Notes taken on Monday:
-When compressing, make sure all of the quiet sounds (made louder by compression) are taken out, or there will be loud breaths. And put fades at ends of regions
-Talk about the differences between two different mixes with partner, try and improve on it.
-If there is a hiss in the mix, must one track at a time to find it. Go to wherever it is being sent, and adjust faders in sends. Check Line 1 button/pot is fully counter-clockwise. Then fader of the channel. Turn all green knobs (aux sends) down to zero. Then check on master aux sends
~Input on SPX 90, turn it down. Same with Lexicon, Millenia
On our mix:
-250k EQ drop on opening guitars
-HPF across board because it's way too boomy
-LFO (Low Frequency Oscillation)
~An inaudible sound could affect absolutely everything
-50Hz is a good HPF, but continue to attenuate bottom end with EQ
-Select all tracks, bring them all down if it's too overpowering
-HPF at 50Hz depressed, approximately -7dB around 80Hz
~Group 2 on hi-hat
~ex: Something sounds good at 80Hz dropped 15dB. Instead, drop at the different harmonics in the overtones maybe 2 or 3dB
Wednesday's class notes:
-Dial out the frequency range where vox don't make sense. Then, go to guitars and take out that frequency a bit (probably somewhere around 6dB or so)
-Verb, put a HPF so no amplification of low frequencies
-Try complimentary EQs on guitars
~Can take single guitar part, copy it, then do a complimentary EQ with a delay on one
Production Schedule:
-Tuesday, Sept 14
~Housekeeping
~EQ at least the drums
-Thursday, Sept 16
~EQ, compression, etc.
-Tuesday, Sept 21
~Mix through the board
Here are the notes that were presented on Wednesday:
Chapter 6: Mixing Domains and Objectives
-Macromixing: Concerned with the overall mix
-Micromixing: Concerned with the individual treatment of each instrument
-The Five Main Domains of the Mixing Process
~Time
~Frequency
~Level
~Stereo
~Depth
-Space: the combination of stereo depth
-Using various tools, we can manipulate the sonic aspects of instruments and their presentation in each domain
Mixing Objectives
-Four principal objectives in mixing
~Mood
~Balance
~Definition
~Interest
-Evaluatine the quality of a mix starts with considering how coherent and appealing each domain is and then assessing how well each objective was accomplished within that domain
Mood
-Concerned with reflecting the emotional content of the music in the mix
-Of all the objectives, this one involves the most creativity and is the most central to the project
-Applying techniques and tools in a way that are not congruent with the project can destroy the project's emotional qualities
-Mixing engineers must be careful not to apply genre specific techniques to a project that is not from that genre
Balance
-Balance normally refers to the balance in three domains
~Frequency balance: a lack of frequency balance can leave the mix wanting in an area
~Stereo image balance: an imbalance can throw off the stereo image
~Level balance: contains relative and absolute balance
-Any of these balances may be traded for interest or a creative effect. And usually happens for a short period
-Definition
~How distinct and recognizable sounds are
~Can be used to describe instruments as well as reverbs
~Not every mix requires a high degree of definition
~Also deals with how well each instrument is presented in relation to it's timbre
Interest
-Arrangement changes and many other production techniques all result in variations that grab the attention of the listener
-A mix has to retain and increase the intrinsic interest in a production
-A mix can add or create interest
-Ways of achieving interest
~Automate levels
~Have a certain instrument play in certain sections only
~Use different EQ settings for the same instrument and toggle them between sections
~Apply more compression on the drum mix during the chorus
~Distort a bass guitar during the chorus
~Set different snare reverbs in different sections
Frequency Domain
-The Frequency Spectrum
~20Hz to 20kHz
~The four bands in the spectrum include low, low-mids, high-mids, highs
~The cutoffs are 250Hz, 2kHz, 6kHz
-Frequency Balance and Common Problems
~Achieving frequency balance is a prime challenge in most mixes
~The most common problems with frequency balance involve the extremes
~Most novices will come up mixes with these problems because of lack of experience in evaluating these ranges
~Too many highs can make the mix brittle and cause problems in the mastering stage
~Lows are usually the hardest to stabilize and should be payed close attention to when checking the mix on different systems. It is more common to have an excess of lows than a lack of them
~The low-mids present problems because most instruments have their fundamentals in this range
~Separation and definition are achieved with work done in this area
-Separation
~In our perception we want each instrument to have a defined position and size on the frequency spectrum
~Separate the instruments first then see if there are empty areas
-Definition
~Instruments may mask one another and therefore one instrument may lack definition
~We can equalize various instruments to increase their definition
~At the same time, equalization may be used to decrease definition
-Mood
~Lo frequency emphasis relates to a darker, more mysterious mood
~High frequency emphasis relates to happiness and liveliness
~Power is usually linked to the low frequencies, but can be achieved in all areas
~Equalization can be used to convey certain moods when applied to instruments
-Interest
~Can be achieved by momentarily cutting all of the low frequencies and then bringing them back in
~Shelving EQs can be automated to bring up the lows during an exciting section
~Brightening a chorus section may also add interest
Level Domain
-Levels
~The question is not how loud, but how loud compared to other instruments
~Setting relative levels between instruments is highly a matter of taste
~Only fledgling mixers may truly get this wrong, adjusting levels comes naturally
~Adjusting levels dues not only involve moving faders, it also includes EQ and compressor settings
~Getting exceptional relative level balance is an art and requires practice
~Tip: To make everything louder in the mix, bring up the monitor level
-Levels and Balance
~Only very few mixes require all the instruments to be equally loud
~Setting relative level balance is determined by importance
~Steep level variations of the overall mix might be a problem
~Not automating the levels of a particular mix may cause the levels to rise and drop in disturbing ways
-Levels and Interest
~Some degree of level variation is needed to promote interest
~Even if we do not automate levels, the production itself may lend itself to louder choruses and softer verses
~Additional spice can be added by additionally automating these naturally occurring peaks and valleys through out the project
~The options are endless
~Level automation is used to preserve overall level balance, but also to break it
-Levels, Mood, and Definition
~We should always ask ourselves what is the emotional function of each instrument and how can it enhance or damage the mood of the song, then set the levels respectively
~The louder an instrument is the more defined it appears in the mix
~However, an instrument with frequency deficiencies might not benefit from a level boost - it may still be undefined, just louder
~Bringing up the level of an instrument can cause a loss of definition in another
-Dynamic Processing
~Noticeable level changes within the performance of an instrument are of equal importance (micromixing)
~Level variations in a performance break the relative balance of a mix
~We can control this by using gain-riding, compression or both
~At the other end of the spectrum, over compression can lead to a lifeless performance and can end up sounding unnatural
Stereo Domain
-It's the imaginary space listeners perceive between left and right speakers. The stereo image can be seen as the whole mix or an individual instrument.
-We control the stereo's panoramic aspects with pan pots and reverb.
-Localization: aware where the sound is coming from (L or R)
-Stereo width: how much the stereo image occupies the sound
-Stereo focus: how focus the sounds are
-Stereo spread: how the instruments are spread across the stereo image
Stereo Balance
-Need to have balance between the left and right. If we pan most instruments to one side the mix can turn to one speaker. Balance also allows for the introduction of new instruments, giving it space to be heard
-Stereo frequency imbalance: even though the frequency balance between left and right are rarely identical, sometimes having too much variation can cause image shifting
-Tracks or instruments with frequency variations can be put in the center to avoid shifting
-Stereo spread imbalance (I-Mix): when little of the sides are used to spread instruments and make monophonic I-Mix. I-Mix is used for hip-hop. The mix can also have a V-Mix, a weak center with more on the sides
-W-Mix: a combination of a V and I-Mix. The mix can be unpleasant due to intense focus on the right, left, and center and nothing in-between
-Stereo Panorama can also have a specific area lacking from music and be empty. This can be fixed by panning
Stereo Image and Other Objectives
-Stereo Image: can promote moods making it more powerful with making the panning less natural
Depth
-What instrument is behind or in front of the other instrument. A mix can have instruments close to each other making it tight, or have instruments with depth to make it spacious
-Reverb helps us create a sense of depth in the mix
-Coherent depth: making a depth a field and retaining an instrument's definition can be a challenge. Depth variations are uncommon unless done as an artistic method
-Sonic depth in nature is to re-create natural or artificial appealing sound
-Every pair of speaker system are integral depth, with sounds from the sides appearing closer than the sounds from the center
Chapter 7: Monitoring - How did we get here?
Sound Reproduction
-An accurate monitoring environment is absolutely necessary for mixing. Specific room construction, room treatments and monitor placement make an ideal monitoring environment
-Loudspeaker drivers displace air in response to an incoming voltage that corresponds to a waveform. Two-way loudspeakers require two or more drivers, one for the low frequencies and one for the highs
-Low frequencies require a large rigid cone capable of displacing large masses of air
-Higher frequencies require a small diaphragm than can move rapidly
-A crossover frequency splits the signal usually around 2kHz and sends one through a high pass filter to the small diaphragm, the other through a hpf to the small diaphragm, the other through a lpf and onward to the large cone
Aurotones, Near Fields and Full Range Monitors
-Aurotones are monitors with a well defined mid-range response and are used by mixing engineers to simulate a domestic listening environment
-Near-Field monitors provided clarity that aurotones and main speakers previously could not. The majority of mixes are done using near field monitors.
-Full range monitors reproduce the complete audible range of sound, 20Hz-20kHz. The provide higher resolution than near-field monitors. Usually used to level out th low end of a mix
Choosing Monitors
-Active vs. Passive
~Passive: no integrated amplifier and must be fed with a speaker level signal that was amplified by an external amplifier (not inside the monitor)
*When connecting an amp to a monitor, the cables should be high quality and as short as possible. Should be the exact same length or else a possible stereo imbalance between speakers. The wiring must be properly placed (+ to +, - to -) or there will be inverted phase
**To check for incorrect connection, check kick to see if cone pulls inward rather than pushing outward
=Powered speakers: has a built-in amplifier and its inputs are XLR or 1/4"
~Active: does have its own amplifier. They are shielded to drain magnetic interference between speaker and CRI computer screens screens and some have A/D converters to prevent analog interference
~There is no guarantee that either monitor will perform better
Enclosure Designs & Specifications
-Dipole design: studio monitors with holes on their enclousure (vents, ports)
~Provide extended low frequency response but it is inaccurate
-Monopole design: monitors with no ports and air within the enclosure. They provide better dampening of woofer cone resulting in tighter bass response
The Room Factor
-"No pair of speakers sound the same, unless placed in the same room." High priced, high quality speakers will perform poorly in an acoustically untreated room.
-Room modes: result of interaction between reflected low frequency waveforms. They travel out in a spherical fashion, and bounce off of obstacles they encounter. When sound waves act upon two parallel walls, they will bounce from one to the other, losing energy each time, until they die out. However, constant monitoring can reinforce those waves.
~Standing waves: waves trapped between two parallel surfaces that interact causing attenuation and boosting at certain frequencies
~Always cause problems at the same frequency, but the problems are not consistent throughout the whole room. Every point in the room has its own frequency response. Inhibit speaker's ability to transmit the problematic frequencies of a mix
-Treating Room Modes
~Treat the reflections in your room with diffusion and absorption
~Diffusers scatter sound energy and break up low frequency standing waves
~Use absorbers on walls to catch sound energy and break up standing waves. Absorbers are more effective at higher frequencies
-Flutter echo: the result of interaction between reflected mid-high frequency waveforms. Use absorbers eliminate flutter echo
-Early reflections: waves bouncing off of surfaces very close to the sound source, and then interfering with the direct waveforms causing phase issues
Positioning Monitors
-Where in the room?
~The positioning of the monitors is determined by the positioning of the listener
~Room modes affect the frequency response at the listening position
~Minor changes affect small rooms more, which unfortunately provides little to no option for monitor placement
-The Equilateral Triangle
~Monitors placed on two vertexes of equal height
~Use a string/measuring tape to measure equal distances between monitors and focal point
~Speakers angled towards listener, 60 degree angles
~EXPERIMENT!!!
~Moving the speakers farther apart results in a wider stereo image with less of a focal point. Whereas a more narrow image allows for more a center, but less feel of stereo
-How far?
~Monitors are close: if by moving head slightly causes dramatic difference, there will be more phase difference between left and right ears resulting in less solid stereo image
~Monitors are far: the further away they are, the wider the stereo image becomes, which can make panning decisions easier. The lower frequencies will be louder because they will bounce off back wall and return to super-impose on the direct sound
-Dampening Monitors
~Monitor Isolation Pads: Made of dense acoustic foam and metal spikes on which the monitors rest. They isolate the monitor from the stand, ensuring the monitor performs independently with no vibrations (presents vibrations onto stand as well)
Chapter 8: Meters
-Amplitude vs. Level
~Amplitude: describes changes in air pressure compared to the normal atmospheric pressure
=Microphones convert changes in air pressure to voltage
=An AD converter converts the voltage into discrete numbers
~Level: denotes the absolute magnitude of the signal
=Describing a signal's level in dB is a lot easier because using dB system is a log system, to express very large increments with very small numbers
=Level is responsible for adjusting a signals amplitude
-Mechanical and Bar Meters
~Mechanical meter: made of a magnet and coil that move a needle dependent on the level of voltage being produced
=Have a scale of around 24dB
~Bar meter: visually measured with the use of LEDs, a plasma screen, or a control on a computer screen
=Has extra indicators that display the peak hold, peak level, and clip indicator
-Peak Meters
~Peak meters: display level of signal. Used to monitor the signal when there is a pre-defined limit
=On a digital system the highest level of peak meter is 0dB. Lowest level can be dependent on bit depth
=Analog equipment can have a scale higher than 0dB
-Average Meters
~Our ears perceive loudness to the average level of sound not their peak levels
=Peak meters tell us little about the loudness
=Are often mechanical meters that employ an RC circuit (resistor-capacitor)
-Phase Meters
~VU or peak meters are provided per channel for the stereo mix
~Phase meters
=common on large format consoles
=meter the phase coherency between left and right channels
=+1 means that both channels are outputting exactly the same signal; 0 means that the channels are outputting different signals; -1 means that the channels are completely phase inverted
Chapter 9: Mixing Console
-Buses
o Common signal path where many signals can be mixed
o Typical buses
* Mix bus
* Group bus (or single record bus on CD)
* Aux bus
* Solo bus
* Processors vs. Effects
o A dry signal is the unaffected audio, while a wet signal is the affected audio
* For processors, can adjust the percentage used between wet and dry
o Processors: Made to alter the input signal and replace it with a processed signal
* Added with an insert point
* Include EQs, dynamic range processors (such as compressors, limiters, gates, expanders, and duckers), distortions, pitch correctors, faders, and pan pots
o Effects: Add something to the original sound. Takes signal and generates a new signal based on original one
* Added by using an auxiliary send
* Include time-based effects (such as reverb, delay, chorus, flanger), pitch-related effects (such as pitch shifters and harmonizers)
* Basic Signal Flow
o Step 1: Faders, pan pots, cut switch
* Each channel is fed from a track on the multitrack recorder. Signal travels from the line input socket, the fader, then the pan pot.
* Pan pots take the mono signal and send out a stereo signal, then sum it into the mix bus. Single fader alters the level of the stereo bus signal.
* Then, mix bus signal goes to two mono outputs on the back of the console (L, R)
o Step 2: Line gains, phase-invert and clip indicators
* Line-gain (or tape-trim) boosts/attenuates the level of the audio signal before it gets to the channel signal path
* Optimize the level of the incoming signal to the highest levels possible without clipping (digitally) or unwanted distortion (using analog)
* Some engineers use the over-hot input because it adds appealing harmonic distortion
* Check phasing with the phase invert
* Don't always trust clip indicators, trust your ear above all else
o Step 3: On-board processors
* Quality dictates much of a console's value
* Include hpf, EQ, basic compressors at times
o Step 4: Insert points
* Many engineers prefer to use external insert points rather than in-board.
* Lets us insert devices into the signal path
* Each external unit can only be connected to one channel, but multiple tracks can use the unit through inserts.
* Can use multiple inserts on a single track
* Importance of Signal Flow Diagrams
o Step 5: Auxiliary sends
* Takes a copy of the signal on the cannel path and sends it to an auxiliary bus
* Local aux controls are on the individual channels, containing:
* Level control: pot to control level of the copy sent to the aux bus
* Pre/post fader switch: determines if the signal is taken before or after the channel fader. Post-fader lets you control level of signal with channel fader. We often want aux effect level to correspond to instrument level, so we use post-fader feed. If pre-fader, the level is independent of the channel fader and will play regardless of channel fader level.
* Pan control: Aux buses can be mono or stereo. If stereo, pan pot available to determine how mono channel signal is panned to the aux bus
* On/off switch: Often called MUTE
* Master aux controls in master section. Same as the local ones, but no pre/post fader. Most have multiple auxiliary buses
o Step 6: FX returns (or aux returns)
* Dedicated stereo inputs that can be routed to the mix bus
* Provide quick and easy way to blend an effect return into the mix, but offer very limited functionality
* When possible, effects are better returned into the channels
* Groups
o Control grouping: Allocate a set of channels to a group, so moving one fader controls all of them
* VCA grouping: Consoles with motorized faders have master VCA group faders. Individual channel faders are then assigned to a VCA group
* Cutting or soloing VCA group affects each channel assigned to it
o Audio grouping
* To handle many signals, must sum a group of channels to a group bus (subgrouping). Group signal can then be processed and routed to the mix bus.
* Format: Channels:Groups:Mix-buses
* Ex: 16:8:2 denotes 16 channels, 8 group buses and 2 mix buses (or 1 stereo mix bus)
* Routing matrix: collection of buttons that can be situated either vertically next to fader or in its own area. Depress one, and the channel will be sent to the corresponding master group
* In-line grouping
* Ex: In a 24 track recording, drums may be ch 1-8. They are routed through the matrix to Channels 24 and 25 that now function as a group.
* Bouncing: by sending groups to yet another subgroup, we then send that final subgroup to an available audio track on the multitrack recorder
o In-line consoles
* The desk accommodates two types of signals:
* Live performance signals: Are sent to a group to be recorded onto the multitrack
* Multitrack signals: Already recorded information sent to a group
* In-line consoles and mixing
* Since the channel path is stronger than the monitor path, it's ideal to use the channel path for multitrack recording and return signals and use the monitor path for:
o Effects returns
* Ex: We can send a guitar to line 1 inputs to a delay unit and bring the delay back to the monitor path on the same channel strip/module
o Additional aux sends
* Ex: We can send the background vocals on a bus to a group, the group to the delay and/or reverb. The bus acts as a local aux send while the group channel acts as a master fader of what is being received.
o Signal copies
* Ex: Multiple snare tracks sent to a single channel through the monitor path
o The Monitor Section
* Monitor output
* To hear it, it needs to be sent from the mix output (we commonly use Pro Tools 1 - 2 on the patch bay, and MIX pressed on master channel) to the 2 Track Recorder (2TRK button on master channel). Then, to the monitor output (the actual monitors)
* Additional controls
* Cut: cuts monitor output. Feedback, noise bursts, clicks/thumps, etc.
* Dim: Attenuates monitor level by user-definable amount of dB (for audible convenience in studio).
* Mono: Sums the stereo output to mono (for phasing, masking issues).
* Speaker selection: Allows you to switch between different monitors (if you have them)
* Cut left, cut right: Mutes right or left monitor.
* Swap left/right: Left speaker in right speaker, right speaker in left speaker (used to check stereo imbalance)
* Source selection: Determines where the speakers get the audio (mix bus, external outputs, aux bus
o Solos
* Two types of solos:
* Destructive in-place (when one channel soloed, every other channel is cut
* Nondestructive
o PFL (takes a copy before the channel fader and pan pot, so mix levels and panning aren't engaged
o AFL (takes a copy after the fader but before the pan, so it maintains levels, but not panning) or APL (takes a copy after the fader and pan, so both panning and levels are maintained)
* Solo safe
o Keeps a channel soloed permanently, even when other tracks soloed.
* Which solo?
o Destructive solo is favored for mixdown because when a track is soloed, the signal level remains the same as it previously was,, as opposed to nondestructive solo where the signals may drop or rise in level.
o Correct Gain Structure
* Make sure that the signal is at its optimum level so 100% of the signal is sent and received
* Given that most analog gear gives off unwanted noise, just use the channel fader, not the processor's output. This will prevent the noise given off by the processor from being boosted.
o The Digital Console
* ADA vs. DA
* Digital consoles have fader-layer capabilities
* Allow complete control over automating any parameter
* External processing is still possible, but it is an option. On an analog console, it would be a necessity
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