Repository to share e-book about techniques of mixing and Mastering music Follow My Podcast about Home Studio
If you are passionate about music and are reading this e-book, I guess you will surely have some reference figures or masters, people you follow and admire for how they produce and how their works sound. At this point, the fundamental question is:
what are the things that interest you most in the jobs they do?
Because these are exactly the things that make the sound of these gentlemen so recognizable. To make a name in this field you need a signature; we need to know how to give something different, which distinguishes us from other competitors. That something that when a potential customer or enthusiast hears, says: _ “wow! He certainly did this mix! I would like a record with this sound! ”:.
Imagine mixing on an analog desk, as it was done and still is done in many situations. Each channel through which the sound passes is inevitably modified by the electronics of that desk, being enriched and colored by all the circuitry that is involved. In this way many historical records have reached that sound that still makes us crazy for its beauty and its character. When we work digitally we have nothing that colors the sound, so we must be good right away at simulating a very similar situation.to what we would have working in analog. Let's be clear, I'm not just talking about wanting to emulate a certain sound here. The truth is that when you work on an analog desk, all that color can be summarized technically as "harmonic distortion", a component that is not only pleasant, but which introduces harmonic frequencies into the sound. This factor should not be underestimated: harmonic distortion not only makes our mix more translatable on the various systems (especially the smaller ones that make us suffer so much), but being distortion, in addition to coloring, it introduces a small contribution of compression and equalization in our sound, the magic that makes everything even more beautiful in the flat, if we can say so.
In short, having already a chain downstream of the whole mix that gives us the right control, the right vibe and therefore a good dose of harmonic distortion, we will find ourselves having to work much less upstream, using fewer individual processors on each track, equalizing and compressing less, obtaining a much more natural mix, but at the same time warm, deep and believable. My goal is to tell you about how to set up the MixBus chain and how to create a Mix Template that makes your Mix much easier, but at the same time it allows you to define your "sound" that can characterize you. To do this, in addition to explaining the reasons for some choices, I will also suggest free VSTs to use in this path. Of course it doesn't mean that they can't be replaced by paid plugins, just that doing a good job often doesn't matter the "gear" he is using, but only our ears and musical taste. It is also important to emphasize that the information I report in this e-book is not a diktat or a prepackaged recipe: they are more than anything else initial rules for setting the job that work well for me, but which must always be adjusted, perfect and adapt on the single song: always listen with your ears!
in the folder Ebook you find the released materials:
- the free ebook about mixing and mastering templates
- list of VST and plugins to use in the chains
- Appendix Home Studio: how to set up routing, mixing and mastering InTheBox with headphones only, informations about headphone types
- Explanation of Gate usage
- Updates on Mixing Chain
- Details added on MixBus chapter about volume normalization and Stereo Width
- Redesign of bus chains: -- Voice -- Bass and Drums
- chapter on Compressor competely reviewed
- details added on several plugins