That age old saying, "The mix is never finished!" isn't really true. There are lots of tricks to help curb yourself from slaving over a mix. If you hear something you like or don't like, walk over and pull a fader up or down. Another idea is if you are working with a band, repeat the mix and put it at a comfortable volume level, have a conversation with people in the room, about anything you want, something other than the mix at hand. I can find little things here and there that I might have not heard while I was working in the studio the previous night. I can see how it stacks up to the other tunes. When I wake up and go into the car, I will listen to my playlist, when the song comes on, I am normally in driving mode, I will hear it just like any other tune. I will tuck it randomly in a playlist with a few other reggae songs. Something I like to do is, if I am not liking how the mix is going, I will quit for the day and open Itunes. You may find things in the mix that you didn't notice before. This way, you won't get so in depth, and you will be hearing the song in a different situation. It's known that Winston Churchill took naps in the daytime to rest his mind and he had the Nazi's bombing his country for years!Ī great tip to get through speed bumps in the mix process is to not "listen." What I mean by that is, put the mix on repeat and go read a magazine or newspaper, a subject that you find the most boring. It's true, some engineers take naps to refresh their minds. We want our mix to translate to each source. You may find your mix sounds great only to push it louder later on and everything falls apart.Ělso, don't listen on just one sound source, try different speakers, headphones and even computer speakers. If you mix too low when playing with the bass, you really won't get the true level of what is really going on. Remember to mix a bit louder when dealing with the bass. Mixing a comfortable volume for most of the mix and pushing the volume here and there isn't uncommon, a lot of engineers do this. Make sure you are mixing at a good volume, not too loud, because the louder and longer you mix, the more your ear fatigues. It does happen, the phantom sounds do haunt mix engineers that slave over a mix for long periods! Start with fresh ears, and take frequent breaks every 45 minutes to keep your ears from getting fatigued, and so you don't start hearing things that aren't there. Those are both great ways to keep one bass out of the way of another.Now that we have our sounds recorded, it's time to move onto the mix. Or try using the Stereoize feature in Ozone Imager to selectively widen up a specific frequency range of one bass.
If you’re working on an arrangement with two bass parts-one electric, one synth, for example-try playing with the stereo width of one of the basses.Ī classic example would be to take a synth bass and put it in stereo, using a delay on one side by a short amount of time-say anywhere from 11 to 60 milliseconds. Stereo bass can absolutely be glorious-it just has to work in mono as well. Indeed, plenty of tutorials tell you to high-pass bass on the sides all the time.
There’s a common misconception that bass must be mono. Don’t be afraid of stereo bass-especially with synths This can give your bass more room without having to EQ at all. The kick and bass usually need to occupy the center, but you have more leeway to move a harmonic instrument to the left or right. You can also make room for the bass by moving another instrument out of its way with panning. Use the pan pot to clear way for the bass
In a mix, a bold move like this can help generate the necessary harmonics to cut through on small speakers without creating too much dirt or fur. These settings might look aggressive, but the analog algorithm is quite subtle and gentle.
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