Keeping mixes consistant across an album: is there any other way than this?

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Nate74

Nate74

HR4FREBR
When I started home recording, I had a 8-track reel to reel, a mixer and some effects. When I'd have a project where I mixed multiple songs, I'd spend a while on one song, get it mixed down, then use the same basic fader and outboard settings for the remaining songs. Now that I mix in a DAW, I've tried to take the same basic approach and spend a fair amount of time on a mix then delete the files from that song/project and drop in the .wav files from the other songs to export the final stereo mixes. But this means that after I do all my splicing/editing I have to export another set of .wav files (that include just the splices and edits, not the eq, effects, etc.). It's not the worst system in the world and it certainly works but is somewhat time consuming.

I'm currently approaching the mixing stage on a 13 song album and it got me to thinking; is there any other way to do this?
 
Sonar X1 Producer.

Didn't even occur to me that there might be a DAW specific option... my wheels are turning :)
 
Nate74 said:
Sonar X1 Producer.
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then i'm afraid i can't really help you :(

Logic 8 & 9 have an import track settings feature so if you recorded everything in the same sessions and want the same mix (or as close as) you can mix one song and then open another and import the same track settings including all the fader levels, routing, inserts, sends, pans etc. last big album i did i used this quite a lot as we'd recorded everything in the same spaces with the same gear over a couple of sessions. each track needed some tweaking but the mixes all sounded coherent together.

I'm not sure if there's an easier way than how you're already doing it, but i'm guessing there must be some less time consuming ones
 
Very cool. I honestly have no idea of X1 has any sort of functionality like what you describe. It would make sense but I'll have to do some digging. At a minimum it has me thinking about other approaches. Thanks.

I'm also thinking I may try this in the Cakewalk area now.
 
I personally would never recommend using the same fader settings, EQ settings, effects, etc...from one song to another. Each song deserves it's own treatment. Mixing isn't like coloring by numbers.
 
Use the option that grows out of tracking a string of songs in one project -as in an all in one tracking session.
As you progress through mixing them you're adding refinements to them all.

At some point you begin to get in to mix moves that are more song unique.
Begin 'Save As to new projects with each song's name. (Do one (plus backups!) close, reopen the original big one, repeat for each song.
The Big One remains as a path back or what ever/until you're safe and for Shure

Option- or not- Delete all the other song clip materials from the new song's projects, do Consolidate Audio will make a new backup folder data set with just that song's files- a nice quick b/u method.
A side note- I found out where songs really were recorded in one long stream of songs -as in 'tape keeps rolling situation- 'split, delete and 'Consolidate in Sonar will not trim the data size down to one song's worth.

Anyway I still generally like the idea of one song per project but this method has enough going for it where I'll always consider doing it this way for 'a day's tracking now. -Flow, less moves (..roughs at the end of the day is huge! :drunk:
Just save often, and your 'save as'es ..zz :) ..early.
 
RAMI said:
I personally would never recommend using the same fader settings, EQ settings, effects, etc...from one song to another. Each song deserves it's own treatment. Mixing isn't like coloring by numbers.
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Think of it in the hardware setting like OP mentioned. And it depends on the situation, where you are in the process. You wouldn't necessarily want to pull all the patches and zero the board either.

..reminds me of a cute preacher/sermon joke.
 
I'm all about using templates and they save a ton of set up time with each new project. I'll respectfully disagree with Rami about every song being different. Each artist has a particular sound and a lot of that sound comes from the recording process and what works best for each track. Templates help you to stay consistent from song to song. With the same setup, you'll get the same sound. Granted, a hard rock song won't require the same settings as an acoustic song, but if you're recording an album of acoustic songs, then most times your settings/tracks/process is going to be very similar for each song and this is where a template is going to help you stay consistent across an ablum.

Figure out what works best for you and save it as a template in your DAW.
 
Chili said:
With the same setup, you'll get the same sound.
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This is why I don't use templates. I'm already using the same guitar, drums, bass and voice. To me it's a different song, and therefore, there are different nuances based on the tempo, feel, etc....

I don't totally disagree with you guys, though. I just like starting fresh and treating each song like it's my first. I feel they'll already have a natural sameness to them since they're written and performed by the same person. I want to give them as much individuality as I can because of that.
 
RAMI said:
This is why I don't use templates. I'm already using the same guitar, drums, bass and voice. To me it's a different song, and therefore, there are different nuances based on the tempo, feel, etc....

I don't totally disagree with you guys, though. I just like starting fresh and treating each song like it's my first. I feel they'll already have a natural sameness to them since they're written and performed by the same person. I want to give them as much individuality as I can because of that.
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Thumbs up there too. Totally
:)
 
Some interesting thoughts, and I appreciate the different view points. Honestly though, I know what works for me in terms of my approach to mixing full albums so I'll stick with the way I described in the OP. I did setup a template specifically for this project which was useful.

In regards to the different songs needing a fresh approach, I don't disagree at all but a starting point that is common among all songs saves loads of time for me and helps ensure that the mood I'm in that day doesn't leave me with a track or two that just don't fit. Nothing cures a foul mood like gated reverb on the snare :)
 
I never use templates. I use a rough guide from song to song but because rarely do the same configuration of instruments and voices occur, there's little point. I approach each song as a blank sheet and just do what I need to until it sounds right to me !
But I can see the good sense in both ways and ultimately, few people are going to say "I'm not listening to that album because there's no similarity of sound between the songs" or "I refuse to listen to that album because the sonic feel is too similar on all the songs ! ".
I guess alot of it came about because the era that I really got listening to music in {60s, 70s} was the era in which to have lots of variation was de rigeur and I never broke away from that.
 
Nate74 said:
I know what works for me in terms of my approach to mixing full albums so I'll stick with the way I described in the OP.
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That's really the important thing. Everyone finds what works for them. :cool:
 
I keep thinking about some form of "Import Track Settings" though. For this particular album, it would be great if you could store track settings in some bulk configuration that I could then "import" that would include the 9 drum tracks, the 2 upright bass tracks, the 2 acoustic tracks, the violin track and the lead vocal track settings. Then I could add other instrument and/or backing vox tracks as needed per song. Oh well, off to export some .wav files I guess ;)
 
I see the "S" word didn't seem to get mentioned...

I don't even remember who gave me these guidelines back when dinosaus ruled the earth, but it's still very good practice:

1. Track for the artist. As was previously noted, most artists have a "sound". Keep the core sounds of the band fairly consistent across the album, with the core being guitar, bass, drums, keyboards, or whatever else defines the bands "sound".

2. Mix for the song. This is where you want to highlight the differences between the songs, while keeping the core sound consistent. And don't be surprised if you find that adding a single tamborine "ching", a single cymbal crash, or a 4-bar arpeggio totally "makes" a song. And don't forget the old adage: "Why does a dog lick his b*lls? 'Cause he can". Don't be afraid to leave out part or all of a track if it doesn't really add something to the mix.

3. Here it comes...the "S" word. Sequence the tracks on the album. Listen to some LP's or CD's that you enjoy, and note both the track positioning and how it fits with the preceding and following tracks. Back when I bought CD's, when I dropped it in the player I would often hit Track 5 and Track 9 first (and they were often the tracks I bought the album for). But tracks 5 & 9 were often really good, and the fact that they were 5 & 9 was not an accident! Don't follow a piano & voice number with a bass-heavy dance track or a heavy metal track; it's probably just not going to work. And if you don't normally listen to these genres, get a couple of radio pop and good mult-artist greatest hits LP's or CD's; the guys who are successful in these genres are usually good at knowing how to put an album together.

4. Mix for the album. (I've also heard this called pre-mastering) In a lot of DAW's you'll be holding down the [Ctrl] key when you "mouse" a knob as you'll only be making extremely fine adjustments. At this point all you should need to do is smooth out any rough edges. Think 600 or finer grit sandpaper; if you need a heavy-duty grinder you only have two choices: (1) Start over or (2) make sure you aren't credited on the project.

Quite a few great albums have been made using this method...give it a shot...
 
Nate74 said:
I keep thinking about some form of "Import Track Settings" though. For this particular album, it would be great if you could store track settings in some bulk configuration that I could then "import"......
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You can!! With Sonar, as with most other DAW's, you can store your track settings individually; same assigned effects, inserts, sends, etc. You can also save them altogether as templates like I mentioned earlier. I haven't used Sonar in a couple of years, but for sure the manual can tell you how to do it.

I love that feature of DAW's. If I thought a vocal track came out good in one particular song, I'll save the track settings for future use.

And to go back to the discussion about templates, I left out an important aspect of how I use templates. They are starting points for me and I do a lot of tweaking on all the tracks, so they will be adjusted as needed for the song. But for things like knowing I'll use an 1176 plug on my vocal track everytime, then the template will have it. I love the UAD EMT140 plug, so it's a permanent effects track in a template.

I agree, every song has its own requirements and the songs will dictate what's needed, but if I'm doing the same thing 90% of the time, the templates saves me the hassle of setting up the same things every time.

But like Rami says, the important thing is everybody finds what works for them.
 
I typically use templates for situations where I am mixing a whole album, and have individual project folders for each song. It is much easier to have all of my group tracks, as well as effects, setup before importing new tracks. Also, it really makes thing easier when setting up to record some drum tracks to a buddy's song.

Thread hijack alert!!!:

Send me your track again Chili! I have the kit setup to record for another friend in morning. Let's get yours too. :)
 
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