Some of the best sounding mixes ive ever heard are from the early 90s.
Today’s BUDGET recording gear is better than the pro gear they had then. If you can’t get great recordings/mixes, it’s YOU. Not the gear.
Stop thinking that the next gear purchase will magically give you amazing mixes. Rather, keep recording, practicing and honing your skills. Mic choice, mic placement, gain staging, recording space, quality of the performance, mixing skills…
These have far greater impact on the final product than paying $6000 for 2 channels of conversion.
Everyone has their own workflow in their own DAW of choice. This is mine. I think an organized session with plenty of visual ques is the key to quick and efficient workflow. I hope you get some value out of this video and learn something new. Please tell me what you think. Cheers!
If you aren’t using these simple shortcuts and key commands, chances are your workflow is seriously suffering. Take the time and learn these, as well as several others to take advantage of some big time savers.
Using parallel compression on your drums is a great way to get them loud, punchy and in your face. Here’s how I set it up in Pro Tools. Try it on other items such as vocals and guitars as well for a PHAT yet dynamic sound.
I’ve worked with several clients this year who had trouble sending me their sessions or their audio for me to mix. Most of the time the audio is a jumbled mess once imported into a session. The reason for this is a lack of time-alignment between tracks. Here’s a brief video of how to properly prepare and export your audio, to be sent off for mixing.
There are a million different techniques and methods for EQing different items in a session, but most people would agree subtractive EQ is one of the best ways to clear up a muddy mix. Subtractive EQ is just that, subtracting frequencies that you do not want to hear. I’d recommend before you go through your tracks boosting all over the place, start cutting instead the frequencies that may be blocking or clogging your mix with muddiness. So I meant literally to cut the “crap” out of your mix.
A Kick Trick
I can’t claim the rights to this trick as I’m sure a million other mix engineers already do this but I saw Joe Gilder do this in a video once and I’ve been doing it ever since. Thanks Joe! The image here is a screen shot of my EQ curve for my kick track in this particular session. Keep in mind every recording is different. Depending on how well the kick was originally recorded and how great the kick sounded to begin with, I might take a different approach accordingly. For this particular session, the kick was all attack and no balls. The bottom end was missing and all I could here was the click of the beater so I needed a drastic EQ curve.
The “kick trick” I’m talking about is the giant cut around 120hz. Here’s why I recommend cutting before boosting: simply by getting rid of a good portion around 120hz, I opened up the kick to breath and allowed the lower range to heard a bit more. This frequency range is typically known as the “boxy” sound of a kick drum. I almost always do this on my kick tracks but obviously in different amounts based on how good it sounds to begin with. I’m sure you also noticed the 7.5 db boost around 60hz. The problem with this track began with the kick drum itself. This was a live concert I tracked and I didn’t have much time to setup so I left it up to the drummer to tune, or *not tune the drums. Anyhow I needed a major boost around 60hz to bring out the balls in this kick. Before you make any judgements you can have a listen for yourself how this mix turned out:
Be sure to let me know what you think and leave some comments below. Again you should always consider the track you are working with it and give it what it needs. Maybe you don’t need any EQ at, but many times this little EQ trick helps bring out the bottom of your kick. Cheers my friends!