Category Archives: LO 3

Mixing Masterclass with Chris Lord-Alge

Posted on by

At the end of October, Chris Lord-Alge did a live webinar for Waves where he shared some of his own mixing tips and although i’ve implemented the majority of my research in my recording session posts, I wanted to make an individual post about this piece of research as it touches on quite a few aspects that relate to my project and my learning outcomes. Specifically, learning outcome 2 and 3.

The first thing that Chris made a big point about was having an organised session for mixing. Here are some of the key points he made around this topic:

  • Try and make your session as condensed as possible without making compromises. This way the session will be lot more manageable, it’ll be easier to navigate and it’ll be easier for you to make the necessary changes.
  • Colour code the tracks to what works best for you.
  • Use queues/markers to you can easily identify different sections of the song.
  • Give tracks short names so they are easier to understand.
  • Ensure that all of your tracks have the correct gain structure so they work correctly with your plugins.
  • Make comps of tracks where possible to reduce the amount of tracks in your session and make it more manageable.
  • Organising is the most important part of mixing. If you can’t manage your session efficiently then you’ll struggle to get a good sounding mix.

Chris also gave some tips on how to get vocals to sit in the mix:

  • Make a lead vocal comp onto one track (two if it over laps), ensure it is the same level through out and then consolidate it. This will make the lead vocals easier to mix.
  • In terms of processing, he suggests cutting some of the low end to remove rumble, increasing the top end to add shine and then compressing with the CLA-76 to give it more character. He then runs it through the CLA-vocal plugin adding more top end, reverb and delay which also makes the track stereo.
  • Using EQ before compression reduces the chances of sibilance and decreases the need to use a de-esser.

From implementing these techniques into my work, I am already finding it easier to navigate through my sessions and make adjustments where necessary. I will continue doing so all the way up until the mix stage where I will also use them to prepare all of the sessions for a mix. I will also use comp and consolidate my vocal tracks to also make them easier to manage when I reach the vocal recording stage.

Aims, Objectives and Learning Outcomes

Posted on by

For my project I will be working with David Farnan (aka DB Jones) to produce a 4-track solo EP which will involve a full band sound. Stylistically it will have elements of indie, indie rock and pop genres, require me to source an appropriate session drummer and to produce it in such a way that it stands up to and stays relevant with my reference playlist.

 

Aim:

To work with a client to produce, engineer, mix and master 4 tracks of an EP which they can then readily release onto multiple music platforms.

Objectives:

1. To source a client and make contact with them to discuss what direction they want to take with the EP.
2. Work on pre-production with the client so we both have a clearer understanding of what we want to achieve in the recording sessions to ensure an effective workflow throughout the project.
3. Source the appropriate session drummer and work with them and the client to book all of the required recording sessions.
4. Record all of the required parts for the EP using the different outboard techniques and approaches that i have researched whilst making sure the client is happy with with what has been captured.
5. Edit and prepare all of the recorded tracks and then begin the mixing process whilst specifically focusing on the use of outboard processing and different vocal techniques.
6. Ensure the client is happy with the mixes and then, using the research i’ve gathered, master the EP so it can be distributed to the required platforms.

 

Learning Outcomes

1. To improve my knowledge and understanding of outboard hardware, specifically eq and compression, by researching the workings of the hardware itself, establishing how other producers use hardware and utilising it in my own work for recording and mixing.

2. To improve the way in which I tackle the workflow of the project by ensuring constant contact and communication with the client, improving time keeping and by looking at how other producers create an effective workflow.

3. To improve the sonic aspects of my vocal production by using different recording and mixing techniques that are inside and outside of the box, and then applying the appropriate ones to my work.

4. Have a clearer understanding of the mastering process by looking at the technical aspects of mastering and what it consists of, having an insight into how other producers master their work and benchmarking this project with my previous work to ultimately master this project to a higher standard than before.