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In this course, author Bobby Owsinski reveals industry tips, tricks, and techniques for producing professionally mixed audio on any digital audio workstation. He offers recommendations for setting up an optimal listening environment, highlights the most efficient ways to set up and balance a mix, and shows how to build a powerful sound with compression. The course also explains how to master the intricacies of EQ; incorporate reverb, delay, and modulation effects; and generate the final mix.
There are some mixers that just push up all the faders and mix with everything in the mix from the beginning. The theory is that everything will be in the mix anyway, so you might as well start with it all in as soon as you can. In this movie, I'm going to show you the advantages of mixing this way, and we'll look at an example of how this technique is done. The advantage of this method is that by hearing all of the instruments and vocals, you're able to make an aural space for everything. If you insert one instrument at a time, you begin to run out of space, and frequently you have to go back to the beginning just to make sure everything fits in together properly.
The downside to this is it might not have the power of the previous mixes. So the first thing is we'll just bring all the faders up. And in this case, we have our subgroup faders that we're going to be mixing from, just to make things a little bit easier. And we're just going to randomly bring the faders up here. (music playing) And what we're going to do is just gradually balance everything.
And the downside of this here is that there's no particular rhyme or reason. Before, we were saying let's start at -10 on the kick or -10 on the bass or whatever instrument you might start with. In this case, everything is in, and we're going to rely on our intuition to kind of balance things. And this could work for a lot of people. If you're new, it's not really the best place to start from, but it's one way to do it, and I'm going to show you how. (music playing) Now there's two things here.
The first thing is the master mix meters have peaked. (music playing) They're running hot and you can see the red LEDs, which means that we've peaked. Now this is one of the problems that you have when you're mixing like this is the fact that you're going to have very, very high levels most of the time. We can fix that; that's not a problem. First thing is to get rid of our overloaded LEDs and just click on them and they go away. And the next thing is we'll just bring the master down a little bit so we won't have that problem.
But now you can hear the balance is pretty good. I've got the balance together because I'm fairly experienced. I know how to do this and I know the song. But if you're just starting, it may be more confusing than it needs to be for you. It's just a method of how to do it. But really what I'm doing here is I'm concentrating first on the rhythm section, starting with the drums, then the bass, then really the vocal, and I'm trying to fit everything around that. Let's have a listen. (music playing) Now once again, we'd call this more of a rough mix than anything else.
And obviously, if we're going to a final mix, we do everything a lot slower, but it's just an example of how you can build the mix with all the instruments in from the beginning. And once again, it's just a method that some people have--not many, some people do do it this way. So this is how you build a mix with all the elements in from the beginning. Be aware that the mix may not have the same power as the other mix techniques.
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