MMI AE-2 Summer 2012 Class Index
Instructor: Eddie
Ciletti
Basic Rules, Requests, Requirements:
email every week
stay in touch on our facebook
page: HINT, this is where we can plan and organize
Always check this page for updates
Quick link to each week...
Communication is key - and it's part of your weekly homework assignment
- so email Eddie every
week as soon after class as possible. Teachers learn stuff, it's
true, and I need to know how you're doing so I can do what you need to
succeed! If you don't tell me that you're struggling, how can I help?
Also know that sometimes teachers feel overwhelmed just like you do.
TIP: Please do not wait until the night before to do assignments
- start early and there is more of a chance that I or fellow students can
help.
In the future, you will be doing mixes of stuff we record in class.
I encourage you to update your mixes every week to improve fluency of the
ENTIRE process. Even more important, doing the weekly exercise should
generate lots of 'how to' questions, in class or via email. If I
post a mix it's not to boast, it is to say 'this is an option.' If
you like it, you can ask me how to get there, if you wanna go in another
direction, we can explore that.
Class
Facebook Page: Communication is THE secret to success!
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WEEK
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Description of what we did
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QUIZ
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LINKS
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1
Intro
6th June
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Introduction, Listen to 45s,
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Basic Acoustics (Diffusion, Absorption, Reflection),
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Bass
Management for all Formats (Equal Loudness Curve, Proximity, Low Frequency
challenges
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HOMEWORK:
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Download this Microphone list
Put a 'check' in the appropriate column (condenser, dynamic, etc)
In the 'Pattern Key' column, put PH for those mic that require Phantom
power
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Week-1
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2
Studio
13th June
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Eddie's
Dynamics
Snow's
Mics
+
PT
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3
Tech
20th June
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Quizes on the following topics:
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Snow's
Drum
Mic-ing
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4
27th June
Click
and
admire
the detail...
Michelangelo's
"David"
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Everyone:
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learn how to listen in mono (this will be a future class exercise)
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should clean the head and tail of your mix before submitting
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unless specifically requested, please do not submit session files (but
please do keep a copy of them)
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check mix level after 'bouncing to disk.'
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normalize the mix IF intended as a 'single'
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make sure your stereo mix (wav or aiff) is INTERLEAVED, not dual mono
<<< Whether chiseling a statue or mixing, don't chisel
too deep, too fast!
In this order...
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LISTEN to everything
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Check drum polarity (and phase)
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EQ / Filter the most egregious offenders (too bright, too muddy)
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Avoid individual dynamis processing
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Get a static balance of the key parts, mute the non-critical parts
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submix key elements - Drums, Bass, Ambience - Vocals, Instruments.
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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.
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balance the key elements with Automation
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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.
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introduce the non-critical parts
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OVERS on individual tracks implies plug-in abuse on that channel.
Individual Tips...
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Snow's
Drum
'tuning'
+
PT
stuff
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5
Tech
4th July
NO
SKULE
TODAY
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Did you listen to week-4's session? Any comments?
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Snow's
SSL
Patch Bay
Tube
vs
Solid-State
Mic Preamps
Gain-Based FX
(Dynamics
Time-Based FX
mic
placement
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6
Studio
11 July
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RECORDING DAY
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Snow's
Guitar
DI
SSL
Channel Strip
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7
18 July
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Mid-Term Exam Prep
HOW TO MIX (everyone should MIX the class project once it's 'complete
enough.'
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reference a known good mix, one that is not highly processed but which
has a 'good spectral balance'
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listen to each individual trrack to make sure it will be use-able
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check drum polarity
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housekeeping: which is essentially throwing away the mistakes and noises
via mutes
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reference a known good mix, one that is not highly processed but which
has a 'good spectral balance'
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static mix balance - finding a place where the mix 'works'
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automate before using any plug-ins
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EQ only the most eggregiously wrong tracks (too bright, too dark, too bass
heavy)
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Before uploading - sharing - e-mailing your mix, be sure to look at
the waveform. Make sure it's not too soft or distorted
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8
25 July
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9
1st August
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MID-TERM GRADES generally fall into three categories...
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90: great participation (in and out of class), feedback, grasp of
concepts, listening skills, good questions.
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80: not pushing hard enough but has potential
70: not trying - or not organized - or did not submit the minimum
required work or communications.
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10
9th August
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Eddie's
Pancake Mix # 1
Eddie's
Pancakes 4 Radio
Eddie's
Dub Cakes
How I approached my mix...
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All edits were done to all track groups - I didn't know which mics would
be used until the mix.
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Deleted all bad /out-of-tune cello parts.
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fixed any timing errors
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got creative by copying parts, figuring out exactly which parts to use,
how to pan them and lots of automation.
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I didn't do very much signal processing except to master's voice
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On Cello: I only used the Omni mic
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On Piano: I favored the 451
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Feel free to ask any questions
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Editing is the bulk of the work. Expect to put at least 8 hours
into the mix.
MIXING REMINDERS and TIPS
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Lead vocals, Solos and bass are 'generally' placed in the center (no hard
fast rules)
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Whatever is in the 'Lead Position,' make room for it by lowring other tracks
rather than pushing it up 'as much.'
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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.'
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11
16th August
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The second half of the semester will go very fast.
Beat Detective
Headphone and File Saving issues...
CUE SYSTEM operation and troubleshooting
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Snow's
Mid-Side
Mic-ing
Acoustic
Guitar
+
Organ
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12
23rd August
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| Student |
These mixes were level matched to make comparison easier.
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Master
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not submitted
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Mo
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not submitted
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Nate
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Nate bounce was not stereo interleaved and so he only gave
us the left channel. He used the snare overdub, starts with master’s
rap – which was low in the mix – then trip’s rap which was a bit more intelligible
but still low.
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Shelby
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Shelby's mix included all of the warm up stuff in the intro
that I don't think was intentional. There was some interesting stuff there
but it needed to be sorted out. Shelby used the drum and clap ODs.
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Travis
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This was the most out there mix, military grade flat top Limiting
Haircut! Master’s rap is definitely on top, with auto panning and
lots of reverb - he sounds otherworldly! Keith is next – dry and
center. Trip’s rap kills this one, effected and layered. Most
creative!
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Trip
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Used the overdubbed snare and claps. He got everyone
in there – Himself, Keith, Master – nice echoes on him and Keith, Master
was dry. The vocals were inconsistent sounding – except for keith,
most were a bit dark – a little treble lift would have helped.
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Keith
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Starts with Master's rap, which needed to be more up in the
mix. Keith used the drum and clap Ods. Keith’s voice is naturally
edgier so he's louder, more intelligible and in just about the right spot.
Trip's voice is darker and not as intelligible - definitely could have
used some EQ, but as the track gets a bit less busy around 2:30 and raps
more intense, he's easier to hear. Keith also created a breakdown
at 3:10 and then the mix unexpectedly mix pops back, which could have cool
if he put more time into it. – the mix ends abruptly – that was cool.
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Vaughn
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Another 44.1 mix Starts with Master’s rap, which I think sound’s
pretty good – nice processing – but it’s too low in the mix. V also
took the time to thin out and pan the cello parts. Keith’s rap cuts
a bit more – his voice has more edge and the processing works. Trip
is last and the mix is a bit more chill so you can hear him better.
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13
30th August
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These audio samples are from winter / spring 2012
Please note that I had Jimmy sing to help reveal rejection (when ya
need it).
General Snare fixes
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Confirm / Reverse top / bottom snare polarity
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Buss top and bottom snare to stereo aux track
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insert ML-4000
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adjust top and bottom snare balance
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adjust ML-400 expander to kill snare ring
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burn the new snare track so you can 'enjoy' it even if you don't own an
ML-4000 plug.
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ML-4000 preset
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Snow's
Piano
mic-ing
+
Headphone
Mix
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14
5th September
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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.
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Snow's
Beat Detective Guide
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15
12th September
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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.
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FINAL
EXAM
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Make-up Week 16 = 19th September
FINAL PROJECT REVIEWS
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