Mixing Template

Below is a mixing template for Pro Tools. The following are already completed in the session:

• Tracks have been grouped, colored, and routed to appropriate submasters.
• FX sends and returns have been created.
• Typical channel strip plug-ins have been inserted (appropriate to the instrument), but no settings are enabled.
• The master fader includes metering plug-ins.

The intended purpose is to speed up your workflow by taking care of the setup/housekeeping step in the mixing process, so that you can start the creative flow sooner.

Feel free to replace the Avid/Digidesign plug-ins with your favorites.

• Leave the settings flat or bypassed so there in nothing affecting the sound initially.

Once you have the session the way you want it, there are two ways to use it:

1. If you have a session already in progress (i.e. from a recording session), you can import the tracks from the template using the Import -> Session Data command in the File menu. You can then move the audio clips onto the appropriate tracks.
2. If you are given raw stems to mix, you can save the template using the Save As Template command in the File menu. (The template file will be saved in your applications folder.) The next time you create a new session, choose Create New Session from Template, and you’ll find the template there. You can then import the raw stems into your session on the appropriate tracks.

Download template here.

Reverb Plug-ins

(In no particular order)

On a Budget

PSP Audioware

• SpringBox – $69
• EasyVerb – $69

These plug-ins can be purchased as part of an effects bundle.

Lexicon

• MPX Native Reverb – $99
• LXP Native Reverb Plug-in Bundle – $199

Valhalla DSP

• VintageVerb – $50
• Room – $50

112dB

• Redline Reverb – $149

Wave Arts

• MasterVerb – $149

IK Multimedia

• CSR Classik Studio Reverb – $99

This plug-in can be purchased as part of a larger bundle.

SoftTube

• TSAR-1R Reverb – $99

This plug-in can be purchased as part of a larger bundle, and it is the entry-level version of the TSAR-1 plug-in.

Apple

• Space Designer – included with Logic

Arguably the best included reverb plug-in of any DAW.

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Up a Level

Waves

• Renaissance Reverb – $150
• TrueVerb – $150
• IR-L Convolution Reverb – $250

It is definitely more cost effective to buy these as part of bundle, however all three are not part of the same bundle until Gold.

Eventide

• Blackhole – $199
• 2016 Stereo Room – $199

Softube

• TSAR-1 Reverb – $249

This plug-in can be purchased as part of a larger bundle.

McDSP

• Revolver – $299

This plug-in can be purchased as part of a larger bundle.

2CAudio

• Aether – $249

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Higher End

Sonnox

• Oxford Reverb – £235

This plug-in is more cost effective as part of a bundle.

UAD

There are many UAD reverb plug-ins, ranging in price from $149 to $349. All require UAD-2 hardware.

Lexicon

• PCM Native Reverb Plug-in Bundle – $599

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The Demo

All of these plug-ins can be demoed before purchasing. So, take advantage of this to avoid buyer’s remorse.

Good Credit = Lots of Gear

Keep your credit clean. Retailers like Sweetwater or Musician’s Friend offer 0% interest financing for periods of time to serious buyers. Suddenly, a plug-in bundle costing $500 dollars becomes a more manageable $21/month payment.

Social Media

Follow a company whose products you are interested in buying. Many companies put items on sale for a very short time and only announce the sale with a tweet or a post.

Educational Discount

As a student, you can get an educational discount on most software, including plug-ins (usually 50% off). Take advantage of this while you still can.

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(Prices last updated: 10/2013)

The Master Meter

During mixing, it is recommended that you leave the master fader alone, and avoid using any processing on the stereo bus. It’s mixing then mastering; don’t try to do both at the same time.

However, the master meter is still critical when mixing. Look at the meter often. Treat it the same way you would an input level during recording; strive for a good, strong level but avoid clipping.

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There should be several plugins on your master channel; all to assist you in the mixing process.

High Resolution Meter

The view of the meter in the DAW is relatively small. Increase the view with a plugin like the Massey High-Resolution Meter.

Dynamic Range Meter

Dynamic range is the difference between the loudest and the softest values of the audio. The TT Dynamic Range Meter is a large meter that also displays dynamic range and RMS values.

RMS Meter

An LED meter displays peak values useful for recording and preventing clipping. However, slower meters, like a VU meter, display average levels which are more representative of perceptual loudness. The Pro Tools PhaseScope plugin includes an RMS meter. Both the Massey High-Resolution Meter and the TT Dynamic Range Meter show RMS as well as several plugins from Waves.

Spectrum Analyzer

A spectrum analyzer displays the spectral content of your mix, which can help identify problems. Examples include Blue Cat Audio FreqAnalyst and Waves PAZ Analyzer.

Correlation Meter

A meter that displays the phase relationship of a stereo signal (i.e. left v. right). The Pro Tools PhaseScope plugin includes a correlation meter as well as the TT Dynamic Range Meter and the Flux Stereo Tool.

Phase Scope

A phase scope is a graphical display of the relative amplitude and phase characteristics of the stereo signal. Pro Tools includes a PhaseScope plugin and the Flux Stereo Tool is also good

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Mixing Process

The following is a guide through the mixing process. It’s not the only way to mix, but if you’re having trouble getting started, this could help you. Mixing is an individualized process; what ever works for you is the right way to go about it. But, at some point it will be a good idea to write down your plan so that you can mix efficiently. The following is what I do currently, but it’s always evolving.

Organization

• Track names
  • Scribble strip
  • Short names, capital letters – easy to read
• Mix order
  • Drums on left. Vocals and Masters on right.
• Color coding
• Groups
  • Submasters

Monitoring

• Volume
  • Not too loud, not too soft
  • Use master bus meters to gauge loudness of mix
    • Try to peak around -6 dBFS
• Mono
  • Helps determine level balance
  • Shows phase problems
• Source
  • Console v. Print

Mixing

• Levels
  • The most important instruments are the loudest, but not by much. Everything should be heard; nothing should get lost.
• Panning
  • Instruments are arranged as if they are on a stage, performing live
    • Get them out of each other’s way
  • The focal point is in the center
• Nothing too extreme

Reverb & Delay

• Front to back positioning of instruments
  • Similar to panning
• More important instruments are up front
  • Longer pre-delay times
• Holds the mix together
  • Puts the instruments in a real space

Equalization

• Adjusts timbre of instruments
  • Instruments need to sound good in the mix
  • What they sound like by themselves is irrelevant
• Cut offending frequencies rather than boosting weaker frequencies
  • Instruments are puzzle pieces that all need to fit into the limited space of the mix

Compression

• For controlling loudness levels
• Use clip gain before using compression
  • Signal level needs to be relatively even going into the compressor
• The attack, release, and threshold MUST be adjusted appropriately

Automation

• Automate the vocals so they are intelligible the whole song

Master Fader

• Watch the master meter to accurately judge the loudness of the mix
• Use master FX (EQ, Compression/Limiting) later in the process after establishing a good mix without them
  • Don’t over use the master FX

Reference Mix

• Check the mix against published songs (the competition)
  • Stick to the genre closely

Metering

• Check headroom
• Check frequency content
• Check dynamic range

Bouncing

• If the mix is to be exported to CD quality, dither is required
  • Last plug-in on master fader
• If the mix is to be mastered, dither is not to be used
  • Print to track within current session

Mixing

Mixing is the process of taking the individual tracks of a multitrack recording and blending them to a mono, stereo, or surround output.

Process

The process of mixing is done for practical, aesthetic, or creative reasons. The goal is to produce a mix that is appealing to listeners.

During mixing, the following items are manipulated by the mixing engineer:

• The individual tracks’ level or volume against other tracks. This creates an overall balance of the music.
• The frequency content of both the individual tracks as well as the overall mix.
• The dynamics of the individual tracks.
• The panoramic position of the individual tracks.
• The perceived depth of the individual tracks.
• Any other effects for creative purposes.

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Links

Izhaki, Roey. Mixing Audio.

Senior, Mike. Mixing Secrets for the Small Studio.

Stavrou, Michael Paul. Mixing with your Mind.