10 Tips for the perfect mix

1. Even the mix is almost done in the process of producing a song, it makes sense to start the mixdown from the very beginning. Switch off all tracks, bypass all effects and inserts like, compressor and equalizer. Start with the bassdrum, adjust the level to appx -10 dBFS.

2. continue with the snaredrum, the hi-hat, the bass follows ... (These are the instruments that generates the highest level.) Next are harmony instruments, keyboards and guitars. After that you can open the main voice to check if there are any sounds which covers the vocals.

3. divide the mix in subgroups, one group for drums, one for keyboards, one for the voices, and so on ....You can edit the over all sound of the groups and you get better control of the total level.

4. In the work of each single track, insert at first the equalizer following the compressor. For insert effects, like phaser, flanger, delays you can switch a second compressor after that.

5. When filtering individual tracks, it may be possible, that the sound of an instrument it self does not sounds great, but in mixdown it works perfectly. So when setting a equalizer also listen to the connection of all instruments, not only solo.

6. Acoustic instruments, voices, guitars, uses absolutely a compression. It limits the dynamic range. A ratio of 4:1 with a compression of 8-12 dB is useful for the voice. Watch the low frequencies compressing the bass (It easily gets lost); acoustic guitars tend slightly to pump by compression.

7. Every instrument, every sound gets its assigned position. Imagine a three-dimensional coordinate system. There are left and right (panorama), up and down (treble and bass) and front and rear, determined by reverb and delay. The fourth dimension is the time. Each instrument gets his place. The automation allows changing the level of instruments in the flow of the song.

8. Whenever multiple instruments sounds in the same or similar frequency range simultaneously, they mask each other. One classic example: the snaredrum and the voice (depending on the pitch), the louder the snare, the quieter sounds the voice.

9. Effects are important. They are the salt in the soup, but each sound has its moment of performance. Delays can be programmed, on and off switched. Its easy to vary the send level of a reverb effect. Too much of a good thing brings too salty to enjoy.
10. Never do the mix into an inserted limiter in the sum. He falsified the instrument balance. Maximizing or mastering is a separate session. It´s no problem to raise up a low leveled mixdown, but if its to high, you get in trouble (distortion). Never do mixdown and masring at once. It is useful to take a break of 24 hours until you do the mastering, or consult a specialist like...

Stefan Noltemeyer: www.mastering-online.com

E-Mail: info@mastering-online.com

MS-editing in the mastering process

MS-editing in the mastering process

The same way you can split a stereo signal into a left and right signal, you can split it into a middle and side signal. The middle signal is the sum of left and right. The side signal is the difference of left and right.

When we split the signal this way we have other possibilities to edit when mastering. We can edit individual instruments in the stereo panorama, and it is possible to edit the middle signal and side separately. This is useful for editing the hihat or a doubled (left/right) guitar.

M=L+R
S=L-R
M+S=L
M-S=R

M= mid signal
S= side signal
L= left channel
R= right channel


Stefan Noltemeyer :  www.mastering-online.com
E-Mail: Info@mastering-online.com

The finess difference with Tube-Tech SMC 2B and Studer A 80

There are two devices which are significant in creating the sound of www.mastering-online.com. These are the analogue multiband compressor with tube technology Tube-Tech SMC 2B and the analogue taperecorder Studer A 80.

In the following notes I describe what these machines do and how we use them.

With the multiband compressor it´s possible to compress several frequencies in a different range. This is very useful because , in a “normal” compressor, the frequencies are compressed which have the highest level. These are mostly the frequencies of 40 Hz to 400 Hz. So the compression of the complete spectrum is determined by these low frequencies.

With the Tube Tech I have the choise to compress three different frequency bandwidths. If there is a song which has a strong bass, it´s possible to set the compression only these lower frequencies. The vocals or guitars are still untouched.

The increase in volume is realised by the compression of the Tube-Tech’s tubes. There is a different adjuster for each bandwidth (adjusters for bass, middle and the treble bandwidth). This is nothing more then a three band equlizer. So I use this machine not only to increase loudness but it is a dynamik equlizer as well. The equalization starts when a defined threshold level is reached.

So it is possible to raise the level of separate instrument groups which makes it possible to enormously influence the balance of the original mix. This is naturally only done when necessary. In respect to the original sound of the song we keep the original charcter. The goal of mastering is to feature what´s best in the music.

So I use the Tube-Tech primarily to bring back several instruments or vocals that have been lost in the mix. As a result you get a „tidy“ total sound.

With little tweaks of compression from 2-3dB, and a tube sounded make up gain I am shaping an unique homogeneously warm sound
-------------------------------------------------------------------------------------

By using our Studer A 80 tape recorder the mastering process gets a unique direction.

The mastered song is recorded on a magnetic tape and played back just 1/10 sec later.

The specific charakter is formed by mapping the audio signal in magnetic energy and converting it back.

Subjectively, this creates the impression that the digital bits are joined to a homogeneous whole field together. My impression is that it advances the deep staggered .

So this is additive process to bring the analogue sound in the digtal world.

The band saturation is a popular theme in the use of analog tape recording.
You will get a compression when you record a very high level on a magnetic tape.

The magnetic flux has a specific limit. If you cross this level the magnetic flux doesn´t raise in the same way as the power level. In this way you will get the famous band saturation.

Stefan Noltemeyer :  www.mastering-online.com

E-Mail: Info@mastering-online.com

Equlizer-Test

Equalizer test and comparison

After purchasing an Avalon AD 2055, I thought it would be useful to present my observations of this equalizer and the other equalizers that that we have at are disposal here at mastering-online.


Software EQ,

Emagic 7.2 : Channel EQ, Linear Phase EQ, Match EQ, Fat EQ, Silver EQ, DJ EQ,
UAD Plug Ins: Cambridge EQ, EX-1, Pultec EQ,
Izotope: Ozone 3

Digital Hardware:

EMT 248, Drawmer Masterflow, Tc Finalizser,

Analog Hardware:

Klein Hummel UE 1000, Tube Tech SMC2B, SPL PassEQ, Avalon AD 2055





In keeping with the demands of a modern state of the are mastering studio I purchased the Avalon AD 2055 and tested it against the digital Equalizers that are predominantly used by us here at the studio.

The Avalon has a passive shelf EQ filter for bass (18Hz-450Hz) and a high passive EQ filter (1.5KHz – 25KHz). These filters can be changed to parametric EQs which furthers the Avalon’s versatility. In addition there are two full parametric mid band EQs from 35hz to 450Hz and from 160Hz to 2 KHz, with variable frequency selection that can be switched to multiplications of ten. With this setup one can get to any necessary frequency, and again showing the flexibility of this Equalizer.

One point of the Avalon AD 2055, that I do not like, is there is no stereo link making it necessary to tweak left and right channels.

I like this equalizer not only for its fantastic filters. But also for its user friendly control knobs, that almost any Tec, would rather turn, then to be clicking and dragging around his or her mouse.


A question that I frequently get (and probably will continue getting) is “can I describe the sound of a particular equalizer?” Well, first and foremost the sound of an equalizer depends primarily on the music that is being worked on, and nothing more. The equalizer itself has no sound (unless I let it fall to the floor).

Now if I lift the highs with a wide band filter, I will be raising the highs that are present in this particular song, what I hear has to do with what is happening in the song, and not necessarily from the quality of the equalizer (unless it is an equalizer of very low quality, that may distort the signal and add hissing noise. Something that on the digital realm is as good as non existent).
Dwelling on the subject of “different sounding equalizers”. I found it necessary to do a comparison test. First I took a piece of music that sounded muffled. I then adjusted all of the equalizers, (Cambridge - Universal Audio Plug In, Pultec - Universal Audio Plug In, Izotope – Ozone 3, EMT 248, Channel EQ Emagic 7.2 Plug In, K&H UE 1000, SPL PassEQ, Avalon AD 2055) to the same setting , of a 6dB lift of 4KHz. And then matched all volume levels.

For monitors I used my Genelec 1031A with Subwoofer 1091A.

The Avalon stood up to and surpassed all of my expectations, and all of the digital Equalizers sounded weak in comparison. Of the digital Equalizers the Izotope faired best and the UAD’s Cambridge Eq sounded the worst.

To describe what I heard, I would say that with the digital filters I could hear that it was merely a mathematic computation, that lifted the highs at 4KHz but the sound remained muffled.

On the other hand the Avalon is different in that the music begins to live and my ears are exposed to what was once hidden, truly enriching the sound of the music.

The other two analog companions, had there difficulties competing with the Avalon. I had the feeling that the UE 1000s’ shelf filter is not steep enough, leaving the sound yet again muffled. The SPL has a similar problem, in that when raising the volume, phasing accurse, do to a R-C link.

So now I am looking to working daily, with my new main squeeze the Avalon AD 2055 (and no Avalon is not paying me for the plug)

All this is not to say, that before the Avalon we could not master a recording well. I have been using the EMT 248 for over 10 years with outstanding results. Imperative to making a good master is the technician doing the master.

If one is trying to realize a maximum technical achievement you must really stretch your self to the limit and that last 5% will be the toughest. Good equipment helps.

If you have any suggestions or questions please do not hesitate to write me at info@mastering-online.com


Technorati Tags: EQ, mastering, audio, Avalon
Technorati Profile

Posted from Stefan under 08:07 0 Kommentare

Labels: Audio, EQ, mastering

Abonnieren Posts (Atom)

Stefan Noltemeyer :  www.mastering-online.com
E-Mail: Info@mastering-online.com

The difference of various digital audio formats

To see/hear the difference various digital audio formats we did the folowing experiment.
We took a song with high quality and dynamik from a vinyl, and formt in a 96 Khz 24 bit file.

One is changed in a 128 kbps
One is changed in a 192 kbps
One is changed in a 44.1Khz 16 bit PCM
The forth is the 96 Khz 24 bit original

All files are transformt back in a 96 Khz 24 bit.
So they all “look” equal.
Naturally a low rate mp3 does´t sound better, when you transform in
in a higher quality.

Equipment:
Technics SP-15 Plattenspieler
Klein 89/1 Vorverstärker
Waves BCL Digital-Wandler (Compressor, Maxxbass, Limiter aus)
Apple Macintosh Mac Pro Dual 1,3 Ghz
RME Hammerfall Multiface Audiokarte


Who´s who ?
Have fun with listening

www.mastering-online.com/ftp/Beispiel_A.wav
www.mastering-online.com/ftp/Beispiel_B.wav
www.mastering-online.com/ftp/Beispiel_C.wav
www.mastering-online.com/ftp/Beispiel_D.wav

For any questions/solution
info@mastering-online.com

Thank you!

This is where I thank my clients for putting their trust in me.

This web page has been active as of August 2005.
Since it's opening, we have had the pleasure of working for more then 400 clients, from all corners around the world. This makes us not only proud but also very happy, and because it is so much fun I want to now list (in random order) some of the countries from which our clients come:

U.S.A., Malaysia, Great Britain, Italy, Republic of Ireland, Franc, Guyana, Canada, Spain, Switzerland, Ecuador, Norway, Denmark, Austria, United Arab Emirate, Portugal, Finland, Netherlands, Belgium, Trinidad and Tobago, Albania, South Africa, Russia, Porto Rico, Venezuela, Nigeria, and more then 200 clients from Germany.

We are now approaching the one thousandth mastered song. Here are a few client statement to the work we have done, on our way to the one thousand mark.