parasitk (![[info]](http://l-stat.livejournal.com/img/userinfo.gif){kind=small} parasitk) wrote,@ 2007-04-11 11:38:00 |
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More mixing notes, babble
So I usually reserve this kind of babble for this thread over at the DVM Forums, but I figured I'd post something more about what's going on with the mixing than my recent two-liners. This is basically a repost, and reedit from some of my posts at DVM.
So I'll start with the mixing setup (warning, tech jumble ahead).
The chain essentially is:
Apogee DA-16 (@ 48k/24bit) > Dangerous Music 2-Buss LT > RMS 755 Super Stereo buss compressor > Phoenix Audio Nice DI > A-Designs ATTY > Cranesong HEDD (@ 96k/24bit) > MOTU Traveller
Bank A (outputs 1-8) on the Apogee are going to outboard:
1 --> API 525 compressor
2 --> Radial X-Amp --> SansAmp ParaDriver
3 --> dbx 160XT compressor
4 --> straight to Dangerous 2-Buss LT
5-6 --> FMR RNLA compressor
7-8 --> straight to D2-B LT
Bank B (outputs 9-16) goes straight to the Dangerous.
I'm not actually using as much compression as this setup might indicate. Compressors, yes. Compression, less so (they're mostly in parallel, and I have the API set to "OFF", just for color). The buss compressor is being very gentle as well.
That's the setup. On to the process.
I find I'm spending more and more time mixing in mono, not just for checking phase shit, but for EQing, panning, balancing - everything. I get a more focused picture of what's going on. It's easier to mask or unmask elements, and it's just a more enjoyable way to work, really. Oh, also at low volumes - about half the time I have it up at "magic" 83dB in the room and the rest of the time I have it more like 65-70dB (a Rat Shack sound level meter is a useful thing to have!). Occasionally I crank it higher, but not when I'm sitting at the mix position - more to just get a feel for it while wandering around my apartment.
Speaking of 83dB-in-the-room, I've also been mixing using Bob Katz's K-System. That article is definitely a worthwhile read, but it's also in his book, Mastering Audio: The Art and the Science, which I've raved about on DVM more than once. Anyway, the K-System is his proposed standard of integrated metering and monitoring "that will encourage more consistent leveling practices among the broadcast, film, and music industries"*. I'm all for standards, and also for sticking it to the loudness wars (wikipedia | google).
I have Elemental Audio's (RIP) InspectorXL suite of plugins, which allow for k-system metering, so I have been using that to meter the 2-buss coming into my mix medium (Digital Performer on my PowerBook via my Cranesong HEDD at 96k/24 bit). As the article recommends, I'm mixing using the k-20 scale, and will talk to my mastering guy (Alan Douches at West West Side) about mastering it for k-14. This means the album will most likely be a touch quieter than most modern CDs. I don't fear this, and neither should you. If we can all move to a standard then there will be no need for the loudness wars, and no need for the endless up/down on the volume knob when listening to music.
That's it for now.
So I usually reserve this kind of babble for this thread over at the DVM Forums, but I figured I'd post something more about what's going on with the mixing than my recent two-liners. This is basically a repost, and reedit from some of my posts at DVM.
So I'll start with the mixing setup (warning, tech jumble ahead).
The chain essentially is:
Apogee DA-16 (@ 48k/24bit) > Dangerous Music 2-Buss LT > RMS 755 Super Stereo buss compressor > Phoenix Audio Nice DI > A-Designs ATTY > Cranesong HEDD (@ 96k/24bit) > MOTU Traveller
Bank A (outputs 1-8) on the Apogee are going to outboard:
1 --> API 525 compressor
2 --> Radial X-Amp --> SansAmp ParaDriver
3 --> dbx 160XT compressor
4 --> straight to Dangerous 2-Buss LT
5-6 --> FMR RNLA compressor
7-8 --> straight to D2-B LT
Bank B (outputs 9-16) goes straight to the Dangerous.
I'm not actually using as much compression as this setup might indicate. Compressors, yes. Compression, less so (they're mostly in parallel, and I have the API set to "OFF", just for color). The buss compressor is being very gentle as well.
That's the setup. On to the process.
I find I'm spending more and more time mixing in mono, not just for checking phase shit, but for EQing, panning, balancing - everything. I get a more focused picture of what's going on. It's easier to mask or unmask elements, and it's just a more enjoyable way to work, really. Oh, also at low volumes - about half the time I have it up at "magic" 83dB in the room and the rest of the time I have it more like 65-70dB (a Rat Shack sound level meter is a useful thing to have!). Occasionally I crank it higher, but not when I'm sitting at the mix position - more to just get a feel for it while wandering around my apartment.
Speaking of 83dB-in-the-room, I've also been mixing using Bob Katz's K-System. That article is definitely a worthwhile read, but it's also in his book, Mastering Audio: The Art and the Science, which I've raved about on DVM more than once. Anyway, the K-System is his proposed standard of integrated metering and monitoring "that will encourage more consistent leveling practices among the broadcast, film, and music industries"*. I'm all for standards, and also for sticking it to the loudness wars (wikipedia | google).
I have Elemental Audio's (RIP) InspectorXL suite of plugins, which allow for k-system metering, so I have been using that to meter the 2-buss coming into my mix medium (Digital Performer on my PowerBook via my Cranesong HEDD at 96k/24 bit). As the article recommends, I'm mixing using the k-20 scale, and will talk to my mastering guy (Alan Douches at West West Side) about mastering it for k-14. This means the album will most likely be a touch quieter than most modern CDs. I don't fear this, and neither should you. If we can all move to a standard then there will be no need for the loudness wars, and no need for the endless up/down on the volume knob when listening to music.
That's it for now.
