| Recording and mixing audio is truly an art form unto | | | | mix. By “space” I’m referring to track |
| itself. Like playing bass, it’s the type of thing most | | | | identity…the things that separate each track from the |
| people can pickup quickly and without much effort. | | | | others, so they can be heard properly. Think of this |
| Getting good at it can take years, however. | | | | way: When you take a big family photo, how is |
| I’ve been recording in my home studio since 1995. | | | | everyone positioned? Does everyone clump together |
| When I go back and listen to my early demos, I am | | | | randomly? Or does everyone organize according to |
| appalled. They sound horrific. The EQ is terrible, they | | | | height and spread out evenly? Your mixes are like |
| are overly compressed, they’re muddy, and all of | | | | musical photographs. Think of each track as an |
| the tracks blend together into a massive “wall of | | | | individual that should be noticed in some way. Track |
| sound” where no single instrument stands out. But I | | | | “space” can be created by using proper EQ |
| like to think my current work sounds infinitely better. | | | | techniques, stereo field placement, volume, |
| Take a listen to the tracks on my Demos page. I | | | | compression, and reverb/delay settings. For example, |
| mixed these in 2006 on a shoestring budget. My entire | | | | bass guitar and kick drum occupy much of the same |
| recording “studio” cost me $500. I used budget | | | | frequency range. If each is not EQ’d intelligently, |
| mics, budget preamps, and budget PC audio interfaces. | | | | they will step all over each other, and neither will be |
| (One interesting note: In the song Confession, I used a | | | | identifiable. There are tons of good Internet articles on |
| $400 mic on the words “Am I going crazy? Could | | | | this subject, so read up. I may even write one myself. |
| you ever turn your eyes my way?” The rest of the | | | | - Understand how EQ and Compression works. |
| song was recorded with a $65 microphone. To this | | | | You’ll be amazed at how much better your mixes |
| day I can’t hear any difference in quality.) | | | | will sound if you use proper EQ and Compression |
| What was the secret to making better mixes? It was | | | | techniques. Each has its own set of rules, and the rules |
| simple. I listened. | | | | are specific for each type of instrument. For instance, |
| I would listen to my mixes over, and over, and over, | | | | electric guitar requires different EQ and Compressor |
| and then do it again. I listened to my songs on | | | | settings than do vocals. Drums usually need a fast |
| headphones, in my car, in my girlfriend’s car, on my | | | | attack and quick release on the Compressor, while the |
| home stereo system, on a portable CD player, etc. | | | | opposite is true for bass. Again, there are plenty of |
| During every listening session I would find something | | | | online articles dedicated to this subject alone. |
| that could be improved. Over time, I figured out the | | | | - Carefully evaluate the mixes of your favorite artists. |
| fundamental principles of good mixing. I also read plenty | | | | Everyone has their own taste. Whatever artist(s) |
| of industry magazines, online articles, Internet forums, | | | | inspire you with their sound, pay attention to the mix. Is |
| and whatever else I could find that would enlighten a | | | | it heavy on bass? Are the drums super compressed? |
| novice like me. In the end, I was able to produce mixes | | | | Are the vocals subdued, or way out front? Study the |
| I was very happy with. | | | | sound carefully and try to emulate it. I’ve spent |
| Here, then, are the biggest nuggets of wisdom I wish | | | | almost as much time listening to the sound of |
| someone had preached to me in my early days: | | | | professional CD mixes as I have listening to my own. |
| - You don’t need expensive gear. That’s right. | | | | It’s very educational. |
| Despite what manufacturers and retailers may say, | | | | - Last, but not least: DO NOT OVERCOMPRESS |
| the secret to good sound is not in the equipment. Using | | | | YOUR MASTER. You may not be aware, but there is |
| poor recording and mixing techniques on expensive | | | | a current trend in the recording industry to make every |
| gear will still result in a bad final product. It doesn’t | | | | CD louder than its competitors. This is known as the |
| matter how nice your API preamp or LA-2A | | | | "loudness war" and it is getting out of hand. Using |
| compressor is. If you don’t know what you’re | | | | insane levels of compression destroys the dynamics |
| doing, the results will be garbage. Just like buying a | | | | (the change between quiet and loud parts) of a mix. |
| custom Les Paul won’t make you sound like Jimmy | | | | The end result is a song that stays at exactly the |
| Page! Once you’re able to produce good mixes on | | | | same level—insanely loud—the entire time. Not only |
| budget gear, you can justify a gear upgrade. | | | | does it sound unnatural, it causes listener |
| - A little processing goes a long way. The abundance | | | | “fatigue”. The human ear wants to hear natural |
| of VST and RTAS plugins is both a blessing and a | | | | changes in volume. It helps create more emotion in the |
| curse. We musicians now have access to an endless | | | | listener. Your heavy and energetic chorus will have |
| collection of software compressors, equalizers, limiters, | | | | much more impact if it’s actually louder than your |
| enhancers, reverbs, etc. But with this power comes | | | | verse! Be a part of the solution: Use your |
| responsibility. Use them sparingly! I once held the opinion | | | | compressor and limiter wisely during the mastering |
| that because I had tons of plugins at my disposal, I | | | | stage! Even for rock music, you probably don’t |
| needed to use all of them as much as possible. I was | | | | want more than 3db of compression during your |
| wrong. Excessive plugin use can ruin a mix. These | | | | mastering. |
| days I use very light compression and very subtle EQ | | | | That’s it for this article. I plan to write follow up |
| adjustments, and the results sound much more natural. | | | | articles that examine these topics, and more, in more |
| - Create “space” for each track. Every | | | | detail. I hope this has been helpful. |
| instrument should have its own “space” in the | | | | |