Proper tracking/mixing questions

[eox]

Hey everyone, I have a few questions that I would appreciate having some light shed on. Here lately I've really been attempting to record/write my tracks as level conscientious as possible. And to do things proper. Now I know when using effects it can be all about taste and what you're trying to achieve. But is it technically proper to level match the original signal with say, Scream 4? And is the proper way to use compression to balance the input volume with the output volume?

I'm really trying to focus quality now as appear to half done pieces. I know it's an art to mix but I'm trying to understand the fundamentals here.

Also, I've been tracking to keep my master channel to peak around -18dbfs to -12dbfs.

Now once I get the whole song tracked and peaking around those levels, do I need to mix to let's say -7dbfs or -5dbfs then master with that headroom? I ask because when I attempt to master my own tracks (and this is where I as well could be confused on the mastering stage) I only apply mastering processing on the master channel. I may get it up to -.01 dbfs but the whole piece sounds very low and quiet.

My thoughts have been I've tried to boost too much from a headroom of -12dbfs via master channel processing (I say this because I haven't been touching the other channels in this stage but rather just the master channel has processing going on.) Where as if I mix and do all the mixing processing via track channels to get a level of around -7dbfs I have a fuller sound (seems like) and then master via ONLY master channel. I hope my thoughts and questions make a little sense.

I am seeking this communities priceless wisdom. Thank you for taking the time to read!

[Raveshaper]

I recommend you watch Graham Cochrane's video about the heavy mix bus theory. He does a good job of explaining how everything you do during a mix is part of that mix, including getting your levels, while mastering refers to the process of level matching tracks within the context of an entire album.

-3 to -6 dbfs is requested by mastering engineers for the purpose of matching levels from track to track in an album, but that doesn't mean you have to be super safe when riding levels in the mix.

This is an art, yes, but I have found that some of the best sounds I have gotten are the ones where I either ignore level and please my ears while working quickly and lightly, or really push things or stack things up until it sounds good to me. But the one thing those two scenarios have in common is EQ.

The two biggest things to getting a good level without mucking things up are EQ and phase. Multiple sounds that all line up at the same time like synthesizers will multiply the overall level where their values lineup. Aside from slight nudges of a couple ticks for layers of a sound, the best to manage constructive interference (increased loudness caused by two sounds multiplying each other) is through EQ.

[Benedict]

Hi

Just take care that in all the rule and sticking to sets of numbers etc that you don't lose the purpose of mixing, which is a let the soul of the music shine. I won't say the numbers are wrong - as in reality they are maths trying to explain why the painting sounds good. It is far better to use your ears and get it to sound right than use numbers and forget to really listen to the story in the song.

This article is a general one on mixing:
http://benedictroffmarsh.com/2012/12/02 ... -mix-well/

This one follows creation and mixing of a fairly simple track so you can see why I made the decisions I did
http://benedictroffmarsh.com/2015/01/24 ... ce-mixing/

[eox]

Hi

Just take care that in all the rule and sticking to sets of numbers etc that you don't lose the purpose of mixing, which is a let the soul of the music shine. I won't say the numbers are wrong - as in reality they are maths trying to explain why the painting sounds good. It is far better to use your ears and get it to sound right than use numbers and forget to really listen to the story in the song.

This article is a general one on mixing:
http://benedictroffmarsh.com/2012/12/02 ... -mix-well/

This one follows creation and mixing of a fairly simple track so you can see why I made the decisions I did
http://benedictroffmarsh.com/2015/01/24 ... ce-mixing/

Thank you Quaizan and Benedict. Both are helpful reminders to relax and enjoy what you do. I read up a lot on your blogs Benedict and they have really helped me understand what I'm trying to achieve. I suppose it can be such a hard thing to achieve clarity and fullness when you struggle to understand the tools you have and how they apply.

I've began to be mindful about levels due to the fact I was always tracking hot and struggled with clipping. So I've began to start with lower levels so I can work my way up by having stair steps to take to get to the appropriate level whilst maintaining the fullness and clarity. But as I've learned, you change a few settings here and there and over time they add up and can be more destructive than helpful. That's why I'm curious if you guys level match your effects with the dry original levels of your input. Especially with distortion as it can really start to increase the level quite high quickly. Granted, it's always smart to keep perspective, but the fundamentals I tend to lack in!

[Benedict]

Thanks

The fundamentals are the story of the song. The rest is details.

You can use math (and chemical symbols) to explain a plant but that math isn't the plant. Most good gardeners would be poor at math. Most people good at math couldn't grow a plant. There is advantage to knowing both, but the more important is in knowing how to grow a healthy plant (so we all get supper).

Level matching pre/post effect is really strictly only necessary if you are going to punch in and out. Otherwise set up the instrument the way you want it to sound, then make your mixing decisions.

Occasionally I used to find myself making a sound that really wails only to see that the Masters were pinned. If I pull the levels back and the sound evaporates then I introduce similar processors as effects right there in the instrument and let them recreate the magic. Of course I can then turn them down after the Brickwall. This is where the M-Class can be nice as a Drive unit. Otherwise you should always naturally be aware of levels.

For the last few albums I have had my mains turned down as I make sounds and compose (see this article). I get my mix without concern for headroom (as there is plenty) and then when I think it sounds good, start to move into Finalizing mode. This is something you can do in Digital as there aren't Noise floors to be concerned about. Upside is I have a mix that sounds good already so as I up the levels into the Limiter it gets better, which is the whole idea. I also get to hear the mix as the volume rises as I tend to work quietly. Once I have heard it is Ok at volume then I turn the speakers down (yay for Balance's Main Out Level VCA) to complete the process.

My aim is to have people understand the tools from the point of view of what they add to the story of the sound/song. I bet this fellow can't really explain a lot of what he does. He feels it and his body follow. Not magic, but magical.

[selig]

…This is an art, yes, but I have found that some of the best sounds I have gotten are the ones where I either ignore level and please my ears while working quickly and lightly, or really push things or stack things up until it sounds good to me. But the one thing those two scenarios have in common is EQ…

Just to clarify, proper levels will not affect the "sound" in any way - it's main goal is to keep you from clipping the outputs. In other words, using these reference levels won't make your mix sound any better or worse, unless it's clipping of course! EQ is an entirely different subject, but I will add that it's worth being aware of the level changes EQ can make and compensating for these changes to keep your track levels consistent (same as you would when adding compression, etc).