Mixing Bootcamp: Mixing Fundamentals Flashcards
What is the difference between ‘Peak’ and ‘True Peak’ values and why would you need to know a track’s ‘True Peak’ value?
Peak metering in a DAW is a digital ‘guess’ at the peak volume which is made using a digital algorithm; the True Peak is the actual peak volume when audio is rendered to analogue. The signal could end-up being louder than the displayed peak value once rendered to analogue causing it to clip above 0db. Using a True Peak Meter reading or True Peak Limiter will prevent this
What are the 2 main ways to measure loudness, what are some guideline ranges to shoot for in each and how do you determine your desired value in each case ?
RMS (root median squared) and LUFS (loudness units full scale). RMS values might be -10 to -3 dbs and LUFS values will be increased or decreased to around -14 when played by most streaming platforms. You can bring reference tracks into your DAW and measure their RMS (and LUFS) values to determine where you want to set yours
What are 3 main reasons to use a send/return to an AUX Bus Channel?
You would set-up a send/return to save CPU in a DAW, to improve cohesion between multiple elements with similar processing, and to apply more creative and extensive processing chains across multiple elements - eg. sidechaining all reverbs to the kick
Describe the function of a multiband compressor
A multiband compressor is used to control the dynamics within specific frequency ranges by applying different compression settings to each frequency band/range, or by applying compression to only one specific frequency band/range
Name three common areas of the frequency spectrum where multiband compression can be applied to improve vocal tracks
De-essing is where compression is applied to high frequency areas of a vocal to reduce the presence of certain syllables (e.g. ‘S’ and ‘T’)
At around 1k harsh frequencies can tend to jump out of the mix that can be attenuated dynamically with a multiband compressor
Between 400-500hz you can also get a lot of room-tone/boxiness and mic proximity issues, which can be reduced and made more harmonically consistent with a multiband compressor
What is phase cancellation ?
Phase cancellation occurs when two waveforms are offset so that the peaks and valleys are not occurring simultaneously
When might you incur phase cancellation when producing ?
When layering samples or layering sounds e.g multiple kick layers or multiple synth layers
What are two common ways to resolve phase cancellation in a DAW ?
Either by moving waveforms/files so that they match up more closely on the grid or by offsetting the phase by 180 degrees using a utility plugin
How does Sidechain compression work?
Sidechain uses the input signal of one track to induce gain reduction in another. As the input signal of the sidechained track passes above the threshold set, compression is applied to the current track
What are the most 4 common ways to achieve a Sidechain-style ‘volume ducking’ effect?
Compression sidechained to the kick
Compression sidechained to a ghost trigger
Volume-shaping plugins (Volume shaper, Evade, LFO Tool)
Manual Volume/Gain Automation in your DAW
What is headroom and what is a good amount of headroom to aim for pre-mastering ?
Headroom is the space between the highest peak of your track and 0db - a good value to aim for is -6db
What is Gain Staging how would you ensure proper Gain Staging ?
Gain staging is the process of maintaining the gain through each stage of the production process and whenever processing is applied, you should use gain pots to keep the peak values of a signal consistent
When/why should you pay attention to and experiment with input gain when applying processing plugins?
Input gain affects the way a plugin applies processing and certain plugins will have an target input gain ‘sweet spot’, which should be provided by their manufacturer. This is especially true with analogue-modelled plug-ins that usually have a lower target input gain.
Describe how to properly import and set-up a reference track in your DAW in 3 stages:
Import - import the ref. track to a new audio track using a file with the highest quality possible (uncompressed); match the tempo of the reference track to yours using Warp; line-up the ref. track audio file with the structure of yours e.g. so the first choruses of both line-up together (or as appropriate)
Routing - make sure the output of the ref. track is routed directly to an External Out so that no master-bus processing is being applied
Loudness Matching - add a LUFS meter to your master bus and the ref. track; find the (Integrated) LUFS value of your track; and then adjust the gain of the ref. track channel or audio clip so that it’s LUFS value will match yours.
What are 4 basic areas to listen for when A/Bing with a reference track ?
Frequency Response - bright/dark, muddy/boxy midrange, low end too big or small?
Dynamics - transient and grooving/pumping or smoother/flattened dynamics ?
Stereo Width/Placement - Overall width and stereo info, where are things placed and how much space do they occupy, reverb/delay?
Individual Elements - go through the individual elements in your track and compare them to the reference track in terms of level, dynamics, panning, processing etc
