MIXING CONCEPTS AND TECHNIQUES
UNIT 2 – COMPRESSION
LESSON 3A – CONTROLLING DEVICES, SHAPING SOUND
Listening Exercise 3.1 – How Do Attack and Release Reshape the Sound?
3.1A – Uncompressed
3.1B Fast Attack/Fast Release
Listen for: What happens to the initial transient? How quickly does the tail come back?
3.1C Fast Attack/Slow Release
Listen for: What happens to the initial transient? Does the compressor recover before the next hit?
3.1D Slow Attack/Fast Release
Listen for: How much of the initial transient comes through? What happens to the body and tail?
3.1E Slow Attack/Slow Release
Listen for: How does the transient compare with 3.1C? Does the gain reduction continue into the next hit?
LESSON 3B – COMPRESSION IN THE MIX
LISTENING EXERCISE 3.2 – WHAT DOES “GLUE” SOUND LIKE?
3.2A Uncompressed Mix
3.2B Gentle Mix-Bus Compression
3.2C Heavier Mix-Bus Compression
LESSON 3C – OTHER DYNAMIC PROCESSORS – GATES, EXPANDERS & DE-ESSERS
LISTENING EXAMPLE – THE SSL LISTEN MIC COMPRESSOR
Kick (Unprocessed)
Kick (Processed Through SSL Origin Evo’s Listen Mic Compressor)
Snare (Unprocessed)
Snare (Processed Through SSL Origin Evo’s Listen Mic Compressor)
LISTENING EXERCISE 3
A. Snare (Unprocessed)
B. Snare (Processed – Waves’ CLA 76 –> Soundtoys’ Decapitator)
C. Blend – Unprocessed and Processed Snare
D. Drum Mix (Processed Snare + Reverb), No Gate
E. Drum Mix (Processed Snare + Reverb + Gate)
LISTENING EXAMPLE – EXTERNAL KEYING
Sustained Synth
Gated Synth – Result After Side-Chaining from a Percussive Trigger
LISTENING EXERCISE 3.4 – TOO MUCH DE-ESSING
A. Voice (No De-Esser)
B. Voice (Moderate De-Esser)
C. Voice (Excessive De-Esser)
UNIT 3 – EQUALIZATION
LESSON 4B – EQ IN PRACTICE: SHAPING INDIVIDUAL SOURCES
LISTENING EXAMPLE 4.1 – KICK DRUM: WEIGTH AND ATTACK
Example 4.1 – Kick In Mic Only (No EQ)
Example 4.1 – Kick In Mic Only (EQ’d)
LISTENING EXAMPLE 4.2 – SNARE DRUM: BODY, ATTACK, AND BRIGHTNESS
Example 4.2 Snare – Top Mic Only (No EQ)
Example 4.2 Snare – Top Mic Only (EQ’d)
LISTENING EXAMPLE 4.3 – ELECTRIC BASS: BODY, MUD, AND DEFINITION
Example 4.3 Electric Bass DI (No EQ)
Example 4.3 Electric Bass DI (EQ’d)
LISTENING EXAMPLE 4.4 – LEAD VOCAL: TONAL SHAPING AND CLARITY
Example 4.4 Lead Vocal (No EQ)
Example 4.4 Lead Vocal (EQ’d)
LISTENING EXAMPLE 4.5 – KICK AND SNARE: COMBINING PROCESSED SOURCES
Example 4.5 Kick and Snare (No EQ)
Example 4.5 Kick and Snare (EQ’d)
LISTENING EXAMPLE 4.6 – KICK, SNARE, AND BASS: BUILDING THE RHYTHM SECTION
Example 4.6 Kick, Snare, and Bass (No EQ)
Example 4.6 Kick, Snare, and Bass (EQ’d)
LISTENING EXAMPLE 4.7 – KICK, SNARE, BASS, AND LEAD VOCAL: PUTTING IT TOGETHER
Example 4.7 Kick + Snare + Bass + Lead Vocal & Harmony (EQ’d)
LESSON 4C – EQ IN CONTEXT: FREQUENCY MASKING AND INSTRUMENT RELATIONSHIPS
LISTENING EXAMPLE 4.8 – FREQUENCY CONFLICTS AND COMPLEMENTARY EQ
Example 4.8A Lead Vocal + Rhythm Guitar (No EQ)
Example 4.8A Lead Vocal + Rhythm Guitar (Complementary EQ)
Example 4.8B Kick Drum + Bass Guitar (No EQ)
Example 4.8B Kick Drum + Bass Guitar (Complementary EQ)
LISTENING EXAMPLE 4.9 – STATIC EQ, SIDECHAIN COMPRESSION, AND DYNAMIC EQ
Example 4.9 Kick + Bass (Unprocessed)
Example 4.9 Kick + Bass (Complementary EQ)
Example 4.9 Kick + Bass (Sidechain Compression)
Example 4.9 Kick + Bass (Dynamic EQ with External Sidechain))
LISTENING EXAMPLE 4.10 – VOCAL-TRIGGERED DYNAMIC EQ ON RHYTHM GUITAR
Example 4.10 Lead Vocal + Rhythm Guitar (No EQ)
Example 4.10 Lead Vocal + Rhythm Guitar (Dynamic EQ)