Quote:
Originally Posted by Everlast
Ono sto tebi treba je bolji mixing, ne mastering...
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Naravno da znam da mix treba bit ok. Da li zapravo trebam napraviti nekakav premastering tipa;
The tips here can apply to various DAWs and plug-ins including Logic Pro 8, Ableton Live, Cubase 4 and Reason 4.
Avoid over-compression
Compression is an essential tool in the mixing process and at some point you will find yourself reaching for your favourite plug-in, but a common mistake is to go too far. Some modern systems allow a nearly unlimited amount of processors to be used, but this sort of power requires the user to have a certain amount of self control. It?s really a case of asking yourself if a signal truly needs compressing or if you are applying the process simply because you can. Music is about dynamics and movement. If you squash the life out of every part in your mix the end result can closely resemble noise.
Of course, there is nothing wrong with selective creative compression as an effect but remember to keep an eye on those gain reduction meters and the amount of compressor plugs across your mixer. Perfect the balance between compressed and dynamic signals and your mastering processors will thank you for it.
Use subtractive EQ where possible
There is no doubt that some sounds in your mix will need certain frequencies to be boosted or cut. There is a temptation to boost high or low frequencies on every sound, as this may flatter the sounds in isolation. Bring these heavily EQ?d sounds together in the mix and the result may be confused and over-colored. In this scenario it is likely you are listening to more EQ than actual signal.
A good way around this problem is to use subtractive equalisation, as opposed to additive. This involves removing unneeded or problem areas of a signal and boosting the level. This results in the area you want to boost being raised in volume without adding any artificial processing. Using this method you will hear much more signal and less EQ, leading to a clearer and less coloured sound.
Filter bass frequencies for a clearer mix
In most genres of music a good balance in the bottom end is critical to a tight overall mix. The biggest pitfall here is to simply have too many instruments occupying the same frequency range. In electronic music, for example, it is not uncommon to have only the kick drum and bass occupying anything below about 250hz. All other instruments can be safely treated with a high pass filter to avoid anything below this area interfering with these all important instruments.
In other styles of music this extreme filtering may be too much but similar rules apply and a lot of thought should be put into instruments sharing the same frequency. Of course, instruments with a more organic frequency response, such as acoustic guitars, drums, brass and wind instruments, will not react well to hard filtering, so more subtle techniques such as shelving EQs should be employed. Broadly speaking though, carving areas for your low frequencies will result in a generally more coherent mix, whatever style you work with.
Filter bass frequencies for a clearer mix
In most genres of music a good balance in the bottom end is critical to a tight overall mix. The biggest pitfall here is to simply have too many instruments occupying the same frequency range. In electronic music, for example, it is not uncommon to have only the kick drum and bass occupying anything below about 250hz. All other instruments can be safely treated with a high pass filter to avoid anything below this area interfering with these all important instruments.
In other styles of music this extreme filtering may be too much but similar rules apply and a lot of thought should be put into instruments sharing the same frequency. Of course, instruments with a more organic frequency response, such as acoustic guitars, drums, brass and wind instruments, will not react well to hard filtering, so more subtle techniques such as shelving EQs should be employed. Broadly speaking though, carving areas for your low frequencies will result in a generally more coherent mix, whatever style you work with.
Use saturation effects
If some of your parts feel clinical and dry but reverbs and other effects are not called for, try using a saturation plug-in to impart some extra harmonics and warmth to the sound. There are plenty of plug-ins that perform this task very well and some producers swear by them.
A firm favourite is PSP?s Vintage Warmer, now at version 2. This plug has just about everything you need to achieve that analogue crunch many of us crave.
