It always seems to be an unsettled time of year around now. Everyone is reflecting on the year that has nearly passed and wondering how it went so quickly, then they are anticipating what is to come in the following year and how it can be an improved one for all.
For me personally, it always seems to be a time of many births, many deaths and many relationship breakdowns, a real rollercoaster of emotions.
Sometimes it is good to take a step back and ponder the cycle of nature, that every ending is just another beginning, a continuous flow of change within a lifespan that inevitably ends and signals the start of something new.
For me, a good album has its own lifespan too. Each track tells a story and the album is carefully compiled to allow the next track to be the transition to the new beginning.
This is why I think it is important to try and get a body of work done around the same time when working on an album; also you’re approach to mixing an album should differ to that of when you are just mixing a single.
Before you sit down in your slightly deflated black leather engineering chair to embark on your latest mixing venture, it is good to make some notes about the overall “feel” and “direction” that you require in the mix. Continuity is important in an album, although a musically eclectic album is nice, it should sound like the same artist in the same studio.
First of all, I would start by mixing what you feel or have been told is the leading track, the first single for the project. Not only will this get you in the ‘vibe’ of the project with a good strong single, but you can also use it as a benchmark for the sound of the album. If it proves to be a popular song or release, listeners will not then be disappointed or unpleasantly surprised with the rest of the tracks when listening to the album.
Your lead track should be your sonic template for the album so if it has a sense of ‘space’ and ‘air’ to it, this should be what you strive for with the other tracks too.
Adding a gentle boost in the highs and high mids of your key instruments will help with this ‘air’. Take for instance your main guitar hook and try doing some sweeps around the top frequencies using a peak filter to find the airy sweet spots, this is something you can then easily recreate in other tracks to get the same feel.
Another thing you should do is create some of your own presets on your plug ins and make notes of favourite settings on your outboard too. If you are mixing a band that uses the same bass sound in every song, or has the same vocalist, try loading your preset EQ and Compressor settings from the first song onto every other track. Although they may not work on each track, there is a good chance you will only need to make small adjustments to get the right sound and some continuity.
The same should be done with reverbs too. Play around with your outboard or your plug ins and find a reverb that suits the lead vocalist of the album. You can then use this as your base reverb for every track. Try choosing a reverb trail that is not too long or too defused, maybe a plate style reverb or small hall that sounds quite warm. This will then be your starting point for your vocal. If any tracks need a longer trail or a different style of effect, you can then layer this on top of your base reverb so that you still have the same base sound to your vocal.
Something I like to do and that can be quite fun, is too have a theme sound for the album. This may be a particular sample, a synth sound or a bass drum that you use throughout the album. This is something which producers like Timberland tend to do and was seen on his last “Shock Value” album.
You should not over use it and in some tracks it may be that it is hardly noticeable. What it creates though is a comfort to the listener by giving a regular and familiar sound that even if they are not conscious of it, the ear will pick it up and become accustomed and receptive to what it is hearing. For you as a mixer / producer it also helps give you a brand identity that others can recognize you for.
When mixing an album, also don’t be scared to do some editing. If you think that track 4 really does not need the epic 2-minute guitar solo, cut it down to the best 16 bars if that sounds better and fits the track more suitably. Also understand the significance of the first and last 10 seconds of each track. The first 10 seconds need to excite and interest the listener enough to keep listening and the last 10 seconds need to leave the listener wanting more and ready for the next track. If you are just being asked to mix the project and were not involved in the production or the actual song writing, then try to at least make the first and last 10 seconds sonically interesting if you cannot make any actual changes to the structure or instrumentation.
As you approach the end of your album mix, do enlist a professional mastering engineer to finish the job. Do not spend all that time making a near perfect mix, for it to then be poorly mastered. Although the mastering engineer will work their magic in ensuring the album flows and is properly balanced; it is a good idea to treat each track with the same final brush of sonic gold to give it a unified and tidy finish. This can be done either with a little mix bus compression over the master stereo tracks, or by summing each track through an analogue board or summing mixer.
Make sure you always try and enjoy the life of the album, and although there are bound to be stressful times in the mix, look back on the happy memories and be proud of what you’ve achieved. As this project ends, so with it sees the start of your next venture on the horizon, and so it continues…
Monday 1 December 2008
Saturday 1 November 2008
QUICK FIX TRICKS
So the world is watching and the countdown to the US elections is on. By the time this is published a decision will have been reached. In the mean time, Obama and McCain are battling over how they should help ‘main street’ and either bail out or crack down on ‘wall street’, Gordon Brown is trying to hold on to ‘downing street’ long enough to meet the new president and Sarah Palin is well… who knows.
Politics in some ways is a little like the magician David Blaine, high risks, a little trickery, some mind games and a lot of media attention and money over some unconvincingly important stunts. A little magic may indeed be needed to step up to the role of the new US president, the selected candidate has a lot to prove and people will expect quick fixes.
Although thankfully on a much smaller and less catastrophic scale a bit of magic and a quick fix is something that is often asked of the mix engineer. A number of friends of mine say they are often handed low quality recordings and poorly arranged and mixed projects that they are then expected to turn into a top ten hit by 4pm the next day for a fraction of what was once the going rate.
So are quick fix mixes possible? The truth appears to be that they are becoming a frequent reality as deadlines tighten, budgets are cut and the general quality control barriers of music creators seem to open. Maybe this is in part inspired by our MP3 generation listeners, maybe by lack of experience from artists and producers or maybe as people just rally around in search of the next project, next hit, and next pay cheque.
This month I will give a few simple quick fix suggestions to automatically enhance your recordings.
The simplest way to quickly improve a sound recording is by giving the stereo mix a little treatment. The best way to do this in my mind is too add a little compression to help ‘glue’ the mix together and a little EQ to ‘sweeten’.
I also think it is good to do this using analogue gear; it seems to add some depth and warmth to the mix. As I have mentioned before, I believe that using analogue gear compared to digital is like the difference in cooking in an oven or in a microwave. Sometimes the microwave can be quicker, cheaper and easier but it just doesn’t ‘taste’ the same as when cooked in an oven. I guess this kind of afterthought analogue or rear-end treatment for you DAW mixes, is like cooking a jacket potato in the microwave and then finishing it in the oven to get some flavour and texture.
So, try using a stereo compressor / EQ on the outputs from your DAW. If you don’t have a dedicated EQ, try using your desk EQ’s if you have some and see if they have a nice sound to them. Obviously it depends on the material for exact settings, but an easy lift can be created via a ‘smile curve’ EQ boost. This entails a boost in the low, a cut in the mids and a boost in the highs. Usually this will quickly add some depth and sparkle to the mix.
As for compressor settings, this depends what condition the material you have is in. If you are pre – mastering, try not to over-compress and squeeze all dynamic range from the song, but you can afford to whack up the ratio a bit if your material allows it without sounding too condensed.
I find that if you do use a lot of compression it sounds nicer on the ear to keep a soft knee, with short attack and slow release. Always A/B what you are doing frequently and be careful not to just use a compressor as a fancy volume knob.
If you have access to all the files, but no time to mix it over again, then the are other ways that you can give the mix a little TLC. Often, poorly mixed tracks can sound very thin, boxy and muddy. The first thing I would check is reverb. Is there enough? A lack of reverb can make a track sound unnatural and boring with no space definition. Try making quick groups of your drums, guitars, strings and vocals. Then set up a separate reverb aux for each group. This way you can very quickly add some suitable reverb trails to the different instrument components, be careful not to loose intelligibility though so keep reverb times shorter, less pre delay and less diffusion if you need to.
If you have a console or summing mixer, you could also bring the track out through there to sum in analogue. This will tend to give an impression of greater width, depth and separation in the mix. Combining summing with compression and EQ will produce good results so look out for summing mixers that have insert points to make this easier.
A quick fix is expected from everyone when the pressure is on, and although quick fixes don’t always address the problem (in this case a poor recording or mix), they aim to make it better in the interim and then earn the trust to fix the problem in the future.
Wednesday 1 October 2008
AUDIO EQUITY
Well one could be forgiven for feeling a little cautious within the current climate of credit crunches, stock market crashes and fluctuating exchange rates. Although we are yet to see the overall effect of these times on our individual lives and our industry, you could say that we have been here before and that the economy is just continually moving in phases.
Everything around us is constantly in movement, whether its share prices, emigration of people, electrons, or planet earth herself. Therefore movement is a natural phenomenon and energy that needs to be respected and utilised. The use of movement and energy in a mix can breathe life, excitement or just space into your creations.
Subtle and clever use of level automation, pan automation and ducking can create a sense of excitement and creative flow in a track. Too much movement however could leave you listener feeling like they’ve just spent a day intoxicated at Blackpool Pleasure Beach, so this month I am focusing on some subtle tips that could be of help.
Once you have recorded all your parts and have got the basic mix together (level matching, EQ and compression, reverbs etc) then you can start paying attention to the energy and movement in the track.
I always like to start with drums, percussion and bass. Once you have your drums and bass gelling together nicely it sets a whole framework for your track, a bit like the foundations of a building.
Make a map of your song, which gives a story board structure of what is happening in terms of verse / chorus pattern and any lyrical or musical signposts that you would like to highlight.
Try pushing levels of the main percussive elements up in the chorus and back down in the verse to give the chorus a ‘lift’, or automate a percussive element to mute during the verse and then introduce it for the chorus and/or middle 8.
I would aim to keep your bass level and constant throughout and panned centre. If you find the bass to mask your kick drum, instead of turning down, try using the EQ methods of ‘cutting a space’ that I spoke of last month.
If your kick is still competing for attention with other instruments, try using some sidechaining. Insert a compressor over the Low Synth track (for example) and connect a copy of the kick drum track to the compressors sidechain.
The kick drum will now act as the trigger for the compressor, so that every time the kick sounds the low synth track will be compressed. This effect works particularly well in dance music, but the method can also be used effectively in other genres and with different instruments.
You can also create the effect using a gate in ‘ducking’ mode. Simply connect the gate in the same way as you would the compressor with the kick drum track again connected to the sidechain input. The gate will then close each time the kick drum sounds, momentarily lowering the volume of (in this case) the low synth part.
Playing around with parts like pads, rhythm guitars, strings and synths that may not be the main elements of your track can be great fun. Try treating parts as ‘themes’. Use your storyboard map of your track and plan when each theme should be introduced or taken away and how long it should be apparent for, then automate the theme into your track’s storyboard using level, mute and pan automation to achieve it as you feel necessary.
Try using a synth sweep part as a signpost. By this I mean create a track with a swirling sweep sound on it that lasts maybe a couple of bars, then place this part before each chorus. Have it relatively low in the mix, automating it to ascend in level as the chorus approaches, maybe panning from left to right and back to centre. This informs the listener that something is happening or about to happen, and helps create a dynamic energy flow within your track.
Automating reverb time and delays to sound or increase on end phrases also helps create motion in your mix, also try using a reverse reverb at the beginning of a phrase to introduce a vocal.
If your main vocal is getting a little washed out with reverb then try another little trick, insert a compressor over your reverb return channel(s) and insert a copy of the dry main vocal into the sidechain of the compressor so that as the vocal sounds the reverb wet signal is compressed and controlled a little to make space for the dry vocal, helping it to be less washed-out sounding with better intelligibility.
Creating movement in your mix can give it the professional sounding edge, which could help earn some extra pounds even in the current financial climate. After all, isn’t money what makes the world go round?
Everything around us is constantly in movement, whether its share prices, emigration of people, electrons, or planet earth herself. Therefore movement is a natural phenomenon and energy that needs to be respected and utilised. The use of movement and energy in a mix can breathe life, excitement or just space into your creations.
Subtle and clever use of level automation, pan automation and ducking can create a sense of excitement and creative flow in a track. Too much movement however could leave you listener feeling like they’ve just spent a day intoxicated at Blackpool Pleasure Beach, so this month I am focusing on some subtle tips that could be of help.
Once you have recorded all your parts and have got the basic mix together (level matching, EQ and compression, reverbs etc) then you can start paying attention to the energy and movement in the track.
I always like to start with drums, percussion and bass. Once you have your drums and bass gelling together nicely it sets a whole framework for your track, a bit like the foundations of a building.
Make a map of your song, which gives a story board structure of what is happening in terms of verse / chorus pattern and any lyrical or musical signposts that you would like to highlight.
Try pushing levels of the main percussive elements up in the chorus and back down in the verse to give the chorus a ‘lift’, or automate a percussive element to mute during the verse and then introduce it for the chorus and/or middle 8.
I would aim to keep your bass level and constant throughout and panned centre. If you find the bass to mask your kick drum, instead of turning down, try using the EQ methods of ‘cutting a space’ that I spoke of last month.
If your kick is still competing for attention with other instruments, try using some sidechaining. Insert a compressor over the Low Synth track (for example) and connect a copy of the kick drum track to the compressors sidechain.
The kick drum will now act as the trigger for the compressor, so that every time the kick sounds the low synth track will be compressed. This effect works particularly well in dance music, but the method can also be used effectively in other genres and with different instruments.
You can also create the effect using a gate in ‘ducking’ mode. Simply connect the gate in the same way as you would the compressor with the kick drum track again connected to the sidechain input. The gate will then close each time the kick drum sounds, momentarily lowering the volume of (in this case) the low synth part.
Playing around with parts like pads, rhythm guitars, strings and synths that may not be the main elements of your track can be great fun. Try treating parts as ‘themes’. Use your storyboard map of your track and plan when each theme should be introduced or taken away and how long it should be apparent for, then automate the theme into your track’s storyboard using level, mute and pan automation to achieve it as you feel necessary.
Try using a synth sweep part as a signpost. By this I mean create a track with a swirling sweep sound on it that lasts maybe a couple of bars, then place this part before each chorus. Have it relatively low in the mix, automating it to ascend in level as the chorus approaches, maybe panning from left to right and back to centre. This informs the listener that something is happening or about to happen, and helps create a dynamic energy flow within your track.
Automating reverb time and delays to sound or increase on end phrases also helps create motion in your mix, also try using a reverse reverb at the beginning of a phrase to introduce a vocal.
If your main vocal is getting a little washed out with reverb then try another little trick, insert a compressor over your reverb return channel(s) and insert a copy of the dry main vocal into the sidechain of the compressor so that as the vocal sounds the reverb wet signal is compressed and controlled a little to make space for the dry vocal, helping it to be less washed-out sounding with better intelligibility.
Creating movement in your mix can give it the professional sounding edge, which could help earn some extra pounds even in the current financial climate. After all, isn’t money what makes the world go round?
Monday 1 September 2008
AUDIO AQUATICS
British summertime… doesn’t it make you proud? August 2008 and I am battling down the street with my winter jacket zipped up and my umbrella struggling to stay intact - rather than sporting a summery little outfit, I more resemble an Eskimo trying to launch into the first ever umbrella-aided flight.
However, all the rain has meant more time indoors to play around in my studio, and inspired me to pay some special attention to the washed out and watery sound of reverbs. After some long listening sessions, I was actually surprised to learn how many of my favourite tracks had quite a large reverb on the main vocals. This then lead me to think about vocal processing in general.
These days it is rare to hear a vocal that hasn’t been heavily processed and our modern ears have become accustomed to almost synthesised sounding main vocals, especially in modern pop, dance and R&B records.
This month, I am going to talk about some of the tricks producers and engineers use to get this very processed vocal sound.
One essential piece of kit if you are working with vocals, is what I call the ‘talent editor’ also known as pitch correction. My favourite piece of software to do this with is Melodyne. This tool basically allows you to draw or play in the melody that you want, it can automatically correct any notes that are a few tones out and it is very easy to drag notes around to create variations and harmonies. You can use this to snap your lead vocal into the correct pitch and also create some nicely layered thick backing vocals for the chorus.
The correct harmonies for a song will always vary but as a starting point try using thirds and fifths above or below from the root note.
Once you have your perfectly pitched lead and newly created BV’s, it is time for some compression.
When Madonna’s pop-dance ‘Ray of Light’ album came out, many were surprised at how heavily compressed her vocals were on the album, to the point where the vocal was so upfront she almost had her head on your lap (a figure of speech gentlemen). It is little wonder then that since this, nearly every dance and pop record released features a vocal sitting on top of the mix - with its dynamics squeezed as tight as Sigue Sigue Sputnik’s favorite PVC pants.
If you like the ‘pumping’ sound of the compressor on some dance tracks you can re-create this by setting your compressor to a relatively high ratio with a fast attack and a fast release. Move the threshold down until you are getting a significant amount of signal being compressed and then use your make up gain to level match your compressed vocal with the original. The process of the compressor being activated to such an extreme level will create the pumping effect as it kicks in and out quickly and to an extreme setting. For a smoother compressed vocal, change your release to be a bit slower and try using a soft knee.
Now you have your perfectly pitched, dynamically monophonic vocal, it is time for some frequency manipulation!
An exciter is a great tool for this. Although I am not a fan of using them on entire mixes, running individual instruments through one can be advantageous, especially with vocals. The best place to use them in my mind is on the backing vocals, go for a really ‘airy’ sound to give BV’s a spacey sound and help separate them from the lead vocal. If you use an exciter on the main vocal too, have something a little less obvious or use less of the processed sound in the mix.
As an exciter is basically an EQ that boosts several frequencies, so if you have already used a channel EQ it may be worth going back and checking if anything needs adjusting, alternatively, you may need to insert an EQ after the exciter in the chain to allow you to cut any problematic frequencies that the exciter has boosted.
Another popular tool in dance and R&B is a vocoder. Whether you use a software or hardware based vocoder, you need to play in the melody that you want to use to activate the effect. A lot of records have the vocal track doubled with one of them being manipulated in this way to create an artificial chorus effect and tuneful / rhythmic drone.
To finish off your vocal it is time to choose a reverb. This is very important and you should play around with a few settings until you are happy with what you hear. Always listen with the vocal soloed and in the mix, as what works on its own might sound awful when everything is playing at the same time.
Something I like to do is use 2 reverbs on my lead vocal. Firstly I will use a warm plate reverb with a relatively short reverberation time, just to add some depth; then for my second reverb I will use a larger hall style reverb with a little pre delay and a longer trail. The combination of these two tends to add depth and space and it is easy to control the mix using the effects / aux returns. If your vocal sounds too washy or you are loosing intelligibility, try decreasing the reverb time, or send less signal to the unit or keep the return lower in the mix.
If you combine all these methods together you will soon have a polished to perfection vocal that would make even Rodney Jerkins proud.
So when the weather is washing out your BBQ plans, stay in and be awash with effects processors instead, and satisfy your audio appetite.
However, all the rain has meant more time indoors to play around in my studio, and inspired me to pay some special attention to the washed out and watery sound of reverbs. After some long listening sessions, I was actually surprised to learn how many of my favourite tracks had quite a large reverb on the main vocals. This then lead me to think about vocal processing in general.
These days it is rare to hear a vocal that hasn’t been heavily processed and our modern ears have become accustomed to almost synthesised sounding main vocals, especially in modern pop, dance and R&B records.
This month, I am going to talk about some of the tricks producers and engineers use to get this very processed vocal sound.
One essential piece of kit if you are working with vocals, is what I call the ‘talent editor’ also known as pitch correction. My favourite piece of software to do this with is Melodyne. This tool basically allows you to draw or play in the melody that you want, it can automatically correct any notes that are a few tones out and it is very easy to drag notes around to create variations and harmonies. You can use this to snap your lead vocal into the correct pitch and also create some nicely layered thick backing vocals for the chorus.
The correct harmonies for a song will always vary but as a starting point try using thirds and fifths above or below from the root note.
Once you have your perfectly pitched lead and newly created BV’s, it is time for some compression.
When Madonna’s pop-dance ‘Ray of Light’ album came out, many were surprised at how heavily compressed her vocals were on the album, to the point where the vocal was so upfront she almost had her head on your lap (a figure of speech gentlemen). It is little wonder then that since this, nearly every dance and pop record released features a vocal sitting on top of the mix - with its dynamics squeezed as tight as Sigue Sigue Sputnik’s favorite PVC pants.
If you like the ‘pumping’ sound of the compressor on some dance tracks you can re-create this by setting your compressor to a relatively high ratio with a fast attack and a fast release. Move the threshold down until you are getting a significant amount of signal being compressed and then use your make up gain to level match your compressed vocal with the original. The process of the compressor being activated to such an extreme level will create the pumping effect as it kicks in and out quickly and to an extreme setting. For a smoother compressed vocal, change your release to be a bit slower and try using a soft knee.
Now you have your perfectly pitched, dynamically monophonic vocal, it is time for some frequency manipulation!
An exciter is a great tool for this. Although I am not a fan of using them on entire mixes, running individual instruments through one can be advantageous, especially with vocals. The best place to use them in my mind is on the backing vocals, go for a really ‘airy’ sound to give BV’s a spacey sound and help separate them from the lead vocal. If you use an exciter on the main vocal too, have something a little less obvious or use less of the processed sound in the mix.
As an exciter is basically an EQ that boosts several frequencies, so if you have already used a channel EQ it may be worth going back and checking if anything needs adjusting, alternatively, you may need to insert an EQ after the exciter in the chain to allow you to cut any problematic frequencies that the exciter has boosted.
Another popular tool in dance and R&B is a vocoder. Whether you use a software or hardware based vocoder, you need to play in the melody that you want to use to activate the effect. A lot of records have the vocal track doubled with one of them being manipulated in this way to create an artificial chorus effect and tuneful / rhythmic drone.
To finish off your vocal it is time to choose a reverb. This is very important and you should play around with a few settings until you are happy with what you hear. Always listen with the vocal soloed and in the mix, as what works on its own might sound awful when everything is playing at the same time.
Something I like to do is use 2 reverbs on my lead vocal. Firstly I will use a warm plate reverb with a relatively short reverberation time, just to add some depth; then for my second reverb I will use a larger hall style reverb with a little pre delay and a longer trail. The combination of these two tends to add depth and space and it is easy to control the mix using the effects / aux returns. If your vocal sounds too washy or you are loosing intelligibility, try decreasing the reverb time, or send less signal to the unit or keep the return lower in the mix.
If you combine all these methods together you will soon have a polished to perfection vocal that would make even Rodney Jerkins proud.
So when the weather is washing out your BBQ plans, stay in and be awash with effects processors instead, and satisfy your audio appetite.
Friday 1 August 2008
EQUALITY AND EQUALISATION
This month I am writing this article whilst stranded in a small airport in Indiana; it’s a definite anticlimax to an inspiring trip to visit a pro audio retailer out here who is on the forefront of integrated modern technology.
This trip has elevated to me the significance of organisation. A seamless operation can only be so if all the cogs are turning the right way, at the right time. Although my current cog (the airport) is definitely not turning anywhere right now, the operation I witnessed today at the retailers premises was worthy of an award for innovation.
Each department runs as smoothly and efficiently as possible, but its success relies entirely on the other departments also playing their part and working effectively.
I feel this concept of every part playing an integral role is something that can also be reflected in audio production and mixing. I think we all can sometimes be guilty of over estimating a single part or instruments importance, but severely under estimate each individual parts significance.
A great sounding mix is like ‘Amnesty International’ for audio, making sure each part is heard and has a fair share of the frequency spectrum. Poor sounding mixes end up being like the first 3 rows at the Glastonbury main stage where everyone is fighting for space and you end up quite literally with a big muddy mess.
Using this principal you should endeavour to sculpt a place for each instrument within the sound canvas of your work.
To do this, firstly you need to understand the frequency range and the significance of each frequency band.
The general frequency range that you are used to having access to on equipment runs from around 20Hz – 20kHz, the ear however is most sensitive to frequencies between 40Hz and around 12-14kHz, although with age your ability to hear high frequencies will diminish - try playing some pure tones at 7kHz, 10kHz, 12kHz, 14kHz and 15kHz and see how sensitive your ears are, if you discover that you do not hear anything over 12kHz for example, you should be careful that your mixes are not too ‘toppy’ where you have been trying to overcompensate.
A well-balanced mix will contain a presence from across the frequency spectrum, however too much energy from a particular band can have a major effect on the overall perception of the mix.
For instance, if there is too much low frequency content (below around 300Hz), the mix can sound ‘boomy’ or ‘muddy’. Too little of these frequencies however and the mix can sound ‘thin’ and lack ‘power’ or ‘energy’.
Too much energy in the low mids (around 300Hz – 2kHz) can cause a really ‘middy’ sound which lacks drive and excitement. When there is a lack of low mids, the mix will sound ‘thin’ and a little ‘empty’.
Finally the high mids and high frequencies are generally adding sparkle and a sense of space to your mix. A lack of content from as low as 2kHz can cause a mix to sound dull, whereas too much tops and your mix can sound overly ‘bright’ and ‘scratchy’.
One of the most important frequencies is 1kHz, if there is no 1kHz content, your mix will sound unnervingly empty or ‘missing something’. However this frequency can also cause a number of problems, as in most mixes all lead components like vocal, guitar, piano and strings will normally have high 1kHz content.
A little trick is to cut a space for each instrument – let them all be heard. Firstly, decide which element is the most significant (perhaps you want to draw attention to the very talented vocalist, or you want to transfix people onto the melodic guitar hook), once you have decided, boost that part by around 6dB at 1kHz using a relatively high Q setting (maybe around 6 or 7) and then cut the 1kHz frequency from the other instruments using a tighter Q of maybe 8 or 9 at around less 3dB.
To get the best from the other lead instruments boost the mid frequency to +12dB and sweep round the frequencies until you find the most desirable point / sweet spot. You will then use this frequency in the same way you used the 1kHz frequency for your lead (boost it and then cut same frequency on the other instruments).
Whilst you are doing this exercise equally feel free to cut any unwanted frequencies that you hear whilst doing the sweeps. I find that cutting frequencies can often be much more beneficial than boosting them.
By using this principal of equality in audio your mixes will soon be embracing their newfound freedom! Although you’re unlikely to receive a nomination for the Nobel Peace Prize, there’s always the Grammy’s…
So my saying for the week is “too many over estimate importance, yet underestimate significance”.
Think about it and happy mixing! Peace!
This trip has elevated to me the significance of organisation. A seamless operation can only be so if all the cogs are turning the right way, at the right time. Although my current cog (the airport) is definitely not turning anywhere right now, the operation I witnessed today at the retailers premises was worthy of an award for innovation.
Each department runs as smoothly and efficiently as possible, but its success relies entirely on the other departments also playing their part and working effectively.
I feel this concept of every part playing an integral role is something that can also be reflected in audio production and mixing. I think we all can sometimes be guilty of over estimating a single part or instruments importance, but severely under estimate each individual parts significance.
A great sounding mix is like ‘Amnesty International’ for audio, making sure each part is heard and has a fair share of the frequency spectrum. Poor sounding mixes end up being like the first 3 rows at the Glastonbury main stage where everyone is fighting for space and you end up quite literally with a big muddy mess.
Using this principal you should endeavour to sculpt a place for each instrument within the sound canvas of your work.
To do this, firstly you need to understand the frequency range and the significance of each frequency band.
The general frequency range that you are used to having access to on equipment runs from around 20Hz – 20kHz, the ear however is most sensitive to frequencies between 40Hz and around 12-14kHz, although with age your ability to hear high frequencies will diminish - try playing some pure tones at 7kHz, 10kHz, 12kHz, 14kHz and 15kHz and see how sensitive your ears are, if you discover that you do not hear anything over 12kHz for example, you should be careful that your mixes are not too ‘toppy’ where you have been trying to overcompensate.
A well-balanced mix will contain a presence from across the frequency spectrum, however too much energy from a particular band can have a major effect on the overall perception of the mix.
For instance, if there is too much low frequency content (below around 300Hz), the mix can sound ‘boomy’ or ‘muddy’. Too little of these frequencies however and the mix can sound ‘thin’ and lack ‘power’ or ‘energy’.
Too much energy in the low mids (around 300Hz – 2kHz) can cause a really ‘middy’ sound which lacks drive and excitement. When there is a lack of low mids, the mix will sound ‘thin’ and a little ‘empty’.
Finally the high mids and high frequencies are generally adding sparkle and a sense of space to your mix. A lack of content from as low as 2kHz can cause a mix to sound dull, whereas too much tops and your mix can sound overly ‘bright’ and ‘scratchy’.
One of the most important frequencies is 1kHz, if there is no 1kHz content, your mix will sound unnervingly empty or ‘missing something’. However this frequency can also cause a number of problems, as in most mixes all lead components like vocal, guitar, piano and strings will normally have high 1kHz content.
A little trick is to cut a space for each instrument – let them all be heard. Firstly, decide which element is the most significant (perhaps you want to draw attention to the very talented vocalist, or you want to transfix people onto the melodic guitar hook), once you have decided, boost that part by around 6dB at 1kHz using a relatively high Q setting (maybe around 6 or 7) and then cut the 1kHz frequency from the other instruments using a tighter Q of maybe 8 or 9 at around less 3dB.
To get the best from the other lead instruments boost the mid frequency to +12dB and sweep round the frequencies until you find the most desirable point / sweet spot. You will then use this frequency in the same way you used the 1kHz frequency for your lead (boost it and then cut same frequency on the other instruments).
Whilst you are doing this exercise equally feel free to cut any unwanted frequencies that you hear whilst doing the sweeps. I find that cutting frequencies can often be much more beneficial than boosting them.
By using this principal of equality in audio your mixes will soon be embracing their newfound freedom! Although you’re unlikely to receive a nomination for the Nobel Peace Prize, there’s always the Grammy’s…
So my saying for the week is “too many over estimate importance, yet underestimate significance”.
Think about it and happy mixing! Peace!
Tuesday 1 July 2008
UP TOP
This month its all about what you have up top… not in terms of your new seventies fling back hair do (or not new in some cases), but your front end.
It is common sense that in order to get the best sounding mix, you need to have the best sounding recordings to begin with. If you can get a quality signal onto “tape” in the first place, it prevents the need for this endless quest that some people undergo to ‘save’ the mix.
One of the first things I was taught, was the age old industry slogan that “you cant polish a terd” and this is very true (although some vocalists we’ve all come across really try to push the boundaries on that making you salvage more than you want to and they themselves hoping ‘autotune’ or ‘melodyne’ will turn them into the next Aretha… hmmm…).
EQing a poorly recorded signal can only get rid of some of the unwanted frequencies, and can only cut and boost what is already there so if your signal lacks low end and warmth, an EQ plug in will not be a quick fix solution.
If you are recording a vocal in a home studio you have further considerations. The first one being the actual recording space you are using. If your studio room does not have a nice sound and is not acoustically treated, using a very sensitive condenser microphone with a hypercardiod, figure 8 or omni pick up pattern may pick up unwanted and undesirable room noise. Instead opt for a cardiod pattern and try and position the vocalist in a suitable area of the room where the reflections are likely to be less. If you have a problem with a condenser mic picking up too much background noise, especially when you boost the gain to try and get a better signal to “tape”, perhaps try using a dynamic microphone instead.
When using a close mic technique with a cardiod pattern Dynamic mic, it tends to be very directional and should pick up more of the direct sound source (in this case a vocal) and less of the room noise. You can also benefit from the proximity effect taking place on weaker vocals, which is where bass tones sound more prominent as the mic is closer to the sound source. This effect is good for female vocals and also male vocalists that have a sweet spot in the lower fundamental frequencies.
If you find that even with your favourite condenser mic, you do not have much sensitivity, or the quality / tone of your recorded signal is lacking an apparent ‘space’ or ‘depth’, it is probably the preamp that needs looking at.
With most soundcards, the preamps built in are not of a very high standard in most people’s opinions. If you consider that on a £300RRP soundcard how much is spent on the A/D and D/A converters for one, then the casing, the manufacturing, etc, then per mic pre, it is probably around 50p!
It is definitely worth investing in a good quality mic pre to add to your set up, whether you have a budget soundcard or a more high end interface, a dedicated preamp can offer a good alternative and allows you to have greater flexibility over the quality, tone and depth of your recordings. For people on a tighter budget, channel strips tend to be the best value purchase as you get several functions included on one unit, making it good value for money and more flexible in use.
Going back to my cooking analogy last week, I feel recording and mixing in analogue as opposed to in digital is the difference between cooking in the oven and in the microwave. The microwave might have some fancy touch screen controls and be quicker and easier, but it just doesn’t ‘taste’ the same as when cooked in the oven.
These days, as with cooking, a combination of microwave oven and conventional oven recording and mixing seems to be the answer. Time efficient without sacrificing ‘taste’.
You need to know when to take advantage of different technologies, something that I intend to help with over the months.
Having a nice analogue front end can make a huge difference to your finished sound.
So put some thought into what you have up top and turn your studio heat up to ‘number 11’ (gas mark that is).
It is common sense that in order to get the best sounding mix, you need to have the best sounding recordings to begin with. If you can get a quality signal onto “tape” in the first place, it prevents the need for this endless quest that some people undergo to ‘save’ the mix.
One of the first things I was taught, was the age old industry slogan that “you cant polish a terd” and this is very true (although some vocalists we’ve all come across really try to push the boundaries on that making you salvage more than you want to and they themselves hoping ‘autotune’ or ‘melodyne’ will turn them into the next Aretha… hmmm…).
EQing a poorly recorded signal can only get rid of some of the unwanted frequencies, and can only cut and boost what is already there so if your signal lacks low end and warmth, an EQ plug in will not be a quick fix solution.
If you are recording a vocal in a home studio you have further considerations. The first one being the actual recording space you are using. If your studio room does not have a nice sound and is not acoustically treated, using a very sensitive condenser microphone with a hypercardiod, figure 8 or omni pick up pattern may pick up unwanted and undesirable room noise. Instead opt for a cardiod pattern and try and position the vocalist in a suitable area of the room where the reflections are likely to be less. If you have a problem with a condenser mic picking up too much background noise, especially when you boost the gain to try and get a better signal to “tape”, perhaps try using a dynamic microphone instead.
When using a close mic technique with a cardiod pattern Dynamic mic, it tends to be very directional and should pick up more of the direct sound source (in this case a vocal) and less of the room noise. You can also benefit from the proximity effect taking place on weaker vocals, which is where bass tones sound more prominent as the mic is closer to the sound source. This effect is good for female vocals and also male vocalists that have a sweet spot in the lower fundamental frequencies.
If you find that even with your favourite condenser mic, you do not have much sensitivity, or the quality / tone of your recorded signal is lacking an apparent ‘space’ or ‘depth’, it is probably the preamp that needs looking at.
With most soundcards, the preamps built in are not of a very high standard in most people’s opinions. If you consider that on a £300RRP soundcard how much is spent on the A/D and D/A converters for one, then the casing, the manufacturing, etc, then per mic pre, it is probably around 50p!
It is definitely worth investing in a good quality mic pre to add to your set up, whether you have a budget soundcard or a more high end interface, a dedicated preamp can offer a good alternative and allows you to have greater flexibility over the quality, tone and depth of your recordings. For people on a tighter budget, channel strips tend to be the best value purchase as you get several functions included on one unit, making it good value for money and more flexible in use.
Going back to my cooking analogy last week, I feel recording and mixing in analogue as opposed to in digital is the difference between cooking in the oven and in the microwave. The microwave might have some fancy touch screen controls and be quicker and easier, but it just doesn’t ‘taste’ the same as when cooked in the oven.
These days, as with cooking, a combination of microwave oven and conventional oven recording and mixing seems to be the answer. Time efficient without sacrificing ‘taste’.
You need to know when to take advantage of different technologies, something that I intend to help with over the months.
Having a nice analogue front end can make a huge difference to your finished sound.
So put some thought into what you have up top and turn your studio heat up to ‘number 11’ (gas mark that is).
Sunday 1 June 2008
COOKING IT UP
Welcome one and all! Each week I will be giving you some insight into the world of sound recording and mixing with some hot tips for you to try out and some general rambles regarding my thoughts on the wonderful world of sound.
So what should you know about me? I’m a big analogue freak, but also a techno-geek so each week I’ll be giving some nerdy advice on using outboard gear and ‘real’ consoles, but also integrating software and hardware set ups to the best effect and some interesting ideas for you to try out.
To really understand me, you should know that for me, mixing is like cooking. Maybe because my two loves in life are food and music (although I would like to stress I do not have a belly reminiscent of a 2nd trimester pregnancy, or wear white socks under my sandals!).
In terms of my concept, the different ingredients in you ‘audio dish’ are of course the instruments, but more importantly the tones and timbres of your sounds which make up your track. You can have all the main ingredients, but it can ‘taste’ bland unless you add the seasoning and maybe a little spice to really bring the dish to life. Also your method of cooking up your audio treat can affect its texture and overall quality. These methods and spices are your effects, panning, and automation. Over the coming months I will also give some advice on the importance of EQ, including practical tips.
By using your panning to add a sense of space to your mix you create a base that slots and molds the sounds into the stereo image. Although basslines and lead vocals should be kept central as general rule, you can play around with the other instruments – don’t be afraid of using some sounds purely to use for panning affects or to add ‘flavor’ to your left or right side soundscape. ‘Autopan’ effects can be fun, but be warned – getting carried away with such could leave your listener feeling a little queasy!
The use of reverb is also very important in your mixing recipe, think of it as the ‘salt’ of the audio world (it makes any bland excuse for a vocalist sound better).
Reverb enables you to blend instruments together and make them sound more life like. Although the ear can adjust to sounds quickly, you will find it infinitely more pleasant to listen to a sound with a little reverb as the ear perceives it as being more natural and is therefore in some way easier to process. Do not over swamp a song with reverb though – especially if it is very polyphonic or at a fast tempo as it can slur the beat structure or main hook.
If you experience difficulty fitting a vocal onto a previously recorded backing track, the use of reverb can really help slot it together, especially if your vocal is heavily compressed.
So just as Great Aunty Mabel had her own special recipe for Bread and Butter Pudding, you too should develop your own special recipe for mixing.
Get in your studio kitchen and play around with your sound flavors, find the best order for you to unleash your creativity in and have a clear goal and end result in mind. Save sounds that you create or favorite and cool effects, also make notes on the best EQ sound for your favorite kick sample or a regular vocalist you work with.
This in time actually gives you a great structure and starting point for all your mixes, as well as your own ‘brand’ sound.
A brand image these days is very important and may just be the defining element that gets you the work and not Bob ‘Audio Knob’ Smith (even though he has a long track record and beard to match).
Try looking at your sounds as flavors. Combining senses like sound and taste can be really useful if you get the hang of it… if that sounds a little too leftfield, then maybe try imaging the sounds as colors on a canvass instead?
So get your aprons on and cook up a feast!
So what should you know about me? I’m a big analogue freak, but also a techno-geek so each week I’ll be giving some nerdy advice on using outboard gear and ‘real’ consoles, but also integrating software and hardware set ups to the best effect and some interesting ideas for you to try out.
To really understand me, you should know that for me, mixing is like cooking. Maybe because my two loves in life are food and music (although I would like to stress I do not have a belly reminiscent of a 2nd trimester pregnancy, or wear white socks under my sandals!).
In terms of my concept, the different ingredients in you ‘audio dish’ are of course the instruments, but more importantly the tones and timbres of your sounds which make up your track. You can have all the main ingredients, but it can ‘taste’ bland unless you add the seasoning and maybe a little spice to really bring the dish to life. Also your method of cooking up your audio treat can affect its texture and overall quality. These methods and spices are your effects, panning, and automation. Over the coming months I will also give some advice on the importance of EQ, including practical tips.
By using your panning to add a sense of space to your mix you create a base that slots and molds the sounds into the stereo image. Although basslines and lead vocals should be kept central as general rule, you can play around with the other instruments – don’t be afraid of using some sounds purely to use for panning affects or to add ‘flavor’ to your left or right side soundscape. ‘Autopan’ effects can be fun, but be warned – getting carried away with such could leave your listener feeling a little queasy!
The use of reverb is also very important in your mixing recipe, think of it as the ‘salt’ of the audio world (it makes any bland excuse for a vocalist sound better).
Reverb enables you to blend instruments together and make them sound more life like. Although the ear can adjust to sounds quickly, you will find it infinitely more pleasant to listen to a sound with a little reverb as the ear perceives it as being more natural and is therefore in some way easier to process. Do not over swamp a song with reverb though – especially if it is very polyphonic or at a fast tempo as it can slur the beat structure or main hook.
If you experience difficulty fitting a vocal onto a previously recorded backing track, the use of reverb can really help slot it together, especially if your vocal is heavily compressed.
So just as Great Aunty Mabel had her own special recipe for Bread and Butter Pudding, you too should develop your own special recipe for mixing.
Get in your studio kitchen and play around with your sound flavors, find the best order for you to unleash your creativity in and have a clear goal and end result in mind. Save sounds that you create or favorite and cool effects, also make notes on the best EQ sound for your favorite kick sample or a regular vocalist you work with.
This in time actually gives you a great structure and starting point for all your mixes, as well as your own ‘brand’ sound.
A brand image these days is very important and may just be the defining element that gets you the work and not Bob ‘Audio Knob’ Smith (even though he has a long track record and beard to match).
Try looking at your sounds as flavors. Combining senses like sound and taste can be really useful if you get the hang of it… if that sounds a little too leftfield, then maybe try imaging the sounds as colors on a canvass instead?
So get your aprons on and cook up a feast!
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