Mixing and Mastering

J

jb2004

New member
Ok, before I post my questions, I'd like to state a few things....

-I have NOT read through EVERY post on this site, so if you think this has been answered in another post, please reply to me letting me know where I can look.

-I realize that recording is an art form, and there is no "set standard" for mixing, etc. but I would still like some general thoughts on mixing ideas.

-I am recording at home with an MXL 2003 condenser mic, into a Behringer Eurorack MX 602A mixing board, into Ableton Live! 5.

OK here goes.....

I have been recording for years now at home, but I am getting to the point where I want my music to sound more polished. I master my recordings, but that is not solving my problem.

When I record bass, guitar, vox, keys, etc. most start out as mono tracks. In order to get a slightly "wider" sound, I usually keep vox and bass centered, but mess around with the panning on other tracks. ie. lead guitar at 25% left, keys at 25% right, etc.

However, once my recording is done, my compression is done, my levels are ok, and my general mixing is done, I am still UNHAPPY. My home recordings still sound like.... well, home recordings.

Now, I have no problems with the actual "sound" of my vocals, guitars, etc. I think they sound great. BUT, as a final recording it is definitely lacking. i have tried doubling tracks, like copying a guitar track to another track and panning them to 25% left, and 25% right for example, but it is still just not coming out sounding good. Even after I master tracks, I am still happy with the individual "sound" of everything, but as a whole it still sounds very amateur. Are there any kinds of standards (and I use that term loosely) for making those mono tracks (guitar, vox, bass) sound, well..... better?

Again, please keep in mind that I feel my compression, EQs, levels are fine. Maybe this is just a ridiculous comment, but it feels like when I listen to professional albums, the music is coming at me from everywhere, but on my stuff, it seems very straightforward, regardless of if tracks are panned or not.

I know this is a tough question, and somewhat vague, but does anyone have any input?

Thank you so much
 
Do you use any eq on each track or just the whole mix?

If the eq sounds good when you solo the track it dosent mean it will sound good in the mix.
 
I EQ everything as I see fit. If I think a certain track sounds decent in the mix, I leave it... if it sounds bad, I change it. My problem is more with how "full" everything sounds. The recordings, to me, just sound like several mono tracks mixed together into a stereo master.... which is exactly what it is.

There is now another song up on the link I gave titled Running Away. Maybe this track will show what I mean. I just doesn't sound like a "full" song.


Comments, suggestions?
 
I forgot to mention this as well.

This song is far from complete. The drums are simply one loop, and there is a second guitar which is filling in for bass. Not to mention bad vocals. Again, I'm more concerned with the overall sound of the combination of tracks. They just don't sound full and big. And this is NOT a volume problem.
 
When you're mixing, try and avoid soloing tracks unless there's a problem. Since the goal is to make the entire mix sound good, well, mix with everything involved. If a track sounds good with everything else, but like crap solo'd, leave it alone. The goal is the great mix, not good tracks on their own.
 
That's what I'm doing. I guess a good example could be the album Nevermind by Nirvana. I don't want to sound like Nirvana, but the reason I mentioned this album is because its a 3 piece band. If you listen to some of the tracks on that album, the sound is absolutely huge, from both the vocals and the guitars. I know that a lot of artists double the vocal tracks, but is doubling instruments (like guitars) a standard practice? And if so, how do you mix them as far as panning is concerned?

Thanks
 
timboZ said:
Blue is that a canned post that you have a hotkey for. :D :D :D
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Actually - yes! And another hotkey for the headphone Mixing article! ;)

Looks like my next hotkey needs to be the one pointing out the differences between an SM57 and a 58!!! :p :p
 
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Blue Bear Sound said:
Looks like my next jotkey needs to be the one pointing out the differences between an SM57 and a 58!!! :p :p
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The one about inserting into the ass or removing from the ass. :eek:
 
timboZ said:
The one about inserting into the ass or removing from the ass. :eek:
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If it goes up the ass, use something cheaper. The effect will still be the same.... :D
 
jb2004 said:
My home recordings still sound like.... well, home recordings.
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Well, that's what they are...

No, no, I'm not trying to speak of recording doom, but there are an awful lot of people trying to compare recordings made with $300,000 budgets in $5,000,000 facilities with teams of seasoned professionals working everything every step of the way - with $300 home recording rigs.

Again - I'm not trying to discourage - I'm just trying to introduce some realism... I'm not saying that quality recordings can't be made "on the cheap" - I AM saying that every step is still extremely important, and it's even more of an uphill battle with lower quality gear.

Experience is key, and there's NO substitute for the core sounds.

Blah, blah, blah, it's in my signature below...
 
jb2004 said:
Maybe this is just a ridiculous comment, but it feels like when I listen to professional albums, the music is coming at me from everywhere, but on my stuff, it seems very straightforward, regardless of if tracks are panned or not.

I know this is a tough question, and somewhat vague, but does anyone have any input?

Thank you so much
Click to expand...

A technique which may help round out your recordings is to use multiple mics while recording each instrument. You can pick and choose which mic tracks you want to use in the instrument mix and use the different mic tracks to help make the sound appear more directional (i.e. maybe even coming from 'everywhere' by experimenting with mic placement and giving each mic a unique pan setting during mixdown :)). Imagine the sounds you can get by doing this to taste for each individual instrument and *then* combining the instrument submixes into your final mix :D! Multiple mics would definitely open up some new possibilities for your recordings IMO. Personally, I'm really looking forward to experimenting more with direction and depth after getting a few more mics. Hope this helps.
 
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i don't have anything to contribute other than that i really like your recordings.

the only thing that irritates me are the paned drums but that's a matter of taste. musically it's ace. usually i'm not into thick american accents but your's has a special quality to it.

actually i do have some advice. use a proper pop killer. there are some very annoying pops on your recordings.



what are your influences?
 
Thanks for all the advice.

Blue Bear, I'm going to read your mixing articles, thanks. Actually, I'm going to be in Ottawa this weekend. I wish I could find the time to take a look at the studio!

VISA. Also, thanks. I thought about making a pop filter, but I just haven't gotten around to it yet. I'm not American though, I'm Canadian. My influences are all over the map, but I think some of the major ones are Bob Dylan, Tom Waits, Neil Young, and from this generation I'd say Ryan (NOT Bryan) Adams, The Strokes, Badly Drawn Boy, and the Brian Jonestown Massacre
 
jb2004 said:
Blue Bear, I'm going to read your mixing articles, thanks. Actually, I'm going to be in Ottawa this weekend. I wish I could find the time to take a look at the studio!
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By all means - if you get some free time and you're near the airport, give me a buzz....
 
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