Mark Richards
Soundaholic
- Joined
- Dec 31, 2017
- Messages
- 1,196
- Karma
- 1,342
- Gear owned
- DP-24/40-4MTR/M30
We each have our own approach to creating music, based on numerous variables.
Following up on my prior post, this is my hybrid process.
Recording: Tracking is done using a TASCAM DP-24 Portastudio.
Reasons
For me, fast; efficient; ease of use for setup, overdubs, bouncing, editing; ability to focus on music creation.
Objective
Create each track with the approximate dynamic range and level required for the final mix.
Outcome
Placing all faders at unity gain should result in a rough mix approximating the desired final stereo mix. Assess the rough mix for any issues, and correct the individual tracks by overdubbing or recording new takes using Virtual Tracks. Once satisfied with the rough mix, use the Mixdown module to print a stereo working mix to help plan the mixing phase. This might also include using the Master module to print a rough master to help identify possible mastering considerations to be taken into account when creating the final stereo mix. The last step is to export the individual tracks from the DP-24 for import to a D.A.W. for mixdown.
Mixing: My mixdowns are done using a D.A.W. (Harrison's Mixbus7).
Reasons for Using a D.A.W.
Ability to automate the final mix; availability of a wide range of tools (plug-ins) to help polish and shape the final mix; availability of multiple buses for creating sub-mixes and applying dedicated FX.
Objective
A polished final stereo mix that requires only minor tweaking in the mastering stage.
Outcome
EQ, FX, compression, and limiting are applied only to the individual tracks or the sub-mix buses. In creating the final mix, I don't use any EQ, FX, compression, or limiting on the stereo master bus other than perhaps subtle reverb if needed to augment the overall sound of the final mix. The final stereo mix is then exported for mastering.
Caveat
I keep the stereo master bus clean for mixdowns. IMO, one of the most critical mistakes when using a D.A.W. is to think of the stereo master bus literally as the "Master Bus" rather than the "Final Stereo Mix Bus", and load up the stereo master bus with mastering tools. Doing this, IMO, makes it difficult, and in the hands of the less experienced impossible, to create a product polished enough for distribution. This is because the balance (mix) engineer is now working at cross purpose in trying to simultaneously create the best mix possible (a micro/track-focused process) while also doing the job of the mastering engineer, which is to provide the best overall listening experience (an holistic, macro process). So my advice is: Always keep those two processes separate.
Mastering: There are three ways I can master my final stereo mix.
(A) I can import the final mix back into a stereo track of my DP-24, run the track through the Mixdown module, then use the Mastering module’s tools to create the master song.
(B) I can use a stand-alone mastering program. Depending on the song, either TC-Electronic's Finalizer or IK Multimedia's Lurssen Mastering Console. The final stereo mix is imported, mastering tools are applied, and then I print the master.
(C) I can create a new D.A.W. mastering project, import the final stereo mix, and master it by applying various mastering tools on the stereo master bus. This can be particularly useful if mastering a set of songs that require homogeneous characteristics. In Mixbus for example, I mute all the imported songs initially. Each song in turn is unmuted, mastered using the same chain of tools, and saved as its own sub-project (in Mixbus, these are called "Snapshots"). In the snapshot, only the chosen mastered song and its mastering tweaks appear as unmuted. To create each song's master, I activate the relevant snapshot, and print the master.
Following up on my prior post, this is my hybrid process.
Recording: Tracking is done using a TASCAM DP-24 Portastudio.
Reasons
For me, fast; efficient; ease of use for setup, overdubs, bouncing, editing; ability to focus on music creation.
Objective
Create each track with the approximate dynamic range and level required for the final mix.
Outcome
Placing all faders at unity gain should result in a rough mix approximating the desired final stereo mix. Assess the rough mix for any issues, and correct the individual tracks by overdubbing or recording new takes using Virtual Tracks. Once satisfied with the rough mix, use the Mixdown module to print a stereo working mix to help plan the mixing phase. This might also include using the Master module to print a rough master to help identify possible mastering considerations to be taken into account when creating the final stereo mix. The last step is to export the individual tracks from the DP-24 for import to a D.A.W. for mixdown.
Mixing: My mixdowns are done using a D.A.W. (Harrison's Mixbus7).
Reasons for Using a D.A.W.
Ability to automate the final mix; availability of a wide range of tools (plug-ins) to help polish and shape the final mix; availability of multiple buses for creating sub-mixes and applying dedicated FX.
Objective
A polished final stereo mix that requires only minor tweaking in the mastering stage.
Outcome
EQ, FX, compression, and limiting are applied only to the individual tracks or the sub-mix buses. In creating the final mix, I don't use any EQ, FX, compression, or limiting on the stereo master bus other than perhaps subtle reverb if needed to augment the overall sound of the final mix. The final stereo mix is then exported for mastering.
Caveat
I keep the stereo master bus clean for mixdowns. IMO, one of the most critical mistakes when using a D.A.W. is to think of the stereo master bus literally as the "Master Bus" rather than the "Final Stereo Mix Bus", and load up the stereo master bus with mastering tools. Doing this, IMO, makes it difficult, and in the hands of the less experienced impossible, to create a product polished enough for distribution. This is because the balance (mix) engineer is now working at cross purpose in trying to simultaneously create the best mix possible (a micro/track-focused process) while also doing the job of the mastering engineer, which is to provide the best overall listening experience (an holistic, macro process). So my advice is: Always keep those two processes separate.
Mastering: There are three ways I can master my final stereo mix.
(A) I can import the final mix back into a stereo track of my DP-24, run the track through the Mixdown module, then use the Mastering module’s tools to create the master song.
(B) I can use a stand-alone mastering program. Depending on the song, either TC-Electronic's Finalizer or IK Multimedia's Lurssen Mastering Console. The final stereo mix is imported, mastering tools are applied, and then I print the master.
(C) I can create a new D.A.W. mastering project, import the final stereo mix, and master it by applying various mastering tools on the stereo master bus. This can be particularly useful if mastering a set of songs that require homogeneous characteristics. In Mixbus for example, I mute all the imported songs initially. Each song in turn is unmuted, mastered using the same chain of tools, and saved as its own sub-project (in Mixbus, these are called "Snapshots"). In the snapshot, only the chosen mastered song and its mastering tweaks appear as unmuted. To create each song's master, I activate the relevant snapshot, and print the master.
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