If not, here are some resources:<\/p>\n
\ud83d\udc49 Studio Monitors: 5 tricks for optimal placement<\/strong><\/a><\/p>\n \ud83d\udc49 Your First Studio Monitors<\/strong><\/a><\/p>\n <\/p>\n Just turn up all the controls, quickly adjust them and you’re done? That may work for an 8-track mix. But if you\u2019re mixing a modern<\/strong> recording<\/strong> or a DAW<\/strong><\/a> production with individual outputs from a lot of instruments, the drum set alone can have six or more tracks. That’s why it’s better to take your time<\/strong> to<\/strong> focus<\/strong> on each track. Especially if you\u2019re mixing someone else\u2019s material and are given individual tracks, you should first listen to everything carefully<\/strong> so that you know what you\u2019re dealing with.<\/p>\n You are currently viewing a placeholder content from YouTube<\/strong>. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.<\/p>\n More Information<\/a> <\/div>\n Then you can make decisions: how should the drum set be positioned in the stereo field<\/strong>? The way the audience in front of the stage hears it or as the drummer hears it? How many guitar tracks<\/strong> are there? It gets even more tricky with club productions<\/strong> that use only synthesized<\/strong> sounds<\/strong>: What belongs together, what should be placed where in the mix? Once you\u2019ve finished working on the tracks for an instrument or a group of sounds, route them to a common bus<\/strong>. This way, you only have to mix the individual groups at the end. Multi-channel instruments like the drums or grouped elements such as synth effects remain coherent and you have to move fewer controls.<\/p>\n <\/p>\n There\u2019s a reason why EQs<\/strong><\/a> can not only boost frequencies, but also cut them. Beginners in particular tend to forget this and rely mainly on boosting. While this can work just fine, it also makes the signal louder and can change its character. It often makes more sense to attenuate the frequency ranges that are not required or even annoying. A female pop vocal<\/strong> doesn’t need a booming low end at 80 Hz \u2013 that\u2019s the bass drum\u2019s territory! The kick, on the other hand, doesn’t need the frequencies above 8 kHz<\/strong>. So get rid of them!<\/p>\n You are currently viewing a placeholder content from YouTube<\/strong>. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.<\/p>\n More Information<\/a> <\/div>\n When combining sounds into a mix, it also helps to take something away from one sound at certain frequencies to carve out space for another sound<\/strong>. But be careful \u2013 if you remove too much, there\u2019s a risk that your mix will sound lifeless. To sum up, don’t forget that an EQ<\/strong><\/a>\u00a0has both positive and negative values.<\/p>\n <\/p>\n You are currently viewing a placeholder content from YouTube<\/strong>. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.<\/p>\n More Information<\/a> <\/div>\n This wasn\u2019t an issue in analogue<\/strong> times<\/strong>, when only expensive mixing consoles offered compressors on every channel. Even today, most higher-end studios keep a handful of selected hardware devices around for their specific sonic characteristics. Thanks to modern computers and efficient plug-ins<\/strong>, it is now no longer a problem to insert an 1176 compressor and a reverb plug-in on every channel. Although this may seem like a great idea at first glance<\/strong>, it usually doesn’t deliver the desired result<\/strong> of a coherent mix in which all elements sound like they belong together.<\/p>\n For standard reverb and delay effects<\/strong><\/a>, you should work with sends and process several signals through the same effect. And yes, two<\/strong> (or sometimes more) different<\/strong> reverbs<\/strong> are still the best way<\/strong> to control the depth of field<\/strong> of your mix. Signals that belong together, e.g. the drums, can be routed to a bus and processed by a single compressor<\/strong>.<\/p>\n <\/p>\n Yes, all signals are important. But that doesn’t mean they all play the same role in the mix. The magic words here are depth of field, frequency relations, and dynamics<\/strong>. Not every instrument stays at the same volume throughout a song, nor should all instruments be equally loud. And as mentioned before, every instrument needs its place in the frequency spectrum<\/strong>.<\/p>\n You are currently viewing a placeholder content from YouTube<\/strong>. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.<\/p>\n More Information<\/a> <\/div>\n Even if every musician usually wants his or her instrument to be represented exactly as he or she hears it, this does not necessarily lead to the desired result when mixing. If everything is equally loud<\/strong>, there is no depth in the mix. And if you distribute everything evenly to the left and right, your mix will lack spatiality. It is much more important that you pay attention to the interplay of the individual elements<\/strong>. Use both the panorama (spaciality) and volume (depth) to place each sound in the mix so that listeners can locate it precisely.<\/p>\n <\/p>\n This is a very important point that many mixing beginners often forget and then wonder why the mix doesn’t work. No matter how precisely you follow the manual and pay attention to all the points mentioned here: in the end, you should always trust your ears<\/strong> instead of dialling in specific parameter settings. Many successful mixing engineers don’t pay attention to the numbers when adjusting an EQ or compressor. They often don’t even look at them and prefer to rely on their ears.<\/p>\n You are currently viewing a placeholder content from YouTube<\/strong>. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.<\/p>\n More Information<\/a> <\/div>\n If the result is right, it doesn’t matter how you got there! Parameter values are always just starting points from which you move towards the desired sound. The important thing is that you capture the musical moment<\/strong> with your mix. If you remove<\/strong> every<\/strong> breathing<\/strong> sound, suppress every noise, compress everything, and edit every track down to the smallest detail, you may end up with a technically perfect mix, but it will likely sound totally dull<\/strong>. By the way, this is also the reason why demos often have a certain magic to them that the final mix later lacks.<\/p>\n If you pay attention to these mixing mistakes and try to avoid them, you’ll notice that your mixes will sound much more musical and therefore better. Do you already have mixing experience? Then why not leave us a comment and share your tips on what beginners should look out for.<\/b><\/p>\nMixing mistake #1: Not taking the time<\/strong><\/h2>\n
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<\/a><\/div><\/div>Mixing mistake #2: Using EQ incorrectly<\/strong><\/h2>\n
Mixing mistake #3: Too many effects<\/strong><\/h2>\n
Mixing mistake #4: Treating all signals equally<\/strong><\/h2>\n
Mixing mistake #5: Mixing with eyes instead of ears<\/strong><\/h2>\n
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