Añadir más partes a la mezcla: elementos percusivos
Lesson time: (4min 33sec)
Course preview
This lesson is part of the course Mezcla para bandas sonoras de cine y TV
Watch a preview of the full course below.
Lesson transcript:
Finalizing Live Recordings and Mixing Process
So now we have our two main live recordings in place. I'm just going to add in the last lot of elements.
Adding Extra Audio Files
Okay, so there are some extra audio files here, which I just need to find. They haven't actually been in a session yet. Right. So, I've just imported the last bit of extra audio, which is basically stuff that's come from a sequencer or been recorded in various other studios.
Here, we can see we've got:
- A bass guitar
- A few bits of percussion
Routing Audio
So, I'm just gonna route them to the music bus. I'll go through it track by track and see what stem they want to end up on. This isn't brilliantly labeled, so let's just find out what this is.
We have:
- A bell
- A few other percussive elements
- Toms
- Tic Tacs
All this blue stuff here will be sent to our percussion bus, and all these red things down here can go to our drones bus because they're more pad-like or droney sounds.
Quick Listening and Balancing
Okay, so let's have a quick listen and balance all that in one by one. I'm just going to get a nice little balance going here.
Note: This is something that will obviously take a bit longer when you really do the mixing. I'm just doing it very roughly now, but normally, I would take my time. I would also add compression and EQ to each sound if they need it.
Generally, in film mixing, I use a lot less compression because we want the material to have quite a lot of dynamics and to be quite open sounding.
Unless I want something to sound really compressed, I usually give it space to breathe.
Using Reverb for Percussion
Now, for percussive sounds, I normally use slightly shorter reverb. So, on my percussion bus, I actually have a short reverb here. I'm just gonna put a little bit of that onto each channel and generally proceed with the mixing.
Starting the Mixing Process
I just wanted to show this quickly. Now, we have all the sounds in here, and everything's routed to the right stems and outputs.
We can really start the mixing process properly. As I mentioned earlier, we will:
- Add EQ
- Use compression
- Balance everything up nicely
- Start doing some rides
Essentially, we will craft the mix from here.
About the instructor

A principios de los años noventa, Goetz Botzenhardt se formó en los Swanyard Recording Studios, asistiendo a productores de primer nivel como Flood, Alan Moulder y Tom Lord-Alge, y se curtió grabando y mezclando a las bandas de dance y acid jazz de los 90: Incognito, Galliano, Soul II Soul y muchas otras.En Swanyard conoció a Rollo Armstrong y ambos formaron rápidamente una asociación creativa que dio lugar a muchos grandes discos de dance y remezclas y, poco después, a la grabación y mezcla de los dos primeros y aclamados álbumes de Faithless y del multiplatino 'No Angel' de Dido.Moviéndose entre géneros, grabó y mezcló el álbum debut de las Sugababes, 'One Touch', incluido su primer éxito 'Overload', y ha mezclado para The Cardigans, Bjork, The Cinematic Orchestra, Craig David, los Pet Shop Boys e Hikaru Utada, una de las artistas de más éxito de Japón.Más recientemente ha ampliado su trabajo al cine y la televisión, colaborando ampliamente con los compositores Christian Henson, Martin Phipps y Anne Nikitin, y mezclando la banda sonora de Daniel Pemberton, nominada a los Globos de Oro, para 'Steve Jobs', dirigida por Danny Boyle. Al margen del cine, produjo 'Closer to the People' de Tanita Tikaram, mezcló temas para Sigala, Ella Eyre, Breton, Planet Funk y Tito Jackson, y en 2016 mezcló el álbum de Peabo Bryson con Jimmy Jam y Terry Lewis. Una lista completa de su trabajo está en sus páginas de discografía y filmografía en goetz-botzenhardt.com.Goetz trabaja desde su propio estudio y sala de mezcla, construidos en torno a una consola SSL E4044, monitorización surround Adam 5.1, un sistema Pro Tools HDX de 48 canales y equipo outboard selecto. En sus cursos te lleva al interior de esa sala para mostrar cómo mezcla en dos mundos muy distintos: en Mixing for Film & TV Score, cómo equilibra y da forma a bandas sonoras orquestales e híbridas al servicio de la imagen; y en Mixing Commercial Pop Music, cómo construye mezclas de pop contundentes y listas para la radio desde la multipista. read more




