 |
Fixing It in the Mix There’s an
adage that states you can always “fix it in the mix.” By now there should
also be an equally popular saying: “you have just as good a chance to break
it in the mix.” With the wide range of recordings that come through my
mastering studio, I feel only a few maximize the potential of the recorded
music.
Mixing is fairly subjective work. The point, of course, is to get the sound
you hear in your head to come out of the speakers. In this process a very
common situation occurs: the misuse of signal processing. With this in mind,
I’d like to share some of my opinions on the proper use of these tools from
two common perspectives.
The Light Touch
Is there such a thing as under processing? It depends on whom you ask.
Audiophiles and classical music aficionados will argue no. But for music
that is consumed outside the confines of these hallowed halls (read: 98%),
judicious use of equalization, compression and limiting can yield effective
results.
The problem with under-processing is that it limits the amount of consistent
volume achievable in the finished product (a very important point to most
musicians…if my mastering clients are any indication). Audio transients not
controlled with limiting will restrict how much a mastering engineer can
“push” a mix before deleterious effects become audible. In lay terms this
means a more dynamic, less processed mix requires a truly good stereo system
– something most listeners don’t have – to hear the music properly.
The Heavy Hand
There is such a thing as over processing, and it probably stems from the
mind-boggling amount of technology available to anyone with a few hundred
bucks to burn. Like under-processing, over-processing limits what can be
achieved in the final product, as overzealous use of signal processing
applied in mixing cannot be removed.
One of the most common mistakes I hear is when musicians try to make their
finished mixes sound like a mastered CD. I’ve had clients come to me with
raw mixes that were louder than most of the finished masters I deliver to
the replication plant. All I can do is send them home and ask for a new
version w/the “normalizer” turned off.
Here are a few tips for assessing a real need for signal processing:
-
if you need
more articulation or clarity with a specific instrument. Applying a slight
amount (2 db or so) of frequency-specific EQ boost will help bring it out.
-
if you’re
looking for more punch. Compression will increase the perceived impact of a
track. However too much will actually work in reverse by squashing the
signal, so be careful (with the amount used and the attack/release/threshold
settings used). Successful use is all in the proper setting.
-
if your
recordings have a lot of transient peaks. Applying a fast limiter and
gradually adjusting the threshold will solve this problem.
All of these
tools are simple in concept but have the ability to be used in extremely
subtle, intricate ways that yield incredible results. Read your equipment
owner’s manuals, experiment on your own, and ask other recording/mixing
engineers for their advice. It will help you get the most from your mixes.
© 2002
Paul Abbott. |
|
