• Introduction, Listen to 45s, 
• Equal Loudness Curve, Proximity, Low Frequency challenges
• HOMEWORK: Mix CD:
• Listening Exercise:  Acoustic Guitar and Piano

 

 

RESOURCES

Session 2A

Did you read Bass Management for All Formats?

Week-1 Listening Homework Due via email

Redbook MIX CD due

• Share MIX CDs via SSL Master Section

Listening Lab-1: DIY Fletcher Munson Loudness Curve

This exercise needs an instruction sheet...

• For DIY Loudness Curve, download and open  session.  Adjust headphone level so you can just hear the lowest frequency then automate all frequencies so they are at the threshold of your hearing using headphones. Save session COPY with your name (for example 'copy of DIY-FM_Mary.ptf' ), then email just the session.ptf file (pre version-10) to edaudio@tangible-technology.com

Click on image to download full-res version

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Listening Lab-2: Cello, Acoustic Guitar, Electric Guitar, Bass, Piano

• Import tracks into PT, loop, listen and report via email

Session 2B

Acoustic Guitar and Vocal Session

    request mics
    place mics
    patch mics to preamps
    patch preamps to PT
    Create PT session
    Setup headphones
    Record then analyze mic placement in class.

Drum tuning and mic-ing Basics

Prep for Quiz-1

 
Drum recording session

• Jack's version of Dan Wilson's
• Ryan's track
• Drum editing 101

HOMEWORK

• Report on session
• Listen to drum tracks and include your mic & positioning evaluations along with your editing experience.
• Burn a rough mix, email or post the mix and bring your session to class.

<<< Whether chiseling a statue or mixing, don't chisel too deep, too fast!  
This includes your rough mix.

In this order...

• LISTEN to each track
• Did the mic capture what you wanted?
• Do the individual tracks work togther?
• Do you need to use every mic?
• Or, do certain mics capture what is needed for the song? Style? Genre?
• Check drum polarity (and phase) before applying EQ
• If you must EQ / Filter, apply to the most egregious offenders (too bright, too muddy)
• Avoid individual dynamics processing - create an AUX track and try processing the submix.
• Get a static balance of the key parts, mute the non-critical parts
• submix key elements - Drums, Bass, Ambience - Vocals, Instruments.
• Houskeeping Automation first!   It's a dreary job, but the rest of the mix process goes easier when you get all the 'junk' out of the way.
• balance the key elements with Automation 
• When possible, always start the mix as simply as possible - add extra tracks as the song progresses - introducing new parts in each new verse or chorus. The first verse should have the least amount of parts necessary to keep the track together.
• introduce the non-critical parts
• OVERS on individual tracks implies plug-in abuse on that channel.

Individual Tips...

Did you listen to week-4's session?  Any comments?  Be sure to include session 'reflections,' individual track eval and editing session comments.  Bring your rough mix and editing session to class.

Beat Detective 
Headphone and File Saving issues...
CUE SYSTEM operation and troubleshooting 

Read the following topics in prep for a quiz...

• Dynamics (article)
• Dynamics (video)
• Sample Quiz

 
Overdub Day

Bass
Guitar
Vocals

Mid-Term Exam Prep

Practical
Written
 

HOW TO MIX (everyone should MIX the class project once it's 'complete enough.'
• reference a known good mix, one that is not highly processed but which has a 'good spectral balance'
• listen to each individual trrack to make sure it will be use-able
• check drum polarity
• housekeeping: which is essentially throwing away the mistakes and noises via mutes
• reference a known good mix, one that is not highly processed but which has a 'good spectral balance'
• static mix balance - finding a place where the mix 'works'
• automate before using any plug-ins
• EQ only the most eggregiously wrong tracks (too bright, too dark, too bass heavy)
• Before uploading - sharing - e-mailing your mix, be sure to look at the waveform.  Make sure it's not too soft or distorted

 
MID-TERM GRADES generally fall into three categories...

• A = 90+: great participation (in and out of class), feedback, grasp of concepts, listening skills, good questions.

• B = 80+: not pushing hard enough but has potential

C = 70+: has the potential to do better and / or did not submit the minimum required work or communications. 
 
• D = 60+: Didn't try

The best way to prep for the SSL Competancy test is to book time with classmates or individually.  Keep in mind the Competancy test is not part of the class grade.  Your motivation is simpl, to use Studio B, you must pass the compentancy test.   It's not hard, so don't make it harder than it needs to be.

SSL patch bay and Signal Flow

SSL Simple Block Diagram

SSL & Brief Recording Console History

SSL Master Module

SSL Buss Compressor

SSL Dynamics Module

SSL EQ

 
MIXING REMINDERS and TIPS

• learn how to listen in mono (this will be a future class exercise)
• should clean the head and tail of your mix before submitting
• unless specifically requested, please do not submit session files (but please do keep a copy of them)
• check mix level after 'bouncing to disk.'
• normalize the mix IF intended as a 'single'
• make sure your stereo mix (wav or aiff) is INTERLEAVED, not dual mono
• Lead vocals, Solos and bass are 'generally' placed in the center (no hard fast rules)
• Whatever is in the 'Lead Position,' make room for it by lowring other tracks rather than pushing it up 'as much.'
• How Close?  Dynamics is more than just turning parts on and off, Automation can help alot to create space.  That said, moving a fader up and down is not the same as playing hard or soft.  Also, it is important to consider whether a part should be in-your-face 'dry' or futher away in the room or further yet into the reverb.  Some instruments, like a string section, can be almost entirely in the verb to create a 'wash,' no matter whether they are real or not.

Taking the time to process as if mastering often brings up mix disparities that are better resolved by tweaking the mix rather than rely on processing to be 'the fix.'

These audio samples are from winter / spring 2012

Please note that I had Jimmy sing to help reveal rejection (when ya need it).
 

6-string nashville tuned acoustic guitar

Mid Side: ElectroVoice RE-20 as the mid (cardioid) mic & Cascade Fathead 'side'

Fig-of-8 at the bridge: AKG 414 Left and Cascade Fathead Right

X-Y stereo: A pair of slightly doctored AKG 451 cardioids (removed hum)

Mono Omni:  The Electrovoice 635a dynamic omni

General Snare fixes Confirm / Reverse top / bottom snare polarity  Buss top and bottom snare to stereo aux track insert ML-4000 adjust top and bottom snare balance adjust ML-400 expander to kill snare ring burn the new snare track so you can 'enjoy' it even if you don't own an ML-4000 plug.

ML-4000 preset

 
This Piano sample is from winter spring 2012

Below are three samples from three pairs of mics in three locations as shown below.  These are .wav files and may not play directly in your browser.  Right click and save them.  You can open in most media players or import into PT, Logic, etc.

The Summer'12  Final Exam will consist of the Mic Exercsie below PLUS a listening exercise that we will do as a lab in class.

Here is the Mic Study Guide,  please note the change in the D-2 description.

The Listening Exercise will be similar to the one we did as a homework assignment.