How does Balance affect your mix? A great mix begins with arrangement, placing the right instruments at the right time & place, creating space in frequency spectrum for individual parts and Identify your lead elements.

In this tutorial we put balance into action. Balancing the elements in our mix is crucial, each parts volume in relation to the rest is what makes a rounded, balanced mix down. If one element is too loud, it can take over a mix, it's important to get this right. If at first it doesn't sound right, start over until it does.

Have you ever had a track with two parts that just wouldn't work?

Placement is hugely important in the mixing process. Where we place elements in relation to each other dictates the clarity of those elements. If 2 parts are occupying a similar frequency spectrum and they both hit at the same time, then you will have issues hearing them both clearly.

However, simply placing those elements away from each other, so that they interact instead of clashing, lays the foundation of a great mix. Also, making sure your elements are in tune with each other (in terms of pitch) will also facilitate a cohesive sounding mix and arrangement.

In this tutorial we discuss Panorama and working within in the stereo field. While Panorama was widely used in rock music production and mixing, it is important to understand its role in electronic music. For example, hard panning electronic music instruments such as synth lines might create imbalance in your mix and cause problems in a club environment.

It is important to understand Panorama from the technical point of view, but also to be mindful of how to use it in the context of electronic music production.

Time to put theory into action. In this tutorial we discuss applications of Panorama in electronic music, using production techniques such as the HAAS effect and audio effects to create stereo width.

Knowledge and understanding of how Frequency works within our music is crucial to finishing records to a world class Standard. In this weeks module we explore EQ.

Goals of EQ

• Clarity & definition of an instrument

• Make an instrument / mix sound larger than life

• Make all elements in a mix fit together better, give each instrument its own frequency range.

In the following videos we will be exploring frequency and it's role in the mixing process. Firstly let's discuss EQ Goals (Source: Mixing Engineers Handbook)

EQ to make an instrument sound clearer & more defined

• Frequency sweep all elements.

• Lack of definition can be a result of problems between 400-800 Hz - boxiness

• To add sparkle boost 5-10kHz

• To add air boost 10-15kHz

• Always cut & clean first before boosting

EQ to make the instrument or mixer larger than life

• Bigness: sub & bass frequencies 40-250Hz.

• Too much boost will make a mix/sound muddy. Always cut first

EQ to make all elements fit together. Create own frequency range, zero mix

• Start with rhythm section. Make sure no two same frequencies are boosted

• Add next most prominent element

• Add rest of elements one by one

Golden Rules of EQ

• If it’s muddy cut at 250Hz

• If it sounds Honky cut at 500Hz

• Cut if you are trying to make things sound better

• Boost if you are trying to make things sound different

• You can’t boost what’s not there.

In this video we discuss 'magic frequencies'. Understanding these frequencies will help you achieve better results with mixing, multi-band compression and mastering. (Source: Mixing Engineers Handbook)

Magic Frequencies

• Sub-Bass: 16-60Hz

• Bas: 60-25 Hz - too much boost = boomy

• Low Mids: 250-2000Hz - 1-2kHz cause ear fatigue

• High Mids: 2-4kHz - boosting here can mask vocals, 3 kHz = ear fatigue, enhances vocals

• Presence: 4-6kHz - boosting here makes elements closer to listener (5kHz)

• Brilliance: 6-16kHz - add brilliance & clarity, can create sibilance on vocals.

In this video we put frequency and EQ theory to work. We use Ableton's 'EQ Eight' to remove unwanted frequencies from our mix.

"Sometimes I feel that music producers are too dependant on plugins and don't take the time to understand how EQ works on a technical level. I use Ableton's EQ Eight on all of my productions. At the end of the day I just need a device that can remove problematic frequencies. For me the process of EQ is more about subtraction than boosting or analogue emulation"

Will Kinsella

Dynamics are controlled by the use of compression, limiting & gating. Manipulation of Dynamics is key in modern music production.

Compression is an automated level control using the input signal to determine the output level. Set up by using threshold & ratio controls in conjunction with attack & release. 4:1 ratio = 1dB passes for every 4dB that passes the threshold. Attack & release controls how fast / slow a compressor reacts once a sound passes above & below a threshold.

Limiter is a compressor with 10:1 ratio, a brick wall for levels

Gate keeps a sound completely off until it reaches a threshold level & returns below it. Hysteresis = dual thresholds, present on Neve consoles.

In this tutorial we demonstrate how to approach compression within your mix. Usually we start with the kick drum, adjust the threshold, attack and release settings until we are happy with the sound of the kick, remember we want to compress the tail of the sound and allow the transient to pass. Once we have done our kick drum we move onto our other elements. Remember Gain reduction should not exceed 2-4 dB.

We also discuss Gating and side chain Compression.

Dimension

Dimension is the ambient field in which the track sits. It is the difference between amateur & pro mixing. Dimension is enhanced by reverb, delay, chorus, flanging

4 reasons to add dimension to track

• Adds an aural space

• Adds excitement

• Makes a track sound bigger, wider, deeper

• Moves a part back in the mix (reverb)

Picture a sound in a space & recreate that around it.

• Small reverbs make elements bigger: less than 1 second or 1000ms

• Short delays make elements bigger: less than 100ms

EQ tips for Reverbs/Delays

• To make an effect stick out add colour / brightness

• To make an effect blend in darken it / filter

• On busy parts (drums) roll off low end of effect

• If the part is open (PAD) add low end to fill space

• If source is mono & hard panned 1 side, make one side of FX darker, other brighter.

Sonic Layering

• Each element sits in its own ambient environment

• Created artificially by effects.

• Ensure that atmospheres don’t clash with others, like frequency range

(Source: The Mixing Engineers Handbook)

In this video we discuss some tips and pointers from 'The Mixing Engineers Handbook'. We discuss layering reverbs, getting bigness from reverbs and depth from delays and using a BPM/MS Calculator.

NOTE: Some of the tips, ie panning reverbs, might be more relevant to analogue studio engineers, working on consoles. However it's still good to discuss all aspects of the process.

Lets get started by setting up a parallel reverb for our drums. In this tutorial we will set up a drum reverb for all of the elements in our Drum Rack, using the drum rack to route to our Reverb return channel or parallel reverb. This is a great way to add a smooth ambient field to our track. We can also route other elements in our project to the drum reverb for consistency.

In this tutorial we discuss different applications of reverb with other key elements within our track. In addition to using reverb on a Return/Parallel channel, we can use reverb to push an element further back in the mix, again adding dimension to our overall mix down. This is where reverb adds real value to the overall sound and quality of our finished mix.

Delay is a commonly used by producers and DJs in live performances but do we really understand how it works in the context of mixing and not just as an audio effect?

In this video we will explore the topic of delay in detail. Our goal is to get a better understanding of how it works and how to use it in the mixing/production process. We will also look at a MS/BPM chart and use that to create interesting delay times.

Interest is the key to a great mix. It can turn an ok track into a hit. To add interest into our mix we have to have a clear vision of how we want our track to sound. We need to identify the most important elements in our song and emphasise them.

Before we begin the mastering process, we give our track a final once over with rested ears. We take this opportunity to make adjustments, to consider using groups and bus processing. It is important to have our mix as strong as possible going into the mastering process. Always remember, the key to a good master is a good mix.

Mastering is the last creative step in the audio production process. Its role is to fix final problems in a mix and prepare a song for broadcast or public performance.

It is a process of EQ, Compression & Limiting. As we become more sophisticated in our listening we must become aware of differences in production techniques between genres.

Mastering Elements / Terms

Bit Depth

• Defines the number of measurement values to describe the amplitude of a single audio sample

• Each bit represents 6dB of dynamic range

• 24 bit resolution has a potential dynamic range of 144 dB (24*6)

Normalisation: Brings the loudest point in a track to 0 & everything else with it.

Monitoring: 3 different sources recommended.

Dynamic Range: The ratio between the loudest & softest passages in a body of music.

Dithering: intentionally applied form of noise used to randomise quantization error. Used when converting Bit depth

Formats: 24/44 or 32/44 in, 16/44 out (CD standard)

Let's discuss mastering essentials and what you need to know to get results. In this video we will walk through the mastering process from EQ to Compression to Processing. The lessons we have learned from mixing such as frequency and dynamics, all apply to the mastering process.

Mastering TIP: The process of mastering can seem daunting at first, but like anything else, the more we do it the more comfortable we become. At first just use mastering as a way of testing your track out on other sound systems or studio set ups.

Once you feel a bit more confident in the process share it with your DJ friends and ask them to test it out. Once you feel good about that process you are ready to share with labels and DJs outside of your social network. It's an important skill and you've got to learn it, but if you start today, you will be one step closer to achieving your goals.

Once the mastering process is finished, we export our master and get ready to road test our track. Remember Dithering is part of that process, which is an intentionally applied form of noise used to randomise quantization error. Used when converting Bit depth. We render audio at 16/44, the broadcast and CD standard.