by Nick Messitte, iZotope Contributor June 17, 2019
If you’ve strolled along the forums, checked out engineering podcasts, or watched YouTube videos, you’ve probably heard of the static mix—yet the static mix is hard to put into words: every engineer seems to have their own definition.
JUNE 2, 2019
One of the hallmarks of a great mix is separation between every instrument. Most mix elements have wide frequency spectrums—even a kick drum can extend well into the high mids and above. When so much information exists in every instrument, it’s easy for things to sound cluttered and messy. Creating space in your mixes is a must for a clear, defined sound!
by Daniel Dixon, iZotope Contributor June 3, 2019
In today’s musical landscape, more artists and producers are adding “mix engineer” to their credits. While this level of creative control is great, there are challenges that come with being a jack of all trades. It’s hard to let go of ideas you spent a lot of time on and listen from a new perspective.
For those who wear many hats in the studio, here are five tips on how to mix your own music.
by DJ Pangburn, iZotope Contributor May 28, 2019
Learning how to give a kick drum a greater depth and boom takes time and effort. It’s just not something that comes right away, unless one happens to be a naturally born electronic music or hip hop producer.
I like learning how to get different sounds with step-by-step exposition of what is going on and how things affect the sound.
I recently purchased
Sasquatch 2 is a CPU-friendly kick drum enhancement plug-in that enables you to custom-tailor the sound of any kick drum, acoustic or electronic, with exhaustive creative possibilities, ranging from subtle to extreme and beyond.
which gets to booming kick drums (and then some) in short order. Great fun working on interesting sounds.
Logic Pro X keyboard command of the day. #LogicProX @StudioIntern1
Sends on Faders - Previous Send
New in Logic Pro X version 10.4 (or very close to it). I was first exposed to ‘Sends on Faders’ using my Behringer XR18 mixer. I had no clue about what it was, and it took a few tries to get it right in my brain. Totally useful.
When ‘Sends on Faders’ is enabled the faders on the mixer are used to adjust the level of the currently selected send, as opposed to adjusting the level of the track. This makes creating cue mixes almost child’s play.
I use this to move elements of a mix closer or further away using reverb. The higher the fader is the further away it should be in the sound stage.
Previous and Next Send are circular. When the last send is selected Next circles around to the first, and vice versa.
In the mixer, use channel faders to control send level, and use channel pan controls to pan sends.
⇧ SHIFT – ⌃ CONTROL – ⌥ OPTION – ⌘ COMMAND
Sends on Faders - On/Off
Sends on Faders - Next Send
Sends on Faders - Previous Send
Sends on Faders - Cycle Through Sends
Sends on Faders - Cycle Through Returns
MAY 25, 2019
Mixing vocals to a 2-track instrumental is something every engineer will encounter at some point. It’s especially common in hip hop/pop, where artists routinely download pre-mixed instrumentals online and bring them to a studio to record. The challenge with learning how to mix to a 2-track beat is getting the vocals to sit in a space that feels right. The following are some tips and ideas to consider when approaching a mix like this.
by Daniel Dixon, iZotope Contributor May 22, 2019
The balance of level and frequency is what gives a mix it’s emotion and power, while a lack of balance can leave mixes sounding like demos. For new engineers, tonal balance can be a major challenge to get right. That’s why today we’re looking at five tips to improve the tonal balance of your mix.
by Nick Messitte, iZotope Contributor May 23, 2019
It’s not uncommon to find yourself in a mixing situation with low-end issues. This is especially true in home studios. Maybe the room’s geometry swallows the bass or exaggerates the low-end. It’s safe to say no acoustician had any input whatsoever into the construction of your apartment.
For mixing engineers and producers alike, it pays to become intimately acquainted with the virtues of automation. Swooping sounds from left to right, enhancing emotion with level boosts, or fixing complicated problems with real-time adjustments—all of these moves separate the quotidian from the marvelous.
But riddle me this: how often do you think about automating EQ? Perhaps not as often as you should, for automating EQ can create both dramatic and transparent effects. Whether creating something truly bespoke for your mix, or cheating an element forward/backward for the master, a bit of active, automated EQ sculpting can be a serious boon, if done well.
Here are some instances where you can employ the practice.
Earlier this year, we discussed mix automation basics, detailing how the process works and why it benefits your music. If you still need clarification on these points I suggest taking a look at the article, because in this post we’ll be diving deeper into automation with seven creative tips, applicable to all genres.
In the early 1970s the recording industry changed drastically with the introduction of mixing consoles that could record and play back fader movement. Leading up to this, mixing multitrack tape recordings was a group effort. For larger sessions of 16 or 24 tracks, up to four people could be needed behind the desk just to manage faders.
Digital audio workstations (DAWs) sophisticated the entire automation process, providing creators and engineers with the ability to control nearly every parameter with precision. In this article, I’ll show you three ways to use automation for more expressive, stand-out music.
In this article, I will try to answer all the questions you’ve always had about mix automation but were too afraid to ask. We’ll go over what automation is, why you’ll want to use, and the basics. To learn three creative applications of using automation in a DAW, check out this article.
If you’re reading this, you’ve probably had some experience with parallel compression, the process of blending a compressed track or submix with an uncompressed copy. Getting this balance right allows us to enhance the punch and power of a signal without altering the original transients or eating up lots of mix headroom.
While every performance has its own quirks, there are certain issues that almost always crop up in mixing sessions, like masking of the vocal with other instruments. For this reason we designed Nectar 3, the latest version of our vocal mixing suite, with assistive audio features to solve common problems by using your creative input. Let’s look at five scenarios:
What if we mixed a tune with only Neutron 2 and Nectar 3 for the job? Would we still use Nectar on vocals and Neutron on everything else? I say no—Neutron has great applications on vocals, and Nectar sounds awesome on many instruments.