WingsOfAnAngel
Banned
ill o.g.
Battle Points: 3
Ok, you are done recording all of your tracks...finally. Now what? Here are some tips in creating a good master to send in for mastering:
First off, note that there are 4 main steps in CD manufacturing and duplication. They are:
1) Recording your tracks (vocals, guitars, beats, bass, etc)
2) The Mixdown
3a) Mastering
3b) Graphic Design of your CD and Corresponding Packaging
4) Manufacturing
At this point, you are probably looking into mastering as you prepare your final mixes. Here are some tips from Paul Amorosi and Mark Whittaker on things to think about while mixing. These will help us as well to do our job the best we can, making your final master one you will be proud of:
1) Start with your master fader at UNITY (this is a term meaning zero dB), the standard threshold of audio. This is the maximum position of the fader. It gives the best headroom for the mixdown. Some mixers show a reading above zero. Do not go there. Keep it a the zero level. Then, as you mix, you simply raise the individual track faders from -infinity to where they should be.
2) Analyze each track one at a time for sound performance. Here, you can EQ and pan the track for best results(we will get into panning below). Be careful on EQ. Just brighten(by adding high end and mids) and low end(80 Hz or so) as necessary to clarify and add boldness to your tracks. Hints:
Priority: You may have to "solo" each track in order to get each EQ and compression setting right. Then, put all tracks together and balance the volumes. After setting volumes, you may need to refine some of your settings to satisfy the mix. Good luck...
EQ
Bass drum - 80 Hz adds thump, 2.5 kHz adds the click and clarity to make it come through.
Rock - Definitely look at the above.
Country - Be easy on the 80 Hz.
Rap - Be easy on the 2.5 kHz.
Other - Call if you have questions.
Folk - Use the above, but with subtlety. Mastering can enhance this for you.
Techno - Definitely look at the above.
Note: For bass drum, 80 Hz adds that "hit" that you feel. I usually lower the 240-320 Hz on a bass drum and raise the 2.5 kHz. At the same time, I will do a 40 Hz low cut if I notice "sub-bass" in the kick. This will remove the "boominess" and create a smooth kick for you. The 2.5 kHz clarifies the whole situation, the low cut prevents your speakers from popping out of their casing.
Snare - 240 Hz adds thickness, 2.5 kHz adds crack and snap to make it come through.
Rock - Definitely look at the above.
Country - Usually, you don't want a very heavy snappy cracking snare, so the 2.5 kHz should be used with care.
Rap - This is part of the synth/drum machine you are using, so be easy on the 2.5 kHz.
Other - Call if you have questions
Folk - Use the above, but with subtlety. Mastering can enhance this for you.
Hi Hat - 8-10 kHz adds shimmer and presence (careful on the 10 kHz plus). On all recordings, use these settings to make the high hat present, but not overwhelming.
Guitars - This one is varied. Experiment with 240 Hz - 3.5 kHz. The 500-800 range sometimes can add a nice thickness and warmth. The 240 can be used for thinner sounding guitars. The 1-3.5 kHz brightens a dull recorded guitar. There are nasty frequencies that can also come out around 6-8 kHz. Look for those if you hear some "screeching" type feedback. This can be reduced in mastering, however.
Distorted guitars: abide by the above. Clean guitars: you may find some nice tone if you increase the 320 Hz area and lower the higher mids, say, around 3.5 kHz and above, especially if you are strumming. Acoustic guitars have fatness at 120-240 Hz and crispness at 3.5 kHz. Remember, a little 10-12 kHz can be good by adding "realism" to the sound.
Hip-Hop / Rap Beats - The above for drums apply to all these beats. A good drum sequencer or machine usually has an already acceptable EQ among the drums.
Bass Guitar for Rap, Synth Guitar for Hip-Hop and Rap, Folk, and Country - Again, 80 Hz is the low end, 2.5 kHz is the clarity. This applies for all music.
Bass guitar - 80 Hz adds that subtle rumble you feel when you hear a great recording. I know no other way to descirbe it. It feels non-distorted, but your body feels the low end. A good bass pre-amp usually requires very little added 80 Hz. Additionally, only if needed, I usually add some 2.5 kHz to clarify the string tone. At the same time, I will do a 40 Hz low cut if I notice "sub-bass" in the pre-amp. This will remove the "boominess" and create a smooth string tone for you. The 2.5 kHz clarifies the whole situation, the low cut prevents your speakers from popping out of their casing, while keeping the bass guitar from snapping over the kick.
The All Important Vocals - The human voice usually starts at about 120 Hz and goes all the way up. Sibilance (harsh "S" sounds) usually occurs between 2.5 and 5 kHz. Harsh "P" sounds, or mic pops often occur at 100 Hz or below. A low cut at 100 Hz is usually a good idea when recording voices. A little 10-12 kHz adds a personal feeling and "realism" to the voices, but too much is hard to listen to.
Piano - 80 Hz is bottom end, 120-240 Hz gives fullness, 2.5 kHz gives life and brilliance. High end also ok, but not too much. Just listen and decide as you hear it.
I have attempted to give you some basic frequencies to think about, but this is a VERY general description. EQ processing is difficult, but these should be good starting points. Remember, you may HAVE TO REDUCE THE EQ AS WELL. I mentioned raising the level, but you also reduce it instead if too much bass or too much mid/high end exists. You just have to experiment. Mixdown and mastering really boils down to your ears. No amount of equipment in the world can literally tell you "you have to turn this knob this much." You have to use your best judgement. This is why, however, you need mastering. We can filter out bad frequencies and add good ones to your final mix.
Don't Forget - I mentioned frequencies mainly between 80 Hz and 3.5 kHz. Let me explain a couple of other frequencies to consider. Remember, don't just raise frequencies, you may need to reduce them as well!
80 Hz - low end - A good kick drum and bass line has a nice round 80 Hz value. If your bass drum or bass guitar is too boomy, do the following: lower the 240 - 320 Hz to round off the upper end, then do a low cut at 60 Hz, eliminating any "sub-bass." This should clean up your low end nicely.
350 Hz - 1 kHz - body / fullness
1 kHz - 2.5 kHz - clarity
2.5 kHz - 5 kHz - Brightness in bass instrumentation, presence in vocals and non-bass instrumentation (helps to make an instrument or voice punch through the mix).
5 kHz - 10 Khz - I call this brilliance. It is definitely where you can do wonders or go very wrong. On vocals and guitars, this area can make your instrument sound clean or be piercing to the ears.
10 kHz-12 kHz - The "air" in your music. I add this often to almost all instruments. It gives life to the sound and makes it more realistic.
12 kHz - 15 kHz - Be careful here. You can hardly hear these frequencies, however, played side by side, a recording with it and without it will have a difference. If there is too much, I feel an unconcious irritated feeling, although, it's hardly noticeable. This is considered that "air" area as well, but at a frequency that is considered annoying to the human ear. A small amount is ok, but too much and the almost unaudible harshness can make your recording stale. Try a high cut of 15 kHz if you are concerned. But don't worry, we can fix this problem in mastering.
Compression
Drums - For all drums, you may try an 6:1 or 8:1 ratio with fast attack. Your release should be quick for fast songs and slow for slow songs. The threshold varies, but start around -10dB. The overhead mics should have probably a 4:1 at most if you are using a decent condenser mic. Otherwise, your cymbals will sound like they are "breathing," going up in volume after being hit.
Hip - Hop and Rap Beats - MINIMAL. Your drum synths and drum machines already have the drums nicely compressed to an even volume.
Bass and bass guitars - Your ratio should be 6:1 or 8:1, but this depends on the player. That may be too much for slower songs and just right for virtuoso type players. Attack depends on how much percussive sound you need in each note. More percussive, slower attack. Less percussive, more attack. The release should be quick, the threshold medium. Remember, this is just a starting place. It varies on the player.
Guitars - Usually a 2:1 is a good start. Some guitarists already have compressors built into their guitar rigs. Acoustic guitar and clean electric is the same.
Vocals - Try a 4:1 ratio with your attack at absolute minimum (less than 1 millisecond). Your release around 250 milliseconds, and threshold at -10 dB.
Piano - Try a 4:1 ratio for busy pieces and or pieces that have alot of dynamics. You can get away with 2:1 if the piece is fairly consistent. Use a slower attack and faster release. Threshold again, around -10 dB to start.
Do I EQ and Compress BEFORE or AFTER I Record the Tracks?
You need to add a little of both before the recording. Why? Add just enough EQ to make the potential recording sound good. Add just enough compression before the recording to make sure the level never clips (go above digital zero).
Once recorded, during mixdown, a little additional EQ and compression can make up for any deficiencies in the actual recorded tracks. So the answer...a little before, a little after, but not too much.
How Do I Set The Recording Level Of Each Track?
Set your mics and have the player play or sing. Set your gain knob or setting so that there loudness peak does not clip. If the level is jumping around, increase compression until a more stable level is achieved. Then, apply necessary EQ and go through the process again. After a couple of run throughs, you should be able to attain a satisfactory level, EQ, and compression setting to do a good recording.
Panning
Pan your instruments! The kick and snare go in the center. The vocal goes in the center. The high-hat goes either hard left or hard right. If you have two guitars, put one in the left speaker and one in the right. Keyboards should go slightly off center to the left or right. Shakers and tamborines should go opposite the high-hat, possibly 1/2 way in the left or right speaker, opposite the high-hat. The goal is to have as much stereo spread as possible, yet, keep the overall balance of instrumentation equal between both speakers.
Want killer vocals: Double all lead tracks. When doubling, sing the EXACT same line over the other one on a separate track. During mixdown, put the less of the two tracks at half volume of the main lead track. Use similar FX and EQ on both tracks. All major label recordings on the radio today double, triple, and even quadruple the lead track. That is why it sounds so perfect.
Backup Vocals: Double all tracks. Put the first recording in the left speaker, the second in the right. Do separate recordings. The subtle nuances of each take will give a more stereo effect. Even better, do this, and have a high harmony and a low harmoney. Thus, you would have two leads, two low harmonies, and two high harmonies. Keep the harmonies mainly in the choruses.
Now remember, you can't double all of your tracks if your gear doesn't have enough tracks. A good recording can be done with a single vocal. This is just a thought for you to consider if you have the time, the money, and of course...the tracks.
Volumes For Each Track (and the final mix)
The key here...once you have done all the above, is to balance your faders to a pleasing mix. For the above, remember, solo each track to get the best sound and panning position for the track by itself. Once all tracks are edited, mix them together and see what you get. You may need to refine some of the EQs and panning positions if anything sounds a little too bright or bassy, or sounds to far left or right. You started with the master at Unity (zero - maximum) level, so now you start bringing up the faders gradually to get a mix in the target mix level zone. Just use your ears. As you mix, just make sure the final output level of the mix is approximately between -4 dB and -12 dB for optimum results. Overall, if you are keeping your final level below -4 dB and you like what you hear, you're on the right track. And don't forget, proper mastering will take your recording even further!
First off, note that there are 4 main steps in CD manufacturing and duplication. They are:
1) Recording your tracks (vocals, guitars, beats, bass, etc)
2) The Mixdown
3a) Mastering
3b) Graphic Design of your CD and Corresponding Packaging
4) Manufacturing
At this point, you are probably looking into mastering as you prepare your final mixes. Here are some tips from Paul Amorosi and Mark Whittaker on things to think about while mixing. These will help us as well to do our job the best we can, making your final master one you will be proud of:
1) Start with your master fader at UNITY (this is a term meaning zero dB), the standard threshold of audio. This is the maximum position of the fader. It gives the best headroom for the mixdown. Some mixers show a reading above zero. Do not go there. Keep it a the zero level. Then, as you mix, you simply raise the individual track faders from -infinity to where they should be.
2) Analyze each track one at a time for sound performance. Here, you can EQ and pan the track for best results(we will get into panning below). Be careful on EQ. Just brighten(by adding high end and mids) and low end(80 Hz or so) as necessary to clarify and add boldness to your tracks. Hints:
Priority: You may have to "solo" each track in order to get each EQ and compression setting right. Then, put all tracks together and balance the volumes. After setting volumes, you may need to refine some of your settings to satisfy the mix. Good luck...
EQ
Bass drum - 80 Hz adds thump, 2.5 kHz adds the click and clarity to make it come through.
Rock - Definitely look at the above.
Country - Be easy on the 80 Hz.
Rap - Be easy on the 2.5 kHz.
Other - Call if you have questions.
Folk - Use the above, but with subtlety. Mastering can enhance this for you.
Techno - Definitely look at the above.
Note: For bass drum, 80 Hz adds that "hit" that you feel. I usually lower the 240-320 Hz on a bass drum and raise the 2.5 kHz. At the same time, I will do a 40 Hz low cut if I notice "sub-bass" in the kick. This will remove the "boominess" and create a smooth kick for you. The 2.5 kHz clarifies the whole situation, the low cut prevents your speakers from popping out of their casing.
Snare - 240 Hz adds thickness, 2.5 kHz adds crack and snap to make it come through.
Rock - Definitely look at the above.
Country - Usually, you don't want a very heavy snappy cracking snare, so the 2.5 kHz should be used with care.
Rap - This is part of the synth/drum machine you are using, so be easy on the 2.5 kHz.
Other - Call if you have questions
Folk - Use the above, but with subtlety. Mastering can enhance this for you.
Hi Hat - 8-10 kHz adds shimmer and presence (careful on the 10 kHz plus). On all recordings, use these settings to make the high hat present, but not overwhelming.
Guitars - This one is varied. Experiment with 240 Hz - 3.5 kHz. The 500-800 range sometimes can add a nice thickness and warmth. The 240 can be used for thinner sounding guitars. The 1-3.5 kHz brightens a dull recorded guitar. There are nasty frequencies that can also come out around 6-8 kHz. Look for those if you hear some "screeching" type feedback. This can be reduced in mastering, however.
Distorted guitars: abide by the above. Clean guitars: you may find some nice tone if you increase the 320 Hz area and lower the higher mids, say, around 3.5 kHz and above, especially if you are strumming. Acoustic guitars have fatness at 120-240 Hz and crispness at 3.5 kHz. Remember, a little 10-12 kHz can be good by adding "realism" to the sound.
Hip-Hop / Rap Beats - The above for drums apply to all these beats. A good drum sequencer or machine usually has an already acceptable EQ among the drums.
Bass Guitar for Rap, Synth Guitar for Hip-Hop and Rap, Folk, and Country - Again, 80 Hz is the low end, 2.5 kHz is the clarity. This applies for all music.
Bass guitar - 80 Hz adds that subtle rumble you feel when you hear a great recording. I know no other way to descirbe it. It feels non-distorted, but your body feels the low end. A good bass pre-amp usually requires very little added 80 Hz. Additionally, only if needed, I usually add some 2.5 kHz to clarify the string tone. At the same time, I will do a 40 Hz low cut if I notice "sub-bass" in the pre-amp. This will remove the "boominess" and create a smooth string tone for you. The 2.5 kHz clarifies the whole situation, the low cut prevents your speakers from popping out of their casing, while keeping the bass guitar from snapping over the kick.
The All Important Vocals - The human voice usually starts at about 120 Hz and goes all the way up. Sibilance (harsh "S" sounds) usually occurs between 2.5 and 5 kHz. Harsh "P" sounds, or mic pops often occur at 100 Hz or below. A low cut at 100 Hz is usually a good idea when recording voices. A little 10-12 kHz adds a personal feeling and "realism" to the voices, but too much is hard to listen to.
Piano - 80 Hz is bottom end, 120-240 Hz gives fullness, 2.5 kHz gives life and brilliance. High end also ok, but not too much. Just listen and decide as you hear it.
I have attempted to give you some basic frequencies to think about, but this is a VERY general description. EQ processing is difficult, but these should be good starting points. Remember, you may HAVE TO REDUCE THE EQ AS WELL. I mentioned raising the level, but you also reduce it instead if too much bass or too much mid/high end exists. You just have to experiment. Mixdown and mastering really boils down to your ears. No amount of equipment in the world can literally tell you "you have to turn this knob this much." You have to use your best judgement. This is why, however, you need mastering. We can filter out bad frequencies and add good ones to your final mix.
Don't Forget - I mentioned frequencies mainly between 80 Hz and 3.5 kHz. Let me explain a couple of other frequencies to consider. Remember, don't just raise frequencies, you may need to reduce them as well!
80 Hz - low end - A good kick drum and bass line has a nice round 80 Hz value. If your bass drum or bass guitar is too boomy, do the following: lower the 240 - 320 Hz to round off the upper end, then do a low cut at 60 Hz, eliminating any "sub-bass." This should clean up your low end nicely.
350 Hz - 1 kHz - body / fullness
1 kHz - 2.5 kHz - clarity
2.5 kHz - 5 kHz - Brightness in bass instrumentation, presence in vocals and non-bass instrumentation (helps to make an instrument or voice punch through the mix).
5 kHz - 10 Khz - I call this brilliance. It is definitely where you can do wonders or go very wrong. On vocals and guitars, this area can make your instrument sound clean or be piercing to the ears.
10 kHz-12 kHz - The "air" in your music. I add this often to almost all instruments. It gives life to the sound and makes it more realistic.
12 kHz - 15 kHz - Be careful here. You can hardly hear these frequencies, however, played side by side, a recording with it and without it will have a difference. If there is too much, I feel an unconcious irritated feeling, although, it's hardly noticeable. This is considered that "air" area as well, but at a frequency that is considered annoying to the human ear. A small amount is ok, but too much and the almost unaudible harshness can make your recording stale. Try a high cut of 15 kHz if you are concerned. But don't worry, we can fix this problem in mastering.
Compression
Drums - For all drums, you may try an 6:1 or 8:1 ratio with fast attack. Your release should be quick for fast songs and slow for slow songs. The threshold varies, but start around -10dB. The overhead mics should have probably a 4:1 at most if you are using a decent condenser mic. Otherwise, your cymbals will sound like they are "breathing," going up in volume after being hit.
Hip - Hop and Rap Beats - MINIMAL. Your drum synths and drum machines already have the drums nicely compressed to an even volume.
Bass and bass guitars - Your ratio should be 6:1 or 8:1, but this depends on the player. That may be too much for slower songs and just right for virtuoso type players. Attack depends on how much percussive sound you need in each note. More percussive, slower attack. Less percussive, more attack. The release should be quick, the threshold medium. Remember, this is just a starting place. It varies on the player.
Guitars - Usually a 2:1 is a good start. Some guitarists already have compressors built into their guitar rigs. Acoustic guitar and clean electric is the same.
Vocals - Try a 4:1 ratio with your attack at absolute minimum (less than 1 millisecond). Your release around 250 milliseconds, and threshold at -10 dB.
Piano - Try a 4:1 ratio for busy pieces and or pieces that have alot of dynamics. You can get away with 2:1 if the piece is fairly consistent. Use a slower attack and faster release. Threshold again, around -10 dB to start.
Do I EQ and Compress BEFORE or AFTER I Record the Tracks?
You need to add a little of both before the recording. Why? Add just enough EQ to make the potential recording sound good. Add just enough compression before the recording to make sure the level never clips (go above digital zero).
Once recorded, during mixdown, a little additional EQ and compression can make up for any deficiencies in the actual recorded tracks. So the answer...a little before, a little after, but not too much.
How Do I Set The Recording Level Of Each Track?
Set your mics and have the player play or sing. Set your gain knob or setting so that there loudness peak does not clip. If the level is jumping around, increase compression until a more stable level is achieved. Then, apply necessary EQ and go through the process again. After a couple of run throughs, you should be able to attain a satisfactory level, EQ, and compression setting to do a good recording.
Panning
Pan your instruments! The kick and snare go in the center. The vocal goes in the center. The high-hat goes either hard left or hard right. If you have two guitars, put one in the left speaker and one in the right. Keyboards should go slightly off center to the left or right. Shakers and tamborines should go opposite the high-hat, possibly 1/2 way in the left or right speaker, opposite the high-hat. The goal is to have as much stereo spread as possible, yet, keep the overall balance of instrumentation equal between both speakers.
Want killer vocals: Double all lead tracks. When doubling, sing the EXACT same line over the other one on a separate track. During mixdown, put the less of the two tracks at half volume of the main lead track. Use similar FX and EQ on both tracks. All major label recordings on the radio today double, triple, and even quadruple the lead track. That is why it sounds so perfect.
Backup Vocals: Double all tracks. Put the first recording in the left speaker, the second in the right. Do separate recordings. The subtle nuances of each take will give a more stereo effect. Even better, do this, and have a high harmony and a low harmoney. Thus, you would have two leads, two low harmonies, and two high harmonies. Keep the harmonies mainly in the choruses.
Now remember, you can't double all of your tracks if your gear doesn't have enough tracks. A good recording can be done with a single vocal. This is just a thought for you to consider if you have the time, the money, and of course...the tracks.
Volumes For Each Track (and the final mix)
The key here...once you have done all the above, is to balance your faders to a pleasing mix. For the above, remember, solo each track to get the best sound and panning position for the track by itself. Once all tracks are edited, mix them together and see what you get. You may need to refine some of the EQs and panning positions if anything sounds a little too bright or bassy, or sounds to far left or right. You started with the master at Unity (zero - maximum) level, so now you start bringing up the faders gradually to get a mix in the target mix level zone. Just use your ears. As you mix, just make sure the final output level of the mix is approximately between -4 dB and -12 dB for optimum results. Overall, if you are keeping your final level below -4 dB and you like what you hear, you're on the right track. And don't forget, proper mastering will take your recording even further!
