By Craig AndertonHalloween is around the corner—so to get in the spirit, let’s cover treats that can make for better mixes—as well as some problems that could trick you.
Start your mix in mono
Definition:
Short for Monophonic. An audio program, recording, or hardware device/software routine that produces or processes a signal with only one channel.. Center the channelDefinition:
1. In radio, television, citizen's band radio, and other wireless communications modes, a specific frequency for communication. 2. In mixers and video, an input or output signal path with controls. 3. In MIDI, one of 16 data paths. panpots (Fig. 1) before you start adjusting levels and inserting effects. If each track sounds distinct and separate in mono, the sound will really open up when you create a stereoDefinition:
A two channel signal simulating a sound space, typically played through two speakers. soundstage.
Less is indeed more. It’s easy to fall in love with a clever part, but as you draw closer to completing a mix, try muting some tracks to see if those parts are really needed. Every added track competes with other tracks, so make sure each track supports—not conflicts with—the rest of the song.
Names and labels are good. Let’s see a show of hands for everyone whose audio clips say “Record 1,” “Record 2,” etc. I understand that in the heat of creativity, it’s no fun taking notes and labeling clips—but you’ll be glad you did when you come back to mix a month later, and find that the false starts and alternate vocals are labeled clearly as such (Fig. 2).
Cut the noise. Trim clips to only those sections with audio. The noise between those sections may seem insignificant, but lots of little bits of noise from lots of different tracks can add up. Deleting this noise is like removing dust from a painting.
Normalize guitar track audio that’s going to be processed by an amp simDefinition:
A software program that emulates the sound of guitar amplifiers. plug-inDefinition:
A software module, typically for signal processing or analysis, that inserts into the signal path of a DAW or video editor, or in some digital consoles. Also Plugin.. Distortion-oriented amp sim presets are sensitive to input level changes, especially with distortionDefinition:
A change in an electronic or acoustic signal's waveform. This can undesirable if it impacts signal quality, or desirable when used for creative signal processing.. If your input levels are inconsistent from one track to another, you’ll be constantly tweaking drive or gain controls. You don’t have to normalize to full scale—normalizing to -1 or -2 is fine. What matters is a consistent level, and that you base your presets on these levels.
Consider processing electric bass parts with Melodyne. Although most people associate Melodyne with vocals, it works great with bass. Even with a perfectly tuned bass, the tuning will vary when a string sustains. Flattening the pitchDefinition:
For a given range of audio frequencies, pitch represents where a single sound falls within that range. variations with Melodyne (Fig. 3) gives a stronger bass line because it will be in tune with your other instruments, instead of fighting their tuning and creating beat notes.
Do a reality check with headphones. Headphones can compensate for studio acoustics issues, which is important unless you really trust your studio’s acoustics. Of course, headphones have their own issues, like exaggerating the stereo spread—but a quality set of headphones, designed for studio use and when used as a reality check along with speakers, can help make better mixes.
Mix at low levels. Although the Fletcher-Munson curve will trip you up because the bass and treble won’t be as prominent, mixing at low levels makes it easier to hear the relative balance of all the instruments. After nailing the balance, turn up the volume, and make sure the bass and treble aren’t too loud. Adjust as needed.
Reduce the bass frequencies going into reverbDefinition:
Short for Reverberation. The myriad echoes of decaying amplitude created in an acoustic environment. Reverberation may be simulated electronically, mechanically using springs or a metal plate, or in a specially built physical chamber with reflective surfaces where a speaker sends audio into the chamber, and a microphone picks up the reflections.. Reverberated kick, bass, floor tom, lower-frequencyDefinition:
A value, expressed in Hertz, that indicates how many cycles of a periodic signal occur in one second. guitar and piano notes, etc. muddy a mix. Increase a mix’s clarity by reducing low frequencies before they enter a reverb processorDefinition:
A device that modifies signals. In audio, this typically affect dynamics, frequency response, harmonics, or time. In video, processors typically affect color, intensity, and special effects. (Fig. 4).
Don’t master while you mix. Many people will disagree with me about this, and that’s fine, because we all have different workflows. I prefer to treat a mix as solely about achieving the best possible balance and masteringDefinition:
Compiling individual recordings into an album or collection of songs, or an individual song for a single release, often with added equalization, dynamics processing, and other signal processing to create a consistent and optimized listening experience. With albums, mastering can also involve determining the sequence of the individual recordings. solely about polishing that mix. This isn’t all that important if all you do is single tracks, but with albums, if your final track is processed it may not fit in with the other tracks that are processed...so you’re going to have to go back and bounce an unmastered version anyway.