Five classes of auditory perception.
(Prepare your Mixing).
Five mixing classes: the essential keys and the decoding of mixing
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Three options to choose from:
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Including 10 videos of 50 minutes each, for a total of 9 hours of recorded training.
Including 10 videos of 50 minutes each, for a total of 9 hours of recorded training.
(+2h Live with Terence)
Including 10 videos of 50 minutes each, for a total of 9 hours of recorded training.
(+4h Live with Terence)
Gain staging involves determining the sound levels in decibels (dB) of priority elements based on the musical genre. How do we approach this step and establish our setup? It is an essential stage in the audio mixing process, as it allows for controlling and optimizing sound levels to avoid distortion and ensure good dynamics in the mix. This involves adjusting the input levels (or gains) of the various tracks so that the signal is neither too weak nor too strong before moving on to audio processing stages such as equalization, compression, and effects: the mixing. We will explore, in three simple steps, how to position this famous second ceiling by applying a gain/value to some of our signals.
Mono uses a single audio channel to reproduce sound, creating a uniform and centred sound image. At the same time, stereo employs two distinct channels to offer a more immersive audio experience, allowing the spatialization of audio elements in space, thus creating depth and directionality. How do we control these two types of signals? Nothing complicated, but extremely useful for achieving a good balance.
Corrective equalization is a process aimed at improving the sound quality of a recording by adjusting unwanted frequencies. It helps reduce or mitigate issues such as excessive resonances, background noise, or frequency imbalances. By using equalizers, the sound engineer can target specific frequency bands to cut or boost them, resulting in a clearer and more balanced sound. This technique is essential to ensure that each element of the mix stands out clearly. I will show you my approach using my favourite tools.
Compressors regulate the dynamics of an audio signal by reducing the volume of the loudest parts, resulting in a more balanced sound (we would refer to it as a set of frequencies). Dynamic equalizers, on the other hand, adjust specific frequencies based on the signal level. I’ve always preferred to approach amplitude and dynamics by visualizing with dynamic equalizers and then introducing dynamic processors like compressors. This way, the student can first visualize, and then listen, making it easier to distinguish between the two tools.
The balance between the kick and bass is crucial for a solid mix, as these two primary elements often occupy similar frequencies in the lower end of the spectrum. In dance music, the kick and bass form the backbone of the mix, providing the rhythmic and energetic foundation upon which the entire production rests. We will explore what I have investigated over many years and the conclusions I've drawn (definition, space, and optimization.)
In this first module, Mixing Advanced, we will dive deep into dynamic equalizers. We will highlight specific tools and their key functions. For instance, we will cover the features of FabFilter Q3, particularly its masking frequency, EQ matching, the ability to split its EQ points left or right (scissors), as well as its independent sidechain, whether internal or external and the zero latency mode, etc. We will also look into the Pro-MB, often praised for its explosive expansion, which allows for dynamic control or extension of certain frequency ranges. We will focus on the TDR Nova GE, a true Swiss army knife for dynamic equalization, emphasizing its smart operation mode, similar to some functions of Soothe 2.
We will try to understand that timbres are essential for an optimized mix. We will also use DMG's Equality or E-Quick to add body and colour to your signals transparently. We will explore how grouping certain signals in your tracks can be crucial for creating space in the mix by applying sidechain techniques between them. This will not only allow us to clear up certain frequencies but also make key elements shine without masking each other. This approach will promote better clarity and cohesion.
This chapter introduces you to Mid-side processing, an essential technique for achieving precise control over the stereo width and spatialization of your mix. Through concrete examples, you will discover how to break down a stereo signal into its Mid and Side components and use FabFilter Q3 for targeted EQ on different parts of the spectrum, focusing on the Mid-center or the Sides of the mix. You will learn to sculpt the stereo image with iZotope Imager or similar tools and fine-tune stereo width using Logic Pro’s Spread, allowing you to choose how to spatialize different frequency ranges. Applying Mid-Side to various sound sources has been a real revelation for my understanding of spatial perception.
We will briefly review famous compression techniques such as parallel compression, glue on the final mix, multiband compression, which allows for processing different frequency bands independently, as well as RMS compression, which focuses on the overall energy of the signal, and peak compression, which requires faster settings and is particularly effective for drums and vocals, helping to control transients and prevent saturation. Finally, I will introduce you to my favourite compressors, highlighting what I particularly appreciate about each of them. Among these tools, two of them are free and frequently used in my productions.
Finally, we will conclude with a step that few people apply but has saved me more than once: polishing, balancing, de-resonating, and glueing your pre-master. This will allow you to give your work the character you desire, without it being dictated by the mastering engineer. I have long engaged in this practice, which gives me overall control over my stereo bus (opened in a dedicated project). This is truly what we can call a pre-master. I step out of my mixing project and take an extra hour to enhance the overall output.
