Commentary

According to Rob Mayzes, an audio professional, musician, and educator, making music mixes requires a set of guidelines or system. Focusing on the general concept and then refining the details later can help mixers develop their samples with confidence and speed. His 5 step system involves getting rid of the unnecessary channels first, then processing groups before individual channels. After refining the instruments and vocals on individual channels, one can adjust the ‘decoration; or automation and spot effects. The concept of Slow Focus Mixing can also apply to other audio processes to improve mixing skills.

Key Takeaways:

• Many people start their mix with the foundation (the kick drum or bass). Then they bring in the other instruments one-by-one
• Begin with balancing and muting. Throw the faders up, work on instinct and be bold.
• Consider the track as a whole. Think about the vibe and character of the music. Which instruments are the most important? Which channels aren’t needed?

“The simple system that I’m about to reveal will allow you to mix with more confidence and speed, so you can produce better mixes in less time.”

http://therecordingrevolution.com/simple-system-for-easy-mixes/

Problems with getting vocals to sound well incorporated into the audio can be due to issues with the low frequency range. This can lead to the vocals sounding ‘glued on’ rather than harmonious with the rest of the music. By cutting the lowest frequencies and using parametric EQ, you can improve the sample. Compression can also be useful to help vocals sound more consistent. That includes bringing down parts that are too loud and highlighting sounds that are otherwise too quiet. Finally, boosting with a few kHz can help bring an edge to vocals.

Key Takeaways:

• Start by cutting the very lows with a filter up to 100 Hz. Then use a parametric EQ to cut the low-mids somewhere from 150 – 250 Hz until it seems to sit better.
• Certain phrases of the vocal tend to get buried in the arrangement. Especially if the vocalist is very dynamic and sings both loud and soft parts.
• If that’s the case then it’s time to pull out the compressor to tame those dynamics. Compression isn’t just for keeping the loud parts at bay, it’s also great for pushing up the quieter parts.

“Start by cutting the very lows with a filter up to 100 Hz. Then use a parametric EQ to cut the low-mids somewhere from 150 – 250 Hz until it seems to sit better.”

http://www.audio-issues.com/music-mixing/how-to-make-vocals-cut-through-the-mix-using-eq-and-compression/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+AudioIssues+%28Audio+Issues%29

The playing position and delicacy of the instrument unquestionably welcome the performer to move, which will just cause you harm when attempting to record a flute since the distinctive hole between the instrument and the flute will bring about timbre varieties. Truth be told, the sound is created from the embouchure gap as well as from every single other opening along the body of the flute. An answer is an attempt to put the mic directly before the artist. However, I have never preferred the outcomes I get with this setting on a woodwind.

Key Takeaways:

• A wind instrument from the woodwind family, the flute is particularly difficult to record, specially so in a home studio, due to several reasons.
• The first one has to do with the musician and the flute itself.
• Asking the musician to remain static is not a solution, however, because that will impact the quality of his performance.

“A wind instrument from the woodwind family, the flute is particularly difficult to record, specially so in a home studio, due to several reasons.”

http://en.audiofanzine.com/recording-mixing/editorial/articles/recording-a-flute.html

EQ is one of the most powerful tools available to those who mix, but like anything, it may have its few downfalls. Bjorgvin Benediktsson created  EQ Strategies – The Ultimate Guide to EQ.

But he still wants to receive feedback from users to create an even stronger guide with more training to fix any issues you may have with EQ. Check out his guide and if it doesn’t answer your questions about EQ and frequency stuff, leave him a comment at the below Audio Issues link (bottom of the page).
For some of my own basics on EQ and frequency, check out my own post What is Equalization, Usually Called EQ?
Key Takeaways:

• You shouldn’t need to spend a lot of time to learn a lot.
• EQ is one of the most important things to learn about as an engineer
• Bjorgvin wants to help you solve your EQ problems in the most practical and easy way possible

“I’m not a big fan of long-winded theory and materials that take forever to get to the point.”

http://www.audio-issues.com/music-mixing/whats-your-biggest-problem-with-eq/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+AudioIssues+%28Audio+Issues%29

Production is a challenging aspect of music, but through sharing my experience with you, I should take some of the headache out of producing our art. To prevent from a musicians version of “writer’s block” one must focus on creating interest. Once you harness the vision you have, you already can be confident that you will gain the interest of your audience.

Key Takeaways:

• Thinking back on all the decisions I made while creating the album I came to the conclusion that production really revolves around one thing.
• It’s All About Creating Interest
• Beware of Adding Too Much Interest

“I’ve been reflecting a lot about the process of creating The Long Wait album this week.”

http://www.audio-issues.com/music-mixing/the-most-important-thing-about-production-you-need-to-keep-in-mind/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+AudioIssues+%28Audio+Issues%29