First let me explain my current workflow:
Lately, I've been using mainly outboard gear to compose. I have the main outs of all my devices going into a cheap analog mixer and out to my studio monitors. Once I have a song that I'd like to actually finish, I fire up the PC and launch SFP and Live. I switch off the analog mix and switch on the STM2448 output which is also routed into my analog mixer for monitoring. Then I assign all the parts from my outboard devices to route into the SFP -- up to 20 channels. At this point, I have all my tracks routed through Live and into separate channels on the STM2448. Now I can track everything into Live or work straight from the external gear without recording into Live first -- it depends on how far I've arranged the song in my MPC and whether or not it needs other tracks that originate from the PC. So now that I'm at this point, I'm not sure what to do next. In the past, I've thrown an Optimaster on the main out, ran the wizard, mixed down to a stereo track and called it a day. I know this is not the proper way to do things. So I need some advice on how I should approach the mix. Most of my songs these days are of the hip-hop genre -- but I rarely use samples (except for drum hits). I've read articles on EQ, Compression, Reverb, Leveling, etc... but it's all just theory at this point. I've seen discussions here about the Mastering chain, but what about the mixing chain? Any help is greatly appreciated.
Thanks,
Chisel
Help with mixing in STM2448
Most of my music is instrumental, so I haven't done any automation yet. I used to use Scope exclusively in XTC mode in Live, so I really haven't dealt with the Scope mixer until now. I imagine I'd keep all the levels at 0dB in Live and work only in Scope. All of the faders have associated MIDI cc numbers, since I use a controller to move them. So automating them shouldn't be an issue. Right now, I'm not even thinking about that part. I'll give you an example of what I'm talking about.
Let's say I have a four bar beat with a kick, snare, hi-hat, clap, sub-bass, piano, koto, pan flute, and strings. Each of these instruments is routed into a channel on the STM2448 (for simplicity, we'll take the DAW out of the picture). All of the levels on my ADA converter are set so that each channel is at 0dB. Now what? This is my question. Do I solo each part and adjust the levels, or do I adjust the levels while everything else is playing? What is my goal for overall volume level at this point? Should I try to EQ each part if there are overlaps in the sound spectrum? Should I compress the parts to make them louder? And then there are the effects. I have this totally powerful mixer at my disposal, and I'm just overwhelmed by all its features.
I know each song needs to be mixed on its own merit. I just need some type of direction. Maybe some rules of thumb that I can follow to get me going. I don't think my mixes sound horrible. I just kinda wing it (i.e. make sure nothing is clipping and slap an Optimaster on the main outs). I just want to do it the proper way.
BTW, if you check out my soundclick site, you can hear my attempt at mixing in STM2448:
http://www.soundclick.com/bands/songInf ... ID=3770300
Peace /
Chisel
Let's say I have a four bar beat with a kick, snare, hi-hat, clap, sub-bass, piano, koto, pan flute, and strings. Each of these instruments is routed into a channel on the STM2448 (for simplicity, we'll take the DAW out of the picture). All of the levels on my ADA converter are set so that each channel is at 0dB. Now what? This is my question. Do I solo each part and adjust the levels, or do I adjust the levels while everything else is playing? What is my goal for overall volume level at this point? Should I try to EQ each part if there are overlaps in the sound spectrum? Should I compress the parts to make them louder? And then there are the effects. I have this totally powerful mixer at my disposal, and I'm just overwhelmed by all its features.
I know each song needs to be mixed on its own merit. I just need some type of direction. Maybe some rules of thumb that I can follow to get me going. I don't think my mixes sound horrible. I just kinda wing it (i.e. make sure nothing is clipping and slap an Optimaster on the main outs). I just want to do it the proper way.
BTW, if you check out my soundclick site, you can hear my attempt at mixing in STM2448:
http://www.soundclick.com/bands/songInf ... ID=3770300
Peace /
Chisel
-
Mr Arkadin
- Posts: 3283
- Joined: Thu May 24, 2001 4:00 pm
Lots of possibilities - that's the beauty of SCOPE. i'll tell you how i work, others will work completely differently. You'll find your own path eventually.
Generally i record all audio into my DAW - running SCOPE synths and any VSTi live if overheads permit. i then buss everything to SCOPE.
On any vocals, kicks and basses (particularly real basses) i'll insert Vinco. i'll then decide which other instruments to insert a low cut. Guitars, vocals, synths, (if they clash with other bass frequencies etc.) even basses sometimes get cut. i'll usually start at a stock 80Hz cut and adjust to taste.
As for levels they generally take care of themselves as i go along. You can't write a whole track in one hit, so as you add instruments i find i adjust it's level there and then (obviously fine tweaking later), the mix almost creates itself. Also i tend to keep SCOPE faders flat and have any automation in Cubase (this obviously won't work for any audio bussed to compressors though).
i only apply OptiMaster and PsyQ once i've recorded a stereo wav of the whole mix. This way you always have your raw mix to go back to once you've finished and you can try several mastering options. i think tracking/mixing with OptiMaster in circuit will lead to all sorts of potential problems, so i would try and mix a track as well as possible as if OptiMaster didn't exist, and then pull out the fairy dust to make it that much better.
Hope that helps,
Mr A
<font size=-1>[ This Message was edited by: Mr Arkadin on 2006-04-12 09:16 ]</font>
Generally i record all audio into my DAW - running SCOPE synths and any VSTi live if overheads permit. i then buss everything to SCOPE.
On any vocals, kicks and basses (particularly real basses) i'll insert Vinco. i'll then decide which other instruments to insert a low cut. Guitars, vocals, synths, (if they clash with other bass frequencies etc.) even basses sometimes get cut. i'll usually start at a stock 80Hz cut and adjust to taste.
As for levels they generally take care of themselves as i go along. You can't write a whole track in one hit, so as you add instruments i find i adjust it's level there and then (obviously fine tweaking later), the mix almost creates itself. Also i tend to keep SCOPE faders flat and have any automation in Cubase (this obviously won't work for any audio bussed to compressors though).
i only apply OptiMaster and PsyQ once i've recorded a stereo wav of the whole mix. This way you always have your raw mix to go back to once you've finished and you can try several mastering options. i think tracking/mixing with OptiMaster in circuit will lead to all sorts of potential problems, so i would try and mix a track as well as possible as if OptiMaster didn't exist, and then pull out the fairy dust to make it that much better.
Hope that helps,
Mr A
<font size=-1>[ This Message was edited by: Mr Arkadin on 2006-04-12 09:16 ]</font>