i was wondering if there is rules regarding mixing an audio track-like volume levels for bass drum,snare and so on with guitar tracks,vocals and so on.in the past i just use ear to determine what level sounds best,also panning lead and rythm.i'm a noob to mixing and mastering,any pointers or articles about how to record mix and master with the fundimentals and tips would b awesome.programs i'm useing is cubase sx3 and wavelab 5.
propperly mixing an audio track
You're doing the right thing by using your ears. There are no formulas for mixing that can cover every variable - a lot of the "weight" of any instrument in the mix depends a lot on it's specific frequency makeup and those of the instrument around it and the only way to reliably judge how it sits in the mix is by listening to it.
An important concept to grasp with any kind of mixing is that EQ is as important to a mix as levels are. Clearing a space in the frequency spectrum of other instruments is a much better way of getting any instrument to stand out than simply boosting that instrument.
An important concept to grasp with any kind of mixing is that EQ is as important to a mix as levels are. Clearing a space in the frequency spectrum of other instruments is a much better way of getting any instrument to stand out than simply boosting that instrument.
ya i read the eq section on the forum, pretty helpful - i`m still struggling grasping the spectrum analyzers and that graph stuff in wavelab...the article on recording stuff is it on ur webpage?
Yeah pretty much what Alan said.
If you want to look at it from a producers POV, try and find the dominant instrument and make it big!
For example, Metal is normally guitar and vocal driven everything else is passable as being a little inaudible but it is preferred to hear everything crystal clear.
That's where the "holes" in the spectrum comes into play. Find sections in an instrument that really don't need to be there and notch them out (often not 100%) Rather cut frequencies than boost.
Example: the low-mid section of Overdriven guitars can be cut/lowered as it often overpowers everything once palm mutes come into play, plus Bass normally sits in that area next to the kick.
My favorite plug for cleaning up certain instruments is the C4 multiband compressor.
If you want to look at it from a producers POV, try and find the dominant instrument and make it big!
For example, Metal is normally guitar and vocal driven everything else is passable as being a little inaudible but it is preferred to hear everything crystal clear.
That's where the "holes" in the spectrum comes into play. Find sections in an instrument that really don't need to be there and notch them out (often not 100%) Rather cut frequencies than boost.
Example: the low-mid section of Overdriven guitars can be cut/lowered as it often overpowers everything once palm mutes come into play, plus Bass normally sits in that area next to the kick.
My favorite plug for cleaning up certain instruments is the C4 multiband compressor.
Mixing an audio track.. There are quite a few ways to go after that elusive mix. Some guys mix without compressors and EQ's, by rather making sure they get the sound they want whilst going down to tape, and then whilst mixing just riding the faders.. Others EQ after recording, whilst mixing. It all comes down to how well the material is recorded, and if you want to use EQ's as an Effect or to clean up a part.
Here's some eq setting I found as a guideline for different instruments within a mix, very interesting. The full article is herehttp://www.recordingwebsite.com/articles/eqprimer.php
A Typical Example:
The following example uses all of the techniques discussed. instrumentation is Drums, Bass, Electric Guitar, Keyboard with Lead and Background Vocals. "+" indicates boost and "-" indicates reduction at given frequency.
Instrument
EQ Settings
Notes
Foot
-6 @ 400 Hz +4 @ 5 kHz
Reduces box quality. Increases attack
Snare
+4 @7 kHz +2 @ 100 kHz
Increases snap. Adds fullness to high-tuned snare
All Drums
-4 @ 400 Hz +4 @ 15 kHz
Decreases ambiance & increases bass clarity. Increases cymbal sizzle.
Bass
-2 @ 50 Hz +4 @ 400 Hz +2 @ 1.5 kHz
Increase clarity of bass Adds clarity to bass line and recognition at low volume. Increases pluck and recognition.
Guitar
-4 @ 100 Hz +2 @ 3 kHz Increases guitar vs. bass distinction. Increases attack ( 3 kHz needs much less boost once 100 Hz is reduced).
keyboards
+4 @ 5 kHz
Increases clarity & brightness.
Lead Vocal
+4 @ 10 kHz +2 @ 5 kHz ? @ 200 Hz
Brightens and adds presence. At 200 Hz, reduce 2 or 4 to add clarity to low vocals increase 2 or 4 to fill out high vocals.
Bkg. Vocal
-6 @ 5 kHz
Sets background back and increases lead vs. background distinction
This "textbook" EQ can’t be expected to work on all sessions. On the right session, however, it would give a very natural sounding recording or mix with surprising clarity and punch. Notice that boosting two instruments at the same frequency was carefully avoided. Notice that reductions were generally larger than boosts.