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56 Mix Tips for the Small Recording Studio: For the Small Recording Studio Series, #2

56 Mix Tips for the Small Recording Studio: For the Small Recording Studio Series, #2

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56 Mix Tips for the Small Recording Studio: For the Small Recording Studio Series, #2

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5/5 (1 evaluare)
Lungime:
120 pages
1 hour
Lansat:
Sep 15, 2015
ISBN:
9781508793236
Format:
Carte

Descriere

56 Down-And-Dirty Practical Mixing Techniques To Take Your Recordings To The Next Level
 
ABOUT THIS BOOK

Flip to any page, read the technique, and apply it!
It's really that simple. This is not a book that trawls relentlessly through the world history of mixing before providing any useful advice. It simply gets straight into the business of giving you real tried and proven mixing tips that actually work. And there's plenty to keep you busy. The book covers processing such as compression, equalization, panning, parallel compression, transient manipulation, harmonic distortion, delay-based effects and much more. The real value is how combinations of processing work to create magic in your mixes.  
 
CLEAR EXPLANATIONS FOR EACH TIP:

What It Is, Why It Works, And How To Do It.

The book is formatted consistently so that each tip has a clear explanation of what it will achieve, why it works and how to do it.  

You can get straight to it and start applying the techniques immediately into your own mixing projects. The focus of the book has been to keep it practical and informative. This is a 'how-to' manual that is clear, concise and an easy read. The book also includes a short glossary at the rear. 

ADD PROFESSIONAL-LEVEL TECHNIQUES TO YOUR MIXING ARSENAL

These mixing tips have been developed by the author based on over 10 years working professionally in production, recording and mixing. 
They are a collection of his most loved and utilised techniques, based on his own research, knob-twiddling, and discussions with other engineers. These are guaranteed to be effective in adding professional-level expertise to your work-flow. 

HAVE A MIXING BREAK-THROUGH

This book contains mixing techniques that could create the mixing break-through you've been looking for!  
Do you need solid, punchy drums, a lead vocal that sits solidly and clearly in the mix, more definition and clarity to your entire mix? All these and more are ready and waiting.

Lansat:
Sep 15, 2015
ISBN:
9781508793236
Format:
Carte

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  • For audio clips with a slow decay, like the last strum of an acoustic guitar, carefully listen for clicks, knocks, breaths etc. These will require careful removal using software like Izotope RX or Stillwell Audio’s Spectro – spectral editor.

  • This effec- tively removes low frequencies from the left and right sides of your mix by turning them to mono from the chosen frequency.

  • This effect can work very well with ‘mid-range’ rich elements such as those noted in the examples below.

Previzualizare carte

56 Mix Tips for the Small Recording Studio - Amos Clarke

Clarke

01 Fat Tracks

Duplicate existing tracks, add FX and mix back in with the original for fatness, fullness, and character

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This technique works great on just about everything, but I use it mostly on main vocals, bass, kick and snare. It’s a great way to add a fullness character to your track while emphasising particular frequency zones. It is a very similar effect to parallel compression because the processing involves fairly heavy compression or limiting and blending back into your mix. The technique requires you to duplicate an existing track, add treatment, and then mix it back in with your original track. Treatment primarily involves compression and equalisation. Adding the treatment on a duplicated track (instead of on the original track) has the advantage of making it easier to control the blend of the effect during mixing by a simple fader adjustment, rather than having to open the plugin to change settings.

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Do It: Example using electric bass track

1. While retaining the original track, duplicate the entire bass track and apply the following treatment on the duplicated track. Do not make any adjustments to the original track other than general EQ or compression that you may have done anyway.

2. Apply a gentle sloped high pass filter at around 500 Hz (or to taste) and a low pass filter at around 5 kHz to control the high frequencies and harshness that can result.

3. Apply heavy limiting with around 10 dB of gain reduction.

4. Mix this back into the original bass track to get a nice mid-range growl with some high-end clarity. You can also add saturation (distortion) for more bite.

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02 Big Long Kick

Get a big, full-bodied kick drum sound - a variation on the ‘fat track’ technique

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The kick drum forms an important part of the rhythm section in most songs. In dense rock mixes for example (dense being when there are many heavily compressed elements playing simultaneously), the key to getting any percussive element to stand out without simply raising the level is to enhance the initial transient and the sustain. The transient is the initial peak at the front of the waveform and enhancing this creates an emphasis that allows the element (such as a kick or snare drum) to ‘poke’ out in the mix. The reason for adding sustain to percussive elements is because these short bursts of audio (e.g. a kick drum) can lose definition in a dense mix due to frequency masking. Increasing the sustain is based on the principle that the longer the duration of an element, the easier it is to hear it. When we combine transient and sustain processing, we have a very effective technique to make percussive sounds stand out in any mix.

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Do It:  

1. Create a duplicate track of the original kick drum track and apply the following processing to the duplicated track. Do not apply any of the processing to your original track for this effect.

2. On the duplicated track, firstly apply gating to remove as much other drum bleed as possible so that you have, if possible, only the kick drum audible.

3. Now apply heavy compression or limiting of around 10 dB gain reduction. Use a fast or slow attack depending on whether you want to retain the initial transient.

4. Add some mild saturation (distortion) to add bite – go easy on the level as a little goes a long way.

5. Lastly, add a mono reverb to provide further sustain. It’s important to keep the reverb mono to avoid placing extreme low frequencies into the left and right sides of your mix (which happens if you use a stereo reverb). If necessary, apply a little high pass filtering to the reverb to remove any low frequencies that may be too

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