Re: Renew:
I didn't have any vision at first. Normally I do hear potential in a tune and I think "I can make that tune sound better" but when I get the tracks I have to listen to what they are saying. This is very important and something that engineers must learn in order to be useful to their clients.
I have several must-do operations before I begin any mix (I need to do a video on that). Using RX 11 Advanced, I did the following:
1. Batch converted all files to 24b 48k. My console is 24/48 and Reaper will do the conversion upon import but I like to use RX because I can also add a prefix "RX" to the processed files and I can hear them separately outside of the DAW if anything sounds off. I have both the original and process files together in my "Import" folder for that tune. I think I probably trust the precision of RX better than Reaper for that task but the truth is probably that Reaper is just as good.
2. If the files are properly named (Lead Vocal, Guitar, Bass, etc.) I will then use the Leveler Module in RX and work them in a batch or individually as needed. Nick's files are always well named so I was able to apply the correct leveling to the individual tracks before I put them into the project. RX's Leveling Module is some kind of magic and it's not the same as a compressor. It levels out the performances in a very positive way but somehow preserves the dynamics. I can also set a target level that the DAW and my console like: -18 dB. Leveled tracks sound fuller, punchier and are much easier to manage. They also require less aggressive compression, which is always a good thing.
3. I have a typical track layout on the console that I like to work with, so I add the tracks to the project and make sure that any special routing gets done and the audio comes up on the console channels how I want them. I always mix with DCAs and I set those up near the end of the setup process, when I'm ready to start managing levels.
4. I always listen to everything flat first. I do sort of a "yardstick" mix and see where things fall together. At that point I start to make adjustments.
5. I really listen not only to the technical aspects of the mix but also to the artistic aspects and I try to interpret what the artist was trying to get across with this tune. That helps a great deal because that's when I start to get the vision of the whole thing.
6. I start to build the soundstage at this point. Everything is up in the mix and now they need placement. I work with no less than 2 reverbs and often 3 or maybe more but not all applied to everything in the mix. I define the size of the room for the band and I create that with a reverb, typically a vintage type reverb. I start out with a 1 second reverb time and work with the room size, reflections, decay and pre-delay to make a credible room. Normally I use the console's FX for this, but I have a pretty good arsenal of tools for reverbs and delays in the from of plugins. I have many spatial 3D type reverbs but I don't use them as much as I thought I would when I invested in them, lol.
I have my color e-ink tablet in the studio and I have all of my studio forms on the tablet, so I can take paperless notes with full search capability. So I do all of my track sheets, mixdown and mastering sheets on the tablet with my handwriting on the PDF forms. Very easy and a fantastic way to work in the 21st century.
To be continued:
), and yes, please, some details. There's always something new to be learned.
