Ticket #1032 (new enhancement)

Opened 6 years ago

Creating A Sound Book Through Online Networking

Reported by: XXPReda997381545 Owned by: eskil
Priority: major Milestone: Version 1.0
Component: Gas Consumption Version: 0.9.7
Severity: Should Have Keywords: recording studio hourly rate recording studio yeovil musical instruments
Cc: Fixed in Version: 0.9.827

Description

If you're new to recording, you have figured out just how hard it is to secure a great mix on your music. Just tracking the songs, pushing the faders up, and treating every item and fixture equal is the worst thing you can possibly do for a unite. There's a reason top mixing engineers cost several thousand dollars per song -- it's a real art to mix! Let's take a look at essentials of what makes a fine mix, and how you will best achieve the goal of a good mix at home.

In or Out In the Box?

A common term you'll hear is "in the box" or "out for the box" when revealing mixing. This is actually comparatively simple -- "in the box" mixing is referring to doing the mix completely within a computer, using an opportunity such as Pro Tools or Reasoning. "Out of the box" means you have a mixing board and outboard equipment to do your mix -- the preferred method of top engineers. For our purposes, though, we'll assume you're mixing "in the box" in your favorite software package. Surprisingly, most of the concepts are merely the same, whichever way you choose appear.

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Elements of an Mix

You'll be mixing in two-track stereo as last product, so here's some things to beware of.

Mixing in stereo represents the two ears onto your head. If you've heard a mono recording (common enable you to live soundboard recordings), you'll notice that there's very little depth towards recording; far too very one-dimensional. You'll wish to find purposes of the panning function on your individual tracks to bring depth, focus, and clarity to your recording.

Mixing Drums

The drums are the best element to bring into stereo audio. Usually, you'll want to mix the drums in true stereo. Whether you mix so that the stereo "image" is from drummer's perspective or originating from a audience perspective is much akin to your personal taste. I favor to mix from listener perspective -- with (for a right-handed drummer) the snare, kick, and center tom within the middle, the overheads panned hard right and left, and the high-hat in the center having a slight nod to the most beneficial.

Staying Centered

Several things need to stay in the center of your mix.

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Bass guitar , for example, usually provides the flowing low-end motion of the song, as well as to stay centered to make it's sending program material into both channels both equally. Lead vocals, usually, will desire to stay inside the center -- and conducting a stereo double on choruses and harmonies will give tons of depth.

Mixing Guitars

To give guitars extra depth, consider doubling them, as well; pan each hard nearly everywhere. Don't be afraid to will have the guitarist ad-lib on the doubles, include some extra body to your mix.

Mono Compatibility

One thing to avoid is mono compatibility. Just in case your music might make it inside the radio, be careful that it is collapse when summed to mono. Most interfaces have a "mono" button to allow you to check; just turn that function as well as make without nothing disappears in your mix when listened in mono. If something disappears, move it around in the stereo field (with the mono function enabled) until it returns. Simple as that!

Mixing in stereo isn't that hard -- but consumers you check all your bases it does that [ http://de.pons.com/

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