But why not just max out the Ratio control? The title of this review says it all. It also sprays around in all other directions to a greater or lesser extent, bouncing off the walls, ceiling, and floor, as well as any other reasonably solid object in the room. In the latter case you may need to reassess your dynamics settings in the light of the altered frequency balance. Besides that, having a virtual channel strip for any track you choose is pretty cool! Parallel or limited-range gating may be preferable to moderate expansion in some cases. That said, there are actually strong reasons why most small-studio owners may find it worthwhile to spend more money here if they can. Using Nearfield Monitors Chapter 1 A B Figure 1.
All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. The points at the end of each topic summarizing the salient features are brilliant. First, its restricted ability to reproduce both high and low frequencies focuses your attention on the midrange of your mix, which is the frequency region our ears are most sensitive to and which tends to carry the most important musical information. Then divide 172 by each of these frequencies in turn to give a list of measurements in meters, and look with suspicion on any room dimension that works out as a simple multiple of any of those measurements. How would you describe your current level of music production knowhow and skills? Mixing Secrets For The Small Studio magazine's mix specialist shows you how to achieve release-quality mixes even in the smallest studios, by applying power-user techniques from the world's most successful producers. You look at the waveforms, but you also need to use your polarity of the sample matches the live track ears.
Think of this book as a textbook alternative to a year of assisting. The main benefit of soft-knee compression is that it makes the onset of gain reduction less obvious and therefore retains slightly more of the natural musical phrasing within the processed part. Slowly bring it back up into the mix again until you get to a level where it feels as if some frequency range of that instrument is too prominent in the mix. The next crucial Figure 2. All plug-ins have side effects, and the less processing you can use to solve a problem, the smoother the final mix is generally going to sound.
Here are some tips for keeping it under control. Indeed, my own background is in computerless environments, so I know from experience that equally good results are attainable there. To achieve best results with timing edits, listen to at least two bars preceding the section under scrutiny. Of course, a simple frequency-response graph leaves you blissfully ignorant of any of this stuff, because it only has axes for frequency and level. Consider the lengths to which shop and restaurant owners seem to go to avoid any risk of stereo imaging Supplementary Monitoring Chapter 2 interrupting your retail experience. You'll receive immediate access to free audio training where you'll discover the 3 key habits all proficient producers have and we'll sign you up for the Renegade Report newsletter for music producers the moment you submit the form.
You should consider carefully whether any alternate versions of your mix should include your master-buss processing as well. Take the fader all the way up or to a point where the instrument is clearly too loud. Thanks also to everyone in the editorial department at Sound on Sound for generously offering so much help and useful advice. The series has helped transform many amateur mixes to professional standards. And yes, I do think this new Ensemble sounds superb. A great book, from which I can honestly say I learned much. As such, many panning decisions are more about the width and spacing of opposition-panned instrument groups than about the specific stereo locations of individual sounds.
Engineers Joe Chiccarelli4 and Eric Rosse5 have both mentioned using spectrum analysis. What can confuse some users initially with expanders and gates is that the Release Time control determines Mixing Secrets for the Small Studio. Buy this book, it is, in every sense of the expression, a no brainier if you want to learn more about mixing your own recordings. Even if you can somehow clamp yourself into the sweet spot, anyone working in the room with you will hear something completely different. If the most emotional vocal take has some distractingly duff pitching, then consider that the general public and indeed the artist will probably thank you for tastefully drawing a veil over it. This makes it easy to get the basics at a glance. This produces a characteristic series of regularly spaced peaks and troughs in the combined frequency response of our drum loop—an effect called comb filtering.
When he starts talking about things like phase response, comb filtering, etc. You can ignore the fourth burst in the pattern for this test. However, there are some more objective technical issues to consider when panning, such as monocompatibility, bass playback efficiency, and the danger of nonsensical musical results if only one side of the stereo mix is heard. Can I hear what I want to hear? Sometimes singers overplay certain resonances of their vocal apparatus, so that a few single frequency components pop out from time to time and prevent the voice from sitting properly in the mix. In the good old days, new engineers learned to mix by interning or assisting; that's less and less the case these days.
As vital as it is to commercial record production, corrective audio editing is never going to be a whiteknuckle ride, so at least do your best to make it mercifully brief. What can be a little confusing, though, is that this control is implemented on different compressors in quite different ways. Sometimes you build it around the rhythm, sometimes you build it around the vocal. These same tricks can be applied effectively in small studios too. Favor cuts over boosts wherever possible. To hear this effect in action on your own system, check out the MonoBalanceShift audio file www. Stems can extend the options available to club remixers, for instance, by giving them more in-depth access to the sounds on the original record.
It's the one and only way! In this case, the resonance not only disguises the true decay attributes of the sound itself, but it can also make it difficult to judge the character and level of short-duration studio effects such as modulated delays and reverb , which are often very useful at mixdown. Mike offers a practical method of auditioning the different types of reverb plug-ins to discover its own unique character, thus helping to make a better decision on what reverb is better suited to your own mixing project. Bring it down gradually until the level seems reasonable. To describe the phase relationship between two identical waveforms, mathematicians often quantify the offset between them in degrees, where 360 degrees equals the duration of each waveform repetition. This type of speaker highlights the crucial midrange frequencies that reach the largest number of listeners, and it is much less susceptible to the comb filtering and acoustics problems that compromise many affordable nearfield systems.
Another common problem is with percussive bass sounds, such as kick drums, which can appear to lose bass content if you compress them with attack times under about 50ms. Use them while mixing and referencing so that you get to know how they respond in practice. Good creative songwriters will always be searching for ways to jettison a beat in a bar or add another couple of beats before releasing the chorus, for example. I recommend this book all the time to audio professionals who are looking for a good resource for their students, and I recommend it to any hearty bootstrapping project studio operator who wants to make the best use of his time and money while laying a strong foundation for his future development. Check for sections of your track that share similar arrangements. Remember that shelving filters go on working all the way to the extremes of the audible spectrum, so listen particularly for any undesirable loss of low-end weight or any snide remarks from the studio bat. However, although many manufacturers of 2.