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Mixing Secrets for the Small Studio (Sound On Sound Presents...)

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Mixing Secrets For The Small Studio is Mike's first published book. The title is something of a misnomer because the advice and guidance contained are relevant to everyone involved in music engineering and production, at all levels and regardless of the size of the studio or its facilities. Novices and grandmasters alike will find plenty of interest here. The emphasis is very much on mastering the correct approaches and techniques, rather than how to use any specific equipment or software, and everything is described in such as way as to make it easily transferable across any DAW platform or even to a traditional console‑based mix environment. Using Nearfield Monitors......................................................3 2 Supplementary Monitoring..................................................31 3 Low-End Damage Limitation................................................47 4 From Subjective Impressions to Objective Results...............57 l Vocal Multing Examples: For the majority of the mixes I do, I end up multing the lead vocal part so that I can alter its processing to match changes in the song’s arrangement, and there’s a good example in Mix Rescue February 2009. First compare the two vocal sounds: verse Ex05.01: WAV/ MP3 play_arrow and chorus Ex05.02: WAV/ MP3 play_arrow. Then listen to how their processing and effects differences make sense within the context of the remix Ex05.03: WAV/ MP3 play_arrow. Another example can be heard in Mix Rescue March 2010. Again, here are the verse Ex05.04: WAV/ MP3 play_arrow and chorus Ex05.05: WAV/ MP3 play_arrow vocal sounds, as well as a section of the remix Ex05.06: WAV/ MP3 play_arrow to show how they contribute to the production as a whole. And a final example comes from Mix Rescue November 2008, where the verse vocal Ex05.07: WAV/ MP3 play_arrow and chorus vocal Ex05.08: WAV/ MP3 play_arrow are deliberately contrasted for more artistic effect, as you can hear within the context of the full remix Ex05.09: WAV/ MP3 play_arrow.

Part 1 Hearing and Listening 3.1 Coping With Cheap Ported Speakers My first set of tips is to help those engineers who find themselves lumbered with having to mix through cheap ported monitors for whatever reason. First, it pays to be aware of where the port’s resonant frequency is located, because this knowledge can help you to correctly identify obvious resonances in that region as speaker-design artifacts rather than mix problems. You can also make a note of the pitch of the resonant frequency, which will give you an idea of which bass notes are most likely to suffer irregularity on account of the porting. Get hold of a proper Auratone-substitute of some kind, and set up a convenient method of listening to it in mono so that you get into the habit of using it that way. n Buy a pair of good studio headphones, if possible something at the top of the range so that you can do meaningful mix work when speakers aren’t an option. n Find some suitable grotbox speakers.

Part 2: Mix Preparation

Figure 2.2 The frequency response of the Auratone 5C Super Sound Cube, which clearly shows its midrange bias.

The latter part of the section on Balance discusses the relationships between frequency and dynamics, and how to manage those. The section also provides some beneficial information on side chain processing. Part 4: Sweetening to Taste Another simple rule of thumb is to be wary of hi-fi speakers, because the purpose of most hi-fi equipment is to make everything sound delicious, regardless of whether it actually is. This kind of unearned flattery is the last thing you need when you’re trying to isolate and troubleshoot sneaky sonic problems. I’m not trying to say that all such designs are inevitably problematic in the studio, but most modern hi-fi models I’ve heard are just too tonally hyped to be of much use, and maintenance issues are often a concern with more suitable pre-1990s systems. Speakers with built-in amplification (usually referred to as “active” or “powered’) are also a sensible bet for the home studio: they’re more convenient and compact; they take the guesswork out of matching the amplifier to your model of speaker; they’re normally heavier, which increases the inertia of the cabinet in response to woofer excursions; and many such designs achieve performance improvements by virtue of having separate matched amplifiers for each of the speaker’s individual driver units. Beyond those issues, a lot of monitor choice is about personal preference, and there’s nothing wrong with that. Some people prefer bright aggressive-sounding monitors, others restrained and understated ones, and neither choice is wrong as such. The main thing to remember is that no monitors are truly “neutral,” and every professional engineer you ask will have his or her own personal taste in this department. Part of the job of learning to mix is getting accustomed to the way your particular speakers sound, so don’t get too uptight about minute differences No monitors are in tone between speakers. Go for something that truly “neutral,” and every appeals to you, and then concentrate on tuning professional engineer you ask your ears to how your chosen model responds will have his or her own personal in your own control room. “You’ve got to be taste in this department. Part of careful about getting new monitors,” advises the job of learning to mix is getting Dave Way. “You’ve got to break them in and accustomed to the way your get to know them before you start to rely on own particular speakers them.”3 Part of doing this involves referring to a sound. set of reference recordings with which you’re familiar (discussed more in Chapter 4). Although manufacturers typically do their best to keep crossover regions pretty narrow to minimize the effect of comb filtering, most affordable nearfield monitors have only two drivers, which means that any comb filtering between the woofer and the tweeter happens in the worst possible place from a mixing standpoint: right in the center of the frequency spectrum, where our hearing is most sensitive. If you want to get a handle on the extent of the damage here, try this experiment. Play Most the PinkNoise file (www.cambridge-mt.com/ms-ch1 affordable nearfield .htm) through a single nearfield speaker with vermonitors have only two tically spaced drivers, and listen to it first of all drivers, which means any comb directly on axis. Now drift alternately about six filtering between the woofer and inches to each side while keeping your vertical the tweeter happens in the worst position constant. You’ll hear a small change possible place from a mixing in tone on most speakers because of the highstandpoint: right in the center of frequency directionality I mentioned earlier. Once the frequency spectrum, where you’re used to that change, drift up and down by our hearing is most about six inches instead, and the tonal change will sensitive. likely be much more noticeable. Although the effects of comb filtering between your speaker drivers won’t Figure 2.4 Stereo recordings made with spaced-pair microphone techniques are a common reason for monocompatibility problems. An equally valuable part of this section includes Chapter 11 “Equalizing for a Reason”, which provides much the same breakdown, as compression, for EQ processing.Correct any timing or tuning anomalies in your mix project, but take care not to compromise the musicality of the original recordings. n If you do a lot of pitch-correction work, then invest in specialized software to improve your work rate and sound quality. n Editing is unavoidably tedious work, so find keyboard commands to speed it up wherever possible.

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