8. Balance Mix
Listen to the mix and ensure you can hear each sound and the over-all balance between each sound is correctly portioned.
(This is a good point to perform a rough mix to tape and playing it on a secondary monitoring system to help gain a second
prospective and ensure the main monitoring system is not leading you down the wrong path. Studio monitors can reduce the perceived
impact of various settings and the amount of such things as reverb.)
music production videos collection
7. Effects
7. Effects
Setup the reverb and other effects. When applying reverb, keep your sonic landscape in mind. You are setting the outer-boundaries of
your sonic landscape at this point.
(It is easy to over use reverb and other effects, generally turn-up the effect to a point where they become dominate then back them off
to they just meld into the background)
(Be sure to keep a written record of which effects are used where and the programs of the effect units, with any special settings and/or
signal routings that have been employed)
Setup the reverb and other effects. When applying reverb, keep your sonic landscape in mind. You are setting the outer-boundaries of
your sonic landscape at this point.
(It is easy to over use reverb and other effects, generally turn-up the effect to a point where they become dominate then back them off
to they just meld into the background)
(Be sure to keep a written record of which effects are used where and the programs of the effect units, with any special settings and/or
signal routings that have been employed)
6. Pan
6. Pan
Pan tracks/sounds to complete the setting of your sound stage.
(This step is done in conjunction with re-EQ, step 5. The overlapping frequencies maybe less offending after panning)
(Periodically monitor your constructed sonic landscape in mono to ensure that phase cancellation and sound masking are not going to
cause you any problems, your mix should stand-up in mono as well as stereo, with only the basic imaging shifting.)
Pan tracks/sounds to complete the setting of your sound stage.
(This step is done in conjunction with re-EQ, step 5. The overlapping frequencies maybe less offending after panning)
(Periodically monitor your constructed sonic landscape in mono to ensure that phase cancellation and sound masking are not going to
cause you any problems, your mix should stand-up in mono as well as stereo, with only the basic imaging shifting.)
5. Re-EQ
5. Re-EQ
Re-EQ tracks where necessary. Listen for too much sound (muddy) in each frequency range, where, you have instruments or sounds
that are in the same basic frequency range and may conflict or mask each other.
Re-EQ tracks where necessary. Listen for too much sound (muddy) in each frequency range, where, you have instruments or sounds
that are in the same basic frequency range and may conflict or mask each other.
4. First Mix
4. First Mix
Bring up each track to start building your mix. The order should mimic the priority of each track, this depends on the style of the
music and your personal tastes.
(It is standard practice to start with the foundation, such things as drums & bass)
(This is were you start to build your sonic landscape, you determine which sound should be out front and which sound should be in
the background.)
(If necessary this is a good place to draw a sketch of your stage setup of the band, to help visualize your sonic landscape)
Bring up each track to start building your mix. The order should mimic the priority of each track, this depends on the style of the
music and your personal tastes.
(It is standard practice to start with the foundation, such things as drums & bass)
(This is were you start to build your sonic landscape, you determine which sound should be out front and which sound should be in
the background.)
(If necessary this is a good place to draw a sketch of your stage setup of the band, to help visualize your sonic landscape)
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