This article was written by guest contributor Pat Walsh, lead guitarist of the band Chaser Eight
As most of us are well aware, we're now living in the age of the home recording studio. An old laptop with some inexpensive gear can now produce high fidelity recordings that can rival those made in expensive studios. Still, many musicians who aren't engineers (me included) can find the task of recording and producing a great track a little daunting. Through a lot of trial and error I have learned a few things over the years while producing tracks for my band, Chaser Eight. Here are 5 tips that home recording enthusiasts can employ right now to start getting more polished recordings.
1. Get a Preamp
Plugging a guitar or microphone directly into your recording interface can often produce a very transparent sound that lacks the warmth and volume that a great track requires. There is an easy and inexpensive way to get a better source sound: plug the guitar or microphone into a preamp first.
A decent preamp one can be obtained for as little as $50 and will immediately add volume and warmth to everything that you record. A few technical things to note: First, if you buy a tube preamp, it's best to junk the tube that comes with it and replace it with a better one (doing so requires nothing more than a screwdriver) which you can buy at a guitar shop.
Secondly, keep in mind that the output of the preamp will require a balanced audio cable such as a TSR or XLR cable. Don't try and connect the preamp to your interface with just an instrument cable, even though it will fit into the input.
First plug your guitar or microphone into a Preamp, like The Tube MP pictured above, rather than directly into the Interface for improved sound quality.
2. Dive In And Constantly Use the Web As a Resource
I notice that friends that are new to this will buy large books about home recording before they start actually trying to do any real recording themselves. These tomes can be solid resources, but for the most part, I think it's best to bypass them at first and just dive right in. Trial and error is the best teacher.
Most contemporary recording software programs, like GarageBand, are very user friendly and don't require a lot of time to learn at a basic level. Just start experimenting, and develop your own base knowledge. Once you've done this experimentation, then it's time to use the web to learn specific tasks. The two best sources of information are YouTube and a site called GearSlutz. They each provide oceans of tutorials and advice on virtually every topic with respect to recording. Maybe you've learned how to record drums fairly well on your own, but you are not sure how to properly EQ a snare drum. Go look it up. Maybe you have recorded a good vocal track but you'd like to know a little bit more about using pitch correction effectively? Seek and you shall find. I continue to learn new methods this approach.
Again, don't try and take in all of this information at once. It will overwhelm you and make the task of engineering great tracks seem impossible. Advanced books and the like are actually more useful after you've gotten a lot of hours under your belt, not before.
3. Invest in One Good Large Diaphragm Condenser Microphone
This isn't earth-shattering news to most home recording enthusiasts, but I can't overstate its importance: it is imperative to buy a good condenser microphone.
I strongly recommend that anyone mastering their own recordings, even on a shoestring budget, make purchasing a large diaphragm condenser microphone mandatory. The reason I believe in this item so dearly is that in addition to recording vocals, you can also record acoustic instruments (acoustic guitars, mandolins, banjos, etc.), light percussion (tambourines, bongos, etc.), and a whole host of other things.
I also love to use mine as a room microphone when recording drums. If you start buying separate condenser microphones of various shapes and sizes for all of these different tasks then your wallet is going to take a beating, and the results really won't change all that much. I'm a fan of the Rode NT1A, but if you want to stay under $200 there are plenty of excellent options out there.
This Rode NT1A, a large diaphragm microphone, can be used to record many things besides vocals.
4. Invest In Some Good Mastering Software
One thing that virtually any new home recording enthusiast inevitably says is, my track is done, but it's not as loud or punchy as my favorite band's tunes are.”
Many folks will then turn to professional engineers to master their finished songs. While these consultants often do great work (at increasingly cheap rates), it is no longer required that artists use them. If you are like me and like to record a lot of material, using a lot of outside engineer help is just too expensive.
Nowadays, mastering software is inexpensive, user-friendly, and very effective. I use a product called Ozone by Izotope. You can get it for about $200, and older versions of the product can be had for even less. Other options exist as well, and none of them take very much time to learn. The components of the software, like the Reverb or Compression units, can be used on individual tracks within the recording as well, so these products have many, many uses beyond just mastering the final tune. Of course, professional engineers are going to be better (I don't think Coldplay is going to decide to start mastering their tracks using $200 software), but you will definitely be very happy with the results you get, and they will be on-par with what you hear professionally mastered.
5. Get Decent Monitors, You Don't Need Great Ones
Some home recording enthusiasts fall into the trap of buying excessively expensive monitors for playback. If you happen to be a Rockefeller or a Hilton and can shell out $7,000 for massive monitors with an obscenely powerful subwoofer I'm all for it (and please, let's be friends). But if you are on a budget like me, nothing fancy is required.
My inexpensive M-Audio AV40 speakers, with no subwoofer to speak of, get the job done just fine. The only important thing is to simply know the characteristics of your monitors compared to other speakers. Listen to your tracks (as well as commercial recordings) on headphones, car stereos, and cheap computer speakers and compare what you hear to the sound profile of your monitors. Maybe your monitors don't project certain frequencies especially well so you know to turn those up a little bit when mixing. It is really no more complicated than that. If you follow this rule your tracks will be just as well mixed as the guy or gal who is using an exceptionally expensive monitoring system.
My democracy loving M-Audio Monitors get the job done at a low cost.
Showing posts with label recordings. Show all posts
Showing posts with label recordings. Show all posts
Monday, 19 December 2016
Sunday, 27 November 2016
8 Tips For Better Vocal Recordings
For the overwhelming majority of recorded music - particularly pop music - vocals are both the lead and the finishing touch of your musical masterpiece. Providing you've done your homework and taken great care throughout the recording process, your track should now be ready to shine. So how do you capture the perfect vocal? A good place to start would be to read our previous post on recording vocals In addition, following some basic guidelines listed below will help you form good habits in the name of professional sounding vocals.
1. Make sure the singer warms up
The importance of warming up before any vocal session cannot be stressed enough. The vocal chords are a muscle, and just like warming up before exercising, it is essential to perform warm-up exercises to ensure your voice is ready to perform. Failing to do so can result in vocal strain, which can lead to a poor performance or even a damaged voice!
2. Choose the right mic
Once your singer is performing at their best, the first point in the signal chain is your microphone. For this reason, it is essential to choose wisely. You can make an informed decision by understanding the basics of microphones In general, there are two main categories: dynamic and condenser microphones.
Condenser microphones are the default choice when recording vocals. However, dynamic microphones are typically less expensive and even have some distinct advantages over condenser microphones for certain applications. For example, when recording loud rock, hip-hop, or heavy metal vocals, the subtle detail and sensitivity of a condenser mic can be a hindrance. In fact, to name a Shure example - Michael Jackson, John Lennon, and Anthony Kiedis famously used the Shure SM7 on many well-known records.
3. Consider room acoustics
Another key element in achieving great results at the start of your signal chain is room acoustics. Often overlooked, the sound of your recording space has a huge impact on the sonic signature of your recordings. Unfortunately, in most home studios the acoustic environment leaves something to be desired, and, for this reason, countless recording projects fall at the first hurdle. The absurd thing is, bad acoustics are entirely preventable - even on a low budget.
A free solution is to hang a duvet behind the singer. This common trick - although not the most attractive solution - will help to prevent unwanted reflections from reaching the mic.
If you're able to install a more permanent and aesthetically pleasing solution, companies such as Primacoustic make specially tailored room kits to help tame reflections in a variety of studio sizes.
Dynamic mics can also play a part in dealing with less than stellar room acoustics Essentially, because a dynamic mic is less sensitive than a condenser mic, it is easier to achieve a higher ratio of direct to ambient sound.
4. Make them comfortable
A comfortable singer will invariably deliver a more confident, and most importantly, in-tune vocal performance. Studios can be quite cold or alien places for musicians and taking the time to make the environment as comfortable as possible can make all the difference. Perhaps the most important aspect here is room temperature. Air conditioning can play havoc on a vocalist's airways and throat, so although it's important to keep temperatures to a comfortable level, you might want to think about switching this off beforehand.
Additionally, never underestimate creating the right creative ambiance. As ‘hippy' as it may sound, creating the right mood and lighting within your studio can have a big impact.
Music should reflect real human emotions, and anything you can do to encourage creativity should be encouraged (no, I don't mean drugs).
5. Take time over the headphone mix
Ensuring the vocalist can adequately hear the mix should be considered an additional element as part of making them feel comfortable. Taking a few extra minutes to make sure they can hear themselves and the track clearly can save you hours of retakes or editing later down the line. Some singers respond particularly well to a little reverb added to their personal mix, which can help them hear more clearly and improve pitch accuracy. Also, don't forget to combine your monitor mix with a set of decent closed-back headphones to help prevent signal leaking back into the mic.
6. Use a pop filter
When using a condenser microphone, pop filters are essential to preventing unwanted explosive consonants from distorting the capsule. Once again, the input stage of any signal chain is the most important. In other words, it's far better to get things right at this stage of the game than to attempt remedial surgery later in the game. Besides which, it is very very difficult, if not impossible to remove explosive consonants once they're recorded. Long story short, if a pop filter is not in your recording arsenal, it should be.
7. Avoiding sibilance
Aggressive high-frequency sibilance from ‘S' and ‘T' sounds can destroy a perfectly good vocal take. Specialist compressors - referred to as de-essers - are often used to tame the sibilance with varying degrees of success. A better approach is to avoid nasty sibilance noise in the first place by applying strategic microphone placement & selection. In the event of such a problem, first try a different microphone, and if the problem persists, try moving the microphone just above or below the singers mouth. In all cases, a certain degree of experimentation is required to find the best microphone & placement for your singer and application.
8. Easy on the reverb
With most effects, less is almost always more. It can be tempting to apply large amounts of reverb to a vocal with the illusion that it will make for a bigger sound. In actual fact, the opposite is almost always the case. A small amount of reverb applied to a vocal recorded in a dry-sounding space will give a nice sense of space. Add too much, though, and you risk washing the vocal out; reducing focus and giving the impression of distance. For a focused, up-front sounding vocal, you want to hear more of the direct sound and less of the room ambiance. The opposite is true if you wish to make something sound further away.
1. Make sure the singer warms up
The importance of warming up before any vocal session cannot be stressed enough. The vocal chords are a muscle, and just like warming up before exercising, it is essential to perform warm-up exercises to ensure your voice is ready to perform. Failing to do so can result in vocal strain, which can lead to a poor performance or even a damaged voice!
2. Choose the right mic
Once your singer is performing at their best, the first point in the signal chain is your microphone. For this reason, it is essential to choose wisely. You can make an informed decision by understanding the basics of microphones In general, there are two main categories: dynamic and condenser microphones.
Condenser microphones are the default choice when recording vocals. However, dynamic microphones are typically less expensive and even have some distinct advantages over condenser microphones for certain applications. For example, when recording loud rock, hip-hop, or heavy metal vocals, the subtle detail and sensitivity of a condenser mic can be a hindrance. In fact, to name a Shure example - Michael Jackson, John Lennon, and Anthony Kiedis famously used the Shure SM7 on many well-known records.
3. Consider room acoustics
Another key element in achieving great results at the start of your signal chain is room acoustics. Often overlooked, the sound of your recording space has a huge impact on the sonic signature of your recordings. Unfortunately, in most home studios the acoustic environment leaves something to be desired, and, for this reason, countless recording projects fall at the first hurdle. The absurd thing is, bad acoustics are entirely preventable - even on a low budget.
A free solution is to hang a duvet behind the singer. This common trick - although not the most attractive solution - will help to prevent unwanted reflections from reaching the mic.
If you're able to install a more permanent and aesthetically pleasing solution, companies such as Primacoustic make specially tailored room kits to help tame reflections in a variety of studio sizes.
Dynamic mics can also play a part in dealing with less than stellar room acoustics Essentially, because a dynamic mic is less sensitive than a condenser mic, it is easier to achieve a higher ratio of direct to ambient sound.
4. Make them comfortable
A comfortable singer will invariably deliver a more confident, and most importantly, in-tune vocal performance. Studios can be quite cold or alien places for musicians and taking the time to make the environment as comfortable as possible can make all the difference. Perhaps the most important aspect here is room temperature. Air conditioning can play havoc on a vocalist's airways and throat, so although it's important to keep temperatures to a comfortable level, you might want to think about switching this off beforehand.
Additionally, never underestimate creating the right creative ambiance. As ‘hippy' as it may sound, creating the right mood and lighting within your studio can have a big impact.
Music should reflect real human emotions, and anything you can do to encourage creativity should be encouraged (no, I don't mean drugs).
5. Take time over the headphone mix
Ensuring the vocalist can adequately hear the mix should be considered an additional element as part of making them feel comfortable. Taking a few extra minutes to make sure they can hear themselves and the track clearly can save you hours of retakes or editing later down the line. Some singers respond particularly well to a little reverb added to their personal mix, which can help them hear more clearly and improve pitch accuracy. Also, don't forget to combine your monitor mix with a set of decent closed-back headphones to help prevent signal leaking back into the mic.
6. Use a pop filter
When using a condenser microphone, pop filters are essential to preventing unwanted explosive consonants from distorting the capsule. Once again, the input stage of any signal chain is the most important. In other words, it's far better to get things right at this stage of the game than to attempt remedial surgery later in the game. Besides which, it is very very difficult, if not impossible to remove explosive consonants once they're recorded. Long story short, if a pop filter is not in your recording arsenal, it should be.
7. Avoiding sibilance
Aggressive high-frequency sibilance from ‘S' and ‘T' sounds can destroy a perfectly good vocal take. Specialist compressors - referred to as de-essers - are often used to tame the sibilance with varying degrees of success. A better approach is to avoid nasty sibilance noise in the first place by applying strategic microphone placement & selection. In the event of such a problem, first try a different microphone, and if the problem persists, try moving the microphone just above or below the singers mouth. In all cases, a certain degree of experimentation is required to find the best microphone & placement for your singer and application.
8. Easy on the reverb
With most effects, less is almost always more. It can be tempting to apply large amounts of reverb to a vocal with the illusion that it will make for a bigger sound. In actual fact, the opposite is almost always the case. A small amount of reverb applied to a vocal recorded in a dry-sounding space will give a nice sense of space. Add too much, though, and you risk washing the vocal out; reducing focus and giving the impression of distance. For a focused, up-front sounding vocal, you want to hear more of the direct sound and less of the room ambiance. The opposite is true if you wish to make something sound further away.
Monday, 15 August 2016
5 Tips For Amazing Electric Guitar Recordings
1. 'The Hendrix Principle' - get your sound right before you record
Sure, it sounds pretty obvious, but take it from an experienced recording engineer, this is the number one fundamental to a great guitar recording, and it's so often overlooked.
Remember: the essence of recording is capturing a sound. So you need to make the sound you want, then capture it.
I like to call it The Hendrix Principle, because he's the perfect example. If you want your guitar to sound like Jimi Hendrix , you'll need the kind of guitar he used, the kind of amp he used, and the kinds of FX pedals he used. Then you're ready to record.
Remember: Hendrix (or whoever) didn't play any old crappy instrument and then expect the engineer to wave a magic wand to give him his sound.
2. Microphone Matters
When you go to record your electric guitar, you need to mic-up the amplifier with an appropriate microphone. Microphones fall into a number of basic categories: Dynamic , Condenser and Ribbon are the main 3. Dynamic microphones are an ideal choice for close-miking a loud guitar amp. If you're going to use a condenser or a ribbon microphone, be sure not to overload them with a too-powerful amp.
Recommended:
A Shure SM57 is the ideal microphone for recording Guitar Amps. They're virtually indestructible and have been a studio standard for decades. But the best thing is: they won't break the bank.
3. Microphone placement matters even more!
While choosing the right microphone is important, how you place the microphone can make or break the sound. In a nutshell, if you close-mic your amp, pointing the microphone right in the centre of the speaker cone will produce a bright sound. Aiming the microphone at the edge of the speaker cone will give a darker sound, and somewhere in between will give a more balanced sound.
4. Capture more sound with more mics.
To get even more out of your electric guitar recording, Try using multiple microphones. There are 2 standard placement setups for this:
Technique 1: Front and back of cab
Having a microphone behind the guitar amp as well as in front helps to capture more of the sound. The 'back mic' should ideally be the same model as the front mic, and should be exactly the same distance from the speaker cone as the front mic. The polarity of this microphone must be inverted, generally at the microphone pre-amp, though this can be done in your recording software.
Combining the 2 mic signals together gives a fuller, richer sound than using just the front microphone. (This is the same principle as top and bottom snare drum miking.)
Technique 2: Close / Distant
Besides having the amp close-mic'd, add another microphone a few feet back from the amp. This microphone will pick up a different sound to the close mic, and when you blend the two signals together, you get a full, rich sound.
5. Natural ambience ' Room mic
Instead of just using acoustically 'dead' rooms to record Guitar Amplifiers, let's take it one step further and do what they did back in the good old days of recording in the mid twentieth century. Find a nice sounding space, set the amp up there, and capture some of the natural ambience of the space together with the amp sound. But be careful not to over-do natural ambience, because once it's in your recording, there's no way of getting it out again.
The Bathroom Amp Sound!
One of the best guitar sounds I ever pulled was when I set up a little 1963 Gibson Skylark amp in a tiled bathroom. With a close mic and one a couple of feet back, I captured just the right amount of the guitar amp reverberating around the tiled room together with the relatively dry close-mic. Putting the 2 signals together and blending them just right, the sound was phenomenal!
That's it!
There you go, 5 easy steps to follow for amazing electric guitar recordings, every time. And as a bonus, my special 'Bathroom Amp Sound' explained!
Stay tuned for more recording and mixing tips!
Sure, it sounds pretty obvious, but take it from an experienced recording engineer, this is the number one fundamental to a great guitar recording, and it's so often overlooked.
Remember: the essence of recording is capturing a sound. So you need to make the sound you want, then capture it.
I like to call it The Hendrix Principle, because he's the perfect example. If you want your guitar to sound like Jimi Hendrix , you'll need the kind of guitar he used, the kind of amp he used, and the kinds of FX pedals he used. Then you're ready to record.
Remember: Hendrix (or whoever) didn't play any old crappy instrument and then expect the engineer to wave a magic wand to give him his sound.
2. Microphone Matters
When you go to record your electric guitar, you need to mic-up the amplifier with an appropriate microphone. Microphones fall into a number of basic categories: Dynamic , Condenser and Ribbon are the main 3. Dynamic microphones are an ideal choice for close-miking a loud guitar amp. If you're going to use a condenser or a ribbon microphone, be sure not to overload them with a too-powerful amp.
Recommended:
A Shure SM57 is the ideal microphone for recording Guitar Amps. They're virtually indestructible and have been a studio standard for decades. But the best thing is: they won't break the bank.
3. Microphone placement matters even more!
While choosing the right microphone is important, how you place the microphone can make or break the sound. In a nutshell, if you close-mic your amp, pointing the microphone right in the centre of the speaker cone will produce a bright sound. Aiming the microphone at the edge of the speaker cone will give a darker sound, and somewhere in between will give a more balanced sound.
4. Capture more sound with more mics.
To get even more out of your electric guitar recording, Try using multiple microphones. There are 2 standard placement setups for this:
Technique 1: Front and back of cab
Having a microphone behind the guitar amp as well as in front helps to capture more of the sound. The 'back mic' should ideally be the same model as the front mic, and should be exactly the same distance from the speaker cone as the front mic. The polarity of this microphone must be inverted, generally at the microphone pre-amp, though this can be done in your recording software.
Combining the 2 mic signals together gives a fuller, richer sound than using just the front microphone. (This is the same principle as top and bottom snare drum miking.)
Technique 2: Close / Distant
Besides having the amp close-mic'd, add another microphone a few feet back from the amp. This microphone will pick up a different sound to the close mic, and when you blend the two signals together, you get a full, rich sound.
5. Natural ambience ' Room mic
Instead of just using acoustically 'dead' rooms to record Guitar Amplifiers, let's take it one step further and do what they did back in the good old days of recording in the mid twentieth century. Find a nice sounding space, set the amp up there, and capture some of the natural ambience of the space together with the amp sound. But be careful not to over-do natural ambience, because once it's in your recording, there's no way of getting it out again.
The Bathroom Amp Sound!
One of the best guitar sounds I ever pulled was when I set up a little 1963 Gibson Skylark amp in a tiled bathroom. With a close mic and one a couple of feet back, I captured just the right amount of the guitar amp reverberating around the tiled room together with the relatively dry close-mic. Putting the 2 signals together and blending them just right, the sound was phenomenal!
That's it!
There you go, 5 easy steps to follow for amazing electric guitar recordings, every time. And as a bonus, my special 'Bathroom Amp Sound' explained!
Stay tuned for more recording and mixing tips!
Monday, 8 August 2016
Sounding Vocals On Home Recordings
Every musician dreams of recording in a big, fancy studio with a world-renowned producer, but the honest truth is that most of us are getting by on a pretty tight budget Fortunately, with a couple of easy hacks, some production knowledge and little bit of patience, you can get your home recordings sounding extraordinarily close to what a professional studio might deliver.
One of the biggest telltale signs that a track wasn't recorded professionally is how the vocals sound, so I'm going to let you in on a few pro tips to nail your vocal tracks with the gear you already have at home.
1. Get in the zone
As obvious as it sounds, the first step to getting a good recording is to set the right ambience. If the vibe is off and you're in an environment where you can't relax, you're already off to a less than ideal start. Once you're feeling comfortable, make sure your headphone levels are nice and you'll be ready to go.
2. Hack your bedroom
In order to accomplish a great lead vocal sound in a non-professional environment, it's a good idea to record in a neutral, dry room. You'll want to avoid cavernous rooms with reflections and reverberated sound because it will affect the quality and the control later in the mixing process. Keep in mind that there's no way to go back to "dry" from a "wet" sound, so make sure the room has a controlled sound, leaning towards dry (not "dead" though).
A bedroom works well because your mattress, blankets, cupboard and even curtains are all good sound absorbers. In any case, you can build a simple vocal booth using old blankets, curtains, mattresses and pillows. You could even add a few rough wood panels to create a more natural sound. Remember, the most important thing to avoid is those reflections and echoes typical of hard floors, empty rooms and large rooms.
3. Position your mic and pop filter correctly
Place the mic diaphragm facing your lips (sometimes off axis, if necessary). Listen with your headphones for the subtle differences. Try close (two or three inches) or mid-distance (one foot) mic'ing, depending on which sound works best for your track. Always use a pop filter in front of the mic to tame your P” and T” sounds. If you don't own a pop filter, you can make one from scratch with a sock or stocking cap stretched over a wire hanger.
4. Get the right mic levels
After the mic warms up for a few minutes, quickly get the level into the preamp and on the DAW. Vocals should be safely below the red to avoid distortion from levels that are too hot (also known as clipping” or peaking”). Learn more about proper mic'ing techniques here
5. Do several takes
Warm up singing through the entire song two or three times before going into detailed spots. Relax and have fun the whole way through - you're making music, after all! Record everything and properly label all the tracks and takes for easy reference later.
If you're not pleased with your performance after multiple takes, take a break and step away from the song. Sometimes overdoing it can put strain on your performance and your voice.
Instead of letting frustration build, coming back to it with a fresh start the next day might be your best move.
6. Be careful with your vocal editing
Today's software offers incredible control over recorded tracks for editing. If you have some experience with plugins and editing tools, that's great, but don't overuse them or become too dependent.
When you're doing vocal comping, try to use big portions of a given take so that you don't ruin the vibe and original nature of the performance. Fill in only the less solid parts from other vocal takes. Make sure you focus on the performance, not the pitch. Use parts that aren't just sung well,” but that also have personality.
Autotune and Melodyne are great tools, but don't overdo them (unless you're intentionally going for that mainstream pop/artificial effects sound in the production). Only fix the faulty words or sections - don't put the tuning plugin on the whole track.
7. Know when (and when not) to process your vocal sound
Skilled engineers and producers have figured out how to achieve a convincing sound for vocals after years of experience and dozens of albums. While that level of experience can't quite be replicated in your home recordings if you're just starting out, there are many high quality plugins for DAWs nowadays that will allow you to get pretty darn close, as long as you have patience and a good ear.
For starters, you don't need to use EQ if you have a really good preamp. If you're recording jazz, folk or classical, do not use compression. For pop or rock, try using 2-4 dB compression and a slow attack (to preserve a more natural vocal sound), and see if you like it. Feel free to use hard compression to your taste and at your own risk!
A few effects plugins you may want to equip yourself with include:
a good parametric EQ to cut unwanted frequencies and enhance others
a couple of compressors
a de-esser
two or three types of delays (short, medium and long, to be used in different parts of the song)
one or two high quality reverbs (short and long - again, to be used creatively throughout the song)
One of the biggest telltale signs that a track wasn't recorded professionally is how the vocals sound, so I'm going to let you in on a few pro tips to nail your vocal tracks with the gear you already have at home.
1. Get in the zone
As obvious as it sounds, the first step to getting a good recording is to set the right ambience. If the vibe is off and you're in an environment where you can't relax, you're already off to a less than ideal start. Once you're feeling comfortable, make sure your headphone levels are nice and you'll be ready to go.
2. Hack your bedroom
In order to accomplish a great lead vocal sound in a non-professional environment, it's a good idea to record in a neutral, dry room. You'll want to avoid cavernous rooms with reflections and reverberated sound because it will affect the quality and the control later in the mixing process. Keep in mind that there's no way to go back to "dry" from a "wet" sound, so make sure the room has a controlled sound, leaning towards dry (not "dead" though).
A bedroom works well because your mattress, blankets, cupboard and even curtains are all good sound absorbers. In any case, you can build a simple vocal booth using old blankets, curtains, mattresses and pillows. You could even add a few rough wood panels to create a more natural sound. Remember, the most important thing to avoid is those reflections and echoes typical of hard floors, empty rooms and large rooms.
3. Position your mic and pop filter correctly
Place the mic diaphragm facing your lips (sometimes off axis, if necessary). Listen with your headphones for the subtle differences. Try close (two or three inches) or mid-distance (one foot) mic'ing, depending on which sound works best for your track. Always use a pop filter in front of the mic to tame your P” and T” sounds. If you don't own a pop filter, you can make one from scratch with a sock or stocking cap stretched over a wire hanger.
4. Get the right mic levels
After the mic warms up for a few minutes, quickly get the level into the preamp and on the DAW. Vocals should be safely below the red to avoid distortion from levels that are too hot (also known as clipping” or peaking”). Learn more about proper mic'ing techniques here
5. Do several takes
Warm up singing through the entire song two or three times before going into detailed spots. Relax and have fun the whole way through - you're making music, after all! Record everything and properly label all the tracks and takes for easy reference later.
If you're not pleased with your performance after multiple takes, take a break and step away from the song. Sometimes overdoing it can put strain on your performance and your voice.
Instead of letting frustration build, coming back to it with a fresh start the next day might be your best move.
6. Be careful with your vocal editing
Today's software offers incredible control over recorded tracks for editing. If you have some experience with plugins and editing tools, that's great, but don't overuse them or become too dependent.
When you're doing vocal comping, try to use big portions of a given take so that you don't ruin the vibe and original nature of the performance. Fill in only the less solid parts from other vocal takes. Make sure you focus on the performance, not the pitch. Use parts that aren't just sung well,” but that also have personality.
Autotune and Melodyne are great tools, but don't overdo them (unless you're intentionally going for that mainstream pop/artificial effects sound in the production). Only fix the faulty words or sections - don't put the tuning plugin on the whole track.
7. Know when (and when not) to process your vocal sound
Skilled engineers and producers have figured out how to achieve a convincing sound for vocals after years of experience and dozens of albums. While that level of experience can't quite be replicated in your home recordings if you're just starting out, there are many high quality plugins for DAWs nowadays that will allow you to get pretty darn close, as long as you have patience and a good ear.
For starters, you don't need to use EQ if you have a really good preamp. If you're recording jazz, folk or classical, do not use compression. For pop or rock, try using 2-4 dB compression and a slow attack (to preserve a more natural vocal sound), and see if you like it. Feel free to use hard compression to your taste and at your own risk!
A few effects plugins you may want to equip yourself with include:
a good parametric EQ to cut unwanted frequencies and enhance others
a couple of compressors
a de-esser
two or three types of delays (short, medium and long, to be used in different parts of the song)
one or two high quality reverbs (short and long - again, to be used creatively throughout the song)
Monday, 25 July 2016
Adding Width And Depth To Your Recordings
Posted by Daniel Keller on November 16, 2012 6:55:42 PM PST
When it comes to discussing the fine art of mixing music, I tend to approach the subject with some trepidation. After all, compared to many of the topics I've written about, this one is rife with subjectivity — one person's idea of a great sounding mix may be another's sonic nightmare. And what works for one genre of music will be decidedly wrong for another.
But all those variables aside, there are at least a few general theories, tips, and tricks that apply to most mix projects. So while the idea here is not to give a step-by-step tutorial on two-track mixing, hopefully we can cover at least a few concepts that are useful for everyone.
In a good stereo mix, each instrument needs clarity, balance, separation,
and its own space in the stereo field.
The Concept
At its most basic, mixing in stereo means mixing for the human brain and physiology. True” stereo mixing involves creating a sonic picture that replicates what our two ears hear — and our brains decode — in the real world. For example, the brain localizes a sound by measuring the time and tonal differences between the sound arriving at one ear and the other.
In a perfect world, a true stereo mix would create a sound that's as close as possible to an organic, live performance.
But in the real world, much of the process of creating a stereo mix is far from organic or natural. Part of this is due to practical considerations. In a live performance, the acoustics of the venue itself play a prominent role in blending the sound sources and masking the localization of any particular instrument. In the studio, tracks tend to be recorded separately, in a relatively dry setting, enabling us to control their perceived ambience with the aid of technology.
In actual practice, modern stereo mixing has less to do with replicating real world conditions than with creating a good sounding balance between the various musical elements in a recording. It's probably safe to say that most modern recordings bear only a passing resemblance to the sound of a band playing live in front of the listener.
What Makes a Good Mix?
As stated earlier, the definition of a good sounding mix is largely in the ears of the listener. But most engineers will agree that a good mix should contain a few common characteristics:
Clarity: Each sound in the mix should be clean and clear — no muddiness or blurring of the sounds or the stereo image, no excess noise or other anomalies.
Separation: Each instrument and part should be easily discernable. Sure, there's nothing wrong with a wall of sound” if that's what you're after, but even within those big, lush guitars, a great mix will be crisp and well-defined enough for the listener to pick out individual sounds.
Balance: The mix should offer a good balance of frequencies. A mix that's too bottom heavy or too shrill will be unpleasant and exhausting to listen to. The mix should also be balanced between left and right channels.
Space: As with balance, this applies on many levels. The music itself should have space - places between the notes where things breathe and dynamics develop. Of course, this will vary depending on the genre of music. There should also be an element of natural ambience to each instrument, and the ambience for these different instruments should blend well with each other.
Needless to say, these characteristics alone do not make for a perfect mix, but a mix that lacks any one of them will very likely end up being at least a little bit problematic.
It Starts at the Source
It should go without saying that achieving the best mix starts with a good recording. Strive to achieve the cleanest tracks you can, with no excess noise or distortion.
Most importantly, don't forget to listen closely while you're recording. Be on the lookout not just for mistakes, but stray noises and other anomalies. It's far more difficult to go back and re-record a part, or fix it in the mix, than it is to get it right the first time.
It's also a good idea to think in terms of the song and the arrangement from the very beginning. Only add what's needed for the arrangement, rather than cluttering it with overdubs.
And try to keep the number of takes of any given part to a minimum; few things are more mentally exhausting than listening through dozens of takes of a vocal or solo to compile a single track.
In fact, planning for your mix while you're tracking is probably the number one most overlooked issue in recording. Particularly with the near limitless tracks offered by today's DAW programs, it's all too easy to just record another take and adopt a fix it in the mix” attitude. The hours you will add to your mixdown time will absolutely come back to bite you in the end.
Mixing at too high a volume will affect your sound perception, as demonstrated by these loudness contours.
Preparing Yourself
Just as with any artistic endeavor, everyone has their own set of tricks and techniques, and what works for me might not do the trick for you. But there are a few points that are pretty much universal. One is to always try and mix with fresh ears. Starting a mix after you've been tracking for eight hours will pretty much assure you'll be starting again the next day.
Second, try and keep the volume at lower levels — too much volume will inevitably begin to affect your perception (for more info, do a web search on Fletcher-Munson Curve ”).
Also, when you're mixing remember to change your perspective often. Your mix may sound great while you're sitting in the sweet spot between the speakers, but the true test will be listening to it from out in the hall, or through a boom box or car stereo.
We've all heard people compare a mix in visual terms, and there are even courses of study that emphasize the concept, creating different colored orbs” to illustrate the placement of parts in a mix. It's an interesting idea, though I personally prefer to leave visuals out of the equation altogether. In fact, my preferred method for mixing involves closing my eyes to listen. I find that removing visual distractions tends to sharpen my focus on what I'm hearing.
The Joys of Mono
It's important to periodically check your mix in mono while building your mix. The main idea behind this is to avoid phase issues with stereo sources like guitars and keyboards.
But checking the mix in mono makes sense for other reasons too. Listening in mono tends to flatten out” the mix, giving you a different perspective on how much natural separation there is between the tracks. Essentially, if it sounds clean and well-defined in mono, it will sound good in stereo too, while the inverse is not necessarily true.
That said, let's draw a distinction between checking your stereo mix in mono versus the practice of building the mix in mono and then spreading it out. While a number of engineers
I've talked with swear by this technique, my own (admittedly subjective) view is that mixing in stereo requires an entirely different approach, much the same way mixing in a surround format differs from stereo.
Drums and Bass — Starting with the Foundation
For the most part, low frequency sounds tend to work best when panned dead center. Because of their lack of directionality, and because they contain most of the energy in a typical mix, it's best to keep these sounds in the middle of your mix.
Create a natural space in the stereo spread for each drum piece.
Typically, in a rock or pop mix, the drums and bass are the first element most people address. Though there are no hard and fast rules, most mixes begin by setting up the stereo image of the drums from an audience perspective. That means that, with a right-handed drummer, the kick and snare will be in the center, the hi-hat will be panned slightly right of that, and the overheads will be panned hard left and right.
Depending on how many toms and other toys the drummer has in his or her kit, it's usually best to create a natural placement for each of them within the stereo spread. For example, if the drummer has three toms, I usually pan the middle one dead center and the other two at around 9 to 10 'clock and 2 to 3 'clock, depending on how wide a spread I'm looking for.
Of course, all this assumes you're miking the drum kit in what has become the standard recording technique, with individual mics on each drum, a pair of overheads, and perhaps even some distant mics to pick up room ambience. For the most part, you will find that the more you mix in the overheads and ambient room mics, the less actual localized” definition your drums will have.
That said, one of the most interesting sessions I ever worked on involved only four mics on the kit — a stereo pair set up a few feet away from the kit, and an ambient pair about 15 feet away in the corners of the room. The producer was a well known old-school studio veteran, and we spent literally hours moving the mics by a half-inch here, and a quarter-turn there.
The resulting drum mix, though it certainly had some natural stereo ambience, was closer to mono in nature. And while you might associate that with a lack of depth, the result was anything but. In fact, less panning and less ambience will result in a bigger, more defined and in your face drum sound.
Stereo Guitars — A Few Tips
Mixing guitars in stereo is a great way to add depth to a mix, particularly in a very busy mix. Spreading out the guitar(s) will open up space for the bass and other center-panned parts. Try dropping out some lower midrange to remove muddiness in the middle — especially on a dreadnaught or other large-body acoustic. Adding high end can also work, but will often accentuate finger noise.
Try recording acoustic guitar with a pair of directional mics with one pointing at the body just below the sound hole and the other at the top of the neck. Panning them at about 9 'clock and 3 'clock should give you a nice wide stereo image. Alternatively, try using a Mid-Side micing technique
A suggested stereo recording setup for guitar.
Doubling guitars is another nice way to add depth. Pan the original part to one side, add a delay (between 5 and 15 ms is a good place to start), and pan the delay return to the opposite side. A slightly different reverb and/or EQ setting will thicken them out even more.
Double-tracking the guitars manually (that is, actually recording the same part twice) can deliver even more interesting results. Try recording the same part using two different guitars. If that's not an option, try recording the same part with a different tuning or a capo. For example, if the song is in G, record the second pass with a capo on the 5th fret, playing in D. Or tune the guitar down a whole step and play the song in A.
Another way to double a guitar part that's been tracked in mono is to send it back through a guitar amp and mic the amp from two different spots in the room with different mics.
Alternatively, run the track through two different amps with different settings.
Blending Lead and Background Vocals
While lead vocals are typically front and center, you can try all sorts of different ideas with backing vocals. Spreading them across the stereo field is great for widening your track, but try not to get too wide - 9 'clock and 3 'clock is enough for most mixes. With most backing vocals, effects can be your friend; a bit of hall and some chorus can do wonders for blending parts with each other and within the mix.
Panning the backing vocals left and right and leaving the lead vocal in the center is a commonly used technique and works well in most cases. But for something just a bit different, try slipping the lead vocal just a hair to one side and the backing vocals to the other side.
A Few More Things to Try
Don't be afraid to be asymmetrical with your mix by placing elements to one side or the other. Particularly with string patches and other heavily chorused pads, panning them very widely can cause them to dominate the mix even when they're not very loud. Instead of panning a part at, for example, 9 'clock and 3 'clock, try a more narrow panning like 1 'clock and 3 'clock. Of course, you'll probably want to introduce some other element on the other side to balance things out, but it's a great way to keep things from getting too swimmy and lacking in focus.
In fact, it's a good idea to make sure at least some elements of your mix stay in mono. While those lush, chorused pads and reverbs may sound great on their own, piling up track after track of them is a great way to turn your mix into an underwater mess. Always keep at least some parts in mono to give them a sense of localization. Using a mono reverb will give them an ambience without destroying their directionality.
One very effective trick is to use delayed reverb instead of just panning for a more natural sounding ambience. Pan the original track to one side at about 9 'clock or 10 'clock, Add a short delay (less than 10 ms) and pan that to the opposite side; then add just a touch of reverb to the delayed signal. The results will be a bit more natural-sounding than just using the pan control. Here's why: our ears and brain perceive a sound source using a number of auditory clues, including differences in timing, level, and even tonality between each ear. A pan pot only addresses the difference in level. Delaying the sound on one side and adding a bit of reflection creates a more natural ambience. Try shaving off just a touch of high end on the delayed sound as well to replicate the effect your head creates as it masks some of the sound.
Another trick for widening a track is to pan it to one side and add a stereo reverb; the result will be a natural ambience with a bit of extra splash” to one side. Or try adding a very gentle mono chorus effect to only one side of a stereo track. The movement between the speakers can add an interesting depth and spaciousness that's particularly nice on strings and other pads.
Of Course, There's More
Even though I've tried to stick with very general concepts, mixing is a subject that can easily fill many hundreds of pages. But let me leave you with two important points.
First — it's always about the song. No matter how many cool technological tricks you introduce into a mix, if it's not right for the song, it's not going to work. Listen to the song, and only give it what it needs - nothing more.
And that, once again, brings me to my second point, a tip I offer in almost every column — your ears are your most important tool. Learning to listen is truly the most important lesson in music, whether playing, recording, mixing, or mastering. Don't be afraid to get in there and try new things. And as always, let your ears be your guide.
When it comes to discussing the fine art of mixing music, I tend to approach the subject with some trepidation. After all, compared to many of the topics I've written about, this one is rife with subjectivity — one person's idea of a great sounding mix may be another's sonic nightmare. And what works for one genre of music will be decidedly wrong for another.
But all those variables aside, there are at least a few general theories, tips, and tricks that apply to most mix projects. So while the idea here is not to give a step-by-step tutorial on two-track mixing, hopefully we can cover at least a few concepts that are useful for everyone.
In a good stereo mix, each instrument needs clarity, balance, separation,
and its own space in the stereo field.
The Concept
At its most basic, mixing in stereo means mixing for the human brain and physiology. True” stereo mixing involves creating a sonic picture that replicates what our two ears hear — and our brains decode — in the real world. For example, the brain localizes a sound by measuring the time and tonal differences between the sound arriving at one ear and the other.
In a perfect world, a true stereo mix would create a sound that's as close as possible to an organic, live performance.
But in the real world, much of the process of creating a stereo mix is far from organic or natural. Part of this is due to practical considerations. In a live performance, the acoustics of the venue itself play a prominent role in blending the sound sources and masking the localization of any particular instrument. In the studio, tracks tend to be recorded separately, in a relatively dry setting, enabling us to control their perceived ambience with the aid of technology.
In actual practice, modern stereo mixing has less to do with replicating real world conditions than with creating a good sounding balance between the various musical elements in a recording. It's probably safe to say that most modern recordings bear only a passing resemblance to the sound of a band playing live in front of the listener.
What Makes a Good Mix?
As stated earlier, the definition of a good sounding mix is largely in the ears of the listener. But most engineers will agree that a good mix should contain a few common characteristics:
Clarity: Each sound in the mix should be clean and clear — no muddiness or blurring of the sounds or the stereo image, no excess noise or other anomalies.
Separation: Each instrument and part should be easily discernable. Sure, there's nothing wrong with a wall of sound” if that's what you're after, but even within those big, lush guitars, a great mix will be crisp and well-defined enough for the listener to pick out individual sounds.
Balance: The mix should offer a good balance of frequencies. A mix that's too bottom heavy or too shrill will be unpleasant and exhausting to listen to. The mix should also be balanced between left and right channels.
Space: As with balance, this applies on many levels. The music itself should have space - places between the notes where things breathe and dynamics develop. Of course, this will vary depending on the genre of music. There should also be an element of natural ambience to each instrument, and the ambience for these different instruments should blend well with each other.
Needless to say, these characteristics alone do not make for a perfect mix, but a mix that lacks any one of them will very likely end up being at least a little bit problematic.
It Starts at the Source
It should go without saying that achieving the best mix starts with a good recording. Strive to achieve the cleanest tracks you can, with no excess noise or distortion.
Most importantly, don't forget to listen closely while you're recording. Be on the lookout not just for mistakes, but stray noises and other anomalies. It's far more difficult to go back and re-record a part, or fix it in the mix, than it is to get it right the first time.
It's also a good idea to think in terms of the song and the arrangement from the very beginning. Only add what's needed for the arrangement, rather than cluttering it with overdubs.
And try to keep the number of takes of any given part to a minimum; few things are more mentally exhausting than listening through dozens of takes of a vocal or solo to compile a single track.
In fact, planning for your mix while you're tracking is probably the number one most overlooked issue in recording. Particularly with the near limitless tracks offered by today's DAW programs, it's all too easy to just record another take and adopt a fix it in the mix” attitude. The hours you will add to your mixdown time will absolutely come back to bite you in the end.
Mixing at too high a volume will affect your sound perception, as demonstrated by these loudness contours.
Preparing Yourself
Just as with any artistic endeavor, everyone has their own set of tricks and techniques, and what works for me might not do the trick for you. But there are a few points that are pretty much universal. One is to always try and mix with fresh ears. Starting a mix after you've been tracking for eight hours will pretty much assure you'll be starting again the next day.
Second, try and keep the volume at lower levels — too much volume will inevitably begin to affect your perception (for more info, do a web search on Fletcher-Munson Curve ”).
Also, when you're mixing remember to change your perspective often. Your mix may sound great while you're sitting in the sweet spot between the speakers, but the true test will be listening to it from out in the hall, or through a boom box or car stereo.
We've all heard people compare a mix in visual terms, and there are even courses of study that emphasize the concept, creating different colored orbs” to illustrate the placement of parts in a mix. It's an interesting idea, though I personally prefer to leave visuals out of the equation altogether. In fact, my preferred method for mixing involves closing my eyes to listen. I find that removing visual distractions tends to sharpen my focus on what I'm hearing.
The Joys of Mono
It's important to periodically check your mix in mono while building your mix. The main idea behind this is to avoid phase issues with stereo sources like guitars and keyboards.
But checking the mix in mono makes sense for other reasons too. Listening in mono tends to flatten out” the mix, giving you a different perspective on how much natural separation there is between the tracks. Essentially, if it sounds clean and well-defined in mono, it will sound good in stereo too, while the inverse is not necessarily true.
That said, let's draw a distinction between checking your stereo mix in mono versus the practice of building the mix in mono and then spreading it out. While a number of engineers
I've talked with swear by this technique, my own (admittedly subjective) view is that mixing in stereo requires an entirely different approach, much the same way mixing in a surround format differs from stereo.
Drums and Bass — Starting with the Foundation
For the most part, low frequency sounds tend to work best when panned dead center. Because of their lack of directionality, and because they contain most of the energy in a typical mix, it's best to keep these sounds in the middle of your mix.
Create a natural space in the stereo spread for each drum piece.
Typically, in a rock or pop mix, the drums and bass are the first element most people address. Though there are no hard and fast rules, most mixes begin by setting up the stereo image of the drums from an audience perspective. That means that, with a right-handed drummer, the kick and snare will be in the center, the hi-hat will be panned slightly right of that, and the overheads will be panned hard left and right.
Depending on how many toms and other toys the drummer has in his or her kit, it's usually best to create a natural placement for each of them within the stereo spread. For example, if the drummer has three toms, I usually pan the middle one dead center and the other two at around 9 to 10 'clock and 2 to 3 'clock, depending on how wide a spread I'm looking for.
Of course, all this assumes you're miking the drum kit in what has become the standard recording technique, with individual mics on each drum, a pair of overheads, and perhaps even some distant mics to pick up room ambience. For the most part, you will find that the more you mix in the overheads and ambient room mics, the less actual localized” definition your drums will have.
That said, one of the most interesting sessions I ever worked on involved only four mics on the kit — a stereo pair set up a few feet away from the kit, and an ambient pair about 15 feet away in the corners of the room. The producer was a well known old-school studio veteran, and we spent literally hours moving the mics by a half-inch here, and a quarter-turn there.
The resulting drum mix, though it certainly had some natural stereo ambience, was closer to mono in nature. And while you might associate that with a lack of depth, the result was anything but. In fact, less panning and less ambience will result in a bigger, more defined and in your face drum sound.
Stereo Guitars — A Few Tips
Mixing guitars in stereo is a great way to add depth to a mix, particularly in a very busy mix. Spreading out the guitar(s) will open up space for the bass and other center-panned parts. Try dropping out some lower midrange to remove muddiness in the middle — especially on a dreadnaught or other large-body acoustic. Adding high end can also work, but will often accentuate finger noise.
Try recording acoustic guitar with a pair of directional mics with one pointing at the body just below the sound hole and the other at the top of the neck. Panning them at about 9 'clock and 3 'clock should give you a nice wide stereo image. Alternatively, try using a Mid-Side micing technique
A suggested stereo recording setup for guitar.
Doubling guitars is another nice way to add depth. Pan the original part to one side, add a delay (between 5 and 15 ms is a good place to start), and pan the delay return to the opposite side. A slightly different reverb and/or EQ setting will thicken them out even more.
Double-tracking the guitars manually (that is, actually recording the same part twice) can deliver even more interesting results. Try recording the same part using two different guitars. If that's not an option, try recording the same part with a different tuning or a capo. For example, if the song is in G, record the second pass with a capo on the 5th fret, playing in D. Or tune the guitar down a whole step and play the song in A.
Another way to double a guitar part that's been tracked in mono is to send it back through a guitar amp and mic the amp from two different spots in the room with different mics.
Alternatively, run the track through two different amps with different settings.
Blending Lead and Background Vocals
While lead vocals are typically front and center, you can try all sorts of different ideas with backing vocals. Spreading them across the stereo field is great for widening your track, but try not to get too wide - 9 'clock and 3 'clock is enough for most mixes. With most backing vocals, effects can be your friend; a bit of hall and some chorus can do wonders for blending parts with each other and within the mix.
Panning the backing vocals left and right and leaving the lead vocal in the center is a commonly used technique and works well in most cases. But for something just a bit different, try slipping the lead vocal just a hair to one side and the backing vocals to the other side.
A Few More Things to Try
Don't be afraid to be asymmetrical with your mix by placing elements to one side or the other. Particularly with string patches and other heavily chorused pads, panning them very widely can cause them to dominate the mix even when they're not very loud. Instead of panning a part at, for example, 9 'clock and 3 'clock, try a more narrow panning like 1 'clock and 3 'clock. Of course, you'll probably want to introduce some other element on the other side to balance things out, but it's a great way to keep things from getting too swimmy and lacking in focus.
In fact, it's a good idea to make sure at least some elements of your mix stay in mono. While those lush, chorused pads and reverbs may sound great on their own, piling up track after track of them is a great way to turn your mix into an underwater mess. Always keep at least some parts in mono to give them a sense of localization. Using a mono reverb will give them an ambience without destroying their directionality.
One very effective trick is to use delayed reverb instead of just panning for a more natural sounding ambience. Pan the original track to one side at about 9 'clock or 10 'clock, Add a short delay (less than 10 ms) and pan that to the opposite side; then add just a touch of reverb to the delayed signal. The results will be a bit more natural-sounding than just using the pan control. Here's why: our ears and brain perceive a sound source using a number of auditory clues, including differences in timing, level, and even tonality between each ear. A pan pot only addresses the difference in level. Delaying the sound on one side and adding a bit of reflection creates a more natural ambience. Try shaving off just a touch of high end on the delayed sound as well to replicate the effect your head creates as it masks some of the sound.
Another trick for widening a track is to pan it to one side and add a stereo reverb; the result will be a natural ambience with a bit of extra splash” to one side. Or try adding a very gentle mono chorus effect to only one side of a stereo track. The movement between the speakers can add an interesting depth and spaciousness that's particularly nice on strings and other pads.
Of Course, There's More
Even though I've tried to stick with very general concepts, mixing is a subject that can easily fill many hundreds of pages. But let me leave you with two important points.
First — it's always about the song. No matter how many cool technological tricks you introduce into a mix, if it's not right for the song, it's not going to work. Listen to the song, and only give it what it needs - nothing more.
And that, once again, brings me to my second point, a tip I offer in almost every column — your ears are your most important tool. Learning to listen is truly the most important lesson in music, whether playing, recording, mixing, or mastering. Don't be afraid to get in there and try new things. And as always, let your ears be your guide.
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