Mixing Insight

[ernstinen]

May 8, 2008, 12:47pm, bigbluebarry wrote:Are there any "rules", or "guidelines" that you guys have for mixing that you wouldn't mind to share?Well, BigBlue --- That's quite a complex subject! I guess one thing that someone told me once early on in my mixing "career" is so basic it may sound silly, but it DOES make sense:CAN YOU HEAR EACH PART IN THE MIX CLEARLY?Of course, you want some things in the mix louder than others, like the lead vocal, or a solo instrument. But if there's a track that you CAN'T hear, especially listening at a low volume (which is a good idea, BTW), it either needs to be turned up or something else needs to be turned down.Speaking of turning things DOWN, that's one thing mixers with little experience (either in the studio or live) forget about. You can't always turn things up! You'll have your meters ON FIRE if you keep doing that. More later ----Ern

[mazz]

One thing I'm finding about mixing orchestral music is that it can be a different animal than mixing pop music. I'm not talking about bombastic trailer electro-orchestral stuff but strictly orchestral music.I've been studying a lot of classical orchestral scores lately (Mahler, Mozart, Beethoven, Debussy, etc.) and there are lots of textural things done inside the orchestra that aren't meant to be "heard" as discrete parts but they add up to a certain texture that is supporting a melody. If one were to mock up one of these scores with samples and try to mix it with a "pop" ear and aesthetic, it would be a mess. Of course, these are the best composers ever so they know how to write this stuff to work and not be mud, add to that a conductor that is "mixing" the orchestra while they're playing and it's a different animal but good food for thought, IMO.We could probably do a whole other long thread on mixing orchestral mockups. Ern would probably get carpal tunnel sharing all his knowledge on this, though! Cheers!MazzPS: A plug for Nick's magazine, Virtual Instruments. They have a MIDI mockup interview with a working composer every issue and it's pretty darn instructive. More good info!

[frodo]

May 8, 2008, 2:18pm, wodinlord wrote: I mix a lot at very low volume- Totally agree.It's very much easier to get something to sound good while listening at a low volume.And, - before anyone asks what that 'low' is exactly, - I'd say down to about 50-52 db, C weighted slow response, although 63-65 feels very comfortable also.And never never over 85... - until next timefrodo

[mazz]

I do change the speaker volume quite often while mixing, depending on what I'm doing. If I need to feel the bass, of course I'll crank it for a little bit. I learned the hard way about mixing loud. After a while the mind doesn't realize how loud it is and the ears get numbed and tired and the next day the mixes sound like crap on a stick!Also, the "other room" trick is a great one. Put on your mix and go in to another room and listen to see what goes away and what sticks out. I've used this a lot to balance vocals, particularly if I've spent a bit too much time in between the speakers.Also, I recommend a second set of speakers, preferably smaller, frequency challenged speakers. This will give you a little window in to the midrange of the mix. I use a set of Avantone MixCubes, which are modeled after the old-school Auratones, one 4 inch speaker. When I'm mixing for potential play on TV, I use it to see if any of my sounds might interfere with talking, which could be the kiss of death if there's too much midrange competing with the frequencies of voices.Good stuff on this thread!Mazz

[wodinlord]

May 8, 2008, 2:36pm, frodo wrote:May 8, 2008, 2:18pm, wodinlord wrote: I mix a lot at very low volumeAnd never never over 85... Well, I must admit that when the mix is done and it's time to enjoy it - I will Shatter that 85 db limit. LOL For short periods of course. Wodinlord

[ernstinen]

May 8, 2008, 2:18pm, wodinlord wrote: I mix a lot at very low volumeHey! You beat me to it by two shakes of a lamb's tail! BAAAAA! Quote:Also, the "other room" trick is a great one.Ditto, Mazz! I wuz gonna mention that one too. I didn't know that was common knowledge --- thought I figured that out by my lonesome! Ern

[wodinlord]

Ern, I found years ago, that most of what I figured out by myself, turned out later to be common knowledge. LOL That's because anything that works, will be found out. Would have been a lot easier if someone had just told me. Over 30 years ago, I went to college to learn about recording and still ended up having to teach myself. But, I do have a degree from the Recording School of Hard Knocks!Wodinlord

[Mark Kaufman]

Hard knocks? They are best recorded with two mics, one close and one for room ambience, no compression and a touch of reverb.

[wodinlord]

May 8, 2008, 4:00pm, lyle wrote:Hard knocks? They are best recorded with two mics, one close and one for room ambience, no compression and a touch of reverb. See, another technique I thought I had all to myself, but NOOOOOOOOO...Wodinlord

[andreh]

It's also common to focus the mix on the most important instrument(s) by allowing them to take up more room in the frequency spectrum than less pivotal parts. For example, in a pop vocal song where a piano part and the lead vocal both have energy in the 100-300Hz range, you might push more out of the piano in that area to make room for the vocal (instead of cutting that part out of the vocal and giving it a thinner sound).Listen to Coldplay's vocal's...they're huge. I'm sure some judicious scultping of other parts went on to make room for them.André