6 things you shouldn’t be afraid of when mixing music

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Using extreme compression

Some engineers resort to extreme analog summing to get the fullest possible sound. Such overuse can leave you with unnatural results. Mix the compressors in the right context and only on the dynamic instruments you need. A subtle approach will express the character of the track more accurately than completely distorting it. Compressors such as the Distressor can compress sound aggressively. If soft padding becomes necessary, mix in parallel (or using a dry / processed signal knob). Fortunately, many plugins offer modern controls. When we talk about a clamped signal, we mean a gain of more than 10 dB.

Don’t use compression at all

In today’s world, engineers tend to rely excessively on the compression of the synthesized signal. We don’t remember the last time we mixed vocals, guitar or drums without even minimal compression. The technical performer and the sound well captured by the microphone should give a smooth and correct mixing track.

Try to challenge yourself and keep the original purity while holding yourself back from compressing and automating the mix. Synthetic and keyboard sounds are already static in nature, so you can really ease any compression. If that doesn’t work, try the first option.

Saturation

There are so many delicious toys that can completely erase the natural signal. Some of our favorites include Soundtoys Decapitator, FabFilter Saturn, UFC Thermionic Culture Vulture, Waves Abbey Road Vinyl, iZotope Trash, and one of the latest and greatest: 

They can be used to subtly add character and warmth, and we feel free to push the tools to the extreme sometimes. Some of the sounds found in 1960s recordings are absolutely killed by preamps or tape. Clean and pristine digital recordings are pretty sterile and boring, so a download masstamilan mp3 can help fix this.

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Use large alignment amounts

At the start of the audio journey, some instructors say “you should only add a couple of dB here or there when balancing the signal.” This assumes that the tracks were recorded correctly in the first place.

But the reality is that whether it is the quality of the recording, instrument, storage medium or signal chain – they give a full assortment of levels. Especially when using analog or EQ emulations .

Use different types of reverb in the same mix

We also recall earlier that several engineers and teachers said this was not correct. The various elements of the device are designed to be placed in the same space, so you should stick to the same type of reverb .

For live solutions, this is good advice, but for those working on mixing pop music that listeners love so much, consider the other side. It’s not uncommon for us to use all types of reverb in one track. In fact, combining them on one source, it will give an interesting result.

Disconnect or move stuff

In a recent mix, the vocals from the first chorus were poorly sung and mis-tuned. The usual tuning tools were not fully corrected, so there was only one solution – to copy from the second section and replace the shortcomings. Building an arrangement is as complex a process as writing it. Collecting dozens of instruments and not taking into account the picture in which they will sound will lead to unacceptable frequency dissonance. Be careful and leave room for every important sample in the mix. Is there something in the way? try disabling and decide if it’s worth using it.

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