7 Obscure Mixing Techniques Used by the Pros. Most of the time there is an obvious choice.
Need more mid-range? Grab an EQ and boost the midrange. Need more control of the source? Volume automation or compression. Easy. So with that said, here are seven counterintuitive mixing techniques pros regularly use to solve unconventional problems: 1. What? 2. When we want to hear more bass in a bass guitar, kick drum, or other low-end element, the obvious solution is to boost the low end. 3. But wait, doesn’t a compressor restrict dynamic range? 4. If you’re using a brickwall limiter on your master buss, chances are you’re doing so to make something loud. Well, yes and no. 5. Now that really doesn’t make sense. 6. Remember that reverb is used to create a sense of space. 7.
Not that I feel loudness is absolutely paramount to a successful mix, but in today’s climate of iPods, noise-ridden listening environments, and DJ controlled playlists, it’s important that the record lives within the same general vicinity of apparent loudness. How to Create Width, Height and Depth in a Mix. The hallmark of a great recording/mix for me is one where the music all lives within a tangible, dimensional world.
The exception being songs that call for a two-dimensional or more lo-fi approach. In general, a recording that has width, height, and depth creates for a compelling sound. And truthfully I think part of the magic of a song is pulling the listener into a different world — creating the illusion of that space only adds to that effect. What is width, height, and depth? Just like in film or paintings we can create the illusion of three dimensions on a two dimensional surface. So let’s start with “height.” It’s a strange and interesting phenomenon that we hear high pitched frequency content as coming from above, and the low tones coming from below.
Partially this is due to suggestion. For these reasons and probably others, we tend to hear high harmonic content as “up” and low harmonic content as “down.” Width Width is also about contrast. A prime example is doubled guitars. Depth. How to Create Width, Height and Depth in a Mix. Music Production Tips from Tenth Egg. Effects: All You Need To Know... And A Little Bit More. Technique : Effects / Processing Whether you're a beginner or a seasoned pro, there's always something to learn about adding colour to your mix.
Paul White The world of audio effects is one that can be confusing even for experienced engineers. Especially in modern computer-based recording systems, there's a bewildering array of options, and to add to the confusion, some effects are widely referred to by more than one name. In this article, I'll take you through the most common effects, explaining how they work and where you might want to use them in your music. Let's begin by getting clear on what we mean by 'effect': an effect is a device that treats the audio in some way, then adds it back to a dry or untreated version of the sound.
If a device has a Mix control on it that goes from 100 percent wet (effect only) to 100 percent dry (clean only), then you can be pretty sure it is an effect. Echo & Delay Reverb Modulated Delays Flanging is the strongest of the standard modulation effects. Stumble! Veteran engineer of Universal Mastering Studios West, Pete Doell Most recording musicians, engineers and producers are well aware what a difference mastering can make to our mixes.
And as we’ve discussed in previous columns (such as Audio Mastering Basics: Taking Your Music That Extra Step), mastering is an art form in itself, and is best placed in the hands of a specialist. But even expert mastering engineers can only accomplish so much, and it’s largely dependent on the raw materials they’re given to work with. With that in mind, here’s a look at some of the top mistakes people make in preparing their mix for mastering, with the help of veteran engineer of Universal Mastering Studios West, Pete Doell. 1. Excessive low-end is probably one of the most common problems in mixes coming from project studios. Mastering engineer Pete Doell offers an important pointer: “The most egregious mistake is that people’s monitors aren’t placed properly,” he says. 2. 3. 4. 5. 6. 7. 8. Handy EQ Reference. This article contains information originally sourced at EQ Frequencies and is used with permission from Songstuff.com.
General: 20 Hz and below - impossible to detect, remove as it only adds unnecessary energy to the total sound, thereby most probably holding down the overall volume of the track 60 Hz and below - sub bass (feel only) 80(-100) Hz - feel AND hear bass 100-120 Hz - the "club sound system punch" resides here 200 Hz and below - bottom 250 Hz - notch filter here can add thump to a kick drum 150-400 Hz - boxiness 200 Hz-1.5 KHz - punch, fatness, impact 800 Hz-4 KHz - edge, clarity, harshness, defines timbre 4500 Hz - exteremly tiring to the ears, add a slight notch here 5-7 KHz - de-essing is done here 4-9 KHz - brightness, presence, definition, sibilance, high frequency distortion 6-15 KHz - air and presence 9-15 KHz - adding will give sparkle, shimmer, bring out details - cutting will smooth out harshness and darken the mix. How To Create Electro... Lead? Bass? To be honest, I’m not sure what this sound is specifically… Some may call it bass, some may say it’s more like a lead, but it’s definitely something you can hear in many Electro House tracks.
I got the inspiration for this while listening some sample cd’s and after experimenting with FL Studio this is what I came up with: Is this something in a style of Mode Selektor, Daft Punk, etc? You tell me. I can’t say exactly as I haven’t listened to these guys so much Anyway, if you’re interested to replicate the sound, here’s how you do it, step-by-step: 1. 2. 3. 4. 5. 6. 7. Check the audio: Next, let’s create some pitch slides. 8. 9. Check: 10. This is how it sounds so far: Next, let’s make it pumpp via sidechain compression! 11. 12. Allrighty. And here it is with a beat, mastered and everything: To experiment further, try different notes in the sequence. Have fun!
Check the video tutorial below and download the FL Studio project file: Download Electro Bass Lead FL Studio Project File. Home recording and project studio blog - Hometracked. Electronic Music Tutorial (How to write beats) This is part 1 of a 10 hour long high definition tutorial video series on how to write electronic music, from scratch!
All aspects are covered…. basic and advanced synthesis… sampling… progression… mixing… everything is explained in depth as I construct a tune while you watch. I talk to you like your sitting next to me, thinking out loud, cracking jokes and moving at the right pace, rather than focusing on boring shit. My goal is to get you producing good music as fast as possible. I’ve been performing electronic music around the world for years, and have much experience in production and the electronic music industry, I’m not just some guy who knows how to use a computer. The rest of this series is available to special members of my personal website, you can check it out here.
Be Sociable, Share! How Can I Set Up a Home Recording Studio on the Cheap? Also, keep in mind that not everyone needs an audio interface. if you are only recording one track at a time or are recording more than one track but are fine with mixing it as you record you can use a much cheaper and oodles simpler analog mixing board/mixer. i struggled for over a year with a USB audio interface box i bought for home recording and it was ALWAYS a hassle - either really high latency, dropped sections, or it would take 15-20 minutes of fiddling with system prefs and settings in software to get it to work right. i finally went to my local music store and picked up a behringer analog mixer for $49 which has 8-Inputs (2 mic, 2 stereo, 1 stereo tape/CD), builtin EQ, effects send/receive, and the mic jacks have phantom power and the line inputs work great for electric instruments, a headphone out and I use an RCA-to-mini-1/8th-stereo plug to connect directly into the mic jack on my mac mini.
One guy decides to use a cardboard box as his kick drum sound…and it sounds awesome. Another guy decides to sample in the sound of a screaming cat and blend it with the cymbals. (Okay, I’ve never seen that, but I bet it’s awesome.) You’re free to do whatever you want. Maybe that’s why so many people record music as a hobby. But there is one “rule” I almost always follow when mixing drums…and it almost always works. It’s really simple. I’ve heard it over and over again from mix engineers. It’s hard to explain. This is all without boosting the lows or the highs. You’ve got a set budget for the month. You’ve got a set number of frequencies to work with. You decide you want to spend an extra $200 on a piece of gear. You decide you need more low end in your kick drum.
You take $200 out of ANOTHER part of the budget to pay for the gear. You cut 400 Hz to bring out the low end down at 80 Hz. What do you think? Audio Conversion. Mysteries Of Metering. Technique : Theory + Technical All mechanical meters are VU meters, all bargraph meters read peak levels -- and both types will give the same reading if you feed in a test tone.
Reasonable enough assumptions, but wrong on all counts, as PAUL WHITE explains. The really wonderful thing about standards is that there are so many of them, and nowhere is this more evident than when you look at metering. This article examines the complicated issue of metering standards, but those unfamiliar with the general terminology of metering (eg. dBu, dbv, and the conventions of 'plus 4' and 'minus 10' operation) are advised to check out my article from SOS February 1994, 'dBs Explained', which should clarify many of the terms used here.
Tape machines have meters, mixers have meters and signal processors have meters, but what do they actually tell you? The first type of meter built specifically for audio use was the VU meter, VU standing for Volume Units. Understanding Sends, Auxes And Buses « Audio Geek Zine. Let’s talk about using sends to control effects, parallel processing and some of the other benefits of sends. First we need to understand a few concepts. Buses, auxes and sends. What is a Bus? A bus is an audio pathway that allows you to move a sound from one part of the mixer to another. The main outputs of your mixer is a bus, often called the Master Bus. What is an Aux? An aux is essentially the output of the bus. What is a Send? A send splits the audio signal and ‘sends’ it somewhere else, usually through a bus, but can also be to a interface output. The entrance to a bus is by assigning the output of the track in a virtual mixer or by using sends.
Simple Signal Flow Lets take a typical signal path in a mix. A vocal track has it’s output set to your master bus. You could put the reverb plugin as an insert right on that vocal track, but it’s really not the most efficient way of working. Advanced Signal Flow Lets set it up for a drum mix. Listen to it: dry-drums Listen to it: drums-compressed. How to setup your device to control your DAW (Enigma SETUP FILES & More)