Basic mixing techniques paul white pdf


Basic Mixing Techniques (Basic Series) [Paul White] on *FREE* shipping on qualifying offers. (Music Sales America). In music recording, the. Read "Basic Mixing Techniques" by Paul White available from Rakuten Kobo. Sign up today and get $5 off your first download. In music recording, the quality of a. MIXING IT by Paul White Mixing Methods - Free download as Word Doc .doc), Download as DOC, PDF, TXT or read online from Scribd .. Live Sound Basics.

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Basic Mixing Techniques Paul White Pdf

Basic Mixing Techniques the Basic Series book. Read 3 reviews from the world's largest community for readers. (Music Sales America). In music recording. Paul White and Mike Senior explain how to get the best practical results from equalisation by . we will be looking at how best to employ equalisation techniques in music Perhaps the first basic piece of advice to take on board is that it's best to evaluate your EQ changes in the context of the mix, rather than while the. For the newcomer, mixing a multitrack recording can seem overwhelmingly complicated. The key is never to lose sight of the basic principles By Paul White Mike Senior introduces some of the more advanced techniques that are used in.

Most voices have little below Hz so use low cut to remove unwanted bass frequencies. Boxy at to Hz. Nasal at Hz to 1. Penetrating at 2 to 4 kHz. Airy at 7 to 12 kHz. Electric Guitar Cut below 80Hz to reduce unnecessary bassy cabinet boom. Muddy at to Hz. Biting at Hz to 3kHz. Fizzy at 5 to 10 kHz. Bass Guitar Deep bass at 50 to Hz. Character at to Hz. Hard at 1 to 2 kHz. Acoustic Guitar Boomy at 80 to Hz. Hard at Hz to 1. Presence at 2.

Backing vocals, on the other hand, can go wherever you want to place them, and you might want to compress the overall backing vocal mix. If this is in stereo, don't forget to use the compressor set to its stereo link mode. I like to hear different backing vocals coming in from different sides, but it's your song -- so put them where you like! If you're experiencing sibilance problems on your vocals, try a less bright reverb setting or try adding a little EQ cut at around 6kHz.

If the problem persists which it shouldn't do if you were paying attention at the recording stage! Having said that, I've never yet used one on a serious recording, as I feel they compromise the vocal sound to too great an extent. When the mix finally starts to happen, it helps to take a break, have a cup of tea, listen to a few records, and then come back to it.

I find it invaluable to listen to the mix from the next room, with the adjoining door left open, as even the slightest balance problems become very obvious. I mention this technique at regular intervals, because of all the tricks I've learned over the years, this is one of the most helpful. On most mixes you'll need to do a little gain riding to sort out awkward vocal levels that the compressor can't handle, or to bring solos in and out, but again, listening from next door can help you identify the areas that need manual attention and those that can be left alone.

One general rule is not to mess with the rhythm section level once it's set up, as this would run the risk of upsetting both the overall balance and the continuity of the song.

If there are several level changes to handle during a mix and you think you might run out of hands, then rope in the musicians to help, but always put wax pencil marks on the desk for them to follow, otherwise you might find the balance changing with every pass!

If a track requires a fade-out ending, make sure you start to fade at least 20 seconds before the recorded material runs out, and don't rush the tail end of the fade or it will sound unnatural.

If the album is going to be compiled on a hard disk editing system, such as Sound Tools, don't bother with the fade when mixing but do it as part of the editing process; this will be smoother and will fade into true silence. In a perfect world, every tape track would contain a perfect performance at exactly the right level with no noise or unwanted sound to be heard -- but life is rarely like that.

Gates are very effective in cleaning up noisy tracks, but care must be taken to match the release time of the gate to the natural decay envelope of the sound being treated. However, gates can only keep the noise down during pauses, they can do nothing when a signal is present.

It stands to reason, therefore, that if you decide to gate a whole mix, the only real benefit will be a clean start and a clean end. If your mixer has MIDI muting, this can be set up to kill any channels when they are not in use, thus reducing the level of cumulative noise build-up in the mix. It is necessary to go through each tape track and set up the mute points individually, and if you can arrange muting and unmuting to occur on a beat, it will help to disguise any sudden change in background noise level.

While gates can only clean up pauses, dynamic noise filters can actually remove noise in the presence of signal, though you have to take care that they don't introduce audible side-effects. Dynamic filter units simply filter out the higher frequencies when the signal level is low, and though they have no audible effects when the treated signal is strong, they do tend to affect the tail end of long reverbs.

For this reason, it helps to route the reverb via one subgroup and the channels to be de-noised via another, so that the reverb escapes treatment. Occasionally you'll end up with a mix which still needs that extra something, especially if you're working on a tape recorded by someone with different ideas to yourself when it comes to what things should sound like.

Compressing a complete mix will reduce the dynamic range and increase the average energy of a mix, but as contrast is a necessary part of music, you might find the mix gains in one area and loses in another.

The attack time of the compressor may be increased to 20ms or so to allow transient sounds to cut through, though the type of compressor used can make a huge difference to the subjective outcome. Soft-knee compressors produce the most unobtrusive results, but the other side of the coin is that an obviously compressed mix can also sound quite exciting and vibrant, which is why certain vintage valve compressors are so popular.

If your mix is correct in the first place, why should it need any further EQ? I can't provide the complete answer, but I do know that some equalisers are capable of flattering even the very best mixes. Music can be made to sound 'louder' by gently cutting the mid-range slightly, and it's quite common to treat a whole mix with an exciter or a dynamic equaliser to add sparkle and detail.

Review – The Producer’s Manual, Paul White

Since downloading my SPL Vitalizer, I invariably use it when mixing and there's simply no way to simulate the effects using conventional EQ. Before finally approving your mix, make sure you listen to it on as many different stereo systems as possible, including the car, otherwise you run the risk of creating a mix which sounds good only in your control room.

Have fun. Occasionally you get a mix that just won't sound right, often because the song hasn't been arranged well enough to leave space for all the important parts. If you come up against one of these, here are a few tips you can try.

By working through the following points, you should at least end up with something usable. Also check that the mix sounds OK in mono. What matters most in the majority of pop songs is the rhythm and the vocals, the rest is decoration. If you can't lose something completely, try mixing it so low that you only notice it if you turn it off.

Take some bottom end out of the pad synth, backing vocals or acoustic guitar parts. Then go back to the basic rhythm section plus vocals and see if that is working.

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If not, is it too late to try a different drum or bass sound? Similarly, if you're working with a sequencer, you could try picking thinner pad keyboard sounds or brighter bass sounds. As the eskimo said when burning his canoe to keep warm, "You can't have your kayak and heat it! Use as a last resort only when you've got everything as good as it can be. In that case, try a little overall compression. A soft-knee compressor will usually provide the most transparent results, but try whatever you have and let your ears be the judge.

Digital reverbs create the illusion of stereo by synthesizing different sets of delay taps for the left and right channels, which makes the reverb patterns slightly different between the left and right outputs. This makes it possible for us to take a mono tape track and give it both a stereo identity and a sense of being somewhere, rather than existing in a void.

For drums and vocals, where a longer reverb time is often chosen for artistic reasons, try to pick a setting that doesn't fill up all the space and stifle the mix; it may help to add a pre-delay of around 50ms or so. If the reverb makes the mix sound muddy, feed the reverb back through a channel that has EQ and roll off some of the bottom end.

Alternatively, if the reverb is diluting the stereo image of a sound too much, try panning the instrument sound and its associated reverb to exactly the same point in the mix.

This will kill the stereo width effect, but can be effective where a sound needs to emanate from a precise location. Avoid putting more than the barest hint of reverb on bass drums or bass instruments unless for deliberate effect unless the mix has loads of empty space to allow the reverb to breath, without clouding the overall picture.

Try panning an instrument eg. The sound will appear to be coming from the speaker that's carrying the unprocessed dry sound, even if the delay is as loud as the original signal. The psychoacoustic reasons why this is so are rather too complex to go into here, but this does provide another way to add space to a sound. If the delay is then modulated to produce a chorus sound, the result is to create the illusion of movement, and when listening in stereo you really can't tell that one channel is carrying a dry sound and the other a processed version -- the movement seems to occupy the whole of the space between the speakers.

Delay can be used to create more conventional echo and doubling effects, of course, and it has become fashionable to set up synchronised delay times that are a multiple of the tempo of the song.

For example, if a song is running at bpm, each beat is 60 divided by two seconds long -- which is half a second. Therefore, a delay of ms half a second , ms, or ms will always create echoes that are in sync with the music. You can also divide the beat time into threes to create echoes that occur in triplet time. Clever use of delays can help add drive and push to a song check out The Edge's guitar playing on most U2 tracks.

EQ is complex enough to warrant a complete article in its own right, though I subscribe to the school of thought that recommends leaving it alone unless desperately needed, and even then using as little as possible.

Using EQ to cut rather than boost, where possible, invariably results in a more natural sound. For general brightening of a track, try either a subtle amount of boost at 6kHz or a hint of high shelving boost usually kHz on most desks. EQ can be used to create separation in a crowded mix by using it to narrow the area of the spectrum occupied by a particular instrument or voice.

By using high and low EQ cut to 'trim' away these extremes, it may be possible to make a sound sit more comfortably in the mix.

Basic Mixing Techniques the Basic Series

Even though such EQ'd tracks may sound a touch unnatural in isolation, they may still work well once in context. Electric guitars often benefit from this kind of 'spectral trimming' as do acoustic guitars to take out some bass end , some drum sounds, and backing vocals.

Acoustic instruments are best treated gently with maybe just a little LF cut. Lead vocals, or vocals that are very exposed in the mix, should be treated most cautiously of all.

It's invariably better to get the right vocal sound at the outset, by choosing a sympathetic mic, rather than by using EQ later.

Flag for inappropriate content. Related titles. Jump to Page. Search inside document. GAIN RIDING On most mixes you'll need to do a little gain riding to sort out awkward vocal levels that the compressor can't handle, or to bring solos in and out, but again, listening from next door can help you identify the areas that need manual attention and those that can be left alone.

Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more.

While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive.

We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers. Author : Paul White. File Size : 5. Read : 1. Music Sales America. Four essential pocket- sized Basics guides in one handy reference pack.

These cover all aspects of studio recording and include: Mixers , Effects and Processors , Mixing Technique , and Multitracking. Download : 6. Read : 4.

Mixing techniques for the average beginner and owner of a home recording studio who wants to learn the basics and fundamentals of mixing music utilizing the techniques of the pros. Written by a home studio owner who's been trained by professional audio engineers, and who has gotten educated in the subject matter, but simplified to a point where it is a fun learning experience in itself as the techniques are applied in practice while reading this book. If you have the dream, the ideas, the music and the creativity but don't know where to start, then this book is for you!

Filled with practical advice on how to navigate the recording world, from an author with first- hand, real- life experience, Audio Engineering 1. Covering all you need to know about the recording process, from the characteristics of sound to a guide to microphones to analog versus digital recording. FAQ's from professionals give you real insight into the reality of life on the industry. Language : File Size : 5. Download : 8. Author : Jeff Strong. File Size : 6.

Tune in to this fun and friendly guide and get great sounds! If you're ready to record your own musical masterpiece, then you need this fun and friendly guide.

Updated to cover the latest technologies and recording techniques, this new edition shows you how to set up a home studio, record and edit your music, master it, and even distribute your songs.

Experienced musician, recording engineer, teacher, and author Jeff Strong provides easy- to- understand explanations of figure out mic placement, adjusting compression, and recording a variety of instruments. With this guide, you'll learn how to compare studio- in- a- box, computer- based, and stand- alone recording systems and choose what you need. You'll gain the skills to manage your sound, take full advantage of MIDI, do overdubs and replace missed notes, understand the mastering process, and prepare your music for duplication.

You'll also get up to speed on tools that let you record on the go or lay down tracks on a tablet computer.

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