Mixing Preparation and Techniques

Right, this is. We're going to move into the more geeky part of the mixing now and preparation.

Mix Template

When I start a mix, I already work from a mix template. I basically put all my favorite effects, compression groups, and master bus inserts into the session. This way, when I do the mixing, I don't have to spend ages:

• Making channels
• Putting plugins on
• Creating delays

It's already there, so if I have an idea, I can just go straight to it and bang, there it is.

Drum Compression and Delay

Drum Buses

I like to do drum compression and parallel compression. At the top here, I've got two drum buses that I use:

• Compressor: One of my favorite compressors for drums is the API plugin from Waves. There are different versions, but it's a good go-to compressor for the drums.

Delays

Then I've got a whole bunch of delays here. Any sort of delay you could think of, like:

• 8/4
• Dub delay
• Slap delay

They all basically sit there ready to go, so when I want to use one, I can just dial it up quickly.

My favorite delay plugin is the Echo Boy from Soundtoys. I'm a big fan of Soundtoys; their stuff sounds amazing. It has different styles of delays:

• Tape delay
• Space echo
• Digital delay

So, as far as delays go, it's got everything you could possibly want.

Reverbs

Plate Reverbs

Next, we have my reverbs. I have some plate reverbs, including:

• Convolution Reverb: A classic 480 that a lot of engineers use.
• Altiverb: I use a plugin called Space, which is an Avid plugin (similar to convolution reverb).

This one actually emulates a plate reverb.

I also use another reverb unit that not many people have, only Bix Studios, which is the TC6000. It's a state-of-the-art reverb for film mixing. It does very good surround sound and provides four reverb units in one box.

Other Effects

At the bottom here, there are a few slightly more exotic things:

• Soundtoys Crystallizer: Great for big reverb tails or interesting sounds.
• Decapitator: Adds distortion.
• Pitch Widening Harmonizer: Widens sound, creating double effects on lead vocals.
• A3000: Interfaces with my Eventide.
• Tremulator: And a few other little things.

Mix Bus

At the bottom of the session, we have my mix bus, which is another really important aspect of the mixing process. I like using Slate Digital plugins:

• Virtual Channel
• Virtual Mix Bus: This makes your mix sound more analog.

This plugin actually makes it sound like my SSL. There are different settings available:

• Brit 4K: Emulates SSL.
• Brit N: Emulates Neve.
• USA: Emulates API desk.

EQ and Compression

After that, I have an EQ. Mixers always need more top end, so I add a bit of top end before I even start:

• Around 12K: I add about 3 to 6dB.
• A little bit of bottom: About 2 or 3dB at 80Hz, set to lower shelf and high shelf.

This serves as a good starting point.

Next is our bus compressor. Again, I'm an SSL man, so I have my SSL compressor on the mix bus.

Settings:

• Attack: Shouldn't be too fast (3 to 10 milliseconds).
• Release: I usually go for the fastest release or auto.

Sometimes, I put a tape emulator on there as well. Again, the Slate Digital is quite good.

Tape Emulation

We'll have a look at that virtual tape machine. Here's our Virtual Tape Machine by Slate Digital. It provides a nice tone, making the mix sound like it's been recorded to an analog tape machine.

If you don't have Slate, there's also a WAVES option called Kramer Tape, which I also like. It has quite a lot of settings to play with.

Final Touches

Don't be afraid to use a little bit of tape on your mix bus.

Loudness and Limiting

Last but not least, this is another area that's really important. When you send out your mix, it has to be nice and loud because when somebody puts it in iTunes, they don't want it to be half the volume of all the other songs in there.

You have to put a limiter on it, which is basically another word for maximizer, to make your mix nice and loud when it goes out. However, remember to take that off when you print your master mix, as it's something that will be done in mastering.

So, before you print your mix, take off the limiter, but for sending it out to clients, always have it on.