Archive for 'Mixing'

If you mix In-The-Box (ITB) with your favorite DAW then you might wonder what all the fuss is relating to analog mixing consoles and analog summing. You might hear people describe mixes as having “warmth”, “punch”, or “vibe” and some might even criticize mixing strictly ITB in your software, calling it “harsh” and “digital.”

I personally mix ITB in Pro Tools and love the results I’m getting. But I do know that there is something unique that the analog circuitry of an old mixing desk has to offer and when there is a plugin that says it has figured out how to model that, I’m interested. The latest plugin from Slate Digital (made up of veteran drummer and producer Steven Slate and genius french plugin guru Fabrice Gabriel) the Virtual Console Collection is supposed to be the answer for In-The-Box mixers like me.

Specifically in today’s video I review and demo the RC-Tube console emulation. Take a look/listen to how I used it in a recent mix and judge for yourself!

If we’re being honest, most of the time the best thing we can do for our mixes is to walk away. Whether you’re mixing for a client for your own material, we need to not only take breaks, but have a system in place that allows some separation to occur before we give our mixes the final seal of approval and “print” them.

Start Your Mixes Fresh

When I’m ready to mix, I sit down when I’m most fresh, most awake. For me this is first thing in the morning after a hot cup of coffee. I don’t check email, I don’t text anyone, I don’t catch up on last night’s game. I simply open up the tracks and start working. The reason is simple, give your best effort to the initial mix, with fresh ears.

If you aren’t able to mix in the morning (work, school, family, etc) and your only available time blocks are late at night, then you have to do whatever it takes to get your ears fresh and your mind sharp before you sit down. Don’t rush into mixing from whatever you were doing prior. Take a few minutes to quiet your mind, get your studio space clean and comfortable, get some caffeine in your system and focus. This is key.
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The challenges of mixing in a home or project studio are many. From acoustic issues, to lack of speaker variety, to noisy roommates, we can find ourselves buried in headphones and turning out unbalanced mixes. The VRM Box from Focusrite is supposed to fix all of that.

The Answer To All Your Problems?

Since Focusrite is a company that makes great gear for pros and home users alike, I trust what they make. Plus this device has looked so unique as it tries to solve a specific part of the mixing equation. So I had to pick it up and use it. But is it a magic box that can instantly make you a better mixer? Below is my complete video review, including my final verdict of whether this is something you need.

We’re at the end of round 2 of 5 Minutes To A Better Mix! If you’ve hung around all month then I’d like to say “Thank You” for your time. I hope you’ve found these videos helpful, insightful, fun, and motivating. Now let’s get to the final tip of the month!

Print Multiple Versions

You just never know what can happen with computers. Your plugins might not open, your DAW might change, audio files might go missing. It’s a good move to print multiple variations or versions of your mixes when you do the initial mixdown. I’ll show you a couple of examples.

Depending on your musical background, you may or may not be using pads in your recordings. If you’re like me (a vocalist and guitarist) then you tend to focus on the “band” instruments. You get it all recorded and then sit back to mix.

The Missing Ingredient

But what I’ve noticed over the years is just how much my mixes can usually benefit from a pad or string patch of some kind at an epic part of the song. It’s typically a subtle part, but it becomes that missing ingredient that opens up a song and breathes life into my mix.

You’d be surprised at just how many famous songs throughout the years have percussion tracks all over them. I’m talking about classic tracks as well as modern chart topping tunes today. You may not notice them, but they are there.

Instant Energy In Your Mix

Percussion (like tambourine, shakers, hand drums) may not sound genre appropriate for your mix, but believe me it will likely work. There’s something about the energy and frequency response a good percussion layer can bring (even a loop) in the chorus or hook of your song.

There’s a reason why great mixes pop when they hit the chorus. Because the chorus sounds more interesting than the verse! It’s a mini payoff that just keeps coming back for more.

Think Backwards

One great way to make your chorus more interesting than the verse is to think backwards. Don’t just make the chorus busier and full of pointless tracks. Instead, head to the verses and strip them down.

The more you mix, the more you’ll discover how important the arrangement is. And as a mixer you’ll want to do everything in your power to tweak the arrangement in order to help make the mix pop.

Create Instant Contrast

One super simple way to create a huge sound is to create contrast. If you want the chorus of the song to pop for instance, then pan it as wide as possible, but keep the verses as narrow (or mono) as possible. It sounds easy because it is. But it works in a big way.

As a mixer you want to draw the listener’s attention in at specific moments of a song. You can do this in a variety of ways of course, but one that I find super helpful is to play with octaves of guitar parts.

Pitch That Sucker Down

A quick way to emphasize a guitar part is to select part of it, copy it, and pitch it down an octave. Sure it won’t sound natural, but if you bury it just under the original it can thicken up your guitar work very nicely.

Doubles are one of the most effective ways to fill out a mix. They give you a natural chorus effect as well as more panning options. But what can you do if you never actually recorded any doubles? Simply copying a part won’t do it. We need something else.

A Little Trickeration

What makes a double sound so good, is the slight variance in performance. You never play it exactly the same way twice. So in order to recreate this in your DAW you need to fudge some parts around as if you they were a second performance. It’s all an illusion.