Basic Mixing IIMixing a Starter Mix and Static Mix.

In Basic Mixing I, we have explained the starter mix and progression towrads a static mix. Basically wehave covered dimension 1 and 2 more than dimension 3. We actually did not apply any effects or added

anything (that was not there before). The starter mix is aiming for some togetherness and cleaning up whatis not needed. Keeping what is needed, with the help of the Level Fader, Balance, EQ and Compression,Gate, Limiter. Without adding effects that work overall on the mix, we try to have all instruments soundbest and clear (starter mix), so all can be heard in their range. Together sounding as one mix. To get someheadroom back you may have to switch back to the starter mix again. Change one thing can lead to affectthe rest of the mix. Keeping track of the mix and dimensions is part of checking and re-rechecking. Andshould be at constant attention. When a mix starts to be muddy, when two instruments overlap in each

others frequency range (masking), you will need to correct this by using separation. Remember allinstruments are placed inside the frequency spectrum and it is better to spread them out and create some

headroom for them to be heard. Actually there are quite some tools for separation. Just as in human talking,as long as only one person is talking to you, you will understand and hear well. When a crowd is talking, it is

difficult to understand what is going on. It is a mixing fact that crowding up the mix with more and moresounds is not a good thing. So we actually cut out what is not needed. Making all instruments sound good intheir own range is way better (dimensions). Constantly think about how the spectrum will change according

to what you add or remove, giving placement in the frequency range for each instrument to shine, but notintrude. Cutting out what is not needed, may clear the way for other instruments to come more upfront.Instead of just boosting, try cutting (other instruments) and make some space. Basic Mixing part I will

explain the starter mix, so read this before you go on.

Introducing Dimension 3 (depth).

Basically with applying dimension 3, we will progress with the static mix. (starter mix + dimension 3). Herewe will go further into adding effects and making the overall sound of the mix, static reference mix. Adding

reverb or delay (or any other effect) will add more frequencies and level so is costing some headroom.Effects can affect placement, maybe a stereo delay will get your instrument to move out of its natural

position. There are quite a few effects that affect the dimensions and are the tools for basic mixing. Still weseparate Fader, Level, Balance, EQ, Compression, Gate and Limiter from the rest, because these are toolsthat are commonly used. Read basic mixing I for more info on those tools. Also we call the finishing of the

dimensions, the finishing of the static mix. Basically the static mix is called by the fact that knobs, faders andsettings apply to the whole mix. So we do not automate or place events inside the timeline of the mix, but we

just set knobs and faders for the whole mix.

Effects.

Now, the most interesting, versatile and creative part of mixing, adding effects. Endless effects are providedto create sounds or adjust it. Available are hardware or software effects. We cannot even discuss them allover here, so we only focus on the most used and common ones. Also at first we will focus at effects that

work in dimension 3 (depth). Effects are ofhen a welcome addition to a mix, a bit of reverb can do a goodjob and distortion on a guitar can make it rock. Remember that each time you add an effect; it will change

the range and whole frequency spectrum of the mix, possibly gaining frequencies. Therefore filling upheadroom more and more. A reverb may add a nice roomy sound, it can also muddy up the mix as a whole.Cutting some lower frequencies out of the reverb signal can help clear up again, especially the 0 Hz to 120

Hz (180 Hz) range. So knowing effects and what they do to the signal is important, keeping in mind what theeffect is doing with the three dimensions, quality and reduction, headroom, etc. Just adding effects in a rowmay sound good at first, maybe later on when your ears are not fatigue, you might think different. Do notrush into adding effects; think what is needed for the mix to get better. Also for most effects we like to cut

the lower frequencies, just because they might influence the bass range from 0 Hz to 120 Hz. Be gentle with

effects, muddiness and fatigue ears are just around the corner. Because there is a vast amount of effectsavailable, there is no general solution for mixing. We all try to do our best, but we enter the creative field

and really are on our own. You can pick up tricks and learn from others, there is a good deal andstraightforward information on the net. It can be debated, it can be funny, and it can be good or bad.

Everything will stand by how much experience you have with mixing and how much you understand it.Time and learning are again factors of success. Whenever you are tired of not getting what you need out ofyour mix, be gentle and maybe do a re-check or just stay away for a while and return back later on. Do youreally need all those effect to have a good sound? Remember, Less Is More! The more basic approach will

work often better and is faster and cleaner. Crowding up the spectrum with effects is never a good idea. Themore natural effects are to our ears, the better we can use them to affect the dimensions of the mix.

Track Effects.

Whenever you need a single track or instrument to sound different, you can add a track effect to it. This iscommon for all kinds of effects. But for single instrumental track effects, fader, level, EQ, Compression,

Gating and limiter, are most commonly used for mixing purposes. Keep everything adjustable perinstrument or track; this can help even when adjusting the final mix. Track Effects are most common on

computers and digital systems, you can place many. But processing power will drop also, it can berewarding to separate things and keep effects to a minimum. Less is more.

Send Effects.

On analogue mixers Send Effects might be all that you have; digital systems do have send effects also.Whenever you need an effect that works overall on several instruments, you can use the send effect and sendthe signal to the Send Effect. Most likely the Return of the effect will come up on the Master Fader. For sendeffects you can be efficient with processing power, because using only one instance of the effect for multipleinstruments or tracks. Also it can be fun routing send effects and be creative with sound and effects, trying

effects after each other before deciding what works best. Send effects are effective as a collective on allinstruments. Having two or more send effect channels can help layer the mix, but we try to stay away from

send effects when we could use groups instead.

Group Effects.

As we did layer instruments and grouped them, we gave each layer of our mix a separate group track. Acompressor for welding purposes or an EQ could be placed on a group track. As opposite to a group track,send effects can be uneasy to keep track of. Thus meaning the routing of the send effects can be inputtedfrom different tracks or instruments, sometimes this can work confusing. Place effects on group tracks,

when you can. Else use a Send Effect track. Especially when you apply each time the same effect onseparated group tracks (repeated instances of the same reverb), you could choose to just use one instance on

a send track.

Pre-Fader and Post-Fader.

The option to place effects pre-fader or post-fader is a matter of purpose. Any effect placed pre-fader as aninsert is affecting the track signal before the fader level, balance, etc is applied. For track compression on

vocal for instance, we mainly use a pre-fader compressor. This way the threshold setting of the compressoris not affected by the fader setting of the track. We can now adjust the level of the vocals with the same kindamount of compression. If we place the compressor post-fader, the threshold is affected by the setting of our

track fader (even balance, etc), so the amount of reduction is influenced. For vocal we choose pre-fadercompression, this way the amount of reduction stays the same when we adjust the single track. But the samekind of system is applied to all other effects we place inside the mix. Placing pre-fader means, the signal will

first be affected by the effects in place, second by the track mixer settings (fader, balance, pan, gain, etc).Placing post-fader means, first the track settings and then the effects. Post fader effects are for instance

reverb, delay, echo and all other sound manipulation effects alike chorus, phasing, modulation, etc.

Our Stage Plan according to dimension 3 (depth).

We have discussed and applied the first dimension (panorama) and second dimension (frequency spectrum)for getting a good starter mix. Now as we would like to finish off all dimensions according to our stage plan,we can apply some depth in dimension 3. Mixing all dimensions is called a static mix. Mostly we are talking

reverberation sounds that influence our hearing in perceiving depth, as we have finished dimension 1 and 2(2D), dimension 3 should be our first concern. In dimension 1, we have set panorama. In dimension 2 we

have set frequency range. By rolling off some trebles or highs, we could affect distance for dimension 3. Buthowever dimension 3 is mainly a reverberation effect that will make our ears believe there is some room or

distance. Suddenly the field becomes 3D with all dimensions in place.

Depth.

Our hearing can calculate or guess the distance (depth) by hearing the dry signal and its reverberations.Especially the pre-delay between dry signal and first reverberation makes us perceive depth. Reverberations

occur when a dry sound is hitting solid objects alike walls or any other objects placed into a room. Evenoutside objects like water, mountains, valleys, tunnels, ambience, etc, somehow cause reverberation to betransmitted back to us (echo). Specially calculation of the time between the dry signal (0 ms) and the first

reverberation signals ( > 0 ms) come across (returning to our ears a bit later) is making our brainsunderstand depth or perceive distance. Pre-delay is an important factor for any delay or reverb effect to betaken in account while we are aiming for depth or distance inside dimension 3. Because the first transientsof any sound will make our brains react to recognize and understand, this goes for the dry sound as well asfor the reverberation sounds (any sound). The most used effects for perceiving depth or distance are reverb

and delay. We also explained before that dimension 2 (frequency range) by rolling off trebles or higherfrequencies we can perceive the dry-signal to be distanced. Depth means distance. When we are using

dimension 1 (panorama), when we placed a dry signal more to the left, the left speaker will play more thanthe right speaker does. But with reverberation in dimension 3, for perceiving depth as a room, we musttransmit the 3D Spatial Information to the listener. We could place this at the opposite side on the right.

When a dry signal is playing a note from start, the reverberations returning from the room slightly later intime (specially the first pre-delay), make our brains understand and calculate some kind of distance (depth).In combination with panorama (dimension 1), we can use dimension 3 (and 2) for applying our stage plan.Apart from using treble roll off or high frequency roll off in dimension 2 to perceive depth, common usedeffects for dimension 3 are Reverb and Delay. Apart from creative aspects we will discuss later on, we willuse reverb or delay to represent the dry instrument (transients, Sustain) in our stage plan, tracks or mix

with some more natural perceived acoustics. This is called 3D Spatial Information, the information neededto make our hearing and brains believe in depth or distance.

Delay.

Delay is a most simple effect and will repeat the dry input signal after a certain delay time. Basically delay isa kind of reverberation, although less overcrowding then a reverb, using lesser reflections. A delay does not

often represent a room, but simply delays the dry signal until the first delay is reflected (repeated). Thedelayed signal may either be played back multiple times, or fed back in to the input signal (feedback), to

create the sound of a repeating, decaying echo. The first delay effects were achieved using tape loops. Withsome feedback the delay effect can be more exiting. In Reggae the echo effect or delay is used in various

ways but feedback is important for creating that 'dub' effect. Delay's and gates are often synced to tempo ofthe track.

Mostly the delay signal will have some kind of ADSR time settings, so the delay signal will fade out in time.A delay becomes interesting at a faster tempo and will prevent usage of a reverb instead. A delay is lessmuddy and fuzzy compared to a reverb, so mostly a delay will likely keep instruments upfront. In these

modern times the delay can be in sync with the tempo on beats and bars. An early version is the Multi TapDelay, see below.

Sometimes the delay has a step-sequencer or matrix, nice settings are 3/16 and 8/16. Delays will come invarious shapes and sizes, discussing them all would be a hassle. But in general mixing and for improving

sound on separate instruments, delay is a common used effect. Most times a delay is used as a creative tool,but can also be used for perceiving depth. As a start it is better to use a delay, instead of using a reverb.

Sometimes you can create a clearer reverb effect using a delay and some creative settings. Remember that adelay (specially the delayed return of the dry signal) can be perceived as depth or distance (dimension 3).

Delay will leave more headroom then reverb and will sound more open. A Ping-Pong delay is a crossed overdelay and combines left and right signals, see below.

A Ping-Pong delay or stereo delay can affect the panorama, this can affect the dimensions. Watch out forthese kinds of stereo effects and only use when you need it. A Ping-Pong delay or stereo delay can be

creative, but however also can avoid masking. Temporarely unmasking by swaying the automated stereodelay. The trick with mixing delay is setting up inside a mix, most likely to adjust the delay to the point you

don't really hear it, but it is there. For main vocals that must stay upfront, we could use a delay, keepingoriginal main vocals earable and still have the ambient early reflections. Use a gate to control what is passedinto the delay or goes out from the delay, this will separate the delay effect even more and will not be a mix

filler. To prevent muddiness use EQ to cut the lower bottom end from 0 Hz to 120 Hz (180 Hz). Delay iscommon used as send effect and less as track effect. So the ultimate place would be on a send or group.

Remember for perceiving depth or distance we need the dry signal to be heard unaffected, on top of the drysignal will sound the delay. We can roll of some highs to make some more distance or depth. When you needan instrument to sound upfront, you keep the high trebles in place and use no pre-delay or little. When youneed an instrument to sound distanced, roll of some high trebles and use more pre-delay. Conflicting signalsinside the 3D Spatial Information mean our brains will be confused. Rolling off highs for distance and thenset no pre-delay is sending conflicting information. The natural world sound our hearing likes so much, is

sometimes uneasy to recreate while mixing.

Calculating Delay to tempo.

Delay mainly affects tempo. Thus percussive instruments (drums) that need their existence to be heardrhythmically, need to be in sync with the tempo. You can fiddle around until you find a good setting, but also

calculation of the delay time will give you a hint where to start. Tempo Delay, calculate 60 BPM = thedelay time of one bar in seconds. Divide this by four to give the delay time per crotchet. Divide this by 1000to convert seconds to milliseconds. When you know the BPM of a mix we can calculate the delay time with:

60000 / BPM = delay time in ms.

Or for any kind of note:

(60 / tempo in BPM) * 1000 ms * 0,75 (dotted quaver)

(60 / tempo in BPM) * 1000 ms * 2 (half note)(60 / tempo in BPM) * 1000 ms * 0,666 (crotched triplet)

It is good to have some control when mixing, so a separate controller could help to live mix the delay or anyeffect (this we will discuss in Dynamic Mixing). Long delay times can be recognized by the brain as echo.Short delay times can be recognized as ambient or psycho acoustic (small room reverb, ambient) and canaffect the spread of the sound (depth or distance). Reverse delay or backwards echo, is a reversed sampleplayed backwards with an added delay. Then reversed again. For Reggae Dub Delay, use a single delay

return. Feedback the delay output to itself. The aux send can be used real-time (or with automation,dynamic mixing) to dub over the original sound. (Boost some EQ around 3Khz and roll of some highs and

lows for Dub).

The most familiar use of delay processors is by guitarists in popular music, employing delay as a means toproduce densely overlaid textures in rhythms complementary to the tempo/sync of the overall piece (this is a

creative aspect). Electronic musicians (synth, sampling) use delay for similar effects, and less frequently,vocalists and other instrumentalists use it to add a dense or ethereal quality to their playing (without

pushing then backuws on the stage, keeping it more upfront compared to reverb. Extremely long delays > 10seconds or more are often used to create loops of a whole musical phrase. Sometimes unsynted to tempodelay is used for a solo instrument (playing a solo for a while and then return to normal song/static mix

reference level).

Echoplex is a term often applied to the use of multiple echoes which recur in approximate synchronizationwith a musical rhythm, so that the notes played combine and recombine in interesting ways. On computers

or digital systems this can be achieved by a step sequencer or matrix.

Doubling echo is produced by adding a short range delay to a recorded sound. Delays of 30 ms to 50 msmilliseconds are the most common. Longer delay times become slap back echo, sync them to tempo. Mixing

the original and delayed sounds creates an effect similar to double tracking or unison performance.

Slap back echo uses a longer delay time (75 ms to 250 ms), with little or no feedback. The effect ischaracteristic of vocals on 1950 Rock and Roll records, particularly those issued by Sun Studio. It is alsosometimes used on instruments, particularly Drums and Percussion. Slap back was often produced by re-feeding the output signal from the playback head of a tape recorder to its record head, the physical space

between heads, the speed of the tape, and the chosen volume being the main controlling factors. Analog andlater digital delay machines are also easily producing the effect. Slap back delay between 20 to 80ms, no

feedback. Sync to tempo to make rythmical correct.

Flanging, Chorus and Reverberation are all delay-based sound effects. With flanging and chorus, the delaytime is very short and usually modulated. With reverberation there are multiple delays and feedback so that

individual echoes are blurred together, recreating the sound of an acoustic space.

In audio reinforcement a very short delay often of only a few milliseconds, is used to compensate for therelatively slow passage of sound across a large venue. The unmodified signal is not played, and the delayedsignal is set to leave the speakers at the same time or slightly later than the sounds passing from the stage.This technique allows audio engineers to use additional speaker systems placed away from the stage, but

give the illusion that all sound originated from the stage. The purpose is to deliver sufficient sound volumeto the back of the venue without resorting to excessive sound volumes of a large sound system placed near

the stage exclusively.

A delay tail on the front vocals, make the vocals appear with more warmth and appear fuller. Withoutputting the frontal placement into jeopardy. The more the delay is appearing in the mix, the more it willcover the vocals, using ducking on the first part of the vocals can free up fuzziness. Delays should only be

used as a creative event but can give certain distance. Certainly even artistic is a Band Echo combined witha Spring Reverb, this is called dub. It is aslo common to give the main vocals a bit of ambient reverb (small

room, drumbooth) afther the delay, to have some more togetherness with the rest of the mix).

Delays generate space, tempo synched. Divide 60000 ms (one minute) by the song tempo (quarter notes perminute) = ms. Variations in delay time drive (shorter) or drag (longer) the rhythmic feeling, we could useautomation but that will be afther we finish the static mix. Avoid phasing < 10 ms. Single delays 10 and 30ms long thicken up sound, while the original sound is localized (upfront), perceived single delays as direct

sound events (early reflections). Stereo delays are suited for rich sound with a low level room / ambienceeffect. Delays between 30 and 60 ms are called doubling effects (Beatles). Delays between 60 and 100 ms areslap echo (Elvis). Stereo delays < 100 ms are acoustic space. > 100 ms is echo distance and space. The longer

the delay time, the more sound appears to be indirect. Delay tends to blur sound less than reverb. Todiscretely create space, delay should be very subtly used, so that you miss the muted FX channel, but dont

really perceive the delay when turned back on. Echo, longer than > 100ms which is not tempo synced is goodfor creating an effect that is clearly heard as such in the mix (solos).

Echo.

To simulate the effect of reverberation in a large hall or cavern, one or several delayed signals are added tothe original signal. To be perceived as echo, the pre-delay has to be > 50 ms. Short of actually playing asound in the desired environment, the effect of echo can be implemented using either digital or analog

methods. Analog echo effects are implemented using Tape Delays (Band Echo) or Spring Reverb. Whenlarge numbers of delayed signals are mixed over several seconds, the resulting sound has the effect of beingpresented in a large room, and it is more commonly called reverberation or reverb for short. Reverse Echo

is a swelling effect created by reversing an audio signal and recording echo or delay whilst the signal runs inreverse. When played back forwards again the last echoes are heard before the effected sound creating a

rush like swell preceding and during playback. Jimmy Page of Led Zeppelin claims to be the inventor of thiseffect which can be heard in the bridge of Whole Lotta Love. An echo is a reflection of sound, arriving at thelistener some time after the direct sound (early reflections). Typical examples are the echo produced by thebottom of a well, by a building, or by the walls of an enclosed room. A true echo is a single reflection of thesound source (dry signal). The delay time is the extra distance divided by the speed of sound (pre-delay). Ifso many reflections arrive at a listener that they are unable to distinguish between them, the proper term is

reverberation. An echo can be explained as a wave that has been reflected by a discontinuity in thepropagation medium, and returns with sufficient magnitude and delay to be perceived. Echoes are reflected

back from walls or hard surfaces like mountains. When dealing with audible frequencies, the human earcannot distinguish an echo from the original sound if the delay is less than 1/20 of a second (50 ms >). Thus,

since the velocity of sound is approximately 343 m/s at a normal room temperature of about 20C, thereflecting object must be more than 16.2 meters away from the sound source for an echo to be heard by aperson. Signals that return before < 50 ms are perceived as more ambient. Between 100 ms to 300 ms with

some feedback.

Reverb.

Reverb stands for Reverberation or reflections of sound hitting an object. The normal objects are Walls,Floor and Ceiling. But all objects that reflect the dry signal back to the listener are reverb signals. A Reverb

does often represent a room, hall, booth, cavern, cathedral or is ambient. A reverb can transmit morereflections then a delay. Therefore a reverb can be easily overcrowding the mix. Deep sounds have more

energy than high sounds. High frequencies loose more levels then lower frequencies over the same distance.There are three areas of reverb perception. Firstly, there's the whole issue of an appealing (a good natural

reverb sound). Second, the sense of distance (depth, pre-delay), which is influenced by the dry signal (directsound energy, transients) and the start of the early reflections from the reverb (or room). Reflections in

nearly any time frame will cause a feeling that you are at some distance from the originating sound. Thisdistance effect will be made up of original direct sound and its relationship to duplicate delays. The

direction of the echo or early reflections is also important and must be placed naturally accepted to our ears(dimension 3). We could use a nice roll off on the trebles to set some more distance (dimension 2)..

Quality of revrberation.

Go through your available reverbs, examine them all. A reverb may sound good while playing solo; it mightbe bad sounding when you hear the whole mix. If bad reverbs have weak stage depth in the final mix result,they will sound fuzzy or muddy. Bad reverbs need a lot of reverberation power inside the mix to transmit

the 3D Spatial Information to our listening ears.

Good reverb can be perceived as depth to a listener (stage depth). A bad reverb is less effective in perceivingdepth and have to be set louder, thus can muddy or fuzz our mix faster the a good reverb. Test your reverbswith a drum booth preset (ambient) and a dry drum track. Sort your reverbs out which ones are best. If you

have a reverb that sound naturally good and when switched of is making the drums flat again. Then youhave a good reverb! Write down for later use, because when you need 3D Spatial Information inside yourmix, you would not like to go through all reverbs to find a good one (or just have a bad decision made byplaning a bad reverb). It is a timesaver when you already know what reverbs will sound best and can beused in other mixes as well. It is likely that on digital systems nowdays Impulse Response Reverbs are a

good way of transferring 3D Spatial Information. With a good deal of naturally sampled rooms andambiences the impulse response reverb is most naturally sounding and gives depth in most cases without

adding too much mud or fuzziness. Combined in the mix with an algorithmic reverb (based on calculationsonly) can be a good solution for balancing processing power and quality of sound distribution. But howeveryou must never stay in the mix with a dull sounding reverb that does not add anything and does not transfer

the 3D Spatial Information that you need. It is crutial to know what reverb is about, so this can take quitesome time to accomplish. Overdoing the reverb is a common beginners problem; try setting the reverb level

as you think it should be, and then reducing the reverb level by 4 to 5 dB. The masking effect applies toeffects as well as the original signal, unmasking a reverb path can make you need less reverb level and have

a cleared pathway and leave more headroom / dynamics. If confused, write down the delay or reverb(depth) pathways into your stage plan or pre-plan this whole subject. Masking is allways there, but as much

as we can reduce it from happening, is a better goal then just boosting and raising levels.

On a digital system, there is need for processing power for a good reverb to shine. The calculations neededfor a good reverb are immense. So do checkout all your reverbs in the mix, a good reverb pays off in thestage depth and can be heard at lower levels. They can transmit the 3D Spatial Information without the

need of overpowering the mix and will create more depth or distance, with less power be persuasive. Justadd a touch of good reverb and you will notice you will need less power to transmit the 3D Spatial

Information with the right kind of reverb. Even a good reverb must be set higher in level then you mightnaturally want to, just to transfer the acoustics to your ears. The acoustics or 3D Spatial Information

contains the information of the dry signal and its reverberations and therefore let us perceive distance anddepth (dimension 3). This is only accomplished by forcing the 3d spatial information on to the listeners

ears. When you have a low level reverb setting, then maybe you can't hear the 3d spatial informationcorrectly and falls behind in the mix (masking). Then apply more to perceive and push to reverb to a higher

level. With a good quality correctly choosen reverb you are able to have enough reverb to transfer the 3dspatial information and still are not fludding the mix with reverb (fuzz or mud, masking, unmasking). Bestis to switch from dry mix to reverb and repeat this a few times (while listeningb the whole mix), adjust the

reverb level until your happy with the combination of dry and with the reverb on top of it. When the reverbis sounding muddy or fuzzy by doing this, either choose another reverb or EQ the reverb or remove some

low frequencies (0 Hz -120 Hz, > 180 Hz or even more). Muddiness can be easily avoided by EQ, but maybeyou can find good quality presets for different kind of purposes, wisely choosen reverb that will just work

better and produce less muddiness or fuzziness.

Reverb is a sound that returns all unlimited reflections of a room (or any object in its path), from alldirections and distances at various levels. These reflections can be extremely lower in level (-70 dB to -90 dB)compared to the dry input signal. But nevertheless the listener will perceive the 3d spatial information andcan guess some kind of distance or depth. Even if noise is added, the special information is still there. Buthowever we try to keep noise away from the 3d spatial information. Basically the dry signal (specially thetransients) must come trough unaffected, so the listener can hear the transients and measure distance by

hearing the upcoming reverberation (pre-delay). If a delay arrives within < 15 ms of the original sourcesignal it will create imaging or panorama problems for example, if you have a sound panned in center and adelay of 1 ms to 15 ms on the right, what you will hear is the image in the center, shifting to the left. This is

caused by the characteristics of human hearing in its relationship to localization. The ear perceiveslocalization because a sound wave will arrive at one ear slightly later than the other ear, as part of length of

travel. This is an innate survival mechanism for human behavior. It is otherwise known as the Haas effect. Ifa delay of 1 ms to 15ms is brought back and panned to the same position as the original you will createphasing effects. Also our hearing can perceive louder signals or softer signals being distanced. If a delay

signal arrives later than 15 ms but before 100 ms (approx) it will create more depth or distance (dimension3). For what you have done is alerted your psycho-aural response, which tells you that you are listening to

the sound in a reflective environment, now our brain can guess the distance better. Whereas if you justheard the original dry sound (transients), only the psycho-aural response (reverberation transients) wouldcreate the effect that you are standing in a field (panorama and depth together). Our stage plan is based on

dimension 1 and 3 most the most part. But however rolling off some highs for distanced instruments ortracks in dimension 2, can help perceive distance better. Dimension 2 can be used on the dry signal and alsoon its effects (reverberation's). Where most mixes really are going wrong is a unwisely (according to stage

planning, maybe conlicting information) choosen reverb. Also contradictory information, alike using a largereverb with lots of highs.

Most people can imagine a sound in a church ,cathedral, a large hall, etc. Most of that sound is just naturalevents, originated from nature, what we hear from our own world in real life. When we mix a piece of musictogether it will soon sound dry, unnatural. Reverb is a tool to add nature and make the listener feel at home.

Flat mixes tend to have none of the natural reverb, so we can try to add some reverb (or other effects) tomake a more natural sound (ambience). Mostly when people have a reverb in hardware or as a plugin, they

will tend to search for a reverb that sounds 'good' . With this method it can be time consuming, butworthwile to examine your effects, try them out extensively and come up with a good list of presets. You cantry to make a dry trumpet sound natural by using a reverb and searching for a suitable sound, better is tokeep it al correct to natural hearing laws. Some people can imagine in their head how things will sound intheir natural context. Stage planning in the 3 dimensions is important, but when it comes down to creating

sounds in that 3d evoiroment, imagination can be a helpfull tool. Maybe the trumpet sounds best in theplace where you can imagine it to be. Then maybe you can select a suitable preset (alike a large hall preset)faster, maybe fiddle a bit with controls to make the large hall suitable. Anyway some people just hunt downfor suitable presets, some think before starting off and imagine how it might sound and make a stage plan,then take the preset most suitable straight away. Reverb or delay can enhance the natural sound of your

mix. Every element of the 3 dimensions alike volume, panning, eq, compression, depth, etc, can be seen as anelement to control toward a natural sound. Alike Delay, Reverb is a tool to control depth. Other effects alikeflanging and phasing, are more unnatural sounds. Effects are nice, but remember to know what purpose youare using effects for. Mostly i think a natural sound is better then a completely dry sound (so all sound couldat least use a small reverb or ambience, detph in the form of natural reverb's or delays / early reflections arewhat we hear 99% in our daily lives. How minimal in a mix used, natural detph will ease the users mind and

is likely to be better. However how easy reverb and delay can be setup, it will allways be difficult to mimicthe natural world.

Basic Reverb rules.

When using more than one reverb, organize by room size. Reverb tends to blur the mix more than delay.The balance between space and distance can be controlled with the effect level. Reverb length particularlywith gated reverbs and snare reverbs should be tempo synced. Snare reverb tends to end on the next fullbeat. Reverb with very short decay times creates discrete places. The longer the delay time, the earlier

distance is created (along with the level). Rich trebles content indicates nearness, lack is distance. The mainambience usually drums ambience should be discretely mixed. The problem selecting presets is that reverb

never is to be listened in solo mode, but always must be listened and selected in full mix mode. Forinstruments that are unfundamental (maybe some fundamental ones) place the original dry signal left and

the reverb signal right, or vise versa. Test a good reverb on a whole mix and see if it still stands out, youcannot judge a good reverb solo. Take a dry drum group and setup an Ambience or Small Booth. Switch the

reverb on and off, a good reverb does not need to be very loud, but you should miss it when turned off. Ifthe reverb sounds natural. then you have an excellent reverb preset or device.

Reverb Controls.

Pre-delay - The distance in time between the onset of the original sound and the beginning of the

reverberation sound expressed in milliseconds (ms). Pre-delay is an important parameter to set the distanceor depth (dimension 3). Pre-delay here, is the time span from direct sound to the first reflections added bythe reverb. The longer the time spans the greater the distance of the sound source from the listener. Pre-

delay with percussive instruments (drums) must be used with great caution. For all percussion instrumentsincluding drums and bass, use no pre-delay or up to < 10ms, checking rythmics (we can use an high trebles

roll off for setting distance). High pre-delay for choirs and strings can send them assigned to the back, to theback rows (stage planning). Pre-delay is setting the distance in reverb. High delay times suggest closer, but is

more fluttery and less tight. Pre-delay between 50 and 100 ms is slappy when not synced/, drums and bassshould have reverb without delay or very low 0-10ms, if needed longer (don't) and synched to tempo

(allways). All sounds relating to rhythm, such as drums and bass, should have reverb without almost tonone pre-delay. Up to 10ms. Check rhythmic consistency. High pre-delay up to 60ms are good for chorusand strings, to put them in the back of the stage. Pre-delay with very acoustic natural mixes, follow the

natural behavior of pre-delay; longer delay times for nearby and shorter for far away. In pop music, use theopposite approach; short delay for nearby and long for far away. With percussive instruments use short

delay times or sync to the rhythm/tempo. If reverb muddies up the dry signal, try a higher pre-delay value,sync it. The quality of the early reflections of a reverb is important, only use the best plugins of reverbs anddelay/reflections. A reverb may sound good in large hall or big rooms / stadiums, when early relections orambience is at hand, the reverb may fail. Good reverb is half the work and means a good start, keep track

of reverb presets for later use. Instruments that tend to be close or upfront only use small reverbs orroom/booth ambience reverbs, keeping the trebles alive (don't cut), have no fuzzyness or blur, so that the

early reflections (or the transients of the reverb) are clear to hear. Instruments that are more backward canuse larger spaced reverbs and duller ones.

Deep sounds have more energy than high sounds. High frequencies lose more level over the same distance.The greater the distance between the listener and the sound event, the lower proportion of high frequencies

in the reverb signal. This is why treble-roll off of the reverb signal is one of the most effective psychoacoustic means of representing distance to a sound source, since our ears intrepid this information

subconsciously. Reverb should have more treble for close sounds in front of the mix, away less trebles for theback.

Decay Time - The length of time from the onset of sound after the initial sound has been established until ithas dropped in level by 60 db.

Diffusion - If the diffusion is set to high (reflections very close in time) it will make the reverb sound verysmooth. If it is low you might start to hear discrete delays that might clutter the sound.

Room size - The larger the number, the bigger the size of the reverb space, the bigger the room is perceived.Some preset programs will introduce more early reflections into the reverb algorithm.

Modulation Rate and Depth - Randomly shifts the time and intensity of the early reflections, creating amore authentic effect. If using a lot of this function you need to be aware of any pitch variances of signals

with a lot of harmonic content.

Density -The amount of first reflections, early reflections and the time difference between them. You alsohave control over the amount of this effect in the reverb mix. Often used for creating good room sounds for

drums.

Frequency Controls - All reverb loses high frequency content over time. If you EQ a lot of high-end over thediffused part of the reverb it tends to sound very unrealistic (use quality EQ or oversampling EQ). In most

Plate and Hall algorithms the high frequency response gradually tapers off over time. There are alsofrequency level controls at various low frequencies to keep the reverb from sounding muddy.

Reverb is generally used as a group effect or send effect and sometimes used as an insert effect (this waykeeping the dry signal intact). It is likely to place the reverb post fader, or else the fader movements will

affect the amount of reverb. By this pathway, when you move the fader the reverb will be the same amountall-time. Set the reverb mix or ratio to 100%, because we already have the dry signal heard (reverb placedas send effect), we do not have to mix the dry signal inside the reverb again. Pre-delay and frequency range

of the reverb signal can be perceived as depth. Test your mix at low levels and see if the reverb still iseffective, listening reverb or 3d spatial information at high levels can perceive better (but also can fattiqueyour ears). But your mix must be in place when listened at softer levels also. A well 3D (three dimensional)unmasker mix stands when played at all levels. A good reverb does not need to be so much audible as a bad

one, but you will miss it when it is muted from the mix.

The treble roll off of a reverb signal is the most powerful way to perceive the distance or depth in the thirddimension, but actually for this we adjust dimension 2 (frequency spectrum). Vocals for instance should

sound in front with their trebles active, so here we do not roll off. Choirs can be sent to the backstage withlesser trebles, so here we roll off more. For events at the front select rich reverbs. For events to the backselect duller reverbs. If needed use an EQ in front or behind the reverb to set the distance or correct the

reverb signal. Don't controdict dimension 2 and 3, setting up anbience reverb for close upfront fundamentalinstruments and do not roll off the high frequency range to keep it all upfront. Think an avoid contradicting

3d spatial information, use a stage plan and act accordingly.

Again the Reverb is placed as a send effect or group effect. In this way we can make use of the reverb forone or more instruments together (group tracks). Specially placed on Group Tracks it can give more

welding and layering, togetherness. As a send effect the reverb will not affect the dry signal, thus confirmswith our natural hearing. The dry signal is crutial to hearing and must be kept (leaving transients intact).

On top of the dry signal is the reverbed signal, so our hearing accepts the distance / depth. The dry signal isalways present in natural reverberation hearing. As a creative aspect we could use only the reverb signals,

but for perceiving depth naturally we need the dry transient signal to be present as wel as the reverb signal.

To set the reverb as an insert effect is not common and mostly done out of artistic freedom, still then set thereverb post fader and 100% wet, adjust the reverb controls until sound is correct. Sometimes only oneinstrument needs a reverb especially for itself, so we could insert a reverb and mix the reverb on the

instrument track (for instance the snare). Still routing to a Group Track is best, even if this means just onesingle instrument is routed to this group. Group tracks or Send Tracks are good for reverbs because theycan save processing speed and layer or weld the group for more togetherness, summing up towards themaster bus fader. For instance a reverb or delay could do some furthermore welding and blending on a

group track forming a layer. Each layer could have its own reverb. First resort to EQ and Compression forGroups. Maybe some gating or limiting. Then route to a reverb (delay, echo, effect). Maybe roll off some

lows and highs first.

How many reverbs you need inside the mix depends on your mixing technique. But generally four or morereverbs on a basic mix are quite common. A good chosen reverb can re-place other badly chosen reverbs.

Sometimes there is little need for reverb and the style of music played needs to be dry (just some ambience),sometimes there is room for a lot of reverb and is needed for creating the space (distance, depth). If requiredyou can add a delay after the reverb, by this way you can spread the reverb signal more (stereo delay, watchthe correlation meter) and maybe then becomes clearer to transmit the coherent 3d spatial information andavoid masking. Sometimes just timed events of automation is needed to temporarely avoid masking. Whenthe reverb sits behind the mix we call this the Masking Effect, the reverb is masked by the dry signal of themix. Individual instruments or tracks. Just adding some delay, a bit of panning can help the reverb jump

out of its masking partner and be freed again. As a drastic measurement tool you could use some wideningor stereo expander (correlation). Automation becomes handy when only a part in the timeline is masked. If

reverb could be synced to tempo this would be worth it on longer reverbs or delays.

Gated Reverb - A setting where the reverb stays at one level over time and then suddenly shuts off. Oftenheard in snare drum sounds in the 80s. Gated reverbs are good for keeping rhythmical content. Basically agated reverb is two devices in one. A reverb and a gate. Reverb 70's effect, set reverb to pre fader, lower the

original sound level fader, only the reverb signal will stay.

Group and Send FX using Reverb or Delay.

To make some kind of combination and the fact that on digital systems for processing speed, we cannot justthrow in a lot of reverbs and hope for the best. Most likely your digital system can cope only with a few good

reverbs in place. In older days recordings where done in rooms separating players and with multiplemicrophones to capture dry and reverberation signals. Off course it would be great to use a reverb for everyinstrument but we can't. Anyway it would be a bit complex keeping track what you needed the reverb for in

the first place. For dimension three, we need the reverberation. Therefore we must know why we use thereverb. Commonly used for dimension placement and stage planning. Keeping track means some kind of

bargain on complexity and amount of reverbs. Anyway more reverbs mean more mud and fuzz, so keepingonly a few good reverbs is the way to go. Maybe 4 to 6 reverbs for a full mix to shine is quite good goal.

Delay after the Reverb.

A delay can help avoid masking of the reverb and can help to be added after the reverb signal to make the3d spatial information more clear. Only do this when masking does not go away. Sometimes a delay can be

placed in front of the reverb. Automation can help parts to unmasked events.

Masking.

Masking or the masking effect will hide your reverb behind the dry signal, the 3d spatial information thatthe reverb (or any other effect) is adding will not be perceived as depth or distance. Masking also occurswhen two signals / intruments play in the same frequency range from the same direction. Unmasking iswhen we correct this and have cleared pathways for instruments signals to shine, saving headroom by a

reduced level and still have a good mix. Basically we can maybe hear the reverb somehow; it is masked andtherefore hidden behind more louder and sustaining sounds. There are some solutions. The fist is

questioning the instruments that are sustaining (or the reverbs that are sustaining) and are affecting thetransients, if this is not needed maybe a compressor can help to clear up some headroom or reduce thesustaining sound or raise the transient sound (or gating). Second is just raising the level of the reverb(common easy solution). But before our ears will understand the 3d spatial information of the reverb,

maybe you will raise too much (creating more fuzz or mud and having less headroom left over). A goodquality chossen and clear sounding reverb will solve this problem better. Bad reverbs are causing overblownmixes and lose a lot of headroom, still not be perceived as depth. Preparation in dimension 1 and 2 is crutialbefore adding dimension 3. Then with a good reverb there is little level necessary for our ears to recognizethe 3d spatial information. Dimension 1, 2 and 3 are all needed to perceive depth or the dimensions, and

make our ears understand the mix content (stage). Just when reverb is sitting behind an instrument,changing the pan or balance on either the reverb or the instrument of question might do the trick and

uncovers the reverb (unmasking), panning it the first choise to grab for, and the level next. Anywaydimension 1 panorama and dimension 2 frequency spectrum are coherent to dimension 3. Maybe you decideto re-place a guitar track and set it more left, and then maybe the reverb (or effects) that are routed for the

guitar must be looked after also (more to the right). When you add depth to a mix by adding effects, it isbetter to have dimension 1 and 2 somehow finished then start with dimension 3. The more completed yourmix is towards finished, anything you change will have a cascading effect and requires thinking and maybere-thinking and more work. Whenever a reverb or delay (or both) is masked by other instruments or just

can't be heard enough, try to undo the masking effect by forcing the 3d spatial information onto thelisteners ears. With a good reverb that is in place, you won't have to force too much and avoid to fuzziness

and muddiness altogether. A mix can be soon muddy and using EQ to correct this is well accepted, but in thefirst place the sound of the reverb is of importance and panning/level. So whatever signal you input, youbetter be sure it is cleaned from unwanted frequencies or material. So remember to sort your reverbs out

and know what reverbs you like best, this will give you a head start and will avoid the complexity and savestime and frustration in further mixing. If the result is not mono compatible, try two identical reverb presetsfrom two different devices, panned left and right. Both reverb devices receive opposite send signals so that

the left of the panorama is reverbed right and vice versa.

Keeping track of things.

It is good to describe the information on a track why you setup a reverb or delay (or even any other effect)and why its settings are there, why you need it. Take care to describe the 3d spectral dimensional placement

(stage plan). Also you can write down all reverbs that you like and keep track of them for later use whilemixing. Software and digital mixers sometimes have digital notepads; keep pen and paper at reach. Modern

DAW's often provide notepads for a song, track, instrument, mixer, so keep notes and keep track of yourinfo. You might have forgotten the next day, what brilliant solution you had the day before.

Starting a Mix and progression towards a Static Mix, Workflow of a mix.

Until now we have explained how any mix can be started, after recording is done. For a quick overview hereis a 'to do' list. Each time we refer to an instrument or track, you can find specific information about this

instrument or track below this mixing section. Each instrument referred over here, can be found below. Forpanorama, frequency spectrum, quality, reduction, compression, reverberation and other specific tools,

refer to each instrument's section for details.

0. Recording instruments or tracks must be done in quality before mixing, with quality equipment. Keep thesignals noisefree by itself, free of humming sounds or continues sounds, do not use a noise reduction plugin

or system when recording. Some like to record with the Dolby button on. Try to be careful with placingeffects, EQ or compression on recordings in progress. Try to separate and record as much dry. Try to record

in stereo, on digital systems use 32 Bit Float for internal processing purposes. Convert samples / files to 32bit floating point.

1. When starting a mix, set all Faders at 0 dB, set pan or balance in the middle (center, unity). Remove anyEQ or Compression, effect, plugins. Turn off all effects. Set all equipment you are using for mixing to zero,

dry, bypass, unity, centre, etc. Re-set all on your mixer.

2. Sort out your tracks from left to right on your mixer. Placing more fundamental instruments or tracks atthe left side. Spreading to the right side. Label every track. The tracks from left to right could look like this,

by example, Basedrum, Snare, Claps, Hihat, Overhead, Toms, Crash, Others, Bass, Guitar 1, Guitar 2,Piano, Epiano, Keyboards, Synths, Others, Background Vocals, Main Vocals. Next to the Main Vocals on the

far right there is place for each send track then ending up with the master track. This can be debated, butyour free to setup your mixer anyhow you like. Modern small mixers or controllers have only place for 8

tracks at a time, spreading drums on channels 1 to 8, and the rest on channels 9 to 16, can help for switchingback and forth on the mix setup (specially when using mix controllers). Label sort and color code tracks,assign them to group tracks, folders and route them. Use the group solo function to control the routing.

Prepare the mixer for a new start (starter mix).

3. Listen trough every track (in solo mode), cutting out any unwanted signals like noise, pops, clicks orrumble. Any unwanted material must be removed, first choose to do this on a manual level (manual

editting), from audio tracks to samples. Some think this is tedious and some really like this fase. Someremove breathing noises manually from vocals or some use a de-esser. This manual editing may seem as a

bit time consuming. better to remove and be sure you are only hearing what you need. When you are using asampler, you could clean the samples. How you do this is not of importance, but take some time to clear up

and clean up. Once you start mixing and listen to your whole mix or combination of instruments and tracks,unwanted sounds might get hidden inside the mix (masking) and are uneasy to find their location. So cleanup while you can, when you can. Check each track, for breathers, editing mistakes, clicks, clean them. Only

reduce noise or humming when needed, better to have every recording clean before using anynoisereduction system.

4. Define your mixing strategy with a panorama sketch.

Mute all folders and tracks, with exception of the drum folder. Start building up the rhythmic backbone,starting with the bassdrum, followed by snare, making use of panning, EQing, Compression, gates andreverb (delay) until the drums represent a powerful and rounded sound. If the bass is part of the drum

group, add it to the mix after editing as required. Your next step is to build up the instruments that provideharmony and warmth. Distribute them according to their complimentary spectral properties to the left orright in the panorama. Create a good lead vocal sound and add it to the center. Balance the group levels of

all groups edited so far. Distribute decorations and additions in a spectrally sensible manner around theexisting basis. If an event sounds fuzzy, look for a spot within the three dimensions where it can be heard. If

you cannot find the spot either with a good panning strategy or with EQing or layering, reconsider thereason for having this event at this place in time. Fine tuning of volumes at extremely loud or quit levels.

Do a first check on the whole mix. Set the master fader at 0 dB. Set all balance to center and adjust allfaders until youre a bit satisfied. Do not use EQ, compression or effects. Youre looking for mix that is quitestraightforward and that comes from one direction, all from centre. By only adjusting each fader until youfind some dry mix that works for you. This must be easy to setup and only takes a few moments to do so.

Don't worry and fiddle to much, we can be more precise later on. Also you could use some EQ to sort out thebottom end of your mix. Using a low cut from 0 Hz to 30 Hz for Basedrum and Bass. Using a low cut from 0

Hz to 120 Hz (180 Hz) on all other tracks or instruments (including the rest of the drum set). Adjust thestarting frequency of the cut, just below the last main frequency. Keeping what is needed and deleting whatis not needed, just use some EQ for adjusting the bottom end. At least by doing this we guarantee that Basedrum and Bass have a clear path and the mix is cleared from any rumble, pops or click in the bottom endrange, as a result we now have more headroom. For some distance and reduction the Base drum and Basscan be rolled off in higher trebles. Setting some distance on other instruments or tracks according to our

stage plan, roll off some more highs. Do not pan the mix for now (keep dimension 1 and 3 unaffected). Justapply some reduction, quality, headroom, separation and togetherness.

5. Listen to your dry mix for a while. Decide by experience how to plan the dimensions. Draw a quickpicture; plan the stage inside the three dimensions. Plan the fundamentals alike Basedrum, Snare, Bass and

Main Vocals in center. And build the rest of instruments around this (unfundamentals), placing

unfundamentals more to left or right, don't be afraid to pan. Anyway do not touch anything right now, justthink of it or draw a quick sketch on paper. First we set dimension 1, panorama. Pan first before setting

fader level again, apply the panning law and know that relative volume of a signal changes when it ispanned. Completely apply all panning first, then adjust all fader settings until are satisfied. Keep adjusting

balance (panning) and fader (level) until satisfied with your stage planning for dimension 1 (panorama).Listen to your dry panned mix for a while. Fader and Pan are most important settings to start a mix and

mostly overlooked, so we tend to take more time here for listing and adjusting.

6. By having some notion now where to place instruments, it is time to listen and decide what instrumentsneed EQ or compression in order to adjust its frequency range (dimension 2) and coherence to other

instruments. Also by doing this we can save some headroom. We can try to adjust for quality and reduction.We have made a separate instrument section below for reference. Anyway we need to adjust every

instrument for its spectral content, mostly doing EQ where needed. A steep filter for bottom end cut off'sreduction (seperation, saving headroom). Headroom in the bottom end (0 - 120 Hz) should be only for Bassand some Lower Bassdrum thumb sound (kick), cutting all other instruments in the lower range. For the

whole mix and for the Bass and Bassdrum (or any other fundamental instrument) is what we are aftermainly. For quality each instrument or track can be adjusted until sounding good, keep in mind not to fill

the misery area from 120 Hz to 350 Hz. Try to avoid boosting the mid's of all instruments, instead choose afew, leave the rest or cut. Mainly using tools alike EQ, Compression, Gate or any other dynamic tool. Also

for distance we could roll off some highs for each instrument or track. Remember when you adjust aninstrument or track, to bring the level back into the mix directly afterwards.

7. Now solo the most fundamental instrument (likely it is the basedrum, but however some start with themain vocals). The basedrum should be on the left of the mixer side. For example we have chosen the

basedrum as most fundamental instrument here and is most common to do so. Solo play the bassdrum andwatch the master vu-meter. Keep the level at -6 dB to -10 dB on the vu-meter by setting the base drum faderlevel accordingly. Next add the Snare or Bass (you decide) and use its fader to set the level. Do not touch the

base drum fader; adjust the instrument level youre working on only. Each time you add a track to yourmix, set the corresponding fader level. Until you have worked your away trough the right. Looking for sometogetherness and having levels just right for a dry mix is crutial over here. Just keep adding and adjusting

until finished. When finished then do a check on the vu-meter level, you must have some headroom left, elseset all instrument or track fader back the same amount. Leaving some headroom for later on.

8. Decide how your gonna separate the Basedrum from the Bass. Making them sound well in the lowerfrequency range. Start off with the Basedrum (listening in solo mode), roll of some subs from 0 Hz to 30 Hz

(50 Hz), roll off some of the highs > 8 KHz for some distance according to stage planning (behind mainvocals and bass). Creating a good Basedrum sound. For quality and reduction on the basedrum refer to theinstrument section below. Maybe add just a tiny touch of reverb, with little pre-delay (no pre-delay actually

for rythmic content). Only use an ambient reverb or small room/drumbooth reverb, we can use for thewhole drumset so can be on a group or send. Then aim for a nice -6 dB to -10 dB level at the master Vu-

Meter while playing. Remember this is your reference track or most fundamental instrument. Thisreference fundamental instrument is used to set all other instruments after. Instead of the Basedrum, maybe

the Main Vocals or any other instrument could serve as most fundamental. But keep in mind that likelyfundamentals are lower frequency instruments or tracks, as we need the center of the speakers to produce

the lower bottom end fundamental frequencies (left and right playing together). Accordingly and measuredoff by this reference (most likely the basedrum track), keeping always in the center of the panorama. Also itis best not to sway around in center, just keep it dead centre or the added signals must refer to center. Left toright time lined events are not recommended at all. Keep your most fundamental (base drum) instrument in

center at all time. So listen trough the whole bassdrum track solo, adjust it, and just be certain it staysalways in center all the time.

9. Next, For the Bass just roll off some very low subs (0 - 30 Hz) and roll of some highs ( > 8 Khz). Solo thebass and create a good sound, refer to the bass instrument section for this instrument specific while mixing.

Listen to both Basedrum and Bass together, then only set the Bass fader and listen to the combination ofBase drum and Bass (do not touch the basedrum fader, this is your static reference). Do anything (add EQ,Compression, etc) to correct the bass signal now. Set the level of the Bass until it feels and hears correctly

(togetherness). Also keeping the Bass in center always.

10. Then introduce the Snare. For this you can decide to solo the Snare, apply a low cut for separation andcreate a good sound (see the snare instrument section). Snare usaually needs a larger reverb. Do anything

you need to correct and enhance the snare signal now. Then in combination with the Basedrum set the

Snare fader (solo basedrum and snare). Introduce the Bass and keep setting the Snare fader furthermore.Maybe you do not find right settings at start, keep fiddling soloing and playing together. Setting only the

Snare or Bass faders. Just find some fader settings that workout best, then leave them alone.

11. Introduce the Main Vocals, first in solo mode. They must be upfront, so no trebles cut over here. Just rolloff the bottom end to separate from basedrum and bass. You can always adjust the fine roll off frequencylater on, when you unhappy with the vocal sound. Use a stereo EQ filter setting to balance the vocals incenter even more. Then try to make a good sounding vocal (see the main vocal section below). This can

mean dropping a de-esser in place or delay / ambience room reverb (we allready have one in place for thedrums and bass. Or use some fine EQing to get the vocals really sound correct. Maybe some compression.Then unsolo the vocals and again adjust its fader to set the mix. Remember vocals must be heard clearly

upfront, when not reconsider now.

12. Then add the Hihat, placing it with balance slightly right, according to position. Roll of a great deal offthe lows from the Hihat. See the specific hihat section below for more details. Add the overheads and give

them some distance by rolling of some highs. Maybe a Stereo Expander can widen the overheads, watch thecorrelation meter for mono compatibility issues.

13. Continue to add each drumset instrument until finished. Adjusting only the newly introduced and stayaway from earlier introduced instruments. Workout a good steady sound for drums, spend some time to

create and finish off the drums first. Drums are inportant, they sound so much better inside a mix when firstcompleted as a drumset. Only continue when happy and completely finished all drumset events /

instruments.

14. Add Guitars, Keyboards, Synth, Percussion and any other instruments or tracks. Remember when youplace something left or right, you need coherence, so counteract. We need to counteract instruments, we can

counteract instruments and their reverb signals. Keep away from the center and be creative placing themleft or right (be couragous). So placing a guitar left might need the keyboards placed right as an oppositecoherence (counterweight). Work out your mix in dimension 1 - panorama, pan, balance and fader level

first. Then adjust dimension 2 - frequency spectrum of each instrument by adding EQ or compression as aninsert effect on each individual instrument. Cut lows and highs where needed. Also EQ and compression can

adjust the internal fundamental frequency range, so making your individual instruments sounding best isoff course recommended. According to our stage planning, we try to stay within the dimension 1 and 2

boundries more and tend to place dimension 3 later on.

15. When you have some choirs you do need them into the back of the stage, so roll of some highs and forkeeping them out of the lower frequency range roll off the lows also. Also here on the choir we can use a

stereo expander to widen the choir in the background. According to panning laws we spead the backgroundvocals or choirs (lower voices more centered and high voices more outwards). By widening the overheads

and choir we keep them away of the already crowded centre path.

16. Next, for the rest of the instruments (all instruments) decide where to roll off moere bottom end in orderto keep the lower frequency range of your mix only available for Basedrum and Bass, to separete and avoidmasking, leaving some headroom. Also avoid instruments not needed to play inside the 120 - 350 Hz miseryrange. Solo first, cut where needed and create a good sound (use your stage plan and the dimensions). This

can mean some heavy balancing, EQing with some steep filters or compression. Just not to interfere.

16. Repeat until you have finished off all instruments. Remember it is not recommended to adjust aninstrument or tracks fader after it has been set. Do anything to make the track / instrument / sound betternow. When working each instrument or track, do try to adjust that track only, without adjusting the other

tracks.

17. According to your stage plan, you must now have setup Level, Balance and Frequency Range for eachseparated instrument or track. And maybe already have rolled off some high trebles on some of the

instruments or tracks that are more distanced, all according to our stage plan. We placed only dimension 3when needed, mostly ambience for upfront instruments and larger duller reverbs for more distanced

instruments.

18. Listen to the Drumset, Snare and Bass together. Maybe create a Group Track and route them to it. Thiswill be your first Group of many to come. Some do like to route the drums to its own group, therefore you

can also route the bass to its own group. This will keep them separated as an individual instrument groups.

19. Next assign groups to instruments that are close to each other and can form a layer together. Maybe agroup for guitars. Another one for piano, epiano and keyboards (synths). A group for the background vocals

(choirs) and a group for the main vocals. Assign Group Tracks for each range of instruments. For now donot use any effects on the groups. If you like to use an enhancer while mixing, use it on a separate group and

route only instruments or tracks that need to be upfront, but we dont use it for now.

20 Try listening to the whole mix again, by muting or soloing instruments you can find out if the placementof each instrument or track is correct and according to our stage plan. Else keep correction dimension 1, 2

and 3. Be sure you have found some kind of clean sounding mix before you go on that is exactly according toour stage plan. If not keep fiddling about until you are satisfied. Try to stay inside dimensions 1 and 2 byusing only Fader, Balance, EQ or Compression (gate, limiter). Then correct dimension 3. Maybe this will

take an hour or so, it is crutial to get it correct.

21. Listen to the whole mix and decide it's level, pan, balance, eq and compression, gate and limiter aresetup correct. If not keep adjusting the mix until satisfied. Working only instrument or track based (see thespecific instrumental details below). We tend not to use any effects on groups, sends or on the master track.

22. Now we should have a mix that is clear (dry), where instruments can be heard, still have sometogetherness and have some idea of the dimensions 1,2 and 3, sounding correct as planned. Even with

separation that is contradictive to its opposite togetherness, it is possible to have a combination of both. Amix thrives on separation from start (dimension 1 and 2) and get some kind of layering. Only adding somereverb or delay in dimension 3 to create some depth, when we are sure that we are happy with dimension 1

and 2 first. Be aware of masking and learn to understand it very well, learn how to unmask.

23. Now its time to glue the mix more by adding to the groups where needed, hopefully we have createdenough headroom for mix adding purposes. EQ and Compression on a group can weld or glue instrumentstogether. Making groups appear as layers for mixing purposes. Summing up towards the master bus fader

output. Compression on a group can give a feeling of a layer (togetherness, glueing or welding) and givesome coherence of grouped instruments. Also by using EQ in front of the compressor (only place an EQ orcompressor when needed) you can sort out the frequency range by cutting lows or highs (or compress), bythis way the threshold of the compressor will only react to a cleaned dry input sound. You must cut lows

when they are not needed, affecting other instruments in their range that are more fundamental. You cancut highs (trebles) when you need the group to be set back into distance (depth) or when you know these

frequencies simply do not exist at all (preventing noise, humming, clicks, etc). Planning the three dimensionsfinally. Remember that Panorama is first looked and adjusted, then Frequency Range, then depth.

24. For working out depth on a dry sounding mix we can use reverb or a delay (most common) to give somespace (dimension 3). The group tracks are likely places to add 3d spatial information (placement, depth) to a

mix. So a good reverb or reverberation effect on a group or send track will give room characteristics andplacement. As we did combine instrument sets, we can now use the groups function to combine overall

effects (alike reverb, delay, compression and EQ, etc). Somehow you know you need at least a few reverbsfor Drums, Snare, Bass and Vocal alone (ambient small room or drumbooth), we can maybe route al

instruments needed to this group. Each group can differ in room and reverberation settings (see the specificinstrument details below). Place a reverb where you need it mostly, but be scarse. Rather on groups. You

can decide to place a reverb on its own single track or on a group, depending on the purpose. By usinggroups (or sends) you can save just some reverbs though and keep it tidy. Now you understand you have atleast a few good reverbs running in the mix, just to sort out dimension 3. Choose good quality reverbs. Wedid not even consider using reverb as an artistic (creative) factor; reverb or reverberation is common for

dimensional placement (3d spatial information). You can understand that a mix with 4 to 8 Reverbs iscommon, because almost each different set of instruments (Tracks, Groups, Sends, Layers) need placementand depth, as well as some welding for togetherness. Use a bright reverb for upfront instruments or tracks,

and a duller reverb for distanced instruments or tracks. Use comprossion on a group when you need to weldthem more together. Summing up groups towards the master bus fader output.

25. With all these reverbs in place, avoid muddiness. So maybe EQ or filter the lower bottom end of thereverb with a good cut from 0 Hz to 30 Hz (50 Hz or much higher) on fundamentals. And a good cut from 0

Hz to 120 Hz (at least, > 180 Hz) on unfundamentals. When instruments or effects are masking separatethem with Balance, Pan, EQ, Compressor or some delay after the reverb. Or in more extreme cases use a

stereo expander after the reverb to even make the panorama wider, maybe use timed events as automation

(just when we need it as a last resort). Crowded mixes could be widened and listened as if played outside thespeakers; this gives some more room in the field (stage planning). Basically be reluctant to place the stereo

expander and use only as a last resort. Watch the correlation meter, goniometer, when you are using thestereo expander or are working in dimension 3 with reverb. Check for mono compatibility, maybe you can

leave the correlation meter in visual sight always. According to your dimensional planning now add depth indimension 3, by adding those reverbs (delays) that are really needed to create depth and transmitting the 3d

spatial information to the listener. According to our stage planning, some instruments need to be upfrontand some more set backwards. If a set of instruments alike a drum group needs a particular reverb, placethe reverb on the group track. If a reverb only affect's the single track or instrument (snare for instance),place the reverb on the single track (snare track) or even still place it on a group so other instruments canmake use / benefit. For instance with the snare reverb, you can place it on the instrument track to make a

difference, but this will keep it from being used by other instruments. Try to have reverbs and delaysavailable on group or send tracks, instead of using them on single tracks. Transients are always fist

recognized by human hearing for calculating depth and distance; we need the dry signal to be present(transients, on top the reverb signal). The dry transients must be heard, as well as the reverb signal (also the

transients from the reverb signal as well as the original dry signal). So our mixing tactics must include allnecessary transients to be heard, to be perceived as natural depth (dimension 3). Any confusion created bynot applying dimension 3 correctly will affect listening pleasure. Any conflicting information will confuse

the listener.

26. Now here is where the routine starts to fade. As you have setup a mix that is consistent in placement inthe three dimensions. Work around the mix for some togetherness and clarity balance (separation, quality

and reduction), now its time to be more creative and invest some time. But with following guidelines 0 to 25we at least have started a mix with some rules or routine. Anyway to finish off what you have started, do a

check, a re-check and a double check on your placement. Check levels, peaks, frequencies. Use hearing,listening and visual methods (spectrum analyzers, correlation meter, goniometer, peak rms meter, etc) tocome to the right kind of decisions or conclusions. Now you should have a well sounding static mix whereyou can add more quality and effects or automation, because you have some headroom still left inside you

can be creative and mix further towards the end result.

27. You could place a Limiter on the master track, just to avoid some peaks. But on most digital systems youwill be signaled by a led light when youre passing over 0 dB. Anyway even on 32 Bit Float digital systems,

going over 0 dB is not recommended. On a 24 Bit or 16 Bit system always stay below 0 dB. When you do usesamples or audio repeated times inside your mix, from drum samplers or instrumental samplers, it would be

a hassle to find out what bit rate they are all played in. Better use a common bit rate and sample rate(preferably 32 bit floating point). So staying below 0 dB everywhere seems to be a good solution of not

harming any parts of your mix (else convert). If you have a limiter placed on the master track, just be awareit's for peak scraping only, mostly a brickwall limiter with a threshold of -0.3 dB or a low peak reduction of1 dB or 2 dB. Do not tend to use any more limiters. When your mix tends to be too loud and attacking the

master limiter, then set back each instrumental fader or their corresponding group fader by the sameamount (creating some more headroom). Do not touch the master fader; this will always stay at 0 dB. Only

when your master fader is the last control to your speakers as an amplifier you can change it scarcely, betteris to find a solution to keep the master fader at 0 dB at all cost. Listen you mix at loud and soft levels.

Sometimes instruments disappear when playing at soft levels. A mix must stand loud and soft. But most ofthe time listen to soft levels while mixing, do not over excite your monitor speakers as well as your fatigue

ears. You can train your ears better working at softer monitor levels.

28. Summing up - When you understand that Bass and Base drum should occupy the lower frequency rangeof 30 Hz to 120 Hz only, without interference of other instruments. Bass and Bass drum should own the

lower range by themselves. This can mean all other instruments and its effects are somehow or completelycut in the 0 Hz to 120 Hz (180 Hz) frequency range, thus avoiding the bass range. Spend some time working

on the misery area from 120 Hz to 350 Hz, where most instruments have a piece.

29. Keeping other instruments (unfundamentals) in their range and place them left and right (opposite toeach others opponent instrument to counteract) is keeping them out of center. Center is the place for

Bassdrum, Snare, Bass, Main Vocals. Keeping the main vocals upfront by not cutting off its trebles. Forsetting other instruments more left or right (away from the centre path), does not mean they are perceived

as such. When they are accompanied by 3D spatial information (pan, frequency, depth) as in form of areverberation sound opposite to its dry signal, cutting off trebles to make some distance, you are placing

them inside the three dimensions. Reverb or delay can work as a counterweight. When placing a dryinstrument to the left, maybe a reverb placed on the right can work as on opposite filler. Also comparison

instruments can work as opposites. We tend to layer them in groups. The groups finally can be used working

towards a finished mix (static reference mix). Using techniques on groups alike EQ, Compression and effectsfor more welding together. Using groups or send for our reverberation needs. Mostly we do not likeanything on the master track, some like a limiter in place to scrape some peaks or for peak warning

messages. Try to watch the master track vu-meter while mixing and try to keep it below 0 dB.

30. Keeping a balanced overall sound coming from both speakers is planning the three dimensions andmixing towards this goal. Avoid masking of reverberation by adding a touch more or pan (balance) themaway. Sometimes a stereo delay might work behind the reverb to avoid masking. Watch the correlation

meter for mono compatibility. Do checks and re-checks and make sure your planning and mixing rules areapplied. Listen a mix dry (without those reverbs), check if you have not used too much reverb, but just

enough to transmit the 3d spatial information to the human ears.

31. Quality is a general rule. Off course it is important how any separated instrument is sounding in quality.So while busy generating a nice mix, individual sounds (solo) make up the mix (summing). You can adjust

any sound, track or instrument anyhow you like, with the use of EQ, Compression and other effects. Beef itup, make it nice. So when using effects (especially reverb) do not hesitate to use the best instead of using themost efficient. Avoid muddiness and fuzziness, apply separation (use the dimensions, the whole stage). Usethe rules for quality and reduction. Use panning laws. Refer to the specific instrument details below. Andfinally as all instruments play as a mix on the master track, your mix must sound dam good! Only when

youre happy with your mix, as is, you should continue. Else revert to the basics of mixing (repeat themixing steps above), add or remove until youre happy with your final sound. As a final static mixing stage,

adjust the groups or just play around with them until you find a nice coherent static mix.

32. Until now we have worked on the starter mix towards static mix, and have finished it until satisfied.Basic Mixing III will explain dynamic mixing. But for now we will skip the dynamic mixing and jump to a

pre-master. A pre-master can be a good tool to hear and analyze the mix, before we continue with thedynamics of the mix. What final sound of a mix is best? Well, this is more complicated to explain, according

to style and preference. But maybe you can remember this chart below? You can read about it in BasicMixing I!

33. Volume automation for introducing events. Volume automation for song structure dynamics. Panoramaand stereo expander automation for clearing up the last remaining fuzzy spots. Carry out further

automation. Creative fine tuning to refine details. Constantly experiment in order to improve events that donot yet sound right. Set the brick wall limiter in the master section to -0.3 dB. Export mixdown, 32 bit, nofade in or out and a bit of clean silence. Use the mute buttom compositionwise when needed or create newpleasant combinations in time. Remember the more instruments play at the same time, the more worries

and corrections needed. Also a song or track will sound dull and equal when all instruments plat from startto finish, consider composition wise events and cut when needed. Less is better then more.

Anyway, repeated mixing will give you a beforehand understood notion what a finished static mix shouldsound alike. Experience and understanding might be the main factor for learning to apply. For checking amix, a spectral analyzer can be a worthy tool visually. For instance you could check your mix against othercommercial recordings, using the A/B method. AAMS Auto Audio Mastering System can be good a tool to

help you analyze your mix and get some suggestions for better mixing results. You can train your hearing bylistening a lot of good commercial available music on your mixing monitors. Or just listen to a lot of

commercial available music anywhere you can. At least you know what quality your monitor speakers willplay. And you know what commercial music is sounding alike. When in doubt while mixing, take somedistance again. Compare your mix to other music. Fist Revert back to dimension 1, then 2 and then 3.

Check how much headroom you have left. Listen with clean ears, listening hours of music can make your

ears fatigue. Then it might be good to leave the mix for the next day and start with a fresh mind and freshears or just take a good (>15 minutes) nap. Sometimes this is needed to really interpret well. Also pre-mastering a mix can help clarify more. You can use AAMS Auto Audio Mastering for this purpose. Amastered mix is perceived louder and also stands up more against other commercial recordings. Pre-

mastering can reveal sometimes more (what is good, what is bad), even when not heard inside the mix, thissuddenly becomes clear in the pre-master. Let somebody else listen to your mix (pre-master) and you will

get some feedback, depending on the style of your music mix and this persons dislike, choose how tointerpret this advice or criticism. Don't be worried by other people their critism, use this to your advantage.Do not bypass or hurry, you will never get anywhere near a finished mix bypassing the rules of engagement,

bypassing natural laws of sound. A finished starter mix to static reference mix takes up to 4 hours of time(maybe more or less). A well finished static mix can take up to 12 hours of time. Together finishing off thestatic mix altogether can take up to 16 Hours. Remember that it takes the dimensions, quality, reduction,separation as well as togetherness to finish off a mix completely (static reference mix). Better be educated

about these subjects and purposes, if not you could be stumbling with mud and fuzz for a long time! Whenyou know by experience what youre doing, time will decrease fast. Only continue with dynamic mixing

when satisfied with the static mix!

FX example.

Send FX1, < 600 ms, Small Reverb, Ambience on Drums and some Bass, no or little pre-delay, slight treblesroll off (overhead, bass drum, loop, bass, snare,etc).

Send FX2, 1/4 note delay, medium to large reverb space, snare, no pre-delay, no treble roll off. Shorten thesnare track with a gate. Experiment with a thick gated reverb.

Send FX3, > 1200 ms, big room, background events, chorus strings, up to 60ms pre-delay, trebles roll offstrong.

Send FX4, 600 - 1200 ms, ambience, lead vocals, no pre-delay or 1/8 th note, no roll off trebles.

Send FX5, Decay depends on style, delay or reverb delay combination, lead vocals if needed.

Send FX6, Decay depends on style, guitar & keyboard if needed, L10/R20.

Send FX7, Delay effect, strong instruments (vocals), solos.

Send FX8, Chorus.

Send FXx, Reverb layering. For instance give percussion tracks a medium, thick room with quality. Thereturn is processed with a little widening to counteract the masking effect and to place the percussion

behind the drums. A little pre-delay on the reverb and slightly attenuated trebles.

General and Specific Instrument Details.

First let's explore some instruments and basic settings for the whole frequency range of the mix. Deeperunfundamental (sure even fundamental) sounds spread in circular form and can hardly be detected below

100 Hz so avoid, whereas high frequencies spread directionally and are easy to detect. First of all thepanning rule for fundamental instruments is in center, unfundamental instruments are not centered but

placed more outwards.

Between, 0 Hz to 30 Hz (50 Hz), Bottom End. Stay away from the bottom end range unless you are mixingwith and for subs! Mostly this range from 0 Hz to 30 Hz (50 Hz) is heavily reduced for all instruments,

tracks, effects or sounding events, fundamental or un-fundamental (cut). The bass takes the lowest one-andhalf octaves in the center, not a place for any other instrument, keep free for bass. Above that is the bottomsector of the bassdrum 80 to 100 Hz, small banded the tumb or kick. Between, 30 Hz to 120 Hz, Bass range.This bass range frequency is mainly for Base drum and Bass only. The only instrument that can go as low as

30 Hz is the Bass, therefore th