Recording Tips Part 2

4. Mixing

This another mine field.
We all have different tastes when mixing.
In a general sense, we are trying to make each instrument clear in the mix and not sounding like one instrument is competing to be heard, without another instrument masking it.

Normalize all the tracks first.

Before Normalizing

The same signal ... After Normalizing

In a digital world, or computer based recording system, the next step is to process each track one at a time, before we start the mix.
Most of the audio interfaces for computer like Pro Tools, Cubase, Logic, Cake Walk etc., have a feature called 'Normalize'.
Select a track, find Normalize and a new window will pop up.
Set the Output to 0 db and then process the track.
The result should be that the highest recorded peak should now be at zero.
If the highest recorded peak was at say -5db before, it will now be at zero, but the rest of the signal strength should have also increased by 5 db.
If your record level peak was less than -5 db, then next time better pay more attention to that Trim/Gain Pot on the channel, before hitting the record button.
Here is an example of a stereo signal that was way down on signal strength on one side (top signal) and still not strong enough on the other (bottom signal).


Sometimes this can be very tricky, especially with microphones and vocalists attacking the mic from different distances and angles.
Try to get them to stand in one position behind the mic.
In fact, get the sweet spot for their voice and glue their shoes to the floor, or mark an x with gaffa tape. (what else ha ha.)

Sometimes the only solution is to introduce a compressor limiter on the channel while recording, to iron out major peaks, but even then I would suggest mild compression. If you don't have a compressor for this, the only other solution is to ride the channel fader while recording. If all your tracks are peaking out then it's time to go back and adjust those trim/gain pots on your mixer.

Signal to noise ratios
In effect what we are trying to achieve is the best signal to noise ratio.
It's not so much of a problem these days, but it still exists in various forms and to get pristine sound, we need the noise levels down as much as possible.
By noise I mean, electronic noise, buzzing guitar leads etc.
The noises made by the equipment when no instrument signal is coming through.
It's the noise you can hear when you turn up your system as loud as it can go.
If it is still dead silent then you are lucky to have good equipment, although you can still get it on good gear too.
It could be anything from a poor quality guitar lead with hum to a faint hiss.
If its a bad lead replace it. If you have hum, try to eliminate it by moving power sources away from guitar leads etc.
Yes, even power cords next to a guitar lead can cause induction from the power lead into the other leads nearby.
Sometimes it's just a case of moving leads around or using different leads and the hum goes.
If you still can't get rid of it, invest in a hum eliminator.
That's extra noise that you are recording.
This noise is often masked by a much louder signal, so you don't hear it as easily, but it is still there.
This is what noise gates are about, but once again, we should be trying to get as little noise from the equipment as possible, so that the signal is pure and we don't have to use a noise gate at all.
It is more electronics and would you believe, I have heard some very noisy, noise gates.
If we have a very low signal and we normalize the track, then as we are increasing the overall level, so the noise level (background noise) will be increasing as well.
(See figures above)

On a one track basis this might not seem very important, but on multiple stereo tracks adding their individual noise to the mix, it can make the overall sound a bit muddy, but you can't quite put your finger on where it's coming from.
I even go through each track to cut and mute the track where it is supposed to be silent.
Just eliminate anything right up to and after the que point of signal for the track and instantly your mix will sound a lot cleaner. No noise gate required.
So away we go with the mix.
The plan fact is, that for a good recording, every instrument should be able to be heard in its own space, none more so, than the vocals.
If a line or two here and there don't quite stand up in accapella mode, you really should consider dropping in on those lines or recording a few takes of vocals, because when you get to the offending line on one track, you can swap to a more pleasing version, on one of the other vocal takes.
The vocals are generally sitting on top of the mix.
They should be clear and legible no matter what else is going on underneath with other instrumentation or harmonies.
If you have harmony parts I usually mix them first and then slot the main vocal over the top.
Next is drums or percussion.
I do drums because quite often the drums can over power the vocals, so I line them up under the vocals and then mute the vocal tracks and start adding the other instruments.
As bass and drums are very much part of the rhythm section, I go in and set up the bass. Then we add the guitar/s and keyboards if any etc., until all the elements are in and they all blend nicely together as a band.
Then I un-mute the vocal tracks and we should be in the ball park.
I often find myself tweaking the whole band instrumentation back 2-3 db and there she sits.
This is where it all becomes arbitrary because some people like more bass or more guitar or whatever in the mix.
The reality is, that sometimes you are trying to satisfy everyones tastes in just one mix.
Hence remixes.
One day I heard someone get so frustrated they said ' turn everything up louder than everything else'.
It gets like that some times.
A general stereo mix that gives reasonable separation is this.
Let's say we have vocals, harmonies, 2 guitars, bass and drums.
Bass is generally in the middle as are the main vocals.
Drums are left and right or fairly close to the set that the drummer hears when playing. Snare and bass drum, in the middle, hi hat off slightly to one side, toms slightly to the other side. One guitar left, the other right, hard left and right .... up to you really.
Harmonies slightly left and right of centre, and if you want really big vocals, you can try multi tracking the harmonies a few times singing exactly the same thing.
That way you can put all the vocal harmonies spread over left and right.
Sounds huge on the recording. A little difficult to reproduce on stage.
Experiment is the key here.
If at all possible, you should try to mix on a completely different day to the recording day.
A fresh set of ears (so to speak) can make a world of difference to the mix.
Sometimes I will deliberately leave the mixing for a couple of days, because you can easily get listener fatigue.
After hearing the same track so many times, you can't hear anything anymore.
Another little trick I use, is to walk outside the mixing room, so that you can only just hear the playback. You will be surprised how easy it is to pick up on something that is just too loud in the mix.
Mix at a low volume, because if it sounds good at a low volume, it will sound wonderful at a higher volume.
It doesn't always carry the opposite way round.
The mixing levels routine (Live) is similar to the recording one.
We don't want any of the master 2 track output going thru zero.
As before, if you like the mix but are zapping zero, you have simply reduce EVERY channel by the same amount each. This time we are aiming for just under zero as our highest output peaks rather than -12db.
Last but not least, I put the mix through a pair of crappy little $5 speakers to see how it sounds. You should also listen to a MONO mix of the track. If you can hear all the instruments clearly and balanced properly in mono, you have a good mix. Then flip to STEREO and it should be magic. Dolby Stereo 5.1 is another animal, so I'll leave that for another time, but the principles are the same. Did you know that the majority of songs are played through small speakers in cars, mobiles, cheap stereos and small computer speakers.
Once again the principle stays.
Sounds good through these type of speakers and it will sound incredible through a good system.
Small speakers are another great way to check for instruments that are just a whisker too loud or soft.
Happy with the mix on all levels and tests.
Great ... now we are ready for mastering the final product.

But Wait..... Where's the EQ (Frequency EQualization)
Well folks... It's all debatable isn't it.
I call it the Frequently, Frequented, Frequency Debate!

Some people like more bass, others more treble, others more mids.
If you are completely 'Frazzled by EQ', I have made up a quick guide for you to down load showing the instruments and their relevant frequencies, as well as a note frequency guide that may be helpful.
As it is an integral part of mastering as well as mixing, so zip over and grab it before we get on with the mastering process.

EQ tweeker guide.pdf (Right Click and Save)

Instrument Frequencies Guide.pdf (Right Click and Save)

Note Frequencies.pdf (Right Click and Save)