What I Need
You will need:
A Good Computer
A Nice Sized Display
Good Sound Card
Recording Software
MIDI Keyboard/Controller
Input/Output Devices
Good Microphones
Good Speakers
Bad Speakers
Good Headphones
Studio Desk
Equipment Racks
Instrument Stands
Comfortable Chair
Studio Construction
The construction of a studio is the most important part (in my opinion) to the recording process. If you have a good design then you will get a good sound, but if you have a bad design you might not like the extra work you have to do to make a hit song.
Many people like to put their home studios in the basement of their homes. Even though there will be people above you this is not a bad choice for the studio. But in order to get the best out of the situation you may want to throw some insulation in your ceiling and walls. Remember, the hotter your room is the more sound proof it is.
A big problem with home studios is parallel walls. Now if you did not know parallel walls are a huge problem in the recording and mixing process. This is a problem because the sound waves are hitting the surfaces and bouncing back and forth between the walls, this can cause annoying standing wave. So if you are building from scratch remember parallel walls are bad.
If you are not building from scratch there are a few things you can do. You can throw acoustic foam, egg crates, or thick memory foam up on the walls and in the corners to absorb some of the sound waves. You want to make sure that you are leaving some reflective surfaces or else you will have a really really really dead sounding room. Try to make a pattern on one wall and then the opposite of the pattern on the parallel wall.
Where to Buy
Auralex
acouStaCorp
Sweet Water
Guitar Center
Amazon
Ebay!
Tuesday, September 13, 2011
EQ
EQ is the process used in audio recording to alter the frequency response of an audio system using linear filters. Most stereo equipment uses relatively simple filters to make bass and treble adjustments. Graphic and parametric equalizers have much more flexibility in tailoring the frequency content of an audio signal. An equalizer is the circuit or equipment used to achieve equalization.
Equalization is an important part to audio recording. It can make or break a project. There are a lot of things that can go wrong in the EQ phase of mixing. I will give the basic tips to make sure that you have a decent recording to show your friends and family.
One problem that can show up in the EQ phase is "EQ masking". EQ masking means that two different tracks are hitting the same exact frequency at the same time, and what this does is the weaker of the two signals will basically be drowned out.
The way to fix this is simple. Let's say you have a guitar and a male singer. Now your male singer can hit the low baritone C (130 Hz) up to the higher tenor C (523 Hz) and your guitar will most likely be playing in that area at some point. What do you do to get out of this pickle? Well, first you would go into your guitar EQ plug in (in any software package) and you would create a small dip in the 130 Hz - 523 Hz region. This will not make your guitar disappear when played at that range, it will only allow your vocals to come out in the song.
Equalization is an important part to audio recording. It can make or break a project. There are a lot of things that can go wrong in the EQ phase of mixing. I will give the basic tips to make sure that you have a decent recording to show your friends and family.
One problem that can show up in the EQ phase is "EQ masking". EQ masking means that two different tracks are hitting the same exact frequency at the same time, and what this does is the weaker of the two signals will basically be drowned out.
The way to fix this is simple. Let's say you have a guitar and a male singer. Now your male singer can hit the low baritone C (130 Hz) up to the higher tenor C (523 Hz) and your guitar will most likely be playing in that area at some point. What do you do to get out of this pickle? Well, first you would go into your guitar EQ plug in (in any software package) and you would create a small dip in the 130 Hz - 523 Hz region. This will not make your guitar disappear when played at that range, it will only allow your vocals to come out in the song.
Frequency Response Breakdown
Percussion
Bongo 200.000 Hz to 240.000 Hz
Tympani 82.407 Hz to 195.998 Hz
Tubular Chimes 164.814 Hz to 763.981 Hz
Celeste 261.626 Hz to 2093.005 Hz
Calliope 261.626 Hz to 479.978 Hz
Horns (winds)
Dbl Bassoon 29.135 Hz to 174.614 Hz
Bass Tuba 41.203 Hz to 311.127 Hz
Bass Sax 58.270 Hz to 279.165 Hz
Bassoon 58.270 Hz to 622.254 Hz
Bass Clrnt 69.269 Hz to 659.255 Hz
Frnch Horn 110.000 Hz to 698.456 Hz
Eng Horn 164.814 Hz to 932.328 Hz
Trumpet 164.814 Hz to 1046.502 Hz
Clarinet 195.998 Hz to 1864.655 Hz
Sop Sax 207.652 Hz to 2217.461 Hz
Oboe 283.082 Hz to 567.982 Hz
Flute 261.626 Hz to 2349.318 Hz
Piccolo 587.330 Hz to 4186.009 Hz
Organ
16.351 Hz to 8372.018 Hz
Piano
27.000 Hz to 4186.009 Hz
Strings
Harp 30.868 Hz to 3322.438 Hz
Bass Viol 32.703 Hz to 440.000 Hz
Cello 65.407 Hz to 659.255 Hz
Viola 130.813 Hz to 1318.510 Hz
Violin 195.998 Hz to 1975.533 Hz
Vocals
Bass Vocals 82.407 Hz to 329.228 Hz
Bari Vocals 110.000 Hz to 369.994 Hz
Tenor Vocals 130.813 Hz to 523.251 Hz
Alto Vocals 174.614 Hz to 698.456 Hz
L Sop Vocals 246.942 Hz to 880.000 Hz
H Sop Vocals 261.626 Hz to 1396.913 Hz
Bongo 200.000 Hz to 240.000 Hz
Tympani 82.407 Hz to 195.998 Hz
Tubular Chimes 164.814 Hz to 763.981 Hz
Celeste 261.626 Hz to 2093.005 Hz
Calliope 261.626 Hz to 479.978 Hz
Horns (winds)
Dbl Bassoon 29.135 Hz to 174.614 Hz
Bass Tuba 41.203 Hz to 311.127 Hz
Bass Sax 58.270 Hz to 279.165 Hz
Bassoon 58.270 Hz to 622.254 Hz
Bass Clrnt 69.269 Hz to 659.255 Hz
Frnch Horn 110.000 Hz to 698.456 Hz
Eng Horn 164.814 Hz to 932.328 Hz
Trumpet 164.814 Hz to 1046.502 Hz
Clarinet 195.998 Hz to 1864.655 Hz
Sop Sax 207.652 Hz to 2217.461 Hz
Oboe 283.082 Hz to 567.982 Hz
Flute 261.626 Hz to 2349.318 Hz
Piccolo 587.330 Hz to 4186.009 Hz
Organ
16.351 Hz to 8372.018 Hz
Piano
27.000 Hz to 4186.009 Hz
Strings
Harp 30.868 Hz to 3322.438 Hz
Bass Viol 32.703 Hz to 440.000 Hz
Cello 65.407 Hz to 659.255 Hz
Viola 130.813 Hz to 1318.510 Hz
Violin 195.998 Hz to 1975.533 Hz
Vocals
Bass Vocals 82.407 Hz to 329.228 Hz
Bari Vocals 110.000 Hz to 369.994 Hz
Tenor Vocals 130.813 Hz to 523.251 Hz
Alto Vocals 174.614 Hz to 698.456 Hz
L Sop Vocals 246.942 Hz to 880.000 Hz
H Sop Vocals 261.626 Hz to 1396.913 Hz
The questions to ask about your mix
Number 1
Can you hear everything in the mix?
A key part to a mix is the ability to hear all the instruments and voices in a song. If you cannot hear all the assets that you want in the song a couple of solutions are to turn the volume down on other tracks to bring out the hidden tracks, or you can easily pan tracks to fill the stereo spectrum to also bring out the hidden tracks.
Number 2
Can you hear the vocals in the mix?
The human voice can rage anywhere from 82.407 Hz to 1396.913 Hz. (See how the vocal frequencies breakdown in next section) There are many instruments that can collide with the vocals in the mix. An easy solution to this is to find the instrument that is in conflict with the vocal and create a small dip in the instrument EQ to clear up the vocal track a bit.
Number 3
Are the vocals to sibilant?
Sometimes you might get a vocalist who likes to sing with a heavy "s" or "sh", or sometimes you might get assets that had a bad microphone choice. In any case you can use a de-esser, which will compress the 3kHz-20kHz range, or you can cut the high frequencies around 7kHz-10kHz.
Number 4
Are the vocals coming in to hot or cold?
If you vocal track has volume issues the best tip I can give is to automate your vocal track to the volume you want. Some people will say you can throw a compressor on the vocals, but if you automate you can save the compression for the master track and not have to worry about you vocals getting over compressed.
Number 5
Are the vocals sounding squashed?
If so this is an easy fix. You are applying to much compression. Reduce the ratio or raise the threshold so the gain reduction is 6dB or less.
Number 6
Do the solos blend with the song?
Guitar solos should be as loud as the main vocal. Riffs and fills should be quieter during vocal rests so the do not become too distracting.
Number 7
Do the harmonies blend?
Harmony volumes are usually set below the lead vocal enough that the lead melody is clear.
Can you hear everything in the mix?
A key part to a mix is the ability to hear all the instruments and voices in a song. If you cannot hear all the assets that you want in the song a couple of solutions are to turn the volume down on other tracks to bring out the hidden tracks, or you can easily pan tracks to fill the stereo spectrum to also bring out the hidden tracks.
Number 2
Can you hear the vocals in the mix?
The human voice can rage anywhere from 82.407 Hz to 1396.913 Hz. (See how the vocal frequencies breakdown in next section) There are many instruments that can collide with the vocals in the mix. An easy solution to this is to find the instrument that is in conflict with the vocal and create a small dip in the instrument EQ to clear up the vocal track a bit.
Number 3
Are the vocals to sibilant?
Sometimes you might get a vocalist who likes to sing with a heavy "s" or "sh", or sometimes you might get assets that had a bad microphone choice. In any case you can use a de-esser, which will compress the 3kHz-20kHz range, or you can cut the high frequencies around 7kHz-10kHz.
Number 4
Are the vocals coming in to hot or cold?
If you vocal track has volume issues the best tip I can give is to automate your vocal track to the volume you want. Some people will say you can throw a compressor on the vocals, but if you automate you can save the compression for the master track and not have to worry about you vocals getting over compressed.
Number 5
Are the vocals sounding squashed?
If so this is an easy fix. You are applying to much compression. Reduce the ratio or raise the threshold so the gain reduction is 6dB or less.
Number 6
Do the solos blend with the song?
Guitar solos should be as loud as the main vocal. Riffs and fills should be quieter during vocal rests so the do not become too distracting.
Number 7
Do the harmonies blend?
Harmony volumes are usually set below the lead vocal enough that the lead melody is clear.
Saturday, August 27, 2011
NIN Mix
So I decided to mix the NIN song "Only" to put up on my blog. Well here it is. It is kind of the same thing with the choir mix mainly volumes panning compressor and eq, but I did throw in a reverb on Trent Reznor's vocals. Speaking of the vocals...there is a reason they sound exactly like they do in the link above. No I didn't do the original mix, but the tracks your bounced out with the vocal effects on them. Hope you enjoy.
PS It's Song 2
James
PS It's Song 2
James
New Mix
It's been awhile since I have posted anything, but I have finished a mix that I received as part of a Certification class for Pro Tools. I feel that my mix is a huge improvement, but of course it still can use some tweaking. This is just a basic mix with some EQ plug ins and some reverb and a compressor. Hope you enjoy. The song is in the player on the bottom of the page.
James Estrada
James Estrada
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