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In recording music, you've probably figured out how hard it is to get a great mix and perfect sound on your music. Tracking the song, setting proper levels can be pretty easy, but best thing you can possibly do for a mix starts after tracking. There's a good reason top mixing engineers cost several thousand dollars per song - it is a definite art to mix!

Let's take a look at the basics of what makes a good mix, and how you can best achieve the goal of a good mix at home.
  

 
                           MIXING THE MUSIC



Mixing tracks
Mix is an art that combines individual pieces of music tracks, so they complement each other and they form one single musical unity, which is something more than just the sum of individual tracks. Each piece of music tracks should be shaped using processors, to provide the best of the whole sound.
The main mistake while mixing is following the desire to obtain such an effect, that each of the tracks sound just as powerful as possible when soloed. When playing back all the tracks together such treatment leads to mutual extinction of the frequency, the whole mix sounds flat and dull and the right output level is hard to obtain.
It is absolutely not possible to completely remove this error by the even the best mastering alone. The quality of final sound of the music recording  is very highly dependent on both these processes, i.e.  the mix and mastering. 

Although adequate mastering can very clearly improve badly mixed material, it is unable to obtain such a result as from well, beautifully mixed material.

So the mixing is all about making all the tracks working together well and making up one musical picture that really shines. Masters performed from such mixes will bring them to the whole new level of excellence.

In order to shape the perfect sound and definition of the various tracks in the mix the different tools are used, such as dynamic processors, the effects of the type of echo and reverb, equalizers, enhancers and others. Properly performed mixdown should have all the instruments  perfectly audible, but not competing with each other and forming a perfect whole, both in terms of the sound spectrum and stereo panorama.
In the case of vocal recordings, it is important to give it proper prominence in relation to other instruments that make up the song. Vocals are the most important thing, and everything should revolve around the vocals.

During the mixdown we  use  various technical hardware or software devices of which the most important are the equalizer, compressor and reverberation processors. If I was to pick one, single most important effect it would be the equalizer. When a material is recorded on digital equipment using the little analogue devices in audio path during the recording, it is imperative to use the appropriate equipment that is able to bring enrichment to the tracks before the final realization of the mixdown.
Digital audio negative feature is that, despite impeccable measured technical parameters, it does not mix properly with another tracks in the mix, and although each of the tracks soloed may sound very convincingly, however, that same tracks can be very difficult for the proper settings in mix.
In the age of the analog equipment when the signal passed through the tubes ore early solid state devices into the mixing desk, to finally be recorded to reel to reel tape decks, the mix was much easier, because the tracks somehow integrated themselves automatically, without much processing, they were shaped already by those devices. In an era of raw-sounding digital devices mix is unfortunately much more difficult. the microphones and another recording devices have become so good that the sound they give is harder to handle. Therefore, the proper sound of each track must be somehow forced by processors using the classical, more traditional patterns of sound recordings made in the good years of rock and jazz music on the hardware analog devices.

What processor types should be used?

The sound of classic analog recordings was created on the basis of a slightly overdriven deck's tape, and the signal path through a number of devices, which  added their own positive characteristic and flare to the sound. This way, the whole recording setup along with the microphones and studio room has become an integral part of the recording process, almost a separate instruments. Working in the digital world we should always be aware of this and try to repeat this setup and the whole process by using the appropriate processors, and the settings of our equipment. Whether these will be hardware devices or software is not as crucial as to how we will shape the path. More discussion on what should be dominated by what, hardware or software equipment, you can read here.

 
What should be avoided in your mixes? ...
Avoid normalization, frequency conversion and using different types of lossy compression (such as MP3, Real Audio, AAC, WMA, etc.) These things can damage or destroy the recording, if they are used improperly and can dramatically affect the quality of your mixes. Avoid sum (master) compression or riding the levels too high.  
 

The reference recordings and CD ...
We accept the reference recordings showing your favorite sound or style as examples of how to shape your music in the process of mastering in our studio. They can be sent by mail in the form of CD\DVD-ROMs, as well as via the Internet in the form of .mp3 files at a frequency of at least 128 kb \ sec. We invite you to include works by other performers, as reference to your sound goals which you would like to obtain.

 

For all your questions and inquires please contact us at:

info@studiomastering.net

 

  Wersja polska





 

Studio Masteringu ECP
 
Mastering Studio  ECP