Steven Slate Mixing Tips

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Steven Slate gibt über Twitter - neben dem marketingbedingten Schreibdurchfall - immer wieder sehr brauchbare Mixing Tipps raus, von denen viele mit Sicherheit bereits von den hiesigen Usern instinktiv oder bewusst angewendet werden. Nichtsdestotrotz habe ich mal einige (ältere) zusammengestellt, falls mal wieder Inspiration benötigt wird.

Split ur Lead Vox into 3 Copies: 1 Natural, 1 Bright and Compressed, 1 Grainy..automate the 3 throughout the mix to make it POP

Chris Lord Alge: I always do an automation pass w my drum faders to keep them dynamic in the mix

Compressing your reverb returns a bit can thicken them up in a cool way, try it

Following your delay with a small reverb at 40% wet can mellow it out, and create even more depth

Digital Peak Limiters are effective for transparently taming overly dynamic acoustic guitars. Try it

Want a brighter snare? EQ some top into the overheads.. you'll get there quicker than just eqing the close mic alone

Dull Vocal Recording? Gently pull out the mud frequencies, compress hard, then add some upper mid eq 4 clarity & air, then De-Ess

Don't be afraid to extend the bandwidth of the eq to it's maximum width.. wider smaller boosts tend to sound more musical

Carving off some top and bottom of background vox helps them blend in with the lead vox without sounding too defined.

Wide Bass? Copy Bass to stereo track, hi pass till about 300Hz, distort a bit, send to wide chorus, mix in SUBTLY with dry Bass

I'll say it again. Don't eq your close mic drums until you've checked their phase coherency with the overhead mics

Mellow out ur vocal delays: attenuate using a hi shelf eq at 8k by about 3db, then follow it into a medium room verb at 20% wet

I always recommend eqing drum overheads and room mics WITHOUT soloing them since they really impact the entire drum sound

Airy Pop Vox: Hi Pass till 100Hz, boost 12khz 5db, then compress hard @12db, then soak up the sibilance with a strong de-esser

Simple kick drum and bass guitar balancing act: cut a small notch of 80Hz in bass, boost a little 80Hz in kick. It WORKS

I almost always automate my master fader up 1.5db on the chorus of the song to help it really pop out

Rock Kick Trick: Copy kick, filter out deep lows and highs, crank wide bell at 2khz, compress 10db, mix in subtly!

Rock Snare Attitude: load a ringy snare sample, compress and distort mildly, send to stereo verb, add lows, mix it in subtly to the kit!

Vintage Vox: Attenuate top w/ 12k shelf, boost mids @ 3.5k, mix in parallel distorted vox subtly, use long predelay'd compressed verb

Ultimate AIRY Vox w/o being harsh: Copy vox, crank 10khz shelf, then follow with heavy de-essing, heavy compression, mix in to get AIR!

Vox Delay Tip: If you time out your delay to the tempo of the song, it can add depth without being audible. Start with a quarter note!

Dry Vox with "life": Use a stereo pitch shifter, left side 9cents down 20ms, right side 9cents up 40ms, mix in very subtly!

No matter how much eq or compression you put on your snare.. if it's not in phase with the overheads, it won't get punchy!

Vocal not POPPING out of the mix? Copy it, compress it hard, add some distortion, add some upper mids, mix in SUBTLY with original vox!

Fat Chorus Guitars: Send guitars to buss. Put compressor on it. During chorus, automate up 2db so that compressor kicks in & fattens em!

Explosive Poppy Snare: Copy snare, compress heavy with fast attack and release to bring up sustain, gate the tail off, mix in subtly

Thick Vox: Use stereo pitch shifter 10ms delay and 10 cents up and down on each side, filter off top end, mix in subtly!

Bigger Chorus Vox: Copy vocal and compress and distort.. mix it in SUBTLY as the hook of the song comes in!

EZ Parallel Vox Compression: Copy vox, compress one heavy, and during mix, automate the dry vs compressed faders so vox breathes!

The Big THUMP Snare? Medium tuned Snare w/ big hitter..during mix copy it and crank Lo Shelf at 100Hz 10db! Now compress 5db & mix in!

Make your vox pop out of the mix: Copy vox, push wide 4khz bell, compress extremely hard w/ fast release, mix in subtly for extra POP!

Drums need punch & sustain to be BIG in a mix. For punch, little bits of slow attack and medium release compression & upper mid EQ…

Use a compressor with your ears, not your eyes. I'll pin the meters on my DRAGON on vox to make them really slam through the mix.

Super Bright Airy but not harsh POP VOCAL? Crank 10khz hi shelf, follow into compressor with high gain reduction, into heavy de-esser!

Dynamic & Deep VOX: Try a subtle 1/4 note delay on verse & then bring in a 1/2 note delay w/ feedback on hook. Mellow the delay w/ EQ!

The faster the song, the less sub lows you'll want on the kick. Speed Metal? I'll hi pass up to 80Hz if needed.

Sizzly Snare Verb: Copy bottom snare trk, filter out lows to 600Hz, crank high shelf at 10Khz, send to nice verb. Nice on ballads.

Putting a rolled up tape at the VERY edge of the snare drum can dampen the ring slightly without choking the hell out of it.

Sometimes it's not about adding more eq or compression or trickery.. it's just getting the right instrument balance

Nothing wakes up a kick drum better than making sure its in phase with the overhead mics #there'smylowend
 
Ich werde jeden einzelnen auf ein Kissen sticken! :)
 
Kannste die Tipps bitte mal gruppieren (Vox, Drums, Guitars etc.)? Etwas unübersichtlich sonst die Sprünge.
 
jetzt auch noch mit ansprüchen... tztz ;)

sind ja eigentlich alles keine neuen tipps, aber ich find's cool als reminder, da man doch immer wieder das eine oder andere sehr nützliche vergisst.
 
Ich finde es MEGA hilfreich, ohne Witz.
 
Kannste die Tipps bitte mal gruppieren (Vox, Drums, Guitars etc.)? Etwas unübersichtlich sonst die Sprünge.

Die paar Zeilen bekommt man doch noch sortiert, oder? Ist ja eh nix in Stein gemeißeltes, nur ein wenig food for thought wenn man mal nen neuen Impuls braucht. Eines kann ich schon verraten: it works auch wenn man es nicht in your face, super bright und mega popping out haben will.
 
Na jut. Lemme do this:


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Drums

Want a brighter snare? EQ some top into the overheads.. you'll get there quicker than just eqing the close mic alone

Chris Lord Alge: I always do an automation pass w my drum faders to keep them dynamic in the mix

I'll say it again. Don't eq your close mic drums until you've checked their phase coherency with the overhead mics

I always recommend eqing drum overheads and room mics WITHOUT soloing them since they really impact the entire drum sound

Rock Kick Trick: Copy kick, filter out deep lows and highs, crank wide bell at 2khz, compress 10db, mix in subtly!

Rock Snare Attitude: load a ringy snare sample, compress and distort mildly, send to stereo verb, add lows, mix it in subtly to the kit!

No matter how much eq or compression you put on your snare.. if it's not in phase with the overheads, it won't get punchy!

Explosive Poppy Snare: Copy snare, compress heavy with fast attack and release to bring up sustain, gate the tail off, mix in subtly

The Big THUMP Snare? Medium tuned Snare w/ big hitter..during mix copy it and crank Lo Shelf at 100Hz 10db! Now compress 5db & mix in!

Sizzly Snare Verb: Copy bottom snare trk, filter out lows to 600Hz, crank high shelf at 10Khz, send to nice verb. Nice on ballads.

Putting a rolled up tape at the VERY edge of the snare drum can dampen the ring slightly without choking the hell out of it.

Drums need punch & sustain to be BIG in a mix. For punch, little bits of slow attack and medium release compression & upper mid EQ…

Nothing wakes up a kick drum better than making sure its in phase with the overhead mics #there'smylowend

The faster the song, the less sub lows you'll want on the kick. Speed Metal? I'll hi pass up to 80Hz if needed.

--------------------------------------------------------------------------------------------------------------------------------

Bass

Wide Bass? Copy Bass to stereo track, hi pass till about 300Hz, distort a bit, send to wide chorus, mix in SUBTLY with dry Bass

Simple kick drum and bass guitar balancing act: cut a small notch of 80Hz in bass, boost a little 80Hz in kick. It WORKS

--------------------------------------------------------------------------------------------------------------------------------

Guitars

Fat Chorus Guitars: Send guitars to buss. Put compressor on it. During chorus, automate up 2db so that compressor kicks in & fattens em!

-------------------------------------------------------------------------------------------------------------------------------

Acoustic Guitars

Digital Peak Limiters are effective for transparently taming overly dynamic acoustic guitars. Try it

--------------------------------------------------------------------------------------------------------------------------------

Vox

Split ur Lead Vox into 3 Copies: 1 Natural, 1 Bright and Compressed, 1 Grainy..automate the 3 throughout the mix to make it POP

Dull Vocal Recording? Gently pull out the mud frequencies, compress hard, then add some upper mid eq 4 clarity & air, then De-Ess

Carving off some top and bottom of background vox helps them blend in with the lead vox without sounding too defined.

Mellow out ur vocal delays: attenuate using a hi shelf eq at 8k by about 3db, then follow it into a medium room verb at 20% wet

Airy Pop Vox: Hi Pass till 100Hz, boost 12khz 5db, then compress hard @12db, then soak up the sibilance with a strong de-esser

Vintage Vox: Attenuate top w/ 12k shelf, boost mids @ 3.5k, mix in parallel distorted vox subtly, use long predelay'd compressed verb

Ultimate AIRY Vox w/o being harsh: Copy vox, crank 10khz shelf, then follow with heavy de-essing, heavy compression, mix in to get AIR!

Vox Delay Tip: If you time out your delay to the tempo of the song, it can add depth without being audible. Start with a quarter note!

Dry Vox with "life": Use a stereo pitch shifter, left side 9cents down 20ms, right side 9cents up 40ms, mix in very subtly!

Vocal not POPPING out of the mix? Copy it, compress it hard, add some distortion, add some upper mids, mix in SUBTLY with original vox!

Thick Vox: Use stereo pitch shifter 10ms delay and 10 cents up and down on each side, filter off top end, mix in subtly!

Bigger Chorus Vox: Copy vocal and compress and distort.. mix it in SUBTLY as the hook of the song comes in!

EZ Parallel Vox Compression: Copy vox, compress one heavy, and during mix, automate the dry vs compressed faders so vox breathes!

Make your vox pop out of the mix: Copy vox, push wide 4khz bell, compress extremely hard w/ fast release, mix in subtly for extra POP!

Use a compressor with your ears, not your eyes. I'll pin the meters on my DRAGON on vox to make them really slam through the mix.

Super Bright Airy but not harsh POP VOCAL? Crank 10khz hi shelf, follow into compressor with high gain reduction, into heavy de-esser!

Dynamic & Deep VOX: Try a subtle 1/4 note delay on verse & then bring in a 1/2 note delay w/ feedback on hook. Mellow the delay w/ EQ!

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FX

Compressing your reverb returns a bit can thicken them up in a cool way, try it

Following your delay with a small reverb at 40% wet can mellow it out, and create even more depth

Don't be afraid to extend the bandwidth of the eq to it's maximum width.. wider smaller boosts tend to sound more musical

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common

I almost always automate my master fader up 1.5db on the chorus of the song to help it really pop out

Sometimes it's not about adding more eq or compression or trickery.. it's just getting the right instrument Balance




.
 
In your face. Super bright. Und mega popping out .

Starring: Nicholas Cage. Tera Patrick. The Rock.

In Cinemas next friday. Rated Aaarrrrr.
 
"Use a compressor with your ears, not your eyes."

Wie soll ich den die Knöpfe mit meinen Ohren vernünftig bedienen? Und btw habe ich immer die Hände und nicht meine Augen benutzt. So ein Freak...
 
Hallo zusammen!

iZotope haut z.Z. auch viele nützliche Tipps auf Twitter raus.

Mein Favorit: "Protect ur ears."

So simpel und doch so wichtig ;-)

Hier mal ein paar, die ich ganz gut finde:

Mastering
Mastering Tip #12: Don’t deliver mixes too loud. Leave 2-6 dB of headroom in your mixes.

Arrangement
Use fewer tracks in verses. Thin out the arrangement on the verses or introduce something new in each section as the song progresses.

A bridge can be a crucial part to a song and can really be the place to display a breadth and diversity of melodic and harmonic skill.

Mixing
Record like there's no mixing. Mix like there's no mastering.

Shape the frequency range on verses to carry less low- and high-end information and choruses to cover a more full range.

Mid/Side compression can be key in preventing undesired sibilance, use it only on centered vox.

Use effects with a shorter decay time in verses and stereo effects with longer decay time in choruses for increased depth in your mix.

Low pass the wet signal on #vocal #delays to add depth and help your lead vocal cut through!

Wide vocals, instruments. Dup track. Pan each left and right. Detune one by cents to taste.
 
"Use a compressor with your ears, not your eyes."

Wie soll ich den die Knöpfe mit meinen Ohren vernünftig bedienen?

So ungeschickt?

:-D
 
...Mid/Side compression can be key in preventing undesired sibilance, use it only on centered vox...
M/S-Kompression auf ´ner (Mono-)Vocalspur für weniger Zischeln? Funktioniert das wirklich? Und was soll dann primär komprimiert werden? M oder S :schulterzuck:
 
Ich glaube er meint M/S auf der Summe - und da wohl die Mitte weniger komprimieren, da stärkere Kompression wohl die S-Laute hervorbringt.
 
Ja, das macht Sinn und werd´ ich morgen gleich mal ausprobieren.
 
...Mid/Side compression can be key in preventing undesired sibilance, use it only on centered vox...
M/S-Kompression auf ´ner (Mono-)Vocalspur für weniger Zischeln? Funktioniert das wirklich? Und was soll dann primär komprimiert werden? M oder S :schulterzuck:

Das "S" natürlich. Das "M" zischelt doch nicht ...

Na, du hast noch nicht gehört wie Sausus sinkt :)

- - -

Ich glaube er meint M/S auf der Summe

Jo, oder wenn die Vox auf 'nen Stereobus geroutet sind ....
 

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