite a lot like the 'supermen' quote. I'm sure there are many other interpretations. I suspect it's a bit like the sound effects on TNK and Mr Kite, where the sounds are cut up and some are reversed and it's all a big jumble.
Yeah, and someone had a lot of fun doing it...Then not knowing much of this stuff would end up being cannon fodder for all sorts of Beatles conspiracy theories.
Some folks may find this new de-reverber tool on mvsep.com handy:
https://www.quadraphonicquad.com/forums/threads/mvsep-com-foxjoy-reverb-remover.34239/
https://www.quadraphonicquad.com/forums/threads/mvsep-com-foxjoy-reverb-remover.34239/
Working on this old 1967 LP rip (USA stereo version) of Ten Years After, had to do a lot of moving around of stuff after Penteo up-mix.
https://www.discogs.com/release/15974220-Ten-Years-After-Ten-Years-After
Thanks to some not-so-crowded production (Engineer: Gus Dudgeon) and DeMix Pro:
- Moved the drums from RL to FL (don't like drums or bass in the rears)
- Created a vocal track from the fronts for the Center (a slight boost from the orig. album)
- Moved the Piano from the RR to The FR & C
- Guitars mainly in the rears
- A little EQ here and there and...
believe it sounds pretty good
after scanning the album cover, don't believe I ever noticed the evil looking dude lurking in the shadows
https://www.discogs.com/release/15974220-Ten-Years-After-Ten-Years-After
Thanks to some not-so-crowded production (Engineer: Gus Dudgeon) and DeMix Pro:
- Moved the drums from RL to FL (don't like drums or bass in the rears)
- Created a vocal track from the fronts for the Center (a slight boost from the orig. album)
- Moved the Piano from the RR to The FR & C
- Guitars mainly in the rears
- A little EQ here and there and...
believe it sounds pretty good
after scanning the album cover, don't believe I ever noticed the evil looking dude lurking in the shadows
Drums in the rears used to never bother me, Pups...until you started complaining about it. Now I have to go back and rework all my stuff.
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MixerRog
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I always put the drums in the front along with the bass since many home theater systems (especially the common cheap ones) have the best speakers there with smaller speakers in the back that usually can't handle drums & bass well.
Rog
Rog
My latest whimsical mixing endeavor: On songs where stereo drums pan across the fronts, I eliminate the center, add some reverb, reduce the level a bit, and then low pass filter everything below 500 Hz with a 24 dB per octave rolloff. I put the result in the rears. It gives the panned toms a nice semi-circular bounce. (It also keeps the cymbals etc out of the rears so I don't piss off @J. PUPSTER )
My rear speakers are smaller than my fronts, but they are still 42" tall and each have dual 10" woofers. So low frequency roll off is not an issue. Hey, if you're gonna make home grown mixes, you might as well mix for yourself.
My number one Pet Peeve- cymbals in the rears!My latest whimsical mixing endeavor: On songs where stereo drums pan across the fronts, I eliminate the center, add some reverb, reduce the level a bit, and then low pass filter everything below 500 Hz with a 24 dB per octave rolloff. I put the result in the rears. It gives the panned toms a nice semi-circular bounce. (It also keeps the cymbals etc out of the rears so I don't piss off @J. PUPSTER )
My rear speakers are smaller than my fronts, but they are still 42" tall and each have dual 10" woofers. So low frequency roll off is not an issue. Hey, if you're gonna make home grown mixes, you might as well mix for yourself.
What's really a hassle is when there are wide drums that all get pushed back to the rears (in Penteo) with some really loud cymbal crashes and ending up extra sticky. Then some other approach is needed.
It's remarkable how many quad albums have the drums, including the cymbals in the rears.
Speaking of drums etc., wasn't that one of Elliot Scheiner's main surround mixing axioms - "keep the rhythm section up front" (bass and drums)
anyway... hang with the old Pupster here for awhile for a somewhat related tale of wonder and woe!
My all time favorite Jeff Beck album is 1980's 'There and Back.' Attempting to do an up-mix of this one over the last few years has been one failure after another. I blame it on a soft mastering and little stereo instrument isolation in the mix.
Here's some other similar thoughts on that on the SHF:
https://forums.stevehoffman.tv/threads/jeff-beck-there-and-back-horrible-mastering.689539/
I've been working (again) on the song 'Space Boogie' the last couple of days and I believe I may have come up with an idea, but wouldn't mind some input from others that know this album/recording well or pro's here about some mastering techniques to help out. The thing I tried was some basic compression to help boost the presence of some instruments (after De-mixing them) and then replacing them back into the Penteo mix. I'm starting to believe that in order for this album to ever sound it's best would take a solid engineer with knowledge of all types of compression and EQ to give this the boost it needs. As a shade tree up-mixer I really don't have the audio chops to deal with this properly; but that doesn't stop me from trying.
After some work on it, it's starting to at least bring out some interesting results of keyboards swirling around the channels etc. (hey, it's called Space Boogie, so it should have a slightly aggressive mix IMO) There're also all sorts of little keyboard/synth elements that can still be isolated and re-mixed to give some more interest as well.
As far as the fantastic drumming on this by 'Simon Phillips' it has also made the drumming circle around the channels quite a bit also; now this I'm actually feeling pretty good about, because it feels like you're sitting in the middle of his drum kit.
About the only other thing I'd like to get punchier is 'Mo Foster's bass (maybe have it express itself from the Center channel as there's no vocals here.)
I do have one of the original 1980's US textured covered LPs I could rip and try (currently working with 96x24 files from HDtracks IINM.) But, I also heard there's a newer mastering from a 2020 40th anniversary issued by 'Friday Music' I may give a try with.
anyway... hang with the old Pupster here for awhile for a somewhat related tale of wonder and woe!
My all time favorite Jeff Beck album is 1980's 'There and Back.' Attempting to do an up-mix of this one over the last few years has been one failure after another. I blame it on a soft mastering and little stereo instrument isolation in the mix.
Here's some other similar thoughts on that on the SHF:
https://forums.stevehoffman.tv/threads/jeff-beck-there-and-back-horrible-mastering.689539/
I've been working (again) on the song 'Space Boogie' the last couple of days and I believe I may have come up with an idea, but wouldn't mind some input from others that know this album/recording well or pro's here about some mastering techniques to help out. The thing I tried was some basic compression to help boost the presence of some instruments (after De-mixing them) and then replacing them back into the Penteo mix. I'm starting to believe that in order for this album to ever sound it's best would take a solid engineer with knowledge of all types of compression and EQ to give this the boost it needs. As a shade tree up-mixer I really don't have the audio chops to deal with this properly; but that doesn't stop me from trying.
After some work on it, it's starting to at least bring out some interesting results of keyboards swirling around the channels etc. (hey, it's called Space Boogie, so it should have a slightly aggressive mix IMO
) There're also all sorts of little keyboard/synth elements that can still be isolated and re-mixed to give some more interest as well.As far as the fantastic drumming on this by 'Simon Phillips' it has also made the drumming circle around the channels quite a bit also; now this I'm actually feeling pretty good about, because it feels like you're sitting in the middle of his drum kit.
About the only other thing I'd like to get punchier is 'Mo Foster's bass (maybe have it express itself from the Center channel as there's no vocals here.)
I do have one of the original 1980's US textured covered LPs I could rip and try (currently working with 96x24 files from HDtracks IINM.) But, I also heard there's a newer mastering from a 2020 40th anniversary issued by 'Friday Music' I may give a try with.
If you've got parametric EQ or graphic EQ try adding some mid range boost to the Bass (which is sadly often missing) it often helps makes the Bass more upfront.
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