In this write up, im going to explain some of the mixing processes I went through, and some of the problems i had to overcome whilst mixing the live recording, and producing my two midi productions. The rst thing I did to the live mix was go about clearly labelling all of the elements of the mix. I have also got into the habit of getting into a strict colour scheme which i abide by with all of my productions & mixes. This way i can easily look at a logic session and instantly tell what is what, without having to scan through lots of tracks. This is how my colour scheme usually goes: Drums; Red Bass: yellow Real instruments (pianos guitars strings etc.): Green Synths/ electronic instruments: Light green Effects (white noise sweeps general sound effects): Pink Lead vocals: Dark orange Background vocals: Lighter shade of orange. With regards to drums, I tend to have a lot of drum tracks so i like to arrange them the same way, so I know where every drum is quickly in the logic session: It starts from top to bottom (if all these elements are included in the production): kicks 808s snares claps snaps toms hats cymbals/ overheads room microphones percussion loops (tambourines shakers etc). Or strange non distinguishable drum sounds. This way I know exactly what is on a specic track by looking at where it is in comparison to the other tracks in the logic session. I also colour code the mixer, as it also improves workow speed. The shortcut to open the colour palate is alt-C. This is what a typical colour coded logic session would look like: Now that everything has been colour coded correctly, I can now navigate my way around logic much faster, so once all the prep work like this has been completed, the overall mixing process will be a lot faster and smoother. Especially if theres a high track count. The next thing ill do is assign everything to a bus. Busses can be tted into your workow in two ways; You can either send part of the audio to a bus such as a reverb bus or a parallel compression bus. This can be achieved using the sends underneath the inserts on the channel strip. This is a great way to work as it means you can be very efcient when it comes to computer processing. For example; If you want to send all of the vocals to a reverb, instead of putting a reverb plugin on every single track, you can put 1 plugin on a bus and send all of the channels which need reverb to the reverb bus. This saves a lot of processing power. Its also handy for using parallel compression as you can have a parallel snare channel for example; You can send the snare drum to a bus which you can heavily compress, and then blend the dry snare in with the heavily compressed snare, to get a punchy in your face snare, without the noticeable artefacts of the heavy compression. Another way to use busses is by actually sending tracks to them. I usually use 4 main busses which all feed into my master fader. I have a drum bus, a bass bus, a music bus, and a vocal bus. This means i can Eq and compress all the drums as a whole, this not only saves time when getting a drum sound quickly, it also lets you glue the kit together with general compression over all of the microphones. You may have a great sound from the individual microphones, but when you hear them as a whole theres a bit too much low mid mud overall. Its a lot easier to do a nice wide cut at around 400hz over the drum bus, as a whole as opposed to EQing all of the individual drum tracks. This same thing can be applied to all of the busses. I Love to glue all of the music together with a nice subtle compressor. This is what my busses tend to look like: This is a very simple starting point for how i set up the busses. I have basic eq and compressors on each bus, with a compressor on the master fader, none of the compressors on the busses are working very hard, as most of the compression happens on the individual tracks. Theres simple subtractive Eq on all of the busses to correct any tame any peaks which are apparent when all the tracks are playing as a whole. With regards to the master fader i mix through a compressor with a 2 -1 ratio and a very slow attack, which lets the transients through, and a release which is in time with the track. This compressor really helps glue all of the busses together. I do a little bit of mastering EQ on the master fader once ive completed the mix process, this is usually very subtle though. I also apply a limiter to the mix after its been mixed. This reduces the dynamic range of the mix, and clamps down on any transients which cross the threshold, therefore allowing the overall of the volume of the mix to be more competitive compared to professional releases. When working with busses, less is always more and i dont like to do too much of work on busses, as you shouldnt have to if the individual tracks have been mixed well. I see the busses as a way of sweetening the mix with subtle eq and compression moves to really make the track come to life! Once ive sorted out which busses the tracks are being sent to, I like to get an overall static mix (a mix without automation). A large percentage of work on a mix is simply getting the volume of everything correct and balanced. Once everything is balanced the track sounds a lot better! Due to the rules of this piece of coursework, we are forbidden from using any form of volume automation, so I had to think of a way around this. instead of using conventional automation, I used the change gain feature which is built into logic. The change gain feature is handy as it enables you to turn a specic piece of audio up or down. It also does this before any eq and compression. For example: If theres a vocal and the compressor is working ne for the most part, but then theres a big peak in the waveform. The compressor will clamp down on this peak causing the compression to be clearly heard and not at all transparent. With the change gain feature, I can turn down these peaks before they reach the compressor, stopping the compressor from reacting this way, and turning down the track. Change gain is just as effective as automation and ive used it throughout the live mix in order to turn tracks up or down in places without having to use automation. Heres how the change gain feature works: First, you need to separate the audio region in which you want to adjust the gain. You can do this by cutting it with the scissors tool (Esc - 5) or by highlighting it with the marquee tool (which is set by default as the Cmd key.) Once the regions which you wish to change the gain of have been separated from the rest of the audio le. You need to select it, then head to the top of the inspector bar, and click in the blank box next to the word gain: You can then type in how many decibels you wish to turn up or down the vocal by. This is a way in which i overcome the problem of being forbidden to use automation. Another more tedious way in which to overcome this issue is by having multiple tracks for parts which you wish to turn down with a different volume. This is quite a confusing process visually and is also quite taxing on your computers processor power to unnecessarily have a few tracks for one track, each with plugins on. Once Ive got an overall balance of all the tracks which im happy with. Ill take a good listen to the mix and listen for anything sonically which i dont like. I dont usually do anything by default mixing wise as everything has to be approached differently. No two snare drums sound the same, or no two vocals sound the same. everything has to be eqd differently,! However, one thing i tend to do on every mix is to high pass lter everything. Most instruments in a mix have no useful information in them below around 100hz or so. I solo each track and high pass lter to the point where the sound starts to become thin in the bottom end, I then back it off slightly. The only two tracks which im more careful with high pass ltering are the bass and the kick drum. I usually high pass the kick up to around 40hz, as below that is just useless rumble, same with the bass. This is what a typical high pass lter looks like for most of my tracks. (Which arent the bass and the kick): High pass ltering everything cleans up the mix dramatically. Once everything is free of the useless mud which it doesnt need in a mix theres more space in the bottom end for the bass guitar and the kick to live, as they are the only two instruments which live that low in the mix. This means youve now only got two sounds competing for space in the low end as opposed to the entire mix! The bass and the kick can have individual spots in the low end to live however. I usually like to nd a spot in the kick at around 60-100hz to let it poke through, and a spot at around 120hz in the bass to let it live. This way these two arent ghting for space. High pass ltering also gives more headroom in the mix, you may look at a meter and see that theres a larger than life peak in the kick, this may be because theres a sub frequency which the speakers cant produce which is clipping the meter. This can be rectied by high passing the kick, it also means that when its played through a big system there wont be loads of extreme low end shaking the oor too much, its be tighter and more controlled. High pass ltering is one rule of thumb I usually do in every mix. Another thing I nd myself doing on most mixes is dealing with the low mid mud. I hate generalising when it comes to mixing as you cant decide how your going to EQ something until youve heard it. But generally theres always too much mud in the low mids! What i tend to do is boost the eq and scan around the low midrange to hunt this boxy muddy frequency, youll know when youve found it, as itll sound awful. I then bring this frequency back a few decibels. It really helps make a track shine! People may hear a vocal and think that it needs more high end, when in fact thats far from the case The sound may simply have way too much low mid boxy / muddiness which is masking all of the high end and low end! So when you cut that the highs and lows then come through more. With mixing its generally best to nd the frequencies which you dont like and cut them. As opposed to boosting the frequencies which you do like. Heres what a typical vocal EQ looks like: With this vocal theres only a subtle boost in the high end above the sibilance region to get some more air into the vocals. The low mid can be split into two areas: (around 180- 300hz, ) This is the boomy region which tends to sound really tacky if theres too much of it. Then theres the muddy boxy region which lives somewhere between 300 and 600hz: It just needs to be found and usually cut. With cheaper microphones theres a tendency for vocals to be harsh in the upper midrange (between 2 and 3k)I tend to cut here with an EQ too. This is the area which is extremely harsh and takes your head off if played loud. This frequency range cant be cut too much from a vocal as its also the area where the life of a vocal lives and is the exact spot where a vocal cuts through the mix most, it usually needs taming as most times! id happily prefer a less upfront vocal as opposed to a vocal which makes you deaf when played loud. As with all things mixing, all vocals need treating differently so these guidelines are quite general. I then like to boost the very high end, depending on if the vocal needs some more air, this region lives above the sibilance region (around 8khz), it can really bring a vocal to life! This is exactly what I did on the mix of the live recording. The last example was suited to vocals, but I go about EQing all the elements of a mix are in need of EQ. After everything is EQd and sonically everything has a space in the frequency spectrum to live. I start with the 2nd most important tool of mixing; compression. Compression is usually harder to comprehend than Eq and its usually harder to hear. Compression is basically automatic volume control, you set a threshold and as soon as the signal passes that threshold its turned down, depending on how aggressive the ratio of the compressor is. (a compressor with a 20;1 ratio or higher is seen as a limiter) I use compression on vocals in order to reduce the dynamic range of the vocal and get it to the front of the mix. A singer will vary in volume dramatically, they also may get too close or too far from the mic in certain places varying the volume even more. A simple compressor can keep this in check by reducing the difference in volume between the loudest peaks and the quietest sections therefore allowing you to sit the vocal in the mix easier, as nothing will get lost as much or jump out too much. This means theres less need to automate the volume as most of the volume control will be dealt with by the compressor. With vocals I like to have around a 3:1 ratio, as i dont want the compression to be too aggressive as the vocal is the main part in the mix. I dont want all of the life sucked out of the vocal with an extremely high ratio. I Like to keep the front end of the signal when i compress (the transient) as without them music looses its punch and attack. So i like to use compressors with a slow attack in order to let the peak through. This means that the compressor starts turning down after the peak. This keeps the life by keeping that peak but compresses the rest of the sound. for vocals this is the best way to go as it sounds most natural and keeps the vocals from sounding too lifeless whilst controlling the dynamics. I dont like to compress vocals too much, maybe about 6 decibels of compression at most. I always apply make up gain after the compression, so i can compare with and without the compressor without hearing drastic volume differences. Once the compression has been applied youll notice that the vocals will sit a lot better in the mix with minimal volume automation. This is the compression setting i used for the live recording vocal:
Once Ive Eqd and compressed the elements of the mix which require it, the mix is almost there. It just needs some sweetening in the way of reverbs and delays. I like to send everything on a bus to a main global reverb, this is usually a small reverb. I then blend this bus in and it glues the mix together and gives it a vibe. When mixing reverbs its easy to over do it, but when balancing it in i think to myself: Can i hear it? if the answer is simply, yes then the reverb is too loud. If its no then its not loud enough. But if you have to listen and then you can just make out the reverb then its around the right volume. Effects like reverb can easily be overdone! For the reverb on the live recording I used the plugin gold verb its a great sounding reverb. i used quite a small room. Heres the reverb which I used for that mix: After the reverb I used an EQ to lter out the high and low frequencies from the reverb so it was less obtrusive and obvious. After id completed all of these processes, I had a good listen over to everything, made a few subtle compression and eq tweaks here and there, and eventually I was happy with the nished product. Bare in mind it was a very poor quality recording from at a most a poor band. I am however happy with the mix sonically. This write up goes over some of the problems and processes which i had to go through whilst mixing the live recording. By James Bates Wednesday 15th October 2014