Haupt-Mixing-Waffen - EQ, Kompression und Reverb

Goetz Botzenhardt
Goetz Botzenhardt

Lesson time: (11min 1sec)

Goetz geht ins kleinste Detail, wie er seine wichtigsten Mixing-"Waffen" einsetzt - EQ-, Kompressions- und Reverb-Einstellungen.

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This lesson is part of the course Kommerzielle Popmusik mischen
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Lesson transcript:

Mixing Process Overview

Welcome back! In today's lesson, we'll focus on the essentials of the mixing process, emphasizing EQ and compression as your main tools for creating a polished sound.

The Importance of EQ

EQing is crucial because it determines which frequencies are used in a sound. With 30 to 40 sounds playing simultaneously, it's essential to ensure they don't interfere with each other.

  • Lead Vocal: This will typically be the brightest and loudest element in your track. Everything else must find its place around it.
  • Low Frequencies: The bass and kick drum are your lowest elements.
  • Define Frequency: It's important to experiment and discover which sounds occupy what frequency ranges.

Tips for EQing:

  • Don't be afraid to experiment!
  • My favorite EQ is the SSL EQ for a more nuanced, smooth sound.
  • I also like the Navy Q on the Slate plugin.

As you add more sounds, you'll learn how to EQ them to fit together cohesively. Your goal is for every sound to occupy its own "pocket" of frequency, ensuring clarity and preventing a muddled mix.

Understanding Compression

Compression is a powerful tool that can help you achieve that 'slamming' sound, reminiscent of classic Led Zeppelin records, which often utilized a big room and a significant compressor for their drums.

  • Benefits of Compression:
    • Levels out the sounds for more consistent volume.
    • Controls dynamic range, making the track sound more professional.

The Role of Panning

Panning is another effective technique for achieving separation in your mix.

  • Keep Mono in Mind: Ensure your mix still sounds good in mono, it's essential not to rely solely on panning for distinction.
  • Effective Use of Panning: For instance, introducing a new instrument from the left and a different one from the right creates a more dynamic listening experience.

Mixing Objectives

Your primary aim in mixing is to ensure every sound is distinct, clear, and audible rather than a jumbled mess.

Example Demonstration

Here's a track I mixed earlier this year.

  • Drum Mixing:

    • The drums sounded somewhat flat, so I applied compression to make them slam more. Here's the difference when the API compressor is engaged.
  • Bass Adjustments:

    • I have two bass tracks, one focused on low end and the other on middle frequencies. By filtering out low frequencies from the middle bass, I created clarity between the two.

Methodical Mixing Process

This part of mixing is less about creativity and more about methodical procedures:

  1. Order of Operations:

    • Start with drums.
    • Add bass and other rhythm instruments.
    • Include pads, strings, and melodies.
    • Finally, treat the vocal as another important instrument.
  2. Time Management:

    • Generally, aim to complete a mix in a single day for the first draft.

Final Touches

For clarity:

  • I often recreate my mix by introducing EQ and compression one by one, then applying reverb to see how everything comes together.

Reverb Techniques

When it comes to reverb:

  • Use a bright plate reverb for your main sound (around 2-2.5 seconds).
  • Have a smaller room reverb (under 1 second) for drum sounds.
  • Utilize a long reverb for occasional effects.

Reverb Management Tips:

  • Limit yourself to a few effective reverb types to maintain clarity in your soundscape.
  • It's best to place reverb on buses rather than inserts to retain flexibility and reduce clutter.

Let's load up the other song and explore these concepts further!

About the instructor

Goetz Botzenhardt
Goetz Botzenhardt

Anfang der Neunzigerjahre absolvierte Goetz Botzenhardt eine Ausbildung in den Swanyard Recording Studios, wo er Spitzenproduzenten wie Flood, Alan Moulder und Tom Lord-Alge assistierte und sich beim Aufnehmen und Mischen der Dance- und Acid-Jazz-Bands der 90er – Incognito, Galliano, Soul II Soul und vielen anderen – die Sporen verdiente.Bei Swanyard lernte er Rollo Armstrong kennen, und die beiden bildeten rasch eine kreative Partnerschaft, aus der viele große Dance-Platten und Remixe hervorgingen und, kurz darauf, die Aufnahme und das Mischen der ersten beiden gefeierten Faithless-Alben sowie von Didos Multi-Platin-Album 'No Angel'.Genreübergreifend nahm und mischte er das Debütalbum der Sugababes, 'One Touch', einschließlich ihres ersten Hits 'Overload', und hat für The Cardigans, Bjork, The Cinematic Orchestra, Craig David, die Pet Shop Boys und Hikaru Utada gemischt, eine der erfolgreichsten Künstlerinnen Japans.In jüngerer Zeit hat er sich auf Film und Fernsehen ausgeweitet, arbeitete intensiv mit den Komponisten Christian Henson, Martin Phipps und Anne Nikitin zusammen und mischte Daniel Pembertons Golden-Globe-nominierte Filmmusik zu 'Steve Jobs' unter der Regie von Danny Boyle. Abseits des Films produzierte er Tanita Tikarams 'Closer to the People', mischte Tracks für Sigala, Ella Eyre, Breton, Planet Funk und Tito Jackson und mischte 2016 Peabo Brysons Album mit Jimmy Jam und Terry Lewis. Eine vollständige Liste seiner Arbeiten findet sich auf seinen Diskografie- und Filmografie-Seiten unter goetz-botzenhardt.com.Goetz arbeitet in seinem eigenen Studio und Mischraum, aufgebaut um eine SSL-E4044-Konsole, ein Adam-5.1-Surround-Monitoring, ein 48-kanaliges Pro-Tools-HDX-System und ausgewähltes Outboard-Equipment. In seinen Kursen holt er dich in diesen Raum, um zu zeigen, wie er in zwei sehr unterschiedlichen Welten mischt: in Mixing for Film & TV Score, wie er orchestrale und hybride Filmmusiken im Dienst des Bildes ausbalanciert und formt; und in Mixing Commercial Pop Music, wie er druckvolle, radiotaugliche Pop-Mixe von der Mehrspur an aufbaut. read more

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23 lessons (2h 34m)
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