How to do Mixing and Mastering
Mixing and Mastering are two main components of professional production. Do you have a home studio and want to record your own instruments such as guitar, piano or drum to make a spectacular piece? This article gives you all the information about mixing and mastering that are necessary to produce your own piece!
Why Good Mixing and Mastering are required?
First of all, let’s start by explaining exactly what we mean by mixing and mastering. The first term is mixing. It means assembling a plurality of layers of sound to form a final part, or editing an existing track in terms of music. The second term means the process of optimizing the final part using a wide range of different mastering elements such as mastering, compression, equalization, stereo reinforcement and others.
In this article, we will spend a little more time on mastering and describing various mastering processes such as compression and EQ. Now, let’s take the example of a music enthusiast, recording a piece in his home studio. The digital condenser of the guitar, piano and drums are recorded using the USB microphone sorter software on different parts in Cubase.
When I stumbled on a pieces in a simple way and played the song, the sound was absolutely not dynamic and it wat flat. Now what he can do is mix. For example, it can change the volume of the sound track at a certain point to make the guitar stand out much more clearly at a given moment. This means the mixing of the piece, stratification of the sound and the detection of the volume. At the same time, unwanted noise and clicks are eliminated at the mixing stage.
Now, the song will be much better as a sound, but there are still many things to do. Now mastering. With the mastering of the piece, a piece can actually be given life and the tone of the voice is added. You can make the drum much more dynamic, the guitar will sound more or less sharp and you can make the piano much softer and you may want to raise the bass frequencies of the piano a little more if there is no bass.
Compression and Compression Techniques
Probably most of you already know what compression is. However, most of you probably don’t use it correctly. Voice-over agency compression of the dynamic range of sound is common and is used extensively in every modern music track. Compression ensures that the sound is not cut off: ensuring that the sound does not exceed the decibel limits, thus ensuring that the sound is not very high in its simplest form.
Now, how it works can be explained: if the recorded sound is too high and exceeds the decibel limits, the compressor takes the end points of the sound and compresses it so that it does not remain within the limits and therefore ensures that it is not too high. However, on the other hand, it takes the softest parts of a part and raises the frequencies. As a result, you have a piece in the mean waveform and the soft parts are raised and the loud pieces are reduced in both frequency and volume.
The problem with compression is that many people these days don’t really know how to work with it. If one simply places the compressor on the part, everything will remain within the volume decibel limits. However, it will really thicken the sound and destroy the spirit and dynamics of music.
For example, if someone actually plays an emotional track on the guitar and then has a louder portion at the end, the compressor will make the first part more noisy, so that everything is at the common average decibel level. This will take away the sensation in the sound and therefore reduce the compression. In modern music, many albums are quite noisy and are not dynamic: this is called the Noise War. These days, it seems as if more and more people are able to do so, putting more and more decibels within the dynamic range. This often results in the emergence of numb, non-dynamic parts.
There are many different types of compressors, both physical and virtual compressors. Virtual compressors are becoming more and more popular these days because they are much more flexible and do not need a physical space in a studio. They are also much faster, so working with them is much more dynamic. Different compressors have different sounds. Examples of the most famous compressors are the VC 76 FET compressor that produces powerful sound and the VC 2A Electro optic compressor that produces a very soft and warm sound. The choice of compressor is individual and fortunately today there are many compressors serving different purposes.
Now that you know a little bit about the compressor, let’s take a look at some compression techniques. In reality, there is a session right here on Audiotuts +, about compression techniques. This incredibly useful session offers a number of different techniques for how to efficiently add compression to your part. Also, make sure you have as much resources as possible, including (e-) books and other websites, to gain much more experience with compression.
Synchronization is to increase the specific frequencies of a sound. Two examples of EQ interfaces in Cubase are:
You can increase a specific frequency by using a slider in the first image. In the second image, you get a virtual representation of all frequencies. Now, the EQ is much easier to understand. For example, when you record a track with a bass drum, you don’t want a very thin sound, and you want to have relatively much more basic frequencies within it. With the EQ you can increase bass frequencies, mostly between 100 and 300 Hz for the bass drum, so you can achieve the desired sound. The EQ allows you to achieve the perfect sound for an instrument, and often all the instruments are synchronized during recording.
Apart from two of the most important topics such as compression and equalization, there are many more effects that will add color to your part and make you get the most out of the sound. There are some effects below to get you started.
Stereo reinforcement is very simple. Normally, music or sound is played through two or more speakers. Most computer speakers and all headphones have speakers and are stereos. The stereo booster simply distributes sound to the two speakers, so there is no more sound on one side. This gives a natural effect to the part, as people have two ears.
There are also stereo boosters that enable reinforcement for 5.1 surround sound. You can play with different settings such as width, delay and color.
The echo is simply an echo. When you apply an echo to an audio track, an echo occurs. This results in a much more realistic sound. The test models, especially those made with virtual instruments, uses echo extensively, because a virtual instrument often makes a very dry sound.
However, echo can also be applied to live recorded tracks. This will add a warmer and more natural feel to the piece, but you still need to know how to work with the echo as you do with the other issues we’ve discussed in this article, and make sure you don’t apply too much. On the other hand, different instruments need different eco times.
Now, I’m not going to talk about all the extra effects right now because there’s MUCH MORE. Certain titles, decoders, amplifiers (usually for guitars), tuners and others. Just go over the effect list of the software and you’ll see that there are many effects to make your music sound much better.
Result: Mastering the mixing
Finally I want to talk about the essence of mixing and mastering. It is a special subject of music production such as composition, instrumentation and notation. Mixing and noting music as well as mixing and mastering require intensive knowledge and experience.
Although it seems sounding quite right after inserting the elements, many people have had a failure to make any improvement from this moment. In fact, there are many improvements you can make with effects such as compression, EQ, reverb, and additional effects. Just make sure you don’t end the production until you get the sound you want.
I thank you for reading this article and we hope that we can inspire you to be creative with mixing and mastering.