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Getting Started  Don't read any of this just watch any 3 minute youtube video

Getting Started  Don't read any of this just watch any 3 minute youtube video on how to be a producer, job done, honest.  In the mix, your focus should be jumping constantly from the minutiae to the big picture and back again.  The gain going into a plugin is very important many plugins are not designed to function correctly if they have an overloaded input from the previous plugin in the chain 1. Some Terms  About Output Metering Terminology 2. What to Aim For In Your Final Mix From A Digital Perspective Track Outputs  Should peak at -6dB to -8dB when set to 0dB (See Gain Staging in Track Workflows) Master Output  Should peak at -3dB max and this peak will most likely be the kick or the snare 3. What to Aim For In Your Final Mix From An Analogue Emulation Perspective  0 on a VU meter is not the same as 0 dBFS on a digital meter in your DAW. It is the equivalent of +4 dBu which means there is about 18 to 20 dB of headroom. That is -18 to -20 dBFS in your DAW which is why there is plenty of room for peaks in analogue mixing  Analogue peaks are RMS values set to about 300ms, not True Peaks, but with all that headroom there should not be any issue there  Try vintage metering for VU and RMS Peaks (for free http://www.tb- software.com/TBProAudio/mvmeter.html)  You may also want to try a console emulation Analogue Emulation Track Outputs  Should average at around -18 dB (-20 to -16 is fine) with a transient peak hitting -6 as an absolute maximum. This should mean that you will not run into any trouble with summing on the mix bus when aiming at 0VU (See Gain Staging in Track Workflows) Master Output  Having adjusted track faders to taste move them all simultaneously up or down until you get the desired 0 VU on the VU meter on the master bus and you should hit all your master output targets with room to spare  Peaking at 0 VU, expect to see -8 to -10 dB on the master output, anything below -6 is asking for trouble  For a more in-depth look at analogue and digital gain staginghttp://www.soundonsound.com/techniques/gain-staging-your-daw- software 4. Master Output Maximums  Regardless of whether you are working digitally or emulating analogue your master bus should not exceed the following maximums  RMS output -9 max  You do not have to be concerned with LU or dBTP at the mixing stage but don't make it hard for the mastering engineer (see What To Aim For Technically in Mastering) Tips General  Don't be afraid to break the rules  Musicality will almost always trump technicality  Mix like mastering does not exist  Use a reference track but remember it is mastered so the headroom is gone, turn it down so it is more at the loudness level of the mix ( About Reference Tracks)  Your sonic spectrum should look a lot like pink noise rolling off about 3dB per octave  Making sure every sound has its space. EQ parts so they have their pocket of frequency to shine through. If two or more parts are competing (for example, the vocal and a warm pad), let the most important part have the space and then EQ out competing frequencies from the other sound.  Decide if you want any processing on the master bus Final Mix/Pre- Mastering Notes  Don't mix into a limiter but it can be ok to do this about 80% of the way in to get an idea of how the track will respond to mastering  If you can't get your desired RMS value of -9 then mix into a limiter on the master channel with a ceiling -0.1 to -0.3dB (to avoid clipping). Then, pull the threshold down (around -3 to -5dB) while watching the RMS values  Reverb and delay can completely transform a lifeless mix Reverb & Delay  Choose a workflow Song Workflows  Automate for song structure Mixing For Song Structure Organisational (or egg sucking)  Group tracks and busses, name and colour code them well with more fundamental elements at the top  Name markers well and trim dead air to visually see the song structure Nothing hard and fast here, just some general ideas that tend to work well General  The solo button is your enemy. When listening to a track soloed, you don’t get the impression of how it sits in the mix. It’s fine to solo an instrument to see if there’s a trouble spot in the performance or in how you’ve processed it, but you should then quickly take it out of solo and listen in the context of the full mix. A better option is to bring the fader for that particular track up in your mix to hear if there are any issues. It doesn’t give a perfect sense of context, but it’s better than tweaking while just hearing the track by itself.  Consider some nice tape and/or analog console emulation at the start of each track. This will colour the sound and will sum together on the master bus in a musically, harmonically rich way which can improve the overall sound. Bounce the tracks down to audio at this pint to avoid unnecessary CPU overhead of the plugins  Don't overload tracks with loads of plugins, it is easier to get polish if you do not have to do loads of EQ and dynamic processing.  Don't get too ridged one size does not fit all you can EQ then compress or compress then EQ or do your EQ cuts, compress then do some EQ boosts. It does not matter so long as it works for the track in question Workflow 1. Phase issues: o Phasing will reduce the volume of the track when transferred to mono so best to de-phase before gainstaging o Vinyl cutting, MP3 encoding, and terrestrial broadcasting rely heavily on the mono signal being in good proportion and this is best addressed in the mix o Quite tracks can benefit from inverting the phase o Micing problems can build phase issues into recordings (see Stereo Imaging) 2. Gain Staging: Start in mono to get the gain right across tracks. With faders on 0dB add or subtract gain to get to the desired peaks o Listen to the difference in sound between changing the input or the output signal In some cases the sound is better if you change the gain, sometimes when you change the input trim. In analogue systems sometimes a sound is really enhanced if you turn up the input and turn down the output proportionately o Mono will reveal phase issues and show where body and punch is lost o Consider staying in mono and applying spatial effects or wideners o Consider mono for every part of every track below 100Hz including the master bus, the cumulative effect will be punchier o Automate gain in order to leave your faders free for general adjustments (especially across the board) o Note: You may need to adjust the gain as you go e.g. EQ boost/cuts, panning and compressing transients will alter overall volume o Consider doing some gain automation so that the compressor does not have to work so hard when you come to use it o Gain automation is also useful if you wish to tweak the faders at a later date and keep the volume changes intact across the whole of the track's timeline Generally speaking EQ first, but if your compressor is creating a lot of colour and character it might be better to compress first and EQ second. It is important to note that EQ can change the gain output of the signal so if your EQ is before your compressor then dramatically changing it at a later date will affect the way the compressor reacts because the compressor's threshold will be hit at a different point to where you set it originally, adjust your compressor to compensate 3. EQ: When dealing with bands and EQ think about what frequencies you want in the track and how it is going to balance with the rest of the tracks and the song as a whole o Filter first, then cut, then boost (see EQ) There is often a great deal of low end in a track that muddies up the mix, HPF any track that does not need those frequencies to clean up and add clarity and punch to the low end but beware filter too much and the mix can become thin o EQing in mono makes it harder to separate tracks out where they are frequency masking each other o Where mono is less important, as an alternative use panning and gain to see how much filtering is actually necessary on a track to uploads/Ingenierie_Lourd/ mixing-guide.pdf