Mixing | The loudness war

The loudness war is finally coming to an end. Many of the studio clients are asking me to determine the overall level of the mixes. This gives me the ability to mix more dynamic range into the audio instead of smashing the audio to squeeze as much volume as possible out of the tracks. This makes me so happy to hear quality music being produced at the studio.

Mixes that are smashed and hyper-compressed are lifeless and have no soul. The industry is flooded with this garbage and now we have a generation that will have to live with some form of hearing loss. I'm not sure what record execs were trying to achieve. They didn't sell any albums this year. Only Taylor Swift went Platinum and her album is not hyper-compressed. Go figure.

Mixing | Rap Vocals

The compression on rap vocals is vital to the sound and success of the song. There are a few techniques that you can use, but I'm going to share one with you that is popular with my clients. Duplicate you main vocal track or if you have multiple main vocal tracks, bus them to an aux send. On this new track, add a compressor that has controls for attack, release, threshold, ratio, and output gain. I prefer the Waves Renaissance Compressor, but you can use any comp that has similar controls. Set the attack and release to be very short. Play the track and bring down the threshold until you start to have the compressor engage. Now drop your ratio down to around 8:1. This will squish the track and give you a nice even volume level for the vocals. Adjust the threshold and output volume to get a nice balance of compression and volume.

Now play this track along with the original vocal track. Keep the original vocal track up in the mix. This is your main vocal track that need to be up front. The new squashed track is mixed into the background. Bring the level up slowly until you hear the overall vocal level filling out the space in the mix. This technique keeps the vocal up front in the mix regardless of how much presence the vocalist put into the recording. This even tone of vocals will give your rap vocals a polished sound that is professional and captivating. Now you may need to adjust levels and ride the faders, but done correctly, this is an easy way to get big vocals into a bass heavy mix.

Mixing Guitars | Wall of Guitars

Getting a solid guitar sound in your mix can be frustrating. I know it's not easy, so here are a few tips to help you along the right path to make your guitars big and loud.

First, track your guitar as you normally would. Use a little bit of EQ were some effects and you're done. That was easy.

Next, record your guitar again as a second take. This time change a few of the settings on your amp or choose a different pick up on your guitar. This will give you a new tone that will help separate the sounds of the guitar when you go to mix the tracks.

Now do a third take and this time use an EQ to pull out the bottom of the tone. Give this guitar an effect that sounds like it's on the radio by filtering out everything below 250 Hz.

Pan the first two takes slightly right and left in the mix. Adjust compression as needed and you should be getting a bigger sound out of your guitar mix.

Please leave a comment if you'd like more info on this technique.

How to mic tablas

Recent clients have had some tabla tracks on their album and these little hand drums can be tricky to record. There are usually two drums that rest on the floor supported by a circular cushion. The musician sits on the floor and plays the drums with their fingers and palms. Just to give you an idea of what I'm about to describe for the mic setup.

The drums have a rich tambour and resonating swell that are characteristic of the drums. I first started with a sm7 on the wooden drum that has a higher pitch and a Beta52 on the lower pitched brass drum. Focused the mics on the sweet spot of the drums and angle them away from each other to help control the bleed. This gave me good results, but it wasn't quite the sound that I was trying to capture. After listening to the recordings a few times, and talking to the musician, I decided to try a more traditional drum approach. I set up two condenser mics, one directly over the drums slightly in front of the musician about the same height as the musicians ears. The other mic was set up just off to the side of the musician about the same height as the top of the drums. This gave us a great sound for the over all presence of the Tablas drums. However, we lost some of the low-end the came from the brass drum. So I decided to put the Beta 52 just off to the side of the brass drum. This brought all the low-end presence back into the mix and gave us a solid performance the musician was happy to put on the CD.

Trade Gear for Studio Time | Get More From Your Gear

You have gear just collecting dust and that's not the plan you had in mind when you bought it. You don't want to sell it on eBay cause you won't be able to get hardly anything for it. Now you're stuck with gear that is just taking up space.

Here's a solution that will benefit you and also help Shine On Studio & the studio's students that are trying to make the start in the music industry. I'm always looking to try new gear and add gear to the studio. Options for gear allows musicians to get the sound that's in their heads. Plus, studio interns donate lots of time to helping with sessions and doing work in the off hours. This will be a great way for me to repay them for all their hard work.

Contact the studio for further details.

Mixing Snare Drums

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Robi Bean & Justin Fawsitt tracking in the studio.

Snare is the pulse of a rhythm section. It pumps movement into a song and supports the kick drum. However, the snare drum can be one of the more difficult sounds to mix. Snare is usually so prominent that it resides up front in the mix and usually sits right behind the vocals. So here are a few tips for good mixing techniques to get the snare in the pocket.

First, use good mic placement to capture the tone and ring of the snare that is desirable for the track. Typically a SM57 is used for snare tracking, but you may want to experiment with other mics to see if they give you a sound that is more desirable. I've used a Sennheiser e606 with great results for rock and punk snare recordings. Paired with the right preamp, you can really sculpt a tone that is your signature.

The next step is EQ. See if you can find the frequency that is prominent in the vocal track and then notch out just a touch of that frequency in the snare track. Also, use filters to help shape the tone of the snare so that it fits nicely into the mix with the other drum mics. As a sidenote, be sure to monitor your overhead mics as they will have plenty of snare sound. Sometimes there is a boxy sound to the snare around 300 Hz. Sweep your EQ around this frequency range and find the Boxee sound. Once you found the undesirable tone in the snare just notch it out a dB or two. This will help your snare cut through the mix and sit nicely behind the vocal track.

Behind the Scenes | Recording Engineer Clean Up Work

The recording engineer's work is not done after the session is over. The engineer must spend time working on the audio files to clean up unwanted noise in the files and make sure that fades are properly applied to smooth transitions. Back up copies need to be made and even though the engineer doesn't sit there and watch the computer transfer files, the engineer has to wait and check after the transfer is done to make sure that all the files transferred properly.

I'm usually in the studio hours before a session to check on timing issues and pitch correction. Returning to a session after taking some time off allows me to hear the tracks again with fresh ears. This way I'm more likely to catch little mistakes and focus on the recording's blemishes. This also gives me time to focus on ways to approach and produce the recording. I usually take this time to make notes for mixing the tracks. This way I am prepared for mixing as soon as the client arrives at the studio. If any re-tracking is required, will usually start there and then proceed to mixing. It's the little things like this prep work that keep my clients happy and keep them coming back to record more at Shine On Studio.

Recording Studio Tips | Record the Right Way

Studio time is very precious. Do a little prep work before you head into the studio. Get your tracks ready and plan out what you'll be working on during your studio session. Most importantly, go in to the studio excited to work on your music. Your attitude will reflect in the music. Bring comfort food and wear comfortable clothes that you can relax in while you are in the studio. Pack up for the studio the night before your session. This will ease your mind and help keep your blood pressure down with little stress as you embark on a momentous occasion.

Recording Studio Tips | Bring a Back-Up Hard Drive

A good rule of thumb is to always bring an external hard drive or flash drive as a back-up for all your studio recordings. You've invested your heart, soul, time, and money into the recording, so be sure to make an extra copy (or two) of your session files. Things happen and you don't want to loose all your hard work only to wind up starting over from the beginning. Now that storage media is so affordable, there is really no reason you shouldn't back up all your work. There are lots of great websites to get a good price on storage media. Check http://www.macmall.com or http://www.amazon.com for great deals. If you need any advice on purchasing storage media, just contact the studio.

Today's FAQ : What's a DI?

DI is short for 'direct input' and it means you take a direct signal from a source. Usually a DI will be used for recording guitar, bass, and keyboards.

"Why should I use a DI, when I have a perfectly good amp that can be mic'd?"

Good question. If you like to mic up your amp, go ahead and do it. As a secondary back up, I'd suggest splitting the signal and tracking a DI along with your amp. You'll get a nice clean track along with your amp track to work with when you mix. Think of it as a safety net in case the amp track doesn't work out. Maybe the mic didn't capture the tone you wanted, but the performance was epic. If you tracked a DI, then the performance has a chance to be relived & re-amped!

Re-amp your performance with the DI track. You can now play back the clean DI track and feed the signal into your amp. Move the mic around until you find the tone you desire. Now you have lots of options with minimal effort and you look like a seasoned pro. There are other options like using the DI track with amp emulated software. This way you can shape your tone with digital ease. There are so many possibilities with digital software that you can try out many different sounds to hear what works best for your mix. There are so many options at the fingertips of engineers, this is a great time in musical history. Take advantage of the DI and begin to explore what your music can become.

I use a Countryman 85S for most of my DI tracking. It does provide clean and clear tracks without coloration. I'd recommend it to anyone looking for a solid DI. It is my go-to DI for nearly every direct recoding done at the studio.

Most preamps can be used as a DI. I have a GML 2032 that I regularly use as a DI for bass guitar. The built-in EQ works wonders on shaping the bass sound so that it fits beautifully within the mix. Typically all I have to do is add a little compression and the bass finds a pocket in the mix.

I also have a BBE DI-1000 w/ a Jensen transformer that works amazingly well on acoustic guitars. The BBE Sonic Maximizer allows me to add just the right amount of brightness to the DI track. That way I don't have to spend hardly any time EQing the track.

I'd love to hear more from everyone. Please share what DI boxes you use for tracking.

Selecting mics for recording live drums | Overhead Mics

Selecting the right Mics for a live drum recording can be a difficult decision. Drums tend to have an unique sound for each individual kit. You also have to take into consideration the style of drumming. The drummer is just as much a part of the kit, so based on how the drummers plays the kit should factor in to your decision.

Overhead mics are by far the most important decision you make when deciding to record drums. About 75% of your audio will come from the overhead mics. Overhead Mic placement is also a big factor whether you do a symmetrical or asymmetrical mic placement.

Condenser mics are usually the first choice for overhead mics on a drum set, however many engineers have had lots of success using dynamic microphones for their overhead mics (OH). The goal is to capture the essence of the drum kit. Putting the drums in the mix to set the mood for the music is the goal. How you sculpt your sound will define your ability to record and mix a quality production.

I like to treat drums as a single instrument and not a bunch of individual instruments. This way I can place mics where they are most beneficial to the recording. Sometimes I'll mic each of the rack toms + overheads + a Beta 52 on the kick. This will give me a more snappy and punchy sound to the kit that is great for a song that needs strong dynamics and percussion. Other times I'll just use a SM57 on the snare + Overheads + an AKG D112 on the kick for tracks that are jazz flavored. These are just a few examples, but versatile dynamics for the type of drums that will fit in the mix.

You can always place mics and then decide if they are relevant to the mix. Just watch out for phasing and over-ambience. The more mics in the mix, the more likely you'll have phase problems or what I like to call a foggy mix. Try starting your mix with just the overhead mics and mute all other mics. Listen to what the OH mics are providing and then slowly bring in the other mics. You should filter and EQ each mic so it fits in with the OH mix. If the signal is weak or disappears, then invert the phase to see if the track is out of phase with the OH track.

There's more to cover, so I'll open this topic up for Q's and discussion. Leave a comment below to add any insight you'd like to share.

Last Minute Christmas Gift Ideas

For one reason or another, you find yourself at the last minute looking for a gift. There are many options and you just don't know what to get. You could go with a gift card...those are always popular. Why not surprise them with a gift that will capture their creative essence? A gift certificate to Shine On Studio is more than a gift, it's a self-esteem boost. It's a statement that you believe in someone else's musical talent and want to encourage them to create music they can share with the world.

The holidays are all about giving and showing how much you care. That's exactly how we feel about each client that records at Shine On Studio. We're offering discounts on all our gift certificates up to 20% off. Our $500 gift certificate is on sale for only $400! That's an extra $100 we're throwing in to sweeten the deal. Our way of saying thank you for choosing us to work on your creative expression.

Our gift certificates can be redeemed for any studio service: recording, mixing, mastering, pro tools lessons, guitar lessons, drum lessons, rehearsal time, & beat making classes. They never expire and always retain their value, so your musician can take their time creating their masterpiece.

Visit our "Booking & Rates" page for more details.

What time should I arrive at the studio?

I get a lot of clients asking this question and it is a good question. Time is the primary commodity in the studio. Regardless of the rates studios charge, you're still spending your hard earned cash on time in the studio. The rate may be based on the gear the studio has or the experience of the engineer, but it still revolves around time. To make the most of your time in the studio, start with getting to the studio on time for your session.

The first step is to confirm your session a day in advance. Even if you confirmed weeks in advance, it's a good idea to send an email or call the studio just to confirm they still have you scheduled for a session. If for some reason the studio didn't put your session on the schedule, you should take a moment to make sure everything is going according to plan. Next thing is to call all the band members and remind them of the session. You don't want to show up to the studio and have to wait for your band mate to drive an hour to get to the studio. Carpooling is always a good idea.

Most studios will tell you when to arrive for the session. Some have a load in time and its always a good idea to ask if they allow time before the session for loading and setup. Either way, you should plan on being at the studio 15-20 minutes before the scheduled start time of your session. This will give you time to find parking and take care of any paperwork before your session starts.

Be sure to read my post about how to prepare for your studio session. This info will help you get the most out of your time in the studio. Please leave any comments if you have questions about this post.

How to prepare for a Recording Session

You're ready to record your music, but you've never been to a recording studio. Let me give you a few tips on how to prepare for your recording session.

First thing, be ready to record. You need to be well rehearsed and have final versions of your songs ready to go. Don't waste any time trying to figure out parts of a song. Have everyone on the same page so time can be spent getting good takes for mixing.

Second, give all your instruments a tune up. Put new strings or drum heads on a day or two before your session. This will give them time to stretch out and stay in tune while you record. Always bring spare strings,sticks, straps and other gear so you don't waste any time running to the store. 

Third, be well rested for your session. It's important to stay focused and attentive to every aspect of the session. Keep your ears rested. Don't listen to loud music before you go into the studio. Bring snacks and bottled water with you to keep your energy up.

Forth, protect your investment. You're spending your hard earned money on the recording, so be prepared to back it up. Bring a hard drive or flash drive with lots of empty space to back up all of your recordings. HD sessions can get big quickly. High sample rates and bit depths create big files. The average 4 minute song can have a folder that is 5 GB, so if you've got 10 songs on the album, you'll need 50-60 GB of storage. It's always a good idea to bring blank CD-Rs if everyone in the band wants a copy of the rough mixes.

These are just some of the basic things you should prepare before going into your session. It's always a good idea to discuss your project and ask any questions before you get to the studio. If you and the engineer are on the same page, the session will move along efficiently and the recordings will reflect the productive environment.

Vocal EQ mixing secret: High & Low Pass Filters

EQ can be the most elusive part of mixing. Presets are a good starting point, but 99% of the time they don't get the job done. You've got to know all the parameters of your EQ. HP & LP filters usually go overlooked when it comes to EQ. However, these can be some of the most critical tools you use. Extreme high and low frequencies can cause a lot of congestion in a mix. Take the time to use filters and roll off some of the high and low frequencies on each track in your mix. By sculpting your tracks with HP and LP filters, you will find that your tracks fit together sonically.

Maag Audio EQ4 (BUY NOW)

In addition to the filters, you can use the Maag EQ4 on your vocal tracks and get out-of-this-world results with a simple turn of the knob. The EQ4 has the "Air Band" built on the top end of the EQ and allows you to dial in the right amount of shine and shimmer in a vocal track. This allows it to open up and sit perfectly on top of the mix. At the moment, the EQ4 is only sold as a 500 series module, so you'll need to do a little investing in your studio to add this magical piece of gear. Trust me when I say that you will not be disappointed. There have been so many times when I just give the 40KHz a 3dB boost and all of a sudden the vocals come to life. And yes, I did say 40KHz. You just have to hear it to believe it. The rest of this EQ is also excellent on almost any track. The SUB knob also works as a filter and allows you to carve out any low frequencies that may get too boomy or muddy in your mix. This is the magical box!

Now in vocal tracks, there's not a lot of detail or useful information in the low frequencies. Use the filter to roll off the low end up to about 100 Hz. Don't stop there, move the curve up until you find the right amount of low end reduction to help the vocal sit in the mix. Use a gentle curve to make sure you don't get any phasing problems. A 6dB or 12dB curve will work best for this sort of filtering. A steeper curve will usually cause phase shift and this will result in the vocals going out of phase with the mix.

Be sure not to do this with the track in solo mode. You need to mix your vocal in the mix. The world is not going to hear your vocal tracks in solo mode, so don't mix them that way. You can solo the track to A/B the mix against your vocals, but ultimately you should make decisions while listening to the vocal in the mix.

Hope this is helpful in getting you going with your vocal recordings. Please leave a comment if you have a question. For more info and video tutorials on audio production, please check out my audio mixing master class on Udemy.

Mic Placement

We had a discussion last night about the struggles of finding the right sound for a particular song being tracked at the studio. The discussion led us down a path of thought that started to get us thinking more outside the box. The studio drummer, CRISPy CRUIZeR, was brainstorming a new plan to use microphones of all different types. What if the guitar amp was tracked with a mic designed for the kick drum? Would a D112 give us the bottom end that we're seeking? This got us thinking even more about using some of the gear in different ways. Maybe it's time to dust off the MiniDisc recorder and the DAT machine. What if the compression ratios of these digital machines gives us that little extra punch that the drums need to sit bigger in the mix? These are questions that get us intrigued and in this business, strange and unusual is typically the most fascinating.