sending tracks to mixing engineer

taeyoung

taeyoung

New member
OK guys,

So I met this mixing engineer who wants to mix a rock song that I've been working on (working on recording that is), and he's gonna do it for free (yay!). But now I am wondering how to send the track to him?
Kind of funny, I've done this for years on my own, but sending it to someone who does it for a living, I just want to make sure I send it to him correctly, and I need to clear some things up. And he's kind of a jerk, so I don't want him rolling his eyes when he gets the DVD disc... :rolleyes:

OK, so the song as of now is 61 tracks. This is just a rock song with strings and lots of keys.
So, since I've never had to export a mix to send someone, I'm thinking...

OK, so for example, on the stereo acoustic guitar, there are 2 takes. I always go in there and chop up some point between 1 take and the other, therefor doubling the amount of tracks because they overlay each other for a few milliseconds. I normally leave those as seperate sets of stereo tracks.

So he would be OK with all the extra takes doubling the amount of tracks I assume??

Also, I still have all the drum tracks seperated into different tracks for each mic, I don't do anything with that in the tracking stage as far as combining anything right?

What about edits? I was wondering if I should even be doing the cutting together of takes? Or should I just give it to him exactly as it's tracked?

Lastly, what about levels? Should I be messing with the gain at all...I found myself adding gain to certain tracks at times because performers couldn't hear certain parts and there was no more headroom on the mixer etc, I had to alter the tracks slightly, should I undo all of that??


OK, thanks for the help guys!! You're the best!!
 
I personally would leave the drums on their seperate tracks, but I'd combine into one track things like the acoustic guitar that was done in a couple takes. Anything else like that as well. So any amount of takes that make up one instrument of the arrangement should be combined.

Perhaps most importantly, make sure that each track is labeled well! I can't emphasize that enough. Don't use track names like "audio 1", "audio 2". HAve each part clearly named for what it is. Lead vocal, backup vocal, acoustic guitar, bass, etc. Whatever makes the most sense for the song.
 
On the tracks that are just stacked alternate takes, punch-ins, etc. (like the guitars you describe), you would probably be OK with submixing those into a single composited track if you're absolutely sure that's what you want and that you're happy with the quality of editing you've done on those tracks.

For most of the rest, though, I'd leave the tracks raw as they are; don't submix the drums, don't play with levels, etc. Let's face it; that's all part of the mixing process. If you're going to do it yourself, then why bother sending it out to the other guy? :) Give him the raw stuff and let him mix it.

If you are using the same mixing software, you could send him the project/session files as well, just so you guys are operating on the same layout and track names and whatnot. If you do that, however, *make sure* you both have the panning laws set the same in the options/preferences for your software, otherwise the same mix will sound different on your two machines.

If you are not using the same software, then you need to send him just the raw WAV files. However, either make sure you send him files for each track that start at 00:00:00 on the timeline, or make sure that there is a sound cue (like a clap or click) located at the same real time on each track. The former will ensure that he can just line the beginning of eack track up to the beginning of the timeline. The later would ensure that he could line that sound cue up on each track, even if the clip does not reach all the way back to zero time. Either way, it's a way of making sure he can and knows how to line up all the tracks together in the timeline without having a project/session setup to do it automatically for him.

And finally, I agree with Albert about the track labeling. I'll take it even further and say that you should send good detailed notes along with the tracks specifying your expectations and preferences as to how you imagine the mix, as well as details about just what each track actually is and what its for, etc. One way or another, make sure the lines of communication are clear between you, whether it be the via internet or telephone or whatever. Setting expectations and describing project details from the start will eliminate the potential for a lot of misunderstanding and time wasted sending trial mixes back and forth.

G.
 
SouthSIDE Glen said:
On the tracks that are just stacked alternate takes, punch-ins, etc. (like the guitars you describe), you would probably be OK with submixing those into a single composited track if you're absolutely sure that's what you want and that you're happy with the quality of editing you've done on those tracks.

For most of the rest, though, I'd leave the tracks raw as they are; don't submix the drums, don't play with levels, etc. Let's face it; that's all part of the mixing process. If you're going to do it yourself, then why bother sending it out to the other guy? :) Give him the raw stuff and let him mix it.

If you are using the same mixing software, you could send him the project/session files as well, just so you guys are operating on the same layout and track names and whatnot. If you do that, however, *make sure* you both have the panning laws set the same in the options/preferences for your software, otherwise the same mix will sound different on your two machines.

If you are not using the same software, then you need to send him just the raw WAV files. However, either make sure you send him files for each track that start at 00:00:00 on the timeline, or make sure that there is a sound cue (like a clap or click) located at the same real time on each track. The former will ensure that he can just line the beginning of eack track up to the beginning of the timeline. The later would ensure that he could line that sound cue up on each track, even if the clip does not reach all the way back to zero time. Either way, it's a way of making sure he can and knows how to line up all the tracks together in the timeline without having a project/session setup to do it automatically for him.

And finally, I agree with Albert about the track labeling. I'll take it even further and say that you should send good detailed notes along with the tracks specifying your expectations and preferences as to how you imagine the mix, as well as details about just what each track actually is and what its for, etc. One way or another, make sure the lines of communication are clear between you, whether it be the via internet or telephone or whatever. Setting expectations and describing project details from the start will eliminate the potential for a lot of misunderstanding and time wasted sending trial mixes back and forth.

G.
Click to expand...

Hey thanks both of you.

The only thing I wasn't clear on was the gain changes I had to make. For example I had to boost the gain on the ride cymbal about 8db because the guitar player couldn't hear it and I was running out of headroom on the headphones and mixer etc, should I undo those types of changes, or will that kind of stuff not really matter too much?

He is using a different DAW (protools) than I, so I will be exporting all wavs indeed.
 
taeyoung said:
clear on was the gain changes I had to make. For example I had to boost the gain on the ride cymbal about 8db because the guitar player couldn't hear it and I was running out of headroom on the headphones and mixer etc, should I undo those types of changes, or will that kind of stuff not really matter too much?
Click to expand...
I'd probably just leave them where they are and let heim deal with it; if he knows his stuff, he'll adjust accordingly. However, it wouldn't hurt to make a note of that in the notes you send him.

G.
 
I agree with Glen, leave the gain changes to the mixer. Not sure what daw you use but...

1. Put all of your faders at 0 and pan accordingly if you have stereo files... and shut off all the effects.
2. Print contiguous tracks from 0:00.

The transient time cue mentioned above is a life saver. If you left a bar or two of space at the beginning of the song just add a sidestick sample or something transient to every track before you render. Snap the sample to a barline and duplicate it on every track before rendering at the same barline like in the attached graphic where the same side-stick sample is snapped to bar 2 on all tracks.
 

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TravisinFlorida said:
why are you having your stuff mixed by someone that you think is a jerk?
Click to expand...

Most people I've run into in the music business are jerks :D :D :D

But mainly, just because he is well known, and I am curious to see what he does to the mix, and I'm going to do my own mix.

I might just end up using the mix I make, but I'm curious to see what someone who has a fancy studio set up and tons of gear does.

Just because he does it, doesn't mean I have to use it :D :D :D
 
TravisinFlorida said:
why are you having your stuff mixed by someone that you think is a jerk?
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Good ol' Travis. We can count on you to cut right to the heart of the matter. I love it. :p
taeyoung said:
Just because he does it, doesn't mean I have to use it :D :D :D
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At that price, you could set it on fire and use it to light your candles, and still be ahead of the game :D.

G.
 
taeyoung said:
So I met this mixing engineer who wants to mix a rock song that I've been working on (working on recording that is), and he's gonna do it for free (yay!). But now I am wondering how to send the track to him?
Kind of funny, I've done this for years on my own, but sending it to someone who does it for a living, I just want to make sure I send it to him correctly, and I need to clear some things up. And he's kind of a jerk, so I don't want him rolling his eyes when he gets the DVD disc... :rolleyes:
Click to expand...

I'd just be grateful Ford Van is even mixing it for free!
 
taeyoung said:
Most people I've run into in the music business are jerks :D :D :D

But mainly, just because he is well known, and I am curious to see what he does to the mix, and I'm going to do my own mix.

I might just end up using the mix I make, but I'm curious to see what someone who has a fancy studio set up and tons of gear does.

Just because he does it, doesn't mean I have to use it :D :D :D
Click to expand...
OK, If he is "well known" why is he going to do it for free? Are you sure he's not looking for something else young lady? :p
 
jmorris said:
OK, If he is "well known" why is he going to do it for free? Are you sure he's not looking for something else young lady? :p
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It's quite likely his intentions are not due to him just being a charitous guy. :p :p

But unfortunately for him, he won't have much opportunity, after all I'm just dropping the disc to his studio through the drop box and picking it up a few weeks later.

Actually I've seen him before through various bands I've worked with, and just told him I was interested in recording/mixing music too, but I wasn't very good at it, and he knows one of the bands I'm working with and VOILA! He says he'd be interested to mix a song or two just for fun.

I'm just using this as an opportunity to compare what someone with extensive experience would do with the same tracks that I will be working with.

And as far as being a jerk...I was mostly joking. But in all honesty a lot of the more experienced engineers I've run into, are quite arrogant, even to a fault. Like, people don't like dealing with them, but they like the results, so they keep going back...it's one of those situations. I don't find him to be rare in that regard. He's the kind of guy who likes to roll his eyes while you talk to him and/or ask questions because he already has made up in his mind what the solution is. :rolleyes:
Not to me of course, just in general. :p

There you have it! :) :) :)
 
Hey if you can get something out of it that may be of use to you, go for it. I know the type, arrogant I mean. But the ones I know suck as well as being arrogant.
 
taeyoung said:
And as far as being a jerk...I was mostly joking. But in all honesty a lot of the more experienced engineers I've run into, are quite arrogant, even to a fault. Like, people don't like dealing with them, but they like the results, so they keep going back...it's one of those situations. I don't find him to be rare in that regard. He's the kind of guy who likes to roll his eyes while you talk to him and/or ask questions because he already has made up in his mind what the solution is.
Click to expand...

I've found quite the opposite. It's usually the engineers who have "something to prove" that are jerks. Nearly all of the great engineers that I have met are very open about their techniques and like talking about audio. It all depends on the type of questions you ask them. For example, if you ask a seasoned ME why your mixes don't sound as loud as a commercial CD you might get a :rolleyes:

Most of the top guys know that there are no "secrets to mixing/mastering" it's the taste that you use in applying techniques. Nobody is going to steal your taste or skills. If someone is insecure with talking about their craft, I have to wonder how good they really are.
 
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