How To Mix Music is our essential guide to becoming a music mixing professional. With this series I help explain and teach music mixing to you – musicians, producers, and aspiring mixing engineers. Saw synths are often used to give a song more body in the mid frequencies. If the attack of the synth is short, you can set the attack time of the compressor slightly after the attack time of the synth to give it a punchy impact. This is often somewhere between 15 milliseconds and 40 milliseconds. We use cookies to ensure that we give you the best experience on our website. If layering multiple sounds into one synth bass, the bass buss can often benefit from a light amount of compression (i.e. Find the best spot for them by avoiding the place where they might mask, or get masked by other elements in the mix. Compression This compression plugin was designed to mainly be used on the tracks that can add some punch to your music; E.g. Great sound. Your mix can sound much cleaner without reverb on the strings. Your mix can sound much cleaner without reverb on the guitars. Make sure to cut away any unnecessary low frequencies by setting a high-pass filter before the key frequency of the guitars. The limiter mode has a higher threshold and higher ratio (still, it’s not like a modern brickwall limiter at all) but still with a smooth knee. In some occasions you could boost frequencies between 1kHz and 6kHz to enhance its brightness and definition. In addition to the typical compressor controls, Rough Rider 3 also features a Mix controls for Parallel compression as well as a High-Pass Filter. Sending the lead synth to the main reverb can give a bigger and more spacious feel to the track. Because you aren’t slamming a … Mixing Instruments & Synths – Atmospheric Synth – EQ Boost. Reverb With a low-pass filter you can cut away the high frequencies of the atmospheric synth. Compressor has lower threshold and a more gentle ratio that increases with the gain reduction. Equally, you could use it to clamp down or widen the stereo field. Covering the necessary preparations, tools, underlying physics and insider tips and tricks to achieve the perfect mix and master. Be super careful with that in the mix bus context though. Your email address will not be published. You don’t want your compressed end result sounding any quieter or louder than your unprocessed signal. You’ve probably heard of lead synths, saw synths, plucks, atmospheric synths, and a dozen others. If you decide to give the saw synth some reverb, send a send/auxiliary/bus signal to the main reverb bus – as we discussed in episode 2 of this series. I make sure all frequencies below 100Hz are completely centered (mono), and frequencies between 100Hz and 500Hz are not too much on the sides. Did you grab my instruments & synths cheat sheet? Set a low-pass filter at around 12kHz to define its high frequencies. Make use of these facilities! Notable compressors in this category are the SSL G-Series Console Bus Compressor and the DBX 160. Remember to work with the makeup gain to keep your levels in check. Your mix can sound much cleaner without reverb on the horns. There are also many misconceptions about how and why mix-bus compression is used, and if used incorrectly, it can diminish a lot of hard work. Often, guitars don’t need frequencies below 180Hz. Compression Compression Critically evaluate if your strings need all the low frequencies they have – often they can do without. -2 to -4 dB of gain reduction) to process and ‘glue’ the sounds together into one. Use a VCA compressor to tame peaks on your drum bus and other percussive elements on individual tracks in your mix. The output/monitoring section of the plugin has options for soloing the Mid and Side components of the material, as well as checking how your mix sounds in mono. A useful purpose is to mix a synth, with reverb, and then send that into a compressor, to "glue" it into a whole, and bump up the reverb in the process. Wait until the end of the mixing stage to evaluate whether or not the keys need reverb. This way you keep the high-end aspect of the lead synth, while saving enough space for the hi hats and crashes to come through cleanly. In this episode I explain to you step by step how we go about mixing instruments and mixing synths. Set a low-pass filter around 12kHz to allow this, while still keeping enough space for your hi-hats and crashes to come through cleanly. The Mid/Side option on this compressor is great to have. Valley People Dyna-Mite (compressor/limiter/gate/expander). For strings you can use a long attack between 30 milliseconds and 70 milliseconds, and a long release time between 60 milliseconds and 130 milliseconds. Compression Mixing Instruments & Synths – Horns – Compressor. Placement Mixing Instruments & Synths – Horns – EQ Boost.

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