what order do you mix?

[ollie99]

what order do you do the different stages in the mixing process?

I'm looking for ideas and generally a lead on what would be a good way round it, so arranging the tracks, levels, compression, EQ, effects and all that.

 

[kip4]

My mixing routing is becoming somewhat more formatted these days after playback of tracking i typically arrange the tracks top to bottom
drums/ perc
bass
guitars/ keys
organs
strings
vocals
and mix from the top down
colouring the tracks for easy identificatin saves a bit of time too
add effects ususally after tracking (rough guide)
refine my mix as problem areas occur and automate and multing as a brief description.
of course theres a lot of revisiting but thats part of the fun for me and dont forget to give you ears a rest too. Take freqaunt breaks so when you come back to it you will notice any out of wad levels and phase issues, annoying harsh notes or parts, rumble and low end problems
that kind of thing.
sounds a bit boring but a routine helps.

 

[sixer2007]

I do lots of rock mixes. But I'm a beginner so take this for what it is.
Before I do anything, I color code all the tracks in my session and arrange them from top to bottom as to how I like to imagine a band.. Ex. Drums = red, bass = blue, rhythm guitars = Dark green, lead guits = light green, vox = pink/purple. Also, that's the order from top to bottom that my tracks are in my sessions.

I start by panning everything to where I like it, and get a decent mix with levels. Then, I flip into mono and mix like 75% of the time in mono.
I start with drums, EQing them. then bass with the kick. then rhythm guitars, lead guitars, and vox last. After things are EQ'd for the most part, I start to add in compression where it might be needed. Maybe some saturation..

Then effects. Sometimes I put a really short reverb on every instrument to unify them, really short. Then maybe some delays on a lead guitar. There's one plug I love on lead guitars. Then vocal effects..

Like I said, I'm pretty new to mixing, but these are things that i've picked up along the way that seem to work well for me. It's not always the exact same though.

 

[ollie99]

I do lots of rock mixes. But I'm a beginner so take this for what it is.
Before I do anything, I color code all the tracks in my session and arrange them from top to bottom as to how I like to imagine a band.. Ex. Drums = red, bass = blue, rhythm guitars = Dark green, lead guits = light green, vox = pink/purple. Also, that's the order from top to bottom that my tracks are in my sessions.

I start by panning everything to where I like it, and get a decent mix with levels. Then, I flip into mono and mix like 75% of the time in mono.
I start with drums, EQing them. then bass with the kick. then rhythm guitars, lead guitars, and vox last. After things are EQ'd for the most part, I start to add in compression where it might be needed. Maybe some saturation..

Then effects. Sometimes I put a really short reverb on every instrument to unify them, really short. Then maybe some delays on a lead guitar. There's one plug I love on lead guitars. Then vocal effects..

Like I said, I'm pretty new to mixing, but these are things that i've picked up along the way that seem to work well for me. It's not always the exact same though.

@kip4 - thanks

but at this, can I ask you why you mix 75% in mono?

 

[kip4]

the key for my routine is to try to cut down on mixing time.
its not a perfect method and i'm sure i do thing differantly to how they should be but it works for me.
It's ever evolving though.

i'm willing to be Sixer mixs in mono because because of phase issues at a guess

 

[sixer2007]

Sure, I learned that from the recording revolution. Basically, Stereo tricks you. You think "ah yeah, I can hear those guitars that are panned out at 100% L/R". But what if you move out of the sweet spot between your monitors? All of a sudden, the mix becomes virtually mono. Then, can you still hear the guitars as well? But, if you mix in mono, the stereo image doesn't trick you and everything is stacked on top of each other. This forces you to make better decisions about EQ and compression, as well as levels. Also, because so many people listen in mono still these days (tvs, ipod docks, in a store on the radio...) (or if they aren't perfectly between 2 speakers) you need to make sure it still sounds good. If a mono mix sounds good, it will only sound better in stereo. I check every decision in Mono. It has been a real big turning point for me.

 

[sixer2007]

As kip said, It's great for finding phase issues as well, but i'm really horrible with phase still. Learning everyday

 

[mjbphotos]

Once I've got everything tracked, I usually start working on the basic rhythm part of the mix first - guitars (usually, as my main instrument) and drums. Add the bass into the mix, as it never takes much extra work. At this point I will add the lead vocal, but keep any BU vocals in the background enough to know where they are. There are various plugins I will use on certain things for 90% of my mixes - compression on my lead vocal to get the volumes more even, some EQ to get rid of my nasal sound, de-essing. Bring in a little more of the BU vocals. Then the 'additional' instruments - guitar leads, or accents, keyboards, strings (may have been added earlier if they are a dominant instrument in the song.
I do most of this in mono (well, everything panned in the center) and try to get the overall levels and sound balance right before starting to pan and adjust widths, which is when I also had a reverb buss.
This can all vary depending on the song - I have songs with 1 main guitar plus just a few other instruments and a couple of vox tracks, and others with 10 guitars and 10 voices.

 

[Track Rat]

I usually push all the faders up and listen a bit an get comfortable with what is on what track. I then pull everything down but the drums and listen for for prblems and start getting the levels right. Then I push the bass up. I usually end up with a compressor patched in and I'll spend a little time tuning it. Next I push up rhythm guitar(s) and again listen through for problems. Once I got a decent bed going I'll push up the vocals. Again almost always a compressor here. I try to spend a lot of time getting sounds when tracking so I don't have to EQ much. I end up with some on kick and snare but that's about it. Any time based effects decisions are made at this point (reverb or no reverb).

 

[Jonesey9]

Loudest part of the song first to establish an absolute ceiling and sorting out gain structure.

Then most important instruments/voices in descending order of priority

 

[chuckduffy]

Kick, bass, snare, lead vocal. Get the levels right. Then I sanity check listen at very low volume, in mono. If you do this with most pop music you will hear the snare and the lead vocal and a tiny bit of other stuff. Then lock this in place and mix everything else around it using panning, selective eq to ensure that everything has a distinct frequency and positional space. I generally don't touch the basic mix I did in step 1 except for minute level adjustments. With all that said I generally won't spend more than a couple hours on a mix anymore as I'm trying to break a very bad habit of spending months going back and working on a single song.

 

[gecko zzed]

^^ I use chuckduffy's method pretty much.

Start with the kit, add the bass so that it sits well with the kick, then add the lead vocals.

At this point, I'm expecting the song to sound pretty good without anything else.

When I'm happy with that, I bring up other stuff, positioning them so that they have a definite space on the sound stage.

One difference is that I don't do anything in mono. There are a couple of reasons for this:

1 I don't usually have things that will cause phase problems in mono
2 I frequently use synths with a wide stereo footprint, and they don't sound very exciting in mono
3 I can't really be bothered.

 

[elbandito]

Loudest part of the song first to establish an absolute ceiling and sorting out gain structure.

Then most important instruments/voices in descending order of priority

I like this method and it's somewhat similar to my own. I do a lot of different types of music, so starting with say, drums doesn't always work. I tend to track a whole performance LOF and then I'll track each instrument separately and mix it down in order of what instrument is supposed to be the most prominent, or which has the most dynamic range and arrange everything else around that.

 

[chuckduffy]

^^ I use chuckduffy's method pretty much.

Start with the kit, add the bass so that it sits well with the kick, then add the lead vocals.

At this point, I'm expecting the song to sound pretty good without anything else.

When I'm happy with that, I bring up other stuff, positioning them so that they have a definite space on the sound stage.

One difference is that I don't do anything in mono. There are a couple of reasons for this:

1 I don't usually have things that will cause phase problems in mono
2 I frequently use synths with a wide stereo footprint, and they don't sound very exciting in mono
3 I can't really be bothered.

I check in mono during the initial stages and spot check along the way. It really helps me sort out frequency collisions and establish overall levels for the base tracks. I use tons of panning, wide spread bg vocals, stereo piano etc. so stereo is equally important to me. It also makes me smile every time I turn off the mono and return to the land of stereo - it's like candy for a baby. Just a tool

 

[Pahtcub]

I start with dr levels on the most important part of whatever the song calls for if the dynamics are all over the place I work on dynamics. If different parts of tracks are at different levels I mult the section for better level control

Basically I get the levels correct first then add eq reverb and compression to blend the tracks to fit together better. Now on some tracks I know right off the bat that a track needs eq and I'll add it but in general I work with what I have as dry as I can get it with multing and light compression first otherwise I end up squashing the mix to oblivion.

If the mix doesn't blend pretty well dry then I will re record, if I can't re record then I cry a little and do my best.

 

[Mo Facta]

Depends.

If I mix for someone else, I generally have a set method that starts with an "admin" phase, which includes organizing the tracks into folders, cleaning up edits, applying colours, and assigning groups [generally] from top to bottom as follows:

Drums
Perc
Bass
Guitars
Keys
Vocals
Backing Vocals

I then set up group channels for each, the quantity varying depending on how I feel and processing needs. Everything is colour coded.

When I see a project from beginning to end I generally mix as I go, setting everything up as I tackle it. That includes processing, eq, etc. This workflow has resulted from wanting to hear a finished record sound NOW. I just can't wait for the mix for it to get me moving. This approach also helps when it's time for vocals because if it sounds good to the vocalist at that point, there's a good chance he'll give a great performance.

You could, I guess, say that I'm shooting myself in the foot a little and that it's easy to lose the forest for the trees that way. However, I try to have a holistic a view as possible and not get my mind boggled by thinking about too many choices. I focus on getting a good sound at the source, stick to what works, balancing the levels on input, and getting a sound NOW. That might or might not including processing on input, or instantly using an insert effect to get the sound I want. As I said, it all depends on the scenario.

The core idea here is that falling into a routine (and we all do) is the fastest way to mediocrity, imo. You might get consistent results but you might end up stagnating and not evolving. That's my philosophy, anyway. For this reason I try to view every project as an opportunity to try something different and keep things fresh. Sometimes I do very little. Sometimes I'll leave everything ungrouped and routed straight to the master bus. That's the beauty of recording; everything is subjective and the sky's the limit.

Cheers

 

[chuckduffy]

If the mix doesn't blend pretty well dry then I will re record, if I can't re record then I cry a little and do my best.

Man this is SUCH good advice. I am astounded by the lengths people will go to to avoid re-tracking a part. Constantly see posts asking for advice about how to fix a track with a plug or edit, whether it's tuning, a flub, basic eq problem. Just play that shit again, how hard can it be and how long can it take on a typical 3-4 minute song?... It's good practice too....

 

[miroslav]

Man this is SUCH good advice. I am astounded by the lengths people will go to to avoid re-tracking a part.

Man...I've gotten to the final mix a couple of times...and realized that a track was just not working...or because of how the mix developed, I decided I would prefer something different for a given track...and I've re-recorded.

I'll re-record all the time during initial tracking. I'll have maybe a half-dozen tracks down...and a new idea starts to emerge, and I realize that a certain track might be better "if"....so I just re-record...and working with a tap deck, I have NO qualms about erasing existing tracks to re-record.
Whatever tracks I already recorded...there's nothing there I can't do over if needed. It's not like the guitar player did his tracks and left the country...so I better make sure I don't lose them.

AFA the mix process....

I start with levels and panning.
I'll usually put the drums at nominal gain... "0" on the fader...and then bring up the rest of the tracks, without adjusting the level of the drums.
Panning goes where I think it needs to go for each track....but I do like to "fan" out my tracks so that no two tracks are hitting the same spot.

Once that's gelling...then I'll listen to the tracks and how they are mixing, and start working on EQ, which is mostly the cutting of unwanted stuff. I only boost frequencies occasionally, as needed. I find that by the time I cut out the bad stuff...there's not much need to boost anything else all that much.

After that....I turn my attention to dynamics processing...and then reverb/delay.

 

[RAMI]

I sanity check listen at very low volume, in mono. If you do this with most pop music you will hear the snare and the lead vocal and a tiny bit of other stuff. .

Yeah, that's good.

There are certain rooms around the house where I know I should hear certain things when I play a mix and walk away. For example, in the bathroom, I should be able to hear almost nothing other than kik and bass, and I should be able to make out the bass notes. In the doorway going to the garage, I should hear snare and vocals no matter how low the volume is, as long as it's still audible, etc....

 

[Armistice]

Vodka, then vermouth, everytime... Stir slightly.