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?
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Sound Advice: Mixing
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...
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...
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?
I understand that mixes from DAWs can be improved significantly if, instead of using the digital mix buss within the computer, individual tracks are converted to analogue and then summed/mixed externally. Could you explain whether this approach really does offer significant benefits?
I've been told that, if possible, you should always cut rather than boost when EQ'ing. So, if you need more bass, you should cut the high- and mid-frequencies and raise the overall level, rather than simply boosting the low end. Is this true?
I was told by a sound engineer that, when mixing, it is not a good practice to have all the channel volume faders way up and to have the master fader down, and that this applies both to analogue and digital consoles. Is this true?
I want to remix some old mono tracks in stereo. Can you offer any advice or suggest any tricks to achieve this?