Getting mixes done faster

[Aaron Straley]

I think the suggestions so far have been great. On thing I tried yesterday is using a list for each session and this is helping me already. This is such a simple step that is making big difference. How did I miss this?

One suggestion, I was already using. This was to use only stock plug ins and limit choices for plug ins. Once in a while, I will go searching for a 3rd party plug in if absolutely needed

I do enjoy mixing and have only been serious about it for about 6 months. By serious mixing, I mean mixing a song to a radio ready state. Please understand I have been recording music and using some type of DAW for more than 25yrs...recording my own music, sharing with bandmates, etc....Basically, I have a foundation there to build on, I just was not attempting to mix to a pro standard

I also worked as an RF technician tuning and testing amplifiers for many years, so I have a decent grasp on compression, EQ, filtering and the like.

When I started about 6 months ago, I was super slow and learning the new DAW. Getting my monitoring situation up to par (best I can), Exploring the the different plugins and settings for each. Learning all the editing features on the DAW. Now, I can tell I am at a point where I need to speed things up, that's what this post is all about. I think if I can start getting through mixes quicker, it will be more enjoyable and I will get better results. I am not trying to rush through mixes just to call it done, and will not pass anything off as complete when it is not right.

[OneWorld]

I wonder if one day some AI coder will attempt writing the code to mix automatically, after, mixing is to a great extent objective ie, each instrument should occupy a certain frequency range, volume levels and dynamics set relative to other tracks etc etc and a really clever application could ‘learn’ from organically mixed tracks?

It certainly would be an interesting challenge for a coder. That said, one of the most difficult aspects of implementing AI is the knowledge engineering element of the process, many human experts are very reluctant to disclose knowledge they have spent years and years acquiring, why would one make oneself redundant?

[Martin Walker]

Some of my personal hints for faster mixing...

Hi danclapson, and welcome to the SOS Forums!

And what a great and super helpful first post - you'll soon have lots of friends here

Martin

[Arpangel]

Some of my personal hints for faster mixing...

- "Always gain stage". Get your channel levels coming in right before you do anything else. It'll save you a massive headache later.

This is very true, and this may seem strange, but I’ve noticed this many times over the years, George Martin semi-jokingly said something along the lines of, he could tell a good mix just by looking at the meters, this has been my case more often than I care to think, if the levels are all around the same area, things tend to gel, depends what type of music, but it’s not as silly as it sounds.

[tacitus]

It’s not strictly relevant, but when I’m working on music in Sibelius, I chop and change between pieces, take breaks, file pieces for months to see if I still like them, join fragments in “interesting” ways and generally do my best to look sideways at anything I can avoid looking at head-on.

It may not be faster piece by piece, but it keeps everything developing. A bit like sourdough …

[Aaron Straley]

Some of my personal hints for faster mixing...

- "Always gain stage". Get your channel levels coming in right before you do anything else. It'll save you a massive headache later.

- "Learn how to set your Levels, Pan and EQ before you do anything else". I've had to learn this skill the hard way, but if you can become super amazingly expert with Levels/Pan/EQ you are nearly 90% of the way. People waste hours adding compressors, distortion, verb, delays etc. I am not saying don't use other FX... yes, you might need them... just don't underestimate how important your L/P/E is to the overall mix. It's more important than anything else.

- "You can't polish a turd". However much you think adding yet another plugin FX can fix a sound, the problem is most likely your source material. Don't be precious - throw away and start again if it doesn't sound right.

- "Learn how to side-chain kicks and bass etc". Side-chaining is your friend for well balanced mixes.... and this comment is not just for EDM.

- "Always keep the input into your Master Bus under -XXX db". Be kind to your mastering process - give enough headroom for the final polish. Some say - 3db... others say -6db. I go for -6db and haven't looked back.

- "Less is much more". Save time. Don't add more. You'll realise later that it sounds better when you remove it.

- "Practice, practice, practice until you aren't thinking how to mix".

- "Oh... wait on... you can polish a turd". Once you become really fast, skilled and proficient at mixing you'll learn how to make anything sound good!!

Great post, awesome tips, thank you for this. I need to learn how to side chain, the why and how.

[Sam Inglis]

I wonder if one day some AI coder will attempt writing the code to mix automatically, after, mixing is to a great extent objective ie, each instrument should occupy a certain frequency range, volume levels and dynamics set relative to other tracks etc etc and a really clever application could ‘learn’ from organically mixed tracks?

It certainly would be an interesting challenge for a coder. That said, one of the most difficult aspects of implementing AI is the knowledge engineering element of the process, many human experts are very reluctant to disclose knowledge they have spent years and years acquiring, why would one make oneself redundant?

It's been done! I'm not sure if it is in the wild yet, or what the end result is intended to be, but I know of at least one research team sponsored by a very large company who have been working on this technology for a long time.

[Sam Inglis]

George Martin semi-jokingly said something along the lines of, he could tell a good mix just by looking at the meters, this has been my case more often than I care to think, if the levels are all around the same area, things tend to gel, depends what type of music, but it’s not as silly as it sounds.

There is an entertaining story by Terry Manning about mixing with the monitors switched off for a bet.

[Arpangel]

George Martin semi-jokingly said something along the lines of, he could tell a good mix just by looking at the meters, this has been my case more often than I care to think, if the levels are all around the same area, things tend to gel, depends what type of music, but it’s not as silly as it sounds.

There is an entertaining story by Terry Manning about mixing with the monitors switched off for a bet.

Crazy world, isn’t it!

Thanks for posting that link.

[Sam Spoons]

Great story, so much for ignoring the meters and mixing with out ears

[Zukan]

Some wonderful advice here. Some of us have been mixing for years and are instinctively adept at flying those faders. However, even pros struggle, and this is why I wrote about mixing to a pink noise reference and how effective the technique is at achieving half decent mixes super quick. After the initial balancing act it's all about tweaking.

[komanderkin]

Great advice on mixing to pink noise as reference!

In my experience, using a reference track and taking many breaks during the session speeds up the process. It seems counterintuitive, but taking multilpe breaks while mixing helps you stay focused on the wider perspective of the mix (instead of spending two hours EQing a hi-hat). It also keeps ear fatigue at bay.

Over time, I also organized my mixing process into steps. I always start by setting the levels and panning, then some rough EQ, then compression, etc. But I always stand up from the desk and take a walk every twenty minutes or so to reset the ears and think about what I'm going to do next in that particular mix.

[Arpangel]

Great story, so much for ignoring the meters and mixing with out ears

I mix with my eyes, I noticed a good few years back, that a lot of my music sounded good when things were at a certain level, there was a point when raising the fader, that the sound seemed to blend and gel with whatever was there already, and there was a meshing, and a lovely slight chorusing effect, and all sounds were perfectly balanced, I then started to notice that when this happened, the meters were all at the same average level, near as damn it, since then that’s how I work.

[l-l1tsb0urg]

All brilliant points made so far; especially the ones regarding gain staging and treating it like analog. Something I haven't seen mentioned yet, but is super critical, is not overlooking the arrangement. A great arrangement is easier and quicker to mix. Instruments and parts conflicting with each other is an obstacle that often impedes the process. Everything must live inside their own range of frequencies, so when it's all put together, nothing is fighting for each other's space.

It seems counterintuitive, but less is more and allows room for the mix to build. There is a difference between layering parts effectively and just throwing everything under the sun because you can. Always keep analyzing the arrangement and cutting / moving parts if allowed. It makes a ton of difference.

[Arpangel]

All brilliant points made so far; especially the ones regarding gain staging and treating it like analog. Something I haven't seen mentioned yet, but is super critical, is not overlooking the arrangement. A great arrangement is easier and quicker to mix. Instruments and parts conflicting with each other is an obstacle that often impedes the process. Everything must live inside their own range of frequencies, so when it's all put together, nothing is fighting for each other's space.

It seems counterintuitive, but less is more and allows room for the mix to build. There is a difference between layering parts effectively and just throwing everything under the sun because you can. Always keep analyzing the arrangement and cutting / moving parts if allowed. It makes a ton of difference.

Interesting, I tend to throw a lot in, in the same frequency space, simply because I want to create a dense feeling that is difficult to pin down, to recognise as anything familiar, I want it to be mysterious "what’s that sound?"
Depends what sort of music you’re into, it wouldn’t suite some things.

[tea for two]

Great advice

Koma your website with its list of Free Vst, Free Daw, Free Samplers, is rather useful.
https://bedroomproducersblog.com/

[tea for two]

*Reference Commercial Tracks.
I've got several reference tracks in different genres I mix to.
I don't see why I should break my back on gear I have when the sound I want been done Commercially on famous songs, famous instrumentals.

*Specific Plugin for a Genre
Not just any plugin willy nilly. Not any plugin that's unsuitable for a genre.
For instance for my rock, guitars, acoustic drums, electric bass tracks
I'm at the moment putting the individual tracks through Chris Lord Alge Signature series (£64 in Thomann).
Thereafter the whole piece through SSL Bus Compressor 2 (was £34 via SoS Tools special offer).

*Bring in a chum/s
To hear what you are doing and to mix with you, if you are on same similar wavelength.