ABSTRACT
WORKFLOW 4HE ART OF REMIXING WHILE IT DOES HAVE MANY SIMILARITIES WITH PRODUCTION DIFFERSINAFEWWAYSONEOFWHICHBEINGTHEEXTREMELYTIGHTDEADLINES!SSUCH ANYTHING THAT CANBE DONE TO SPEEDUP THE PROCESS CANBE A HUGEHELP-OST MODERN $!7S ALLOW YOU TO SAVE AND USE MULTIPLE TEMPLATES ) HAVE ALREADY TOUCHEDONTHISBRIEmYBUT)WILLEXPANDONITHEREANDGIVEAFEWEXAMPLESOF DIFFERENTPOSSIBILITIESDEPENDINGONYOURPREFERREDWAYOFWORKING
)N#HAPTER)MENTIONEDTHEIDEAOFUSINGhTEMPLATESvTOMAKEITQUICKAND EASYTOLOADUPYOUR$!7ANDBECREATINGINAMATTEROFMINUTES4HISISOBVI OUSLYAVERYUSEFULTIMESAVERBUTTHEREAREOTHERPERHAPSLESSOBVIOUSTHINGS YOUCANDOTOIMPROVEWORKmOWASWELL)TMIGHTBEEASIESTTOILLUSTRATETHISBY SHOWINGYOUHOWMYSTANDARDREMIXTEMPLATEISORGANIZED
)LIKEWORKINGINATRADITIONALWAY)TENDTOGROUPSOUNDSTHATARERELATEDINTO SUBMIXBUSES FOR TWOMAIN REASONS4HElRST IS TOALLOWFORPROCESSING%1 DYNAMICSREVERBETC TOBEAPPLIEDTOTHEWHOLEGROUPOFSOUNDS7ITHMOD ERNCOMPUTERSHAVINGRIDICULOUSAMOUNTSOFPROCESSINGPOWER ITSNOTALWAYS NECESSARY TODO THISAS THERE ISUSUALLYMORE THANENOUGH#05POWER TOPUT THE PROCESSING ON EACH SOUND INDIVIDUALLY BUT SOMETIMES BY APPLYING THE PROCESSINGTOTHEGROUPOFSOUNDSITCANHELPTOPULLTHESOUNDSTOGETHERAND SEEMMORECOHERENTANDFOCUSED4HISMIGHTNOTBETHEEFFECTYOUWANTALLOF THE TIME BUT BY ROUTING THE SOUNDS IN THISWAY IT DOESNT PREVENT YOU FROM APPLYINGPROCESSING TO THE INDIVIDUAL SOUNDSBUTdoesGIVEYOU THEOPTION TO APPLYITTOTHEWHOLEGROUP
4HE SECOND REASON IS THAT YOU CANUSE THE SUBMIXBUSES TOMAKEBROADMIX CHANGES QUICKLY AND SIMPLY &OR EXAMPLE IF YOURE LAYERING UP A FEW DIFFER ENTBASSSOUNDSANDAPPLYING%1ANDBALANCINGUPTHEBASSSOUNDSWITHEACH OTHERUNTILYOUREHAPPYWITHTHECOMBINEDSOUND,ATERYOUCOULDCHANGETHE KICKDRUMSOUNDANDTHENMIGHTFEELTHATTHEBASSSOUNDWASNOWTOOQUIET )F YOU HAD THREE DIFFERENT SOUNDS LAYERED ANDNOT ROUTED INTO A SUBMIX BUS YOUWOULDNEED TOADJUST THE LEVELSOFALL THREE SOUNDS )TSNOTNECESSARILYA
MAJORHEADACHETODOBUTASTHEDECIBELSCALEANDHENCEVOLUMEOFSOUNDS ISNT LINEAR THEN SIMPLY INCREASING THE VOLUME OF EACH SOUND BY D"WONT ACTUALLY DO WHAT YOU EXPECT IT TO DO IF THE DIFFERENT LAYERS HAVE DIFFERENT VOLUMES4HE INCREASE FROMD" TOD" IS VERYDIFFERENT FROM THE INCREASE FROMD" TOD" AND SO SIMPLY REDUCING THE VOLUME OF EACH SOUND THATWAYWILL ACTUALLY ALTER THE RELATIVE BALANCE OF THE SOUNDSWHEREAS ROUT INGTHROUGHASUBMIXBUSWILLKEEPTHEBALANCEOFTHESOUNDSCONSTANTWHILE ADJUSTINGTHEOVERALLLEVEL
)TMIGHTSEEMLIKEALOTOFFUSSESPECIALLYIFYOUAREWORKINGINMOREMINIMAL STYLESWITHFEWERSEPARATEPARTSBUTONCEITHASBEENDONEITISJUSTASEASYTO LOADUPATEMPLATEBASEDAROUNDTHISSET UPASANYOTHERANDTHEREAREMANY OTHERREASONSWHYTHISTRIED AND TESTEDMIXINGAPPROACHISSTILLUSEDBYMANY PROFESSIONALMIXENGINEERS3OWITHALLOFTHATINMIND&IGURESHOWSHOW MYTEMPLATEISSETUPINTERMSOFSIGNALmOWANDROUTING
7HETHERTHISWOULDWORKFORYOUISUNCERTAINYOUMIGHTPREFERAMORESIMPLI lEDWAYOFWORKING"UT IF YOUHAVE,OGICYOUCAN LOADUP THE SAMPLElLES FROM THEWEBSITE THAT ACCOMPANY THE REMIXWALKTHROUGH IN#HAPTERS n ANDYOUWILLBEABLETOEXPERIMENTWITHAREMIXTHATISMIXEDANDROUTEDTHIS WAYTOSEEHOWITFEELSTOYOU
(AVING COVERED THOSE FEW POTENTIAL SHORTCUTS WE NOW TAKE A LOOK AT SOME OTHER IMPORTANTMIXINGBASICS0OSSIBLY THEMOST IMPORTANT IS THE SUBJECTOF gain staging4OHAVECLEANANDPOWERFULMIXESYOUSHOULDAVOIDDISTORTIONAS MUCHASPOSSIBLEUNLESSOFCOURSEYOUARETALKINGABOUTDELIBERATELYAPPLYING ADISTORTIONEFFECTASAPARTOF THESOUND4HISHASalwaysBEENGOODPRACTICE BUTIFYOUAREWORKINGINAFULLYDIGITALENVIRONMENTITISEVENMOREIMPORTANT BECAUSEWHILEANALOGDISTORTIONCANSOUNDWARMANDACTUALLYADDSOMENICE HARMONICSTOASOUNDIFUSEDINMODERATIONDIGITALCLIPPINGDISTORTIONSOUNDS VERYHARSHANDNASTY4OAVOIDTHISITISBESTTOWORKWITHLOWERLEVELSTOALLOW PLENTYOFHEADROOM )NATRADITIONALANALOGSTUDIOTHEREISALWAYSBACKGROUNDNOISEANDEVERYADDI TIONALCHANNELOFMIXINGANDEVERYADDITIONALOUTBOARDDEVICETHATISADDEDTO THEMIXCOMPOUNDSTHENOISELEVELS4OOVERCOMETHISSIGNALSWOULDNEEDTO BEAShotLOUD ASPOSSIBLETOPROVIDETHEGREATESTSIGNAL TO NOISERATIOWHILE STILLTRYINGTOAVOIDTHELEVELSBEINGSOLOUDTHATTHEYRUNINTODISTORTION7ITH TODAYS DIGITAL SYSTEMS THINGS ARE A LITTLE DIFFERENT "ACKGROUND NOISE WHILE NOTCOMPLETELYA THINGOF THEPAST ISMUCHLESSOFAN ISSUEBECAUSE THEDIGI TALPROCESSINGDOESNOTADDANYADDITIONALNOISEOF ITSOWNUNLESSBY DESIGNINANATTEMPTTOMIMICVINTAGEHARDWARE /FCOURSEANYNOISEPRESENT INANYORIGINALRECORDINGSWILLCONTINUETOBEAFACTORBUTMUCHLESSSO4HIS GREATLYREDUCEDSIGNAL TO NOISERATIOANDTHISISespeciallyTRUEIFUSINGA BIT FORMAT MEANS THAT SIGNAL LEVELS CAN BE GENERALLY MUCH LOWER ALLOWING FOR GREATER HEADROOM WHICH MINIMIZES THE RISK OF DIGITAL CLIPPING WHILE STILL MAINTAININGAMORETHANADEQUATESIGNAL TO NOISERATIO 4HE lRST STEP IN THE SIGNAL PATH IS THE SOUND SOURCE AND THIS CAN BE EITHER AN AUDIO RECORDINGOR A PLUG IN GENERATED SOUND SOURCE7HENDEALINGWITH
REMIXESYOUNORMALLYHAVEAT LEAST SOMEAUDIOPARTS FROMTHEORIGINAL TRACK ANDTHEREISLITTLEYOUCANDOIFTHESEHAVEBEENBADLYRECORDEDYOUREUNLIKELY TORUNINTOCLIPPEDORDISTORTEDRECORDINGSTHOUGH (OWEVERIFYOUAREGOING TOBEADDING RECORDEDPARTSOFYOUROWN TO THE REMIX IT IS IMPORTANTNOT TO RECORD THEM too LOUDOR COMPRESSEDORPROCESSEDBECAUSEONCE THIS IS DONE VERY LITTLE CAN BE DONE TO UNDO IT SHORT OF ACTUALLY RERECORDING THE PARTSˆ SOMETHING TO BE AVOIDED IF AT ALL POSSIBLE /NCE THE AUDIO PARTS HAVE BEEN RECORDEDITISIMPOSSIBLEFORANAUDIORECORDINGTOACTUALLYOVERLOADTHEINDI VIDUALCHANNELSTRIPINYOUR$!7ASSUMINGNOPLUG INSATTHISSTAGE BUTTHE SAMECANNOTSTRANGELYBESAIDOFSYNTHPLUG INS)HAVEFOUNDQUITEAFEWTHAT WHENSETTOMAXIMUMVOLUMEORSOMETIMESNOTEVENASHIGHASMAXIMUM CANACTUALLYOVERLOADTHECHANNELSTRIP
4HEREAREASALWAYSA FEWDIFFERENTWAYSOFDEALINGWITH THIS9OUCAN LOWER THEOUTPUTVOLUMEOFTHESYNTHITSELFASSUMINGITHASAVOLUMECONTROL…NOT ALLDO WHICHWILLPREVENTOVERLOADOF THECHANNELSTRIPANDPREVENTDISTOR TIONOCCURRINGWITHINTHEPLUG INITSELF3OMEPLUG INSYNTHSWHENTHEOUTPUT LEVELISTOOHIGHWILLACTUALLYDISTORTTHEIROUTPUTSSOTHATEVENIFTHECHANNEL GAINIS LOWEREDANDTHEPEAKSIGNALLEVELISWAYDOWNTHEYSTILLHAVEAUDIBLE DISTORTION ARTIFACTS IN THE SOUND !NOTHER OBVIOUS THING IS TO TURN THEMAIN CHANNELFADERDOWNBUTASWEWILLSEESHORTLYTHISDOESNTPREVENTOVERLOADS ANDCLIPPINGOCCURRINGBEFORETHESIGNALACTUALLYREACHESTHEFADERASTHISFADER ISTHEVERYLASTCOMPONENTINTHECHAIN!BETTEROPTIONISTOUSEAPLUG INSUCH AS3ONALKSISEXCELLENTANDASTHENAMESUGGESTSfreePLUG IN&REE'www.sonalksis.com &REE'PROVIDESAGREATWAYOFADJUSTINGTHEGAINANDLEVELOFASIG NALATANYPOINTINTHECHAIN4HEADVANTAGEOFUSINGAPLUG INLIKETHISISTHAT ITCANBEINSERTEDbetweenOTHERPLUG INSTOPROVIDEANINDICATIONOFTHESIGNAL LEVELGOINGINTOEACHPLUG INRATHERTHANJUSTTHEOVERALLOUTPUT4HISISIMPOR TANT BECAUSE IT IS QUITE EASY TO OVERLOAD THE INPUT TO ONE PLUG IN IN A CHAIN WHILE STILL KEEPING AN OUTPUT LEVEL THAT ISNT CLIPPING THE CHANNEL )T MIGHT SEEMLIKEALOTOFMESSINGAROUNDBUTITISWORTHINSERTINGAPLUG INLIKE&REE' AFTEREACHPLUG INONACHANNELTOMAKESURETHELEVELSAREUNDERCONTROLAND HAVEANEASYMEANSOF ADJUSTING THEM IF THEY ARENT 4HERE AREMORE CREATIVE USESFORTHISKINDOFSET UPASWELLIFYOUAREFEELINGMOREADVENTUROUS4HESE WILLBECOVEREDLATER
)FYOUAREUSINGAMULTIPLESUBMIXBUSTYPESYSTEMAS)DESCRIBEDEARLIERTHEN YOUALSONEEDTOCONSIDERTHATWHILEEACHCHANNELMAYBEBELOWCLIPPINGLEV ELSWHENTWOAREMOREOFTHESEAREFEDINTOASUBMIXBUSTHECUMULATIVELEVEL MIGHTOVERLOADTHEBUS)NTHISSITUATIONTHE&REE'PLUG INWILLBEUSEFULASA GLOBALLEVELTRIMONTHEBUSRATHERTHANHAVINGTOREDUCETHELEVELSOFTHEMUL TIPLECHANNELSFEEDINGINTOTHEBUS!NDlNALLYTHESAMETHINGAPPLIESWHEN ALLOFTHEBUSESAREFEDINTOTHEMASTEROUTPUTCHANNELS
)FTHISISALLSET UPCORRECTLYYOUSHOULDENDUPWITHAlNALSIGNALLEVELTHATHAS PLENTYOFHEADROOMANDALLOWS FORDECENTDYNAMICS IN THE TRACKASAWHOLE 4HElNALMASTERINGPROCESSMAYWELL SQUASHMANYOF THOSEDYNAMICSOUTOF
THEMIXINANEFFORTTOKEEPUPINh4HE,OUDNESS7ARSvTHECONSTANTBATTLETO MAKETRACKSLOUDERTHANTHOSETHATHAVEGONEBEFORESOTHEYSOUNDBIGGERAND MOREIMPRESSIVE BUTITISALWAYSBETTERTOLEAVESUCHTHINGSUNTILTHEMASTERING STAGERATHERTHANBUILDINGSUCHHEAVILYCOMPRESSEDDYNAMICSINTOYOURORIGI NALUNMASTEREDVERSION
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)N SPITE OF THIS DIVERSITY SOME COMMON THREADS RUN THROUGH MANY OF THE METHODS )N ALMOST ALL FORMSOF DANCEMUSIC ONEOF THEMOST FUNDAMENTAL ELEMENTSOFTHEMIXISTHEKICKDRUMFOLLOWEDCLOSELYBYTHEBASSLINE4HESE TWOSOUNDSBOTHINISOLATIONANDINTHEIRINTERACTIONARECRUCIALTOYOURPRO DUCTION)NFACTSOMEGENRESOFDANCEMUSICAREMINIMALINCONTENTANDOTHER THANTHEKICKDRUMANDBASS LINEMAYCONTAINVERY FEWADDITIONALELEMENTS )NWHICHCASETHEIMPORTANCEANDFOCUSONTHEMISEVENGREATER7ITHTHISIN MIND IT IS QUITE FRUSTRATING THAT THESE TWO ELEMENTS ARE OFTEN THEHARDEST TO JUDGEANDSCULPTEFFECTIVELYONMOSTSMALLERMONITORINGSYSTEMS-OSTREMIX ERSANDESPECIALLYTHOSESTARTINGOUTWILLBEWORKINGONRELATIVELYSMALLMONI TORSANDTHEBASSEXTENSIONOFTHOSEMONITORSWONTEVENCOMECLOSETOTHAT OFFEREDBYADECENT SIZEDCLUB0!SYSTEM
4HERE ARE ANUMBEROFDIFFERENTWAYS TO COMPENSATE FOR THIS THEMOSTOBVI OUSBEINGTOGETADECENTSUBWOOFERTOWORKWITHYOURMONITORS4HISWILLGO QUITEAWAYTOWARDRECTIFYINGTHELACKOFBASSBUTUNLESSSETUPVERYCAREFULLY ASUBWOOFERCANGIVEAMISLEADINGIMPRESSIONOFTHEREALAMOUNTOFLOWBASS INYOURMIXES!NOTHERPOSSIBILITY IS TOMAKESUREYOUHAVEAT LEASTACOUPLE OFDIFFERENTMONITORINGOPTIONSAVAILABLE3OMEGOOD QUALITYHEADPHONESCAN HAVEVERYDECENTBASSOUTPUTWHICHWILLGIVEYOUAPRETTYGOODIDEAOFWHAT TOEXPECTBUTBECAUSETHEYAREHEADPHONESYOUNEVERREALLYGETTHATPHYSICAL SENSATIONOFLOUDBASSTHATYOUGETINANIGHTCLUB0OSSIBLYTHEBESTTHINGYOU CANDOISSIMPLYSPENDAGOODAMOUNTOFTIMEGETTINGUSEDTOyourMONITORS ANDHOWTHEYSOUNDINyourSTUDIO4HEHUMANEARBRAINCOMBINATIONISVERY ADEPTATCOMPENSATINGFORAUDIODISCREPANCIESANDONCEYOUHAVETRAINEDYOUR EARSTOTHESOUNDOFYOURMONITORSYOUWILLlNDYOURSELFCOMPENSATINGFORANY LACKOFLOWBASSRESPONSEWITHOUTREALLYTHINKINGABOUTIT!VERYGOODWAYTO DOTHISISTOPLAYTRACKSTHATYOUKNOWHAVEAGREATBASSENDTOTHEMTHROUGH YOURMONITORINGSYSTEM0LAYTHEMLOUDPLAYTHEMQUIETPLAYTHEMALOTAND YOUWILL START TO LEARNWHATYOUROWNMIXES SHOULDSOUND LIKE THROUGHYOUR MONITORS
)FYOUHAVEGOTTENUSEDTOAPARTICULARSETOFMONITORSANDTHENFORWHATEVER REASONYOUCHANGE TODIFFERENTONES IT CAN really CONFUSEYOUUNTILYOUHAVE GROWN ACCUSTOMED TO THE NEW ONES 4HIS HAS HAPPENED TOME A NUMBER OF TIMES IN THEPAST ANDHASBEEN SUCHA SOURCEOF CONFUSION THATNOW IF ) AM GOINGTOBEWORKINGATANOTHERSTUDIOFORANYTHINGTHATINVOLVESMIXINGATRACK DOWN)PUTMYMONITORSINTHEBACKOFMYCARANDTAKETHEMWITHME%VEN IF THEMAINMONITORSAREMUCHBIGGERORBETTERPROBABLYBETTER TOCALL THEM hMOREACCURATEv THANMINE)STILLLIKETOHAVEMINETHEREASAFAMILIARPOINT OFREFERENCETOGIVEMEASOUND)AMUSEDTOANDONEONWHICH)CANMAKEA SOUNDJUDGMENTEXCUSETHEPUN OFTHESUBTLETIESOFTHEMIXBALANCEAND%1
!SAMOREGENERALPOINTABOUTMONITORING ITALWAYSPAY TOHAVEAVARIETYOF DIFFERENTMONITORINGOPTIONSAVAILABLETOYOUWHILEYOUAREWORKING-ONITORS CANBEEXPENSIVESO)AMNOTSUGGESTINGTHATYOUNEEDMULTIPLEPAIRSOFMAIN MONITORSAVAILABLETOYOU7HAT)AMREFERRINGTOARETHECHEAPEROPTIONSAND
ULTIMATELYWHATAGOODPERCENTAGEOFYOUREND USERSWILLLISTENTOTHEREMIXES ON!PART FROMABIGCLUB0!SYSTEMMOSTPEOPLEWILL LISTENTOYOURREMIXES ONONEOFTHREEPLAYBACKSYSTEMSACARSTEREOAHOMEHI lSYSTEMORAN-0 #$PLAYER )F YOU CAN TEST YOURMIXESON THOSE THREE SYSTEMSANDYOURMAIN MONITORSITWILLGIVEYOUINVALUABLEINSIGHTINTOHOWYOURMIXESWILLTRANSLATE ANDSOUNDTOTHEMAJORITYOFYOURLISTENERS
#ONNECTINGASETOFHI lSPEAKERSPROBABLYTHROUGHAHI lAMPLIlEROFSOME KIND ISNTAMAJORJOBANDMIGHTEVENBEASSIMPLEASCONNECTINGTHEMUPTO ASECONDARYOUTPUTPAIR FROMYOURSOUNDCARDIF ITHASMULTIPLEOUTPUTS )F YOURSOUNDCARDHASONLYTWOOUTPUTSYOUCANCONNECTTHESETOEITHERASMALL MIXER OR A SIMPLE SPEAKER SWITCHING BOX )F YOUR BUDGET ALLOWS THERE ARE A NUMBEROFVERY REASONABLYPRICEDMONITORCONTROLLERS THATALLOWYOU TOCON NECTMULTIPLEINPUTSOURCESANDMULTIPLESETSOFSPEAKERSANDSWITCHBETWEEN THEMINSTANTLYFOR!"COMPARISONS
3IMILARLY LISTENING BACK TO YOUR MIXES ON EARBUDS IS AS EASY AS CONNECTING THEMTOTHEHEADPHONEOUTONYOURCOMPUTERSOUNDCARDMIXERANDISAVERY QUICKANDEASYWAYTOCHECKFORANYGLARINGOBVIOUSFAULTSINYOURMIX)FYOUR BUDGETALLOWSFORAGOODQUALITYSETOFHEADPHONESANDADECENTHEADPHONE AMPLIlER THEN THIS CAN BE A GREAT INVESTMENT AS A WAY OF DOUBLE CHECKING THEMIXANDAWAYTOWORKLATEATNIGHTINENVIRONMENTSWHEREWORKINGLOUD MIGHTNOTBEPOSSIBLE
/NE THING TOBEWARYOF ASWELL AS A VERYDIFFERENT SENSATIONOF LISTENINGON HEADPHONES COMPARED TO SPEAKERS THERE IS A POTENTIALLY DRASTIC DIFFERENCE BETWEENTHESTEREOIMAGEONHEADPHONESANDSPEAKERS!SSUCHITCANBEDIFl CULTTOMAKEDECISIONSREGARDINGTHEPANNINGOFSOUNDSONHEADPHONES4HERE AREAFEWDEVICESONTHEMARKETSOMESOFTWAREFOREXAMPLE2EDLINE-ONITOR BYD"www.112db.com/redline/monitor ANDSOMEHARDWARESUCHASTHE30, 0HONITOR HEADPHONE AMP www.spl.info/en/hardware/headphone-amps/phonitor/ in-short.html THAT AIM TO GIVE HEADPHONE LISTENERS AMORE NATURAL SOUND IN THEIRHEADPHONESBYREPLICATINGSOMEOFTHEPHYSICALEFFECTSOFUSINGSPEAKERS "ECAUSESPEAKERSAREPLACEDATADISTANCEFROMOUREARSTHEREISALWAYSANELE MENTOFTHESOUNDFROMTHERIGHTSPEAKERREACHINGOURLEFTEARANDVICEVERSA 4HISISCALLEDCROSSTALKANDTHEDIFFERENTSYSTEMSAVAILABLEWORKINSIMILARWAYS BY INTRODUCINGELEMENTSOF THISCROSSTALK INTOTHEHEADPHONES TOGIVEAMORE FAMILIAR SOUNDINGSTEREOIMAGE)NEFFECTTHISBRINGSTHESOUNDOUTOFYOURHEAD ANDPOSITIONSITATAPOINTINFRONTOFYOUWHEREITFEELSMORENATURALANDREALIS TICANDWHEREITISPOSSIBLETOGETAGREATERSENSEOFDEPTHFROMTHEMIXASWELL
4HEIDEALSCENARIOWOULDBETOHAVEASMENTIONEDBEFOREANUMBEROFDIFFER ENTMONITORINGOPTIONS4HEREWILL ALWAYSBEONE THAT IS YOURMAINMONITOR INGSET UPANDTHISISTHEONEYOUREALLYNEEDTOLEARNANDGETUSEDTOPROPERLY .OROOMISACOUSTICALLYPERFECTANDNOSPEAKERSHAVEAPERFECTLYmATFREQUENCY RESPONSE SO LEARNING HOW YOUR MONITORS SOUND AND HOW THEY CONVEY THE MUSICISVITALLYIMPORTANT4HEREAREWAYSOFGETTINGAMOREACCURATEPICTUREOF THEMUSICNOMATTERWHATMONITORS YOUUSE/NEOF THESE IS TOWORKON THE
ACOUSTICSOFYOURROOM4HISCANBEEXPENSIVEOR IMPRACTICALBECAUSEOFSPACE LIMITATIONS4HISISANAREAWHERETECHNOLOGYCANHELPINASMALLWAY
! COUPLE OF THINGSWORTH THINKING ABOUT ARE THE ISSUES OFWHEN TOWORK ON YOURMIXANDYOURLISTENINGLEVELS)FYOUHAVEEVERWORKEDONMUSICFORAREA SONABLE PERIOD OF TIME OR IN FACT HAVE EVER BEEN TO A CLUB FOR A GOOD FEW HOURS AND LISTENED TOMUSIC QUITE LOUD YOUWILL PROBABLY ALREADY BE AWARE THATYOURHEARINGPERCEPTIONCANCHANGEWHENLISTENINGTOMUSICATHIGHVOL UMES-OSTOFUSWILLATSOMEPOINTHAVEEXPERIENCEDTHEHIGH PITCHEDWHIS TLETHATALMOSTINEVITABLYOCCURSASARESULTOFMUSICTHATISTOOLOUD4HISISAN OBVIOUSLYNOTICEABLETHINGANDMOSTOFUSWOULDNTASSUMETHATOURHEARING WASPERFECTUNDERTHESECONDITIONS7HATISLESSOBVIOUSHOWEVERISTHATOUR HEARINGANDJUDGMENTOFTHElNERPOINTSOFTHEMIXINATRACK CANBEAFFECTED BYMUCHLOWERVOLUMESANDFORMUCHSHORTERPERIODSOFTIME)TISTHEREFORE VERYEASYTOGETTHElNERPOINTSOFLEVELADJUSTMENTAND%1VERYWRONGIFYOUR EARSHAVEBECOMEACCUSTOMEDTOTHESOUNDOFATRACK3MALLCHANGESINLEVELS AND%1CANQUICKLYBECOMECOMPENSATEDFORBYOUREARS TO THEPOINTWHERE WE CAN FEEL LIKE THE ADJUSTMENTSWEMADE A LITTLEWHILE AGOWERENT ENOUGH /VERAPERIODOFTIMETHESECONTINUOUSADJUSTMENTSADDUPANDOFTENWHEN LISTENINGTOTHETRACKAGAINTHENEXTDAYAFTERHAVINGHADABREAKFROMHEARING ITITISIMMEDIATELYOBVIOUSTHATWEOVER COMPENSATEDFORTHINGS
,ISTENINGLOUDLYOBVIOUSLYHASAMOREIMMEDIATEANDOBVIOUSEFFECTBECAUSE THESMALLCHANGESWEMAKEWILLBEMOREQUICKLYCOMPENSATEDFOR,ISTENINGAT LOWERVOLUMELEVELSWILLGIVEUSABETTERCHANCETOMAKETHERIGHTADJUSTMENTS 4HISHOWEVERCANPRESENTUSWITHANOTHERPROBLEM-OSTMONITORSHAVEATEN DENCY TO SOUNDDIFFERENTWHENBEINGDRIVENHARDAS COMPARED TOWHEN THEY AREATALOWERLEVELANDTHISISNTJUSTOURIMAGINATIONANDTHELARGER THAN LIFE QUALITYOFLOUDERMUSIC4HISISSUEHASITSROOTSINPHYSICSANDMECHANICS4HE PROBLEMSLIEINTHEBALANCEORRELATIVELEVELSBETWEENTHEBASSSPEAKERANDTHE TWEETER IN YOURMONITORS AND THEMIDRANGE DRIVER IF THERE IS ONE AT DIFFER ENTVOLUMELEVELS)NAVASTMAJORITYOFMONITORSYOUWILLNOTICETHATRELATIVE TO THE TREBLE LEVELS THE BASS LEVEL SEEMS TO FALL AWAY FASTER AS YOU LOWER THE VOLUME
! LARGER SPEAKER CONE REQUIRESMOREENERGY TOGET ITMOVINGBECAUSE ITHASA GREATERMASSANDASARESULTOFITSLARGERAREAAGREATERAIRRESISTANCE3OAPART OFANYCURRENTTHATISSENTTOTHESPEAKERWILLBEUSEDUPINOVERCOMINGTHESE RESISTANCES )FWEFEEDA LOWERCURRENTAQUIETERSIGNAL TOTHESPEAKER THENA GREATER PROPORTION OF THAT CURRENTWILL BE USED TO OVERCOME THE INITIAL RESIS TANCE7ITH A SMALLER SPEAKER SUCH AS A TWEETER THE LOWERMASS AND SMALLER SIZEMEANTHATTHEREISLESSPHYSICALRESISTANCETOTHEMOVEMENTOFTHESPEAKER CONE AND AS A RESULT THE PHYSICAL RESISTANCES ARE EASIER TO OVERCOME AND REQUIREASMALLERPROPORTIONOFTHETOTALCURRENTTOOVERCOME
!PROPERLYSETUPSUBWOOFERSYSTEMCANDEALWITHTHISTOSOMEEXTENTBYPRO VIDINGDEEPERBASSFREQUENCIESOVERALLANDMORECONSISTENTBASSTREBLEBALANCE WITHVARYINGVOLUMES4HEMONITORS AND SUBWOOFERWOULDHAVE TOBE SET UP
PROPERLYTOBECONSIDEREDACCURATEANDROOMRESONANCESANDSTANDINGWAVES CANMESS THINGS UP EVEN FURTHER /NCE AGAIN FAMILIARITY WITH THE SOUND OF YOURSPEAKERSINYOURROOMWILLHELPASMUCHASANYTHINGWITHTHISPARTICULAR ISSUE
3OWHILELISTENINGLOUDERPERHAPSGIVESAMOREACCURATEPICTUREOFTHEFREQUEN CIESYOUAREACTUALLYWORKINGWITHATTHESEVOLUMESOURHEARINGCOMPENSATES FOR SMALLER CHANGES MORE QUICKLY SO THERE IS A TRADEOFF BETWEEN THESE TWO THINGS/NEGOODWAY TOWORKAROUND THIS IS TOWORKMAINLYAT LOWER LEVELS ANDTORAISETHEVOLUMEPERIODICALLYTOCHECKTHELOWERBASSFREQUENCIESTHEN RETURN THEM TO MORE NORMAL LEVELS !LSO WHEN WORKING ON IMPORTANT MIX DECISIONSITISAGOODIDEATOTAKEREGULARBREAKSFROMLISTENINGTOTHESONGYOU AREWORKINGON)DEALLYITISBESTTOGIVEYOUREARSACOMPLETERESTBUTEVENLIS TENING TOOTHERMUSIC THAT IS TONALLYDIFFERENT FROMWHATYOUAREWORKINGON CANALMOSTRESETYOURHEARINGANDALLOWYOUTOFEELMORECONlDENTABOUTTHE DECISIONSYOUAREMAKING
0ERSONALLY)DONTEVER LIKETOCOMMITTOAMIXLAST THINGATNIGHTAS)WOULD MUCH RATHERGETAGOODNIGHTS SLEEPAND THEN LISTENWITH FRESHEARS THENEXT MORNING ) CANMAKE ANY LAST MINUTE CHANGES TO THEMIX AT THIS STAGE RATHER THANHAVETOMAKEAJUDGMENTCALLLATEATNIGHTAFTERALONGDAYOFLISTENINGTO THESAMESONGOVERANDOVER$EADLINESWONTALWAYSALLOWFOR THISBUTYOU SHOULDBEABLETOMAKETIMEFORTHISINOFTHESITUATIONSYOUlNDYOURSELF IN )T CANBEAMAZINGHOWDIFFERENTLYYOUCANPERCEIVEA TRACKAFTERHAVINGA GOODBREAK FROM IT AND THIS ISAVERY IMPORTANT THING TO LEARNABOUTGETTING THEBESTFROMYOURMIXDOWNS
.EXTWE LOOK AT LEVEL BALANCING %1 AND DYNAMICS AND TIME AND FREQUENCY DOMAIN EFFECTS %1ANDDYNAMICS IS THE AREAWHERE THE REAL SCULPTINGOF THE SOUND HAPPENS 4HESE TWO TYPES OF EFFECTS IN COMBINATION ARE WHAT REALLY DElNETHECHARACTEROFTHESOUNDS4IMEANDFREQUENCYDOMAINEFFECTSWHILE THEY CAN SOMETIMESHAVE AN EFFECT ON THE TONE ASWELL AREMORE OFTENUSED TOPLACEASOUNDINATHREE DIMENSIONALLISTENINGSPACE4HEREAREABEWILDER INGNUMBEROFOPTIONSFOREACHEFFECTINEACHOFTHESECATEGORIES)N#HAPTERS THROUGHWELOOKATEACHOF THESEFROMTHEPOINTSOFVIEWOFHOWTHEY DOWHATTHEYDOWHYWEWOULDUSETHEMANDDIFFERENTSCENARIOSOFHOWWE WOULDSETTHEMUPTOACHIEVESPECIlCEFFECTS"UTBEFOREWEDOTHATLETSLOOK ATTHEBASICSOFLEVELBALANCINGANDPANNING
4HE BALANCE AND TO A LESSER EXTENT THE PANNING OF THE SOUNDS IN AMIX IS THE SINGLE GREATEST FACTOR IN DETERMINING THE lNAL SOUND 7HILE THIS MIGHT SEEMOBVIOUS IT ISANAREATHATCANSOMETIMESBEOVERSHADOWEDBYTRYINGTO lX POTENTIAL PROBLEMS WITH THEMIX BY USING EFFECTS 4HIRTY YEARS AGO WHEN THE EFFECTS %1 ANDDYNAMICSPROCESSORS AVAILABLE TO A TYPICAL STUDIOWERE A FRACTION OF WHAT WE HAVE TODAY IN EVEN A RELATIVELYMODEST COMPUTER BASED RECORDING SYSTEM THE IMPORTANCEOF GETTING THE LEVELS SET CORRECTLYWASMORE WIDELY ACCEPTED &ADER LEVELSWOULDOFTENBE ADJUSTED OR hRIDDENv AS ITWAS COMMONLYCALLED THROUGHOUTTHEMIXOFTENREQUIRINGBOTHHANDSOFTHEMAIN
ENGINEERSANDTHOSEOFTHEASSISTANTSTOMAKESURETHINGSSATRIGHTANDMAIN TAINEDTHERIGHTBALANCEOF INSTRUMENTS&ADER BASEDAUTOMATIONAVAILABLEON SOMEOFTHEMOREHIGH ENDDESKSMADETHISJOBEASIERBUTITSTILLNEEDEDTOBE RECORDEDORSETUPINTHElRSTPLACE
!MODERN$!7WILLTYPICALLYHAVEVIRTUALLYALLOFTHEPARAMETERSAVAILABLEFOR AUTOMATING INCLUDING THEMAIN VOLUME FADE FOR EACH TRACK 4HIS IS THE SIM PLESTANDMOSTEFFECTIVEWAYTOCORRECTISSUESINAMIXBUTISOFTENOVERLOOKED IN FAVOROFOTHERWAYSOF TRYING TOKNOCK THINGS INTOSHAPE3OWHENYOUARE SETTING LEVELS IN AMIX HOW SHOULD YOU GO ABOUT IT 4HERE ARE A NUMBER OF DIFFERENT WAYS OF APPROACHING LEVEL BALANCING ALL OF WHICH HAVE THEIR MER ITS3OMEENGINEERSPREFER TOSTARTBYBRINGINGUP THE LEVELSOF THEKICKDRUM ANDBASS LINElRSTGETTING THOSEBALANCEDWITHEACHOTHERANDTHENBRINGING INTHEOTHERSOUNDSONEBYONEANDBUILDINGTHEMIXFROMTHEhBOTTOMUPv /THERSPREFER TO STARTWITH THEVOCALS OR IN THE CASEOF AN INSTRUMENTAL THE MOST PROMINENTMUSICAL PART AND THENBUILD THINGS AROUND THAT IN AMORE hTOPDOWNvAPPROACH(OWEVERGIVENTHENATURALPATTERNOFBUILDINGADANCE MUSICnBASED TRACK THE BOTTOM UP APPROACH IS THE ONE THAT WILL FEEL MOST FAMILIARTOTHOSEOFUSWHOTENDTOWORKONTHEMIXASWEGOALONG
/NEDAYWHENYOUHAVE A LITTLE TIME TRY LOADINGUPA COMPLETED REMIX AND THEN PULLING ALL THE FADERS DOWN TO ZERO AND WHICHEVER WAY YOU GENERALLY APPROACHMIXINGATRACKTRYMIXINGITTHEOTHERWAYANDSEEHOWITFEELS4HERE ARE SOMANY GUIDELINES AND SUGGESTIONS ABOUTHOW TOMIXMUSIC AND SOME
MIGHTEVENSAYTHATTHEREAREAFEWrulesASWELLBUT)THINKTHATANYTHINGYOU ARE TOLD OR YOU LEARN SHOULD BE USED AS A BASIS FOR EXPERIMENTATION AND FOR lNDINGYOUROWNWAY-ANYOFTHETECHNIQUESANDSOUNDSWETAKEFORGRANTED THESE DAYS HAPPENED AT LEAST IN PART ACCIDENTALLY AT SOMEPOINT IN THE PAST AND BECAUSE THEY SOUNDED GREAT OR DIFFERENT THEY BECAME ASSIMILATED INTO SOMEKINDOFh,OREOF-IXINGv
!NOTHER THING TO CONSIDER IS THAT IT ISOFTENA GOOD IDEA TO GET THEBASIC LEV ELS OF YOURMIX SET AT THEhigh point OF THE TRACKWHICH IN THE CASE OFMOST DANCEMUSIC IS THECHORUS THATCOMESAFTER THEBREAKDOWN )T ISAGOOD IDEA TOSETASTARTINGPOINTHEREBECAUSETHEMIXWILLUSUALLYBEATITSMOSTCOMPLEX ANDTHEREFOREHAVETHEMOSTINSTRUMENTATIONGOINGONSIMULTANEOUSLYATTHAT POINT)FYOUCANMAKETHEMIXWORKHEREWITHCLARITYANDSEPARATIONTHEREIS A VERY GOOD LIKELIHOOD THAT YOU CAN RETAIN THAT CLARITY ELSEWHERE IN THE TRACK WHERE LESS IS GOING ON )N GENERAL UNLESS YOU ARE WORKING ON AN EXTREMELY MINIMAL TRACK THERE ISAGOODCHANCEYOUWILLHAVEAT LEAST TWO INSTRUMENTS lGHTING OVER THE SAME SONIC SPACE SO GETTING THE LEVEL BALANCE RIGHT IS CRITI CAL/FCOURSE INSITUATIONS LIKE THISANDESPECIALLY IF THE TWOTRACKSAREVERY SIMILARINNATUREBOTHVOCALTRACKSORBOTHGUITARTRACKSFOREXAMPLE %1AND DYNAMICSALSOPLAYAKEYROLEINCREATINGSOMESPACEINTHERESPECTIVESOUNDS TOALLOWTHEMTOCOEXIST
0ANNINGISANOTHERGREATWAYOFMAKINGSPACEFORMULTIPLESIMILARSOUNDS"Y PANNING THEM TODIFFERENT SIDESOF THE STEREO IMAGE YOU CAN SOMETIMESlND AWAY FOR THEMBOTH TOWORKWHEN THEYWOULDNT IF THEYWEREBOTHPANNED CENTRALLY)NSOMESITUATIONSTHISCANWORKWONDERSFOROPENINGUPAMIXBUT BEWAREOF REALLY EXTREMEPANNING FULLY LEFT OR FULLY RIGHT AS THIS CAN SOUND QUITEUNNATURALATTIMES!NOTHERTHINGTOBEAWAREOFWHENPANNINGSOUNDS LIKETHISISTHATIFONEOFTHESOUNDSDROPSOUTINONEPARTOFTHETRACKBUTTHE OTHERCONTINUESTHERECOULDBEANIMBALANCEINTHESTEREOIMAGEANDTHETRACK COULDSTARTTOFEELABITTOOBIASEDTOWARDONESIDEORTHEOTHERUNTILANOTHER BALANCINGSOUNDCOMESINTOPLAY
/NCEYOUHAVE SETUPYOUR STARTING POINT LEVELS ANDPANNING YOUCAN THEN WORK THROUGH THE OTHER SECTIONS OF THE SONG AND ADD IN AUTOMATION DATA TO ADJUST THEBALANCES AS REQUIRED )F YOUHAVE SOMEKINDOF-)$) CONTROL LERWITHAFADERUSETHISTORECORDTHELEVELCHANGESINREALTIMERATHERTHAN DRAWING THEM IN BY HAND IN THE AUTOMATION LANE OF YOUR $!7 4HERE IS SOMETHINGMOREORGANICABOUTTHESLIGHTIMPERFECTIONSAMANUALLYADJUSTED AUTOMATIONWILL HAVE OVER A PERFECTLY DRAWN IN ONE THATMAKES THINGS FEEL MORENATURALANDLESSWELLautomated4HEREWILLBETIMESWHENADRAWN IN LINEWILLBEPERFECTSUCHASINALONGFADE INORFADE OUTBUTINMOSTOTHER SITUATIONShLIVEvRECORDEDAUTOMATIONWILLSOUNDANDfeelBETTER)TMAYTAKE AFEWATTEMPTSTOGETITRIGHTSO)RECOMMENDLOOPINGROUNDPERHAPSOR BARS AT A TIMEPERHAPSEVENMORE ANDGETTINGA FEEL FORWHERE THEVOLUME FADESNEED TOGOAND THENDROPPING IN TO RECORD THEAUTOMATION )F IT GOES WRONGYOUCANALWAYSundoTHERECORDINGORIFITJUSTNEEDSALITTLETIDYINGUP
YOUCOULDPERHAPSGOINANDMANUALLYADJUSTTHINGSAFTERYOUHAVERECORDED THEAUTOMATION
4HE SAME THING APPLIES FORPANNING AUTOMATION ALTHOUGH )WOULD GENERALLY BE WARY OF TOO MUCH PANNING AUTOMATION AS HAVING MANY DIFFERENT THINGS MOVINGAROUND IN THESTEREO IMAGEAT THESAMETIMECANBEA LITTLEDISORIEN TATINGORBORDERLINENAUSEATINGESPECIALLY IF THE LISTENER ISUSINGHEADPHONES WHEREPANNINGSOUNDSEVENMOREDRAMATICATEXTREMESETTINGSTHANITDOESON SPEAKERS
7HENYOUARESETTINGBASICLEVELSANDAUTOMATIONYOUWILLINVARIABLYJUMPIN ANDADJUSTTHE%1COMPRESSIONANDOTHEREFFECTSASYOUGOALONGANDTHENGO BACKTOADJUSTINGTHELEVELSAGAIN4HEREISALOTOFBACKANDFORTHBETWEENTHE DIFFERENTAREASWECOVERHEREBUTTHEATTENTIONTODETAILISWHATCANREALLYMAKE AMIXSTANDOUT4AKINGTHETIMETOWORKONTHEDETAILSWILLUNDOUBTEDLYGIVE YOURMIXALITTLEEXTRASHINEANDMAKEITSTANDOUTFROMTHECROWD
!lNALPOINT )WOULD LIKE REITERATE IS THATYOUSHOULDALWAYSMAKESURE THAT EVENATTHELOUDESTPOINTINTHETRACKYOURLEVELSARENOTGOINGINTOTHEREDAND OVERLOADING4HERE ISOFTENA TEMPTATION TO TURN THINGSUPWHICH THEN LEADS YOUTOTURNINGOTHERTHINGSUPTOREBALANCETHEMIX4HEREISAGOODPRACTICETO OBSERVEWHEN%1INGWHICHINVOLVESCUTTINGFREQUENCIESRATHERTHANBOOSTING THEMINORDER TOSHAPETHESOUND!SIMILARRULECANBEAPPLIEDTOADJUSTING LEVELS)FYOUHAVEANELEMENTINYOURMIXTHATISNOTLOUDENOUGHTHENATLEAST CONSIDERTURNINGOTHERTHINGSdownRATHERTHANTURNINGTHATONEUPASYOUDRAS TICALLY REDUCE THE CHANCESOF THINGS GETTING INADVERTENTLYDISTORTED )N A FULLY ANALOG SYSTEM THIS ISNT ALWAYS THE BEST OPTION AS THERE ARE THINGS LIKE NOISE mOORS AND SIGNAL TO NOISE RATIOS TO CONSIDER BUTWITH A FULLY DIGITAL AT LEAST UNTILTHESOUNDEXITSTHECOMPUTER SYSTEMANDESPECIALLYIFYOUAREWORKING IN BITNOISESHOULDNTREALLYBEANISSUEUNLESSYOUAREWORKINGWITHreally LOWLEVELSANDLOTSOFTRACKS
)T MIGHT NOT SEEM RELEVANT BECAUSE THE ACTUAL MUSIC ITSELF IS VERY DIFFERENT INBOTH ITS CONTENTAND ITS ACTUAL AUDIO COMPONENTSBUT THERE IS A LOT TOBE LEARNEDFROMREADINGINTERVIEWSWITHTRADITIONALMUSICPRODUCERSANDARTICLES ONMIXINGANDPRODUCTIONTECHNIQUESFORNON DANCEMUSIC3OMEOFTHETECH NIQUES USED BY THESE ENGINEERS OR PRODUCERSMIGHT NOT SEEM RELEVANT BUT A GOODNUMBERareRELEVANTESPECIALLYIFYOUTAKETHETIMETOTRYTHEMOUTAND ADAPTTHEMSLIGHTLYTOWORKBETTERWITHELECTRONICMUSIC)HAVEOVERTHEYEARS EMBRACEDAFEWOFTHESEIDEASINTOMYOWNWORKANDTHEYAREINCLUDEDINTHE VARIOUS TECHNIQUESOUTLINED IN THISBOOK"UT THERE AREMANYMORE )HAVENT TRIEDYETTHAT)AMSURECOULDLEADTOINTERESTINGRESULTS
) GUESS THEKEY TOALLOF THIS IS TO REMEMBER THAT THE THINGS ) SHOWYOUHERE SHOULDNEVERBE CONSIDERED rulesBUT RATHERAS SUGGESTIONSORGUIDELINESAND ASAPLATFORMTOBUILDYOUROWNUNIQUEPRODUCTIONSTYLEFROM.EVERBEAFRAID TO TRYNEW THINGS %SPECIALLY IN THE FULLYDIGITAL DOMAINMANYOFUSWORK IN THESEDAYSTHEREISVERYLITTLERISKOFYOUACTUALLYDAMAGINGANYTHING)AMSURE
ITWOULDBEADVISABLETOBEMUCHMORECAREFULIFYOUWEREWORKINGINASTUDIO WITHAVERYRARE&AIRCHILDCOMPRESSORWORTHCURRENTLY AROUND "UTWHEN YOU AREWORKING IN YOUR$!7OF CHOICEdo TRY THINGSOUT THAT GO AGAINSTWHAT TRADITIONALWISDOMDICTATES &OR EXAMPLE ) HAVEOFTEN GOTgreat RESULTS USING A NOISE GATE PLUG IN WITH NEGATIVE GAIN REDUCTION AS AN ALTER NATIVE TO A SIDECHAIN TRIGGERED COMPRESSOR -OST DElNITELY NOT WHAT IT WAS INTENDEDFORBUTAGREATEFFECTNONETHELESS4HEONLYREALRULEISTHATITSHOULD soundGOOD)FITACHIEVESTHATTHENHOWEVERYOUGOTTHEREWASTHERIGHTWAYTO GETTHEREFORYOU
3O WITH THAT IN MIND NOW WE CAN MOVE ON TO THE MOST COMMON SOUND SHAPINGTOOLSINMOREDEPTH%1ANDCOMPRESSION
