How should I pan my drum recordings in the mix? For instance, should the hi-hat be on the left or on the right?
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Sound Advice: Mixing
I've been struggling with recording and mixing 'epic' guitar sounds. I'm after something that balances aggression with tone, but which doesn't sound too distorted... Any tips?
I'm not really sure when it's best to use mono reverb effects — and how to pan the reverb when doing so — and when to use stereo reverb?
I read your feature on gain staging a few years ago, but I’ve been following some blogs that say it isn’t at all necessary if you’re just working in software. Who’s right?
I recently watched a YouTube video in which it was recommended that you match the input and output level of every plug-in in a mix session...
There must always be a certain amount of masking going on in any mix, but I just don’t know how much there should be. Can you offer any tips?
Is there anything wrong with riding the vocal levels in my mix using clip gain settings rather than fader automation?
I have a slight level mismatch that I don’t know how best to resolve. I want to patch the Dangerous Music Compressor through the inserts on two of an Allen & Heath GL2400 mixer’s input channels. The problem is that the send signal from the mixer is a tad weak for hitting the compressor where it works best...
Why is it that I hear about so many producers spending hours riding lead vocal levels. Surely that’s what a compressor’s supposed to do?
I think I understand what crosstalk is, but I don‘t know how it sounds. I can’t find a proper explanation of how mixes sound with and without it. Also, is crosstalk in plug-ins something to look out for, or is it a myth?
Please help me to understand the terms ‘aux’ and ‘bus’ in the context of a mixer. Is there any difference between them? Do they perform the same function?
I’ve been reading about iZotope’s Neutron, and how it is described as automating the process of attenuating some frequencies of audio track B, so that the simultaneously played audio track A, which has signal in the same frequency range, sounds more prominent...
A client recently sent me a mastered album for some additional EQ tweaks as he wasn’t completely happy with the balance when playing back via an iPhone on his car stereo...
How can you tell that a particular recorded vocal or bass track includes resonances? I’d like to know how to identify where the resonances are visually.
I do a lot of dance music, and have been referencing my mixes against commercial releases. How can I get the fat synth sounds of my references without going nuts with EQ?
I increasingly hear people extolling the virtues of a multi-bus system for mix processing, where you mix everything to a handful of parallel submasters, each with its own master-bus-style processing, before passing a mix of all those to the overall master bus. What’s the rationale behind this technique?
Here's a PDF of the correct Chart we published in SOS way back in 2012, showing the fundamental frequency ranges of instruments, plus a translation of subjective audio qualities like 'sizzle', 'boxiness' and 'presence'.
Even with the subwoofer turned down a bit, the amount of boomy low bass was incredible and pushed the other frequencies to the back. Do you have any tips on how to prevent this from happening?
I'm about to do some mixing and I'd just like to find out if there are any right or wrong ways to pan my audio. I'm sure I'...
I'm looking to buy a moving-fader control surface for my DAW and I'm wondering if it's worth paying a bit extra for one with touch-sensitive faders. How important a feature is this?