Consejos de Mezcla [Bueno]!!!!!!!!!

8/14/2019 Consejos de Mezcla [Bueno]!!!!!!!!!

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There are many ways to get your songs to final form. Lets assume, for this article, final

form means a beautifully polished piece of music in 16 bit 44.1 khz digital audio (i.e.,

the red book cd audio standard! or a standard wa"e file. #ou need to start, of course,

with a fully or almost finished song. This is the point where the writing ends and the

Tweak$eistering begins. %&m going to gi"e you some hard earned tips on $i'ing and

$astering.

$i'down and $astering, traditionally speaking, are two "ery separate processes.

$i'down is

the art of le"eling, eualizing and effecting all the "arious sources from many tracks

down to a stereo $i'. $astering is the process of taking the stereo mi' and putting it in

the final album)ready form. *ecent software and hardware de"elopments make these

processes easier and less e'pensi"e than they e"er ha"e been in the history of

making music. +i"en that much of the time we can stay in the digital domain we can

add processing to our heart&s content and maintain a high signal to noise ratio andachie"e optimum dynamics for the piece at hand.

Tweakeadz -"erall ower $i'

arameters.

lease consider these parameters not as rules but a starting point

for you mi'es for the standard pop song or ballad. -f course the instruments change

if you are doing techno or symphonies, or ambient stuff, but the reference may still

be helpful.

$atch the following instruments when soloed in place to the db markers on

your mi'ing desk or your mi'down deck or software.

/et the trims0

/olo each instrument in succession and set the trim so the signal peaks a db.

2ick drum

db 3 e at 5 z 31 db at khz )db 75 hz 8o 9: e'cept maybe subtle ambience#ou will tweak the kick again, this is ;ust to get you going.

/nare

) db e to taste in the freuencies abo"e 4khz. ocal

db use a low cut filter to eliminate rumble and plosi"e pops


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around 1) hz. ?arefully enhance the delicate high end around 15khz to add air

and

sheen and don&t o"erdo it@ This is the trickiest ad;ustment and may often spell hit or

dud. erfectly center the "ocal and pan it not with pan controls, but with "ery subtle

leftAright hi fre e&s. ut on the cans (headphones! and make sure its in the absolute

center of your forehead.. B"ery word must be intelligible.


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your friends back, and e"eryone who listens. $oral of this lesson. 8e"er take mi'ing

and mastering lightly. The tiniest fader mo"ements make a difference. Ce e'acting@

The $i' is a =ynamic, $o"ing rocess

=on&t ;ust sit there while your mi' goes to tape, or disc, or =


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range es can gi"e you a "ery contemporary sounding presence and make your dance

tracks

come ali"e with freshness. umping the compressor a little at 5)6hz can gi"e you the

kick in the chest kik drum without wrecking the delicate dynamics of the high end

"ocals.

There are many more applications such as using them to send midi tracks to yourdigital

audio mi'er compressed optimally, ducking for "oice o"ers, de)essing, warming

through

tape saturation parameters and ard +ate effects on indi"idual tracks. *emember

Tweakheadz rule of thumb0 egas. %&m ;ust going to look at >egas here, because % am enamored

with it right now. The main thing is to be able to draw a "olume en"elope o"er the

whole wa"eform. *ather than botch a fade times on an analog mi'er, simply draw in

the perfect fade with the mouse. Ehere the piece loses intensity, notch it up a tad,

to restore your intended dynamism to your mi'. /ay you ha"e the perfect mi' e'cept

for one horrible sp)p)p)lat where your seuencer choked at bar 7. 8o prob.

Hust remi' the offending bar again, cut out that piece in >egas and drop in the new

one and let the automatic crossfading gi"e you the absolutely perfect, digitally

calculated crossfaded splice. Eorks@ 8eed to touch up the BD and do your

compression

in softwareI Tweak it in. %t&s all undoable, so your not going to ruin anything.

ecided the mi' you did last year really su'I #ou need to cut out a chorus or fade

5 seconds earlierI /ay you did a trance piece but the kick is so wimp that it makes

you cringeI Hust drag in a looped FF kik and paint it on the ne't track, setting the

"olume and compression to make the whole song whupass. 0! >egas gi"es you the

tools.

%n fact, % like it better for post pro than as a multi track.

/umming Gp0

Ehether

you are writing industrial hardcore or the darkest ambient, a 1 piece orchestra or a

stark minimalist a capella mi', always keep your ears tuned to making an artistic

statement, a work of unforgettable beauty. This is the bottom line.

The more control your $i'er gi"es you, the better you can paint the o"erall image.

Eorking with compressors and mastering processors gi"es you a shot a polishing that

image much like we polish a stone to bring out its colors. ope this article helped

you get a handle on the concepts of the perfect $i', mastering and post)production


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*ich the Tweak$eister

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Consejos de Mezcla [Bueno]!!!!!!!!!