What makes a pro recording pro? What is the "sound" that the pros
get and how can you make your recordings sound more professional?
The simple answer is - there's no simple answer. But with careful
listening and a little experience you can create excellent results
with modest equipment.
Good mixing starts ear
The first and most important item of equipment is - who knows?
Anyone? It's your ears! Sorry to tell you this, but listening to
ten hours of Rave at 110dB will do nothing for them and you might
as well give your mix to a turtle as try to mix with misused ears.
Listen to commercial recordings of mixes you like, analyse them,
listen for the effects and get to know what constitutes the sort
of sound you're after.
Mixing secrets
There's no hidden secret to getting a good sound, but if we had
to sum up the secret of mixing in two words it would be this - EQ
and compression. Okay that’s three words.
These are probably the two most important tools used by professional
producers. However, like any tools, if you don't know how to use
them you'll be carving Habitat tables instead of Chippendale chairs.
That's where your ears and experience come in. Here we have assembled
some production ideas, suggestions, tips and tricks but they can
only be guidelines and need to be adapted to suit your material.
There are no presets you can switch in to make a bad recording sound
good. And if your original material has been poorly recorded not
even Abbey Road could salvage your mix. But follow these suggestions
and see how much your mixes improve.
Get the level right
You can't push the levels when recording digitally as you can when
recording to tape but you still want to get as much signal into
the system as possible. This means watching the levels very carefully
for clipping, and recording at an even and constant level.
Some recording software lets you monitor and set the input level
from within. Some expect you to use the soundcard’s mixer while
others have no facility for internally adjusting the input level
and expect you to set this at source.
Monitors
Your ears are only as good as the monitors they listen to. DO NOT
expect to produce a good, pro mix on tiny computer speakers. It
may sound fine on a computer system, but try it on a hi fi, in a
disco and through a car stereo.
Oddly enough, you don't necessarily need the most expensive Mic.
Many top artists use what some might call "average" Mics because
they work well and get the job done. You can spend a wad on a large
diaphragm capacitor Mic (yes, they're good for vocals) if you have
the lolly but check out dynamic Mics which are much more affordable
and can be turned to several tasks.
Mixing MIDI and audio
One of the great things about computer-based recording is that
the parts can so easily be changed, edited and processed. It's also
so easy to combine MIDI and audio tracks and many musicians use
a combination of sample loops, MIDI parts and audio recording.
Audio recordings are generally guitar and acoustic instruments
such as the sax and vocals. Incidentally, the best way to record
guitars is by sticking a Mic in front of its speakers. You can DI
them and process them later and this may be cleaner but for a natural
guitar sound a Miced amp is hard to beat.
It's not necessary to record drums live and, in fact, it's difficult
to do and retain a modern sound. You can buy off-the-shelf MIDI
drum riffs and audio drum loops, or program your own. The quality
of the gear which makes drum noises these days is such that anyone
with a good riff can sound like a pro.
Mixing MIDI
As MIDI and audio parts appear on the same screen in modern sequencers,
it's very easy to arrange them into a song. However, when you come
to mix everything down there's another consideration. If you are
recording to DAT you can simply route the audio and MIDI outputs
through a mixer and into the DAT machine.
However, if you want to create a CD you must first convert the
MIDI parts to audio data. The entire song can then be mixed to hard
disk and burned to CD. Converting MIDI to audio can have another
benefit and that's the ability to process the MIDI tracks using
digital effects.
Effects
There are three positions for effects known as Master, Send and
Insert. Use the Master for effects you want to apply to the entire
mix. These will often be EQ, compression and reverb.
Although giving each channel its own Insert effects is kinda neat,
each one uses a corresponding amount of CPU power. So if your computer
is struggling and if you're using the same effect on more than one
channel, make the effect a Send effect and route those channels
to it.
Many pieces of software let you apply an effect Pre or Post fader.
With Post fader, the amount of sound sent to the effect is controlled
by the fader. With Pre fader, the total volume level of the signal
is sent. Post fader is the usual default and the one you'll use
the most.
EQ
EQ is the most popular and the most over-used effect. Yes, it can
be used to try to "fix a mix" but you can't make a silk purse out
of a sow's ear as me Gran used to say and what she didn't know about
mixing could be written in the margin of the book of honest politicians.
But before you start messing with EQ - or any other effect for
that matter - make sure you have a decent set of speakers. Have
we said that already? Oh, must be important, then.
There are plug-in effects such as MaxxBass which can psychoacoustically
enhance the bass frequencies to make it sound better on smaller
speakers. However, this is by no means the same as getting a good
bass sound in the first place by observing good recording principles.
EQ can enhance a mix to add gloss, fairy dust, shimmer, sheen,
a sweetener or whatever you want to call it to the final production.
It can be done with enhancers and spectralisers, too, although these
tend to mess with the harmonics which some producers don't like.
However, don't dismiss them out of hand.
General EQ lore says that you should cut rather than boost. If
a sound is top-heavy, the temptation is to boost the mid and bass
ranges. But then what usually happens is you start boosting the
upper range to compensate and you simply end up boosting everything
and you're back where you started - only louder!
The reason why cutting is preferred is that boosting also boosts
the noise in the signal which is not what you want. Try it. Boost
every frequency and listen to the result. If you think it sounds
okay, fine. What do we know?
But when you're fiddling, do keep an eye on the output meter. Boosting
EQ inevitably means increasing the gain and it's so-o-o-o easy to
clip the output causing distortion which does not sound good.
Finally, check EQ changes to single tracks while playing back the
entire piece. In other words, listen to the tracks in context with
all the other tracks. It may sound fine in isolation but some frequencies
may overlap onto other tracks making the piece frequency rich in
some places and frequency poor in others.
Reverb
Reverb creates space. It gives the impression that a sound was
recorded in a hall or canyon instead of the broom cupboard. Recording
lore suggests that you record everything dry, with no reverb, so
you can experiment with a choice later on. You can't un-reverb a
track once it's been recorded.
The more reverb you apply, the further away sound will seem. To
make a vocal up-front, use only enough reverb to take away the dryness.
Vocals don't want to be mushy (lyrics can be mushy) so use a bright
reverb.
A common novice error is to swamp everything with different types
of reverb. Don't - it sounds horrible!
Mixing down
You've done all the recordings, done the edits, applied the effects
and now it's time to mix everything into a Big Number One Hit! Before
you do, go home and have a good night's sleep. Have two. In fact,
sleep for a week.
Yes, we know you're hot and raring to go but your ears are tired.
They're falling asleep. Listen carefully and you might hear then
snore!
There is a phenomenon known as ear fatigue and consistent exposure
to sound, especially the same frequencies, makes our ears less responsive
to them. Goes back to the bit about spending your life in a Rave
club - you'll never be a master producer. If you try to mix after
spending a day arranging, your ears will not be as responsive, so
do them and your mix a favour by waiting at least a day.
Now, go forth and mix! And don’t forget - you get better with practice.
For more information about mixing, pick up a FREE copy of Creating
The Perfect Mix at www.making-music.com.
***********
About The Author
Ian Waugh is one of the UK's leading hi tech music writers and
creator of www.making-music.com.
He has written for most of the major - and not so major - hi tech
music magazines in the UK and many general computing titles both
offline and online.
His output numbers over 2,000 articles, features and reviews and
he has written several books and albums. He is author of the "Quick
Guide to..." series which includes the Quick Guide to Dance Music,
Digital Audio Recording, MP3 and Digital Music, and Analogue Synthesis.
