You don't want to be too far from the goal in either direction or the processing will do more damage than good. As started already, it all goes back to getting good recordings that are in the ball park to end up with what you want so you have to do limited processing. Also I find getting rid of a harsh sound once it is recorded is difficult, and again tends to kill the life and timbre. If you are mastering your own songs though, just fix it in the mix of course. Even the pros can sometimes sound very flat, and good mastering should really be a game-changer.īut I have heard/read that some mastering engineers would want you to error slightly on the side too dark than too bright because cutting highs or upper mids on the master saps the life out of a lot of elements and its difficult to maintain the brightness and sparkle. Yeah, that's true about the pre-mastered mixes.
Since this is about mixing, 50% of the mix is "great sound recordings" or the so infamous saying "shit in - shit out".Īnother big chunk is "proper arrangement" or the usual accompanying quote "less is more". You can find some pre-mixes of iconic albums and you will hear the difference! The mixes you hear and call commercial are actually mastered mixes. This is due to getting used to what you are hearing and sometimes it is highly subjective either by style, by genre, by historical time (decade), etc.
#BUMPR STICKR OHHHH YEAHH FIXX MIX PROFESSIONAL#
Most mixes, even professional ones lack definition/separation, "air" or whatever you want to call that clarity. I have a reamp box, but no cab, and am currently trying to find a way to get it to work with no cab. It's hard to get the right amount though because you still want to keep the transients and punch in the mix, but then again if you have even slightly too much of that your drums will sound plasticky as hell, even if they're based on real recorded samples.įor gtrs I've got a physical tube amp and cab sim. You guys ever get that, you mix like a MADMAN for weeks in a row, just produce dozens of versions of the same song, and then your body and mind are just depleted and can't be screwed to even think of the word Reaper ?Īnyways I'll probably return tomorrow and yeah more compression on the drums sounds good. Gosh, haven't gone back to my Reaper session in days.
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If you've got audio tracks to work with, I like the Audio Assault stuff a LOT for these situations, their multiband compressors and exciters seem purpose built for this kind of thing, and practically free with the holiday sale right now. Here's one right here:Īs to your guitars, if you're using amp sims, so easy to just reamp, I do so love that, play with tones that inspire you, instantly reamp that performance to something that works in the mix. A good "glue" compressor or two in the right place(s) is kinda what that's for, make things play nice together. Also maybe look at the good compression threads here. But a dull, flat track? Soo hard to make sound good.
Sooo easy to squash that back with compression and EQ and reverb, or maybe more subtly there are plugs designed to move things "back" in the mix. Tough for me cause I hate bright/harsh when I'm playing. Because you can dial that out easy enough, but it's much more difficult/impossible in my limited experience to add it/get it back effectively/convincingly.
#1 top tip (which I hope one day to actually realize and take my own advice lol): Make sure EVERYTHING is bright, maybe even verging on harsh in tracking.
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