The No.1 Website for Pro Audio
 Search This Thread  Search This Forum  Search Reviews  Search Gear Database  Search Gear for sale  Search Gearslutz Go Advanced
Lets hear some unique mixing techniques! Dynamics Plugins
Old 10th September 2011
  #31
Gear Maniac
 
mirror symmetry's Avatar
 

If I need a series of fast and/or intricate mutes, i often use midi gates instead of writing automation. For work-flow AND creative reasons.

I have also used an inverted gate on a send as a ducking device.
(A pre VST3 cubase fave, along with the quadro buss trick, oh and the waves C1 sidechain dual-mono ducker trick, those were, errr, the days?)
Old 10th September 2011
  #32
Fezzle
Guest
One short session 15 - 20 minutes ish , at a decent to loud level.. this is for the low end and making sure the groove is still happening at loud levels.. sometimes monitoring quietly can mask how the lows are working in the groove so I always do that.
Then monitor fairly low for all the rest of the time. one or two reverb returns ready with nothing but a short early reflection, almost no tail. Really helps place things in there own space. The walking out of the room to check the mix helps a little, if its sounds really balanced from the next room, Im most probably gettin there.
Saturate and overdrive slightly, not all elements .. but some key ones. contrast in tonal gravity
Checking the mix with my computer screen off, this is one I dont like to admit, but it does seem to freshen my ears perspective a little, I think this one holds true in that it doesnt mean necessarily that one is mixing with theyre eyes or anything silly like that, more that when one is using theyre eyes alot with software controls etc and audio/midi parts ...arrangement etc... that ones level of concentration can become a ;little split between eyes and ears... with the screen off, I know my focus and concentration is 100% on the ears, so hopefully more aurally aware.
Oh n reference material alot,
Old 11th September 2011
  #33
I've worn out many a USB flash drive doing this, but I'll work on the mix for about an hour, mix it down to a high-bitrate MP3, then play it through my car stereo twice. Once with the sub on, and once with the sub off. I'll then take that same drive to another computer, and play it through the home theater system. Pretty much I just see how it sounds through what it will be played through the most.

After that, I normally run the radio compression that comes with Cool Edit Pro, and see if it sounds good through that.

On top of that, I have somewhere around 15 sets of headphones (some are cheap radio shack, some are Skullcandy, and some I don't even know who makes them, that's how old they are). I know that this is a monitoring technique, but you can't get a good mix without listening...
Old 11th September 2011
  #34
007
Lives for gear
 
007's Avatar
 

I can hear the mix for hours and days on end.
It's when I start to feel the mix that I consider it heading in the right direction.

The monitoring techniques mentioned above all work well for me.

- turn the screen off and listen.
- listen from an adjacent room with the door slightly cracked, even better while doing this is to listen to the mix back-to-back with a similar commercial track.
- take breaks, mix low for 90% of the process, etc.

As for actual mixing techniques;

Well, all I have to add to this is, create your own techniques.
Plug anything into everything, and then plug more stuff into other stuff.
Listen, experiment, keep, delete, swap, buss, listen again, smile and move on.
Practicing such behavior only leads to more interesting and innovative sounds.
Old 11th September 2011
  #35
I don't think it's unique, but contrary to Gearslutz belief i mix at very loud levels.
Never mix at low levels.

If i feel fatigue or feel tired, i just go and watch telly or somethingheh
Old 11th September 2011
  #36
Lives for gear
 
Jerrick's Avatar
 

Uniformity across the whole mix ITB. And what I mean by that, is not going crazy looking for some magical glue plugin, but picking one plugin that you like, has a nice tone/character/color to it, and run everything through it.

One of my favorites is the FerricTDS. Run it on every channel and maybe just turn up the saturation a little bit but dont let it do anything else (Unless you like its compressor). Then continue the mix.

Same could be done with the Cl1b, or the Trident eq. Im sure the new Noble EQ could be used as well and many other plugins. Just gives every track a little bit of the same chracter and can really help things gel and sound like they were supposed to go together.
Old 12th September 2011
  #37
Gear Guru
 
u b k's Avatar
 

Turn your back to the speakers, mix a few passes that way.

Turn around, swap L & R, mix some more.

Mute L, keep mixing. Then unmute L, mute R, mix some more.

The more things you can do to make your brain hear the same info in a new way, the better.

Number 1 revealer of mix flaws: bring in a third party, let them listen. They doesn't need to say anything, I can hear thru their ears. Always reveals lots of things to tweak.


Gregory Scott - ubk
Old 12th September 2011
  #38
Lives for gear
 
BB Bill's Avatar
 

Quote:
Originally Posted by u b k View Post
Number 1 revealer of mix flaws: bring in a third party, let them listen. They doesn't need to say anything, I can hear thru their ears. Always reveals lots of things to tweak.
+1 on this.
Old 12th September 2011
  #39
Lives for gear
 
BB Bill's Avatar
 

An old trick from the Brian Eno deck of cards.. If a part doesn't work, instead of trying to camouflage it or bury it, highlight it and make it the center of attention. Turn it way up and put the spotlight on it. I'm amazed how often this trick works.
Old 12th September 2011
  #40
Gear Addict
 

Quote:
Originally Posted by u b k View Post

Number 1 revealer of mix flaws: bring in a third party, let them listen. They doesn't need to say anything, I can hear thru their ears. Always reveals lots of things to tweak.


Gregory Scott - ubk
What a great statement. I've never tried this with music but when I do up creative sounds for theatre design, I can make better decisions on what works/doesn't work as soon as I play it for the director even without their reaction. +1!
Old 12th September 2011
  #41
Here for the gear
 

I read an interesting interview with Youth (i think) where he said he always starts of mixing with the lead vocal first and builds the mix around that as opposed to starting with kick/snare/bass guitar.
Old 12th September 2011
  #42
Registered User
 

With subtle effects I like to close my eyes and toggle the bypass switch on and off really quickly and randomly so I have no visual idea if it is on or not and then decide if it is needed. Odd I know but works for me
Old 12th September 2011
  #43
Lives for gear
 
Strange Leaf's Avatar
 

I always pour myself a glass of fine aged rum that functions as my mix assistent.
Old 12th September 2011
  #44
Gear Maniac
 
Stuart Coleco's Avatar
When i finish tracking a song. Ill eliminate all processing and eqing etc. set up a rough mix. if all my miking is good it will mix. if not I'll go back and re track my screwed up source material.
Old 12th September 2011
  #45
Gear Nut
 

Start with a breakfast of Honey Bunches of Oats and a banana.

Get kick, snare, bass, vocal sitting nicely together.

Eat a chocolate chip cookie.

Bring in room mics, overheads, and toms.

Have another chocolate chip cookie.

Add guitars and balance.

Sip some Coca-Cola.

Bring in pads and other elements.

Sip some more Coca-Cola.

Once everything has a nice balance, break for lunch. Subway? Maybe. Or could be the Mexican place down the street.

Ok back to work. EQ. Compress. Rinse and Repeat.

Time for a granola bar. The cheap kind.

Throw some delays and verbs around.

Uh oh, the enchilada is coming back to haunt me. Bathroom break.

Oh no, too much ambiance. Dial it back a bit.

Sip some more Coca-Cola.

Things are grooving. It's working. I like it. Vocal up. Export. Vocal down. Export.

Dinner time. Thai? Most definitely. On the way, car test. Sounds good. DONE.
Old 12th September 2011
  #46
Gear Head
 

Quote:
Originally Posted by lawsonmixing View Post
Start with a breakfast of Honey Bunches of Oats and a banana.

Get kick, snare, bass, vocal sitting nicely together.

Eat a chocolate chip cookie.

Bring in room mics, overheads, and toms.

Have another chocolate chip cookie.

Add guitars and balance.

Sip some Coca-Cola.

Bring in pads and other elements.

Sip some more Coca-Cola.

Once everything has a nice balance, break for lunch. Subway? Maybe. Or could be the Mexican place down the street.

Ok back to work. EQ. Compress. Rinse and Repeat.

Time for a granola bar. The cheap kind.

Throw some delays and verbs around.

Uh oh, the enchilada is coming back to haunt me. Bathroom break.

Oh no, too much ambiance. Dial it back a bit.

Sip some more Coca-Cola.

Things are grooving. It's working. I like it. Vocal up. Export. Vocal down. Export.

Dinner time. Thai? Most definitely. On the way, car test. Sounds good. DONE.

Old 12th September 2011
  #47
Gear Addict
 

Quote:
Originally Posted by lawsonmixing View Post
Start with a breakfast of Honey Bunches of Oats and a banana.

Get kick, snare, bass, vocal sitting nicely together.

Eat a chocolate chip cookie.

Bring in room mics, overheads, and toms.

Have another chocolate chip cookie.

Add guitars and balance.

Sip some Coca-Cola.

Bring in pads and other elements.

Sip some more Coca-Cola.

Once everything has a nice balance, break for lunch. Subway? Maybe. Or could be the Mexican place down the street.

Ok back to work. EQ. Compress. Rinse and Repeat.

Time for a granola bar. The cheap kind.

Throw some delays and verbs around.

Uh oh, the enchilada is coming back to haunt me. Bathroom break.

Oh no, too much ambiance. Dial it back a bit.

Sip some more Coca-Cola.

Things are grooving. It's working. I like it. Vocal up. Export. Vocal down. Export.

Dinner time. Thai? Most definitely. On the way, car test. Sounds good. DONE.
Nice but didn't really focus on the topic at hand at all...nothing unique about this.
Old 12th September 2011
  #48
Lives for gear
 
vernier's Avatar
Standing while mixing ...no sitting ever, because of the way my studio was designed.
.
.
.
Old 12th September 2011
  #49
Lives for gear
 

Quote:
Originally Posted by u b k View Post
Number 1 revealer of mix flaws: bring in a third party, let them listen. They doesn't need to say anything, I can hear thru their ears. Always reveals lots of things to tweak.
Another +1 on this! I don't know why this works (well, actually I think I do), but it always works for me!

I used to think this was just my insecurity second-guessing my work, but it really is something else. It seems to show how music is such a deeply shared -- even primal -- experience. I doubt it works the same way for other media, but then again, I'm not a filmmaker or painter.
Old 12th September 2011
  #50
Lives for gear
 
Boschen's Avatar
 

Quote:
Originally Posted by lawsonmixing View Post
Start with a breakfast of Honey Bunches of Oats and a banana.
Get kick, snare, bass, vocal sitting nicely together.
Eat a chocolate chip cookie.
Bring in room mics, overheads, and toms.
Have another chocolate chip cookie.
Add guitars and balance.
Sip some Coca-Cola.
Bring in pads and other elements.
Sip some more Coca-Cola.
Once everything has a nice balance, break for lunch. Subway? Maybe. Or could be the Mexican place down the street.
Ok back to work. EQ. Compress. Rinse and Repeat.
Time for a granola bar. The cheap kind.
Throw some delays and verbs around.
Uh oh, the enchilada is coming back to haunt me. Bathroom break.
Oh no, too much ambiance. Dial it back a bit.
Sip some more Coca-Cola.
Things are grooving. It's working. I like it. Vocal up. Export. Vocal down. Export.
Dinner time. Thai? Most definitely. On the way, car test. Sounds good. DONE.

I like the way this guy thinks... sometimes the most important thing is everything else.
Old 13th September 2011
  #51
Gear Maniac
 
mirror symmetry's Avatar
 

Quote:
Originally Posted by Jerrick View Post
picking one plugin that you like, has a nice tone/character/color to it, and run everything through it...........

Just gives every track a little bit of the same chracter and can really help things gel and sound like they were supposed to go together.

Ooooh, an actual mixing technique. Nice one. You think staying OT might catch on? heh

Perhaps the mods should change the thread title?
Old 27th September 2011
  #52
Lives for gear
 
filipv's Avatar
Quote:
Originally Posted by erikrpierce View Post
haha i noticed.

so what about stuff other than listening techniques? like things that you do that make your mixes YOUR mixes?
Well, not much... just messing with gain, levels, pan, hpfs and lpfs 'till it sounds "right".

I do it by ear, and since it is my ear, then that makes my mixes mine.

Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Forum Jump
Forum Jump