The Secrets of Mixing – from John Vestman.
Vestman’s “Secrets of Mixing” page is more a collection of tips than a mixing tutorial. He starts with advice to get yourself properly set up for mixing (like “organize your files,” “allow extra time,” and the ever-important “check reference CDs while mixing,”) then moves onto compression and overall level:
Always record in the highest sampling rate possible in your DAW (allowing for realistic hard drive space – most projects don’t go over 96k). Be sure that your stereo mix does not ever go into clipping (digital overs) when it is set at Unity Gain -0- Once you know you’re not making any digital overs, remove your master fader – your mix will sound better!
Previously: The Big Page of Mix Tutorials
Tags: mixing, reference-cd
4 comments
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I disagree on the 96k+ business. I’d challenge any producer to try to A/B them in a blind test. 24 bit does make a noticible difference, but 96k is only useful if you’re going to be doing pitch manipulation…
I do like the idea of separation mastering, though. It gives the mastering engineer more of a mixing role, but I’ve never been able to understand why everyone looks at mastering as a separate process. Applying anything but compression to the master bus is usually less effective than treating the problem at its source – in the multitrack mixing environment.
It’s funny, because I was about to ask whether separation mastering really is worthwhile. Well, I have one answer. ;-) Not that I have anything even close to the mastering stage (I’m still building a little studio), but it’s always nice to learn all I can about every aspect of the process.
Actually Josh, I totally agree with you. I was surprised when I re-read that quote I grabbed, ’cause I could have sworn he said “use the highest bit rate” (which is a no-brainer.) I’ve done the blind tests, and I can’t tell a meaningful difference between 44.1K and anything higher.
And ya, Darren, separation mastering is something to consider if you’re still unsure of your mixing skills. I think I have some other related links here. I’ll dig them up and post them.
Cool, thanks for the reply. I’ve heard stories about sending “stems” to mastering engineers, usually from old analog-head engineers, and usually told with much vitriol. I spend too much time at ProSoundWeb, methinks. ;-)