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Final Mixes

For the final hardware mix, the final stems were laid out in the DAW, then setup with corresponding channels on the analogue mix desk. All sounds were then balanced in a performance like manor with adjustments occasionally made on EQ’s, faders and different parameters on the processors. This felt much more of an immersive experience than clicking buttons on a screen. After a few revisions, a final hardware mix was rendered. All mixes can be heard here -> https://www.dropbox.com/sh/9w27g2j4quyrky1/AADtIZpW-8DqsOqtQMXixznya?dl=0

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Signal routing for the vocals. 

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The Yamaha Rev-500 reverb was a key processor in the performance aspect of the hardware mix. Considering that you cannot draw automations and edit them working with hardware as you can digitally in a DAW, live automations and creative performance of the reverb as the track progresses must be carried out. This performance was recorded as a wet 'send’ channel to be further mixed with the dry audio. A technique commonly used amongst mix engineers (Owsinski, 2017). The reverb also helped to add a ‘deep’ ambient element to the track. 

Owsinski, B. (2017). The mixing engineer's handbook. 4th ed. Burbank, CA: BOMG Publishing. P. 80

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Hardware Mix

As mentioned earlier, there is something lacking in the hands-on feel and tactility of using software (Bijsterveldand Dijck, 2009). Brendan Anthony’s creative approach to performance as a mixdown technique (2017) seemed highly useful due to the ‘dancey’ nature and style of the song produced. Certain channels were grouped into busses in Ableton, essential software processors were turned off, and mix down stems were rendered for  the analogue mix domain. Anthony, B. (2017). Mixing As A Performance: Creative Approaches To The Popular Music Mix Proces. Journal on the Art of Record Production, [online] (11). Available at: http://www.arpjournal.com/asarpwp/mixing-as-a-performance-creative-approaches-to-the-popular-music-mix-process/ [Accessed 12 Jan. 2019]. Bijsterveld, K. and Dijck, J. (2009). Sound souvenirs. Amsterdam: Amsterdam University Press.

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The TLA Ivory 5013 Valve EQ was used on drums and vocals. Instantly, i noticed a difference in sound compared to software EQ’s. The valves of the EQ add a unique richness to the audio whilst the ‘fat’ mode button adds some more drive to the signal (Robjohns, 2002). Useful in adding strength and presence to the vocals and drums.

Robjohns, H. (2002). TL Audio Ivory 2 5013 & 5051 |. [online] Soundonsound.com. Available at: https://www.soundonsound.com/reviews/tl-audio-ivory2-5013-5051 [Accessed 11 Jan. 2019].

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Considering the vocals had been pre-processed with the Warm Audio TB12 (has saturation effects), no further coloration was needed from the vocals apart from subtle EQ’ing. The Drawmer 1969 vacuum tube compressor was chosen for its clean yet well rounded compression characteristics (ProSoundNetwork, 2000).  ProSoundNetwork (2000). Drawmer 1969 Dual Vacuum Tube Compressor/Microphone Preamplifier. [online] ProSoundNetwork.com. Available at: https://www.prosoundnetwork.com/archives/drawmer-1969-dual-vacuum-tube-compressor [Accessed 12 Jan. 2019].

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Hybrid workflow setup. 

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Certain elements were selected to be mixed through hardware while the rest were mixed through software processors. The elements chosen to mix through hardware were the drums, bass and vocals as these elements have the most impact in dance records (Snoman, 2014). Here I experiment with Emprical Labs ‘Distressor’ on the kick drum, in order to get more punch out of it through traditional compression techniques (Izhaki, 2018). Generally, the harder the compressor was driven the more saturation was produced in the audio, causing the kick drum to have a bigger/warmer sound. Izhaki, R. (2018). Mixing Audio. 3rd ed. Taylor & Francis.

Snoman, R. (2014). Dance music manual. Burlington, MA: Focal Press.

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Transitioning from the full software mix to the ‘hybrid’ mix seemed more logical in the sense that it wouldn’t take much more effort to integrate external hardware into the Ableton project. The ‘external audio effect’ plugin allows for routing of audio through the audio interface’s outputs and back into the inputs; all organised within the plugin for ease of integration with the software chain of effects. An 8-channel M-Audio interface was used to route audio from my laptop through the desk inputs of the analogue mix console (and whatever hardware processors I choose to use), back out into the M-Audio interface into my laptop. 

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Studio sessions with Ken Scott were highly insightful in the sense that I was able to see a professional recording/mixing in the analogue domain, as well as taking note on useful tips for efficiency and impact. For example, the use of this Trident Preamp on the snare microphone. It allowed for ‘beefing’ up of the snare sound without need for multiple processing units as would do normally. 

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Mixing as a Performance

•Although software mixing can technically be seen as a ‘performance’ in some aspects, there is something lacking in the hands-on feel and tactility compared to using hardware (Bijsterveldand Dijck, 2009). Brendan Anthony suggests that mixing as a creative performance is the “final creative layer of the mix that adds that special element” (Anthony, 2017). This technique will be employed during the hardware mix down as a means to creatively approach the artistic element of mixing. 

Anthony, B. (2017). Mixing As A Performance: Creative Approaches To The Popular Music Mix Proces. Journal on the Art of Record Production, [online] (11). Available at: http://www.arpjournal.com/asarpwp/mixing-as-a-performance-creative-approaches-to-the-popular-music-mix-process/ [Accessed 12 Jan. 2019]. Bijsterveld, K. and Dijck, J. (2009). Sound souvenirs. Amsterdam: Amsterdam University Press.

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These were key software processors for the vocal buss. The Aphex Vintage Exciter helped to bring out clarity, while the Type A enhanced the tone in a way that give the vocals a ‘vintage’ feel. However this was used on roughly 30% dry/wet due to its intense effects. 

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API 2500 Buss Compressor. This is commonly used on my drum buss, with a very slow attack but very fast release for getting the most ‘punch’ out of the drums (Izhaki, 2018).

Izhaki, R. (2018). Mixing Audio. 3rd ed. Taylor & Francis.

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The first mix to be carried out was the software mixdown, considering that this is the original method of sequencing and arrangement of the song. The track was mixed using many software emulations of vintage hardware processors such as the API 2500 compressor and API 550 EQ seen here on the drum bus. This was to ensure there was a fair competition between the quality of the software and hardware mix. Software emulations of analogue hardware seem to yield more authentic results compared to many stock effects that come with DAWs (Elmosnino, 2018). Elmosnino, S. (2018). Audio Production Principles. Oxford: Oxford University Press.

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Vocals from a previous session with singer Jasmine Patterson were recycled and processed through the Warm Audio TB12 pre-amp. This helped to add warmth and ‘thickness’ to the vocal recording prior to the final mix down (Bieger, 2013). Bieger, H. (2013). Warm Audio TB12 Tone Beast |. [online] Soundonsound.com. Available at: https://www.soundonsound.com/reviews/warm-audio-tb12-tone-beast [Accessed 10 Jan. 2019].

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Pre-Production

The aim of this project is to investigate the major sonic differences between mixing ‘inside’ and ‘outside’ of the box (digital vs. analogue). Therefore, three mixes will be produced, one mix fully in the box, one mix fully out the box, and one hybrid mix for comparative analysis. Oltheten stresses the importance of organisation in the production process when preparing for a mix down (Oltheten, 2018). Considering the track has many channels of audio, similar sounds will be bussed into groups and bounced as one file in order to improve workflow and performance when mixing. 

Oltheten, W. (2018). Mixing with impact: Learning to Make Musical Choices. New York: Routledge, p.18.

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Pilot Software vs Hardware Mixdown

https://www.dropbox.com/sh/0xj3kbuyfy0h1nb/AACAZ7E5qyyi2btyzWp9xOP-a?dl=0

Two renders of the same song. One mixed out of the box (hardware) and one mixed in the box (software). From my analysis there isnt far too much difference between the two, apart from slight differences in tone and character. This may be down to the fact that only the drum elements were mixed out of the box (hybrid mixdown), so not enough hardware was utilised in order to produce a highly noticeable difference. Perhaps further experimentation with more song elements will produce noticeable results.