Aborder le mixage : organisation et réglage des niveaux
Avec
Dov WatermanDov Waterman prépare une session pour le mixage : il nomme les parties et leur attribue des couleurs, regroupe les pistes et règle les niveaux pour que rien ne sature avant le traitement.
Le contenu du cours
14 leçons (0h 33min) · 1 gratuites
01. Introduction au mixage et à l'automation
Leçon gratuite0:45
02. Peaufiner ton morceau
2:52
03. Aborder le mixage : organisation et réglage des niveaux
Tu es ici6:42
04. Élargir le son de la batterie
3:47
05. Side-chaining
2:42
06. Mesure pré-fader vs post-fader
2:45
07. Quantification et flex-timing
2:05
08. Vérifier les niveaux et ajouter de la compression
1:18
09. Traitement créatif et effets
3:14
10. DEVOIR : Track Alternatives
1:02
Transcription de la leçon
Mixing Approach: A Step-by-Step Guide
General Housekeeping
Before I put my mixing hat on, I like to get everything in order. Here are some general practices I follow:
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Naming and Coloring:
- I'll name all the parts and color them for clarity.
- This helps me see what's actually going on in the mix.
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Organization:
- My drums, effects, and other components are all color-coded and organized within their respective track folders.
Initial Mixing Process
When I start mixing, I usually focus on the drums first. Here's how I approach it:
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Selecting a Drum Group:
- I often begin with the busiest section of the song to get the levels right.
-
Monitoring Levels:
- Always keep an eye on the levels, especially on the drum group. It's essential to avoid peaking.
- For instance, if I notice peaks in the levels, I'll adjust accordingly before adding any compression.
Mixing Basics 101
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Watch Your Levels:
- Ensure your drum group does not peak.
-
EQ Considerations:
- Remember that boosting frequencies with EQ will increase the overall levels in your summing bus.
- If you're peaking, consider lowering the levels of your EQ settings instead of the track itself.
Equipment Used
-
Softube Console 1:
- I'm using this software emulation of an SSL G series console.
- It allows me to manipulate my channels easily.
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Channel Configuration:
- For example, I'm currently on Channel 4, where I've set the input gain quite low.
Depth of Mixing
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Drum Processing:
- I've added a compressor but opted out of additional EQ for the drums.
-
Next Steps:
- I'll move on to the snaps, which are quite low in the mix.
- I plan to boost the higher frequencies here without making them too nasally.
Adjustments and Final Thoughts
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Boosting Frequencies:
- I'll adjust the gain slightly to add some drive and character, ensuring not to exceed the peak levels on the master bus.
-
Snare and Kick:
- I continuously monitor the overall levels from here to maintain balance in the mix.
By maintaining focus on these elements, I ensure a cohesive and well-balanced sound in my tracks.
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Dov Waterman est compositeur, pianiste et producteur. Il a écrit et conçu le son de films tels que After Earth, Terminator Genisys, Transformers: The Last Knight et The Snowman, et travaille comme monteur audio de bibliothèques de samples et sound designer avec des sociétés comme Native Instruments et SonoKinetic.
Sa série Composition in Logic parcourt la construction d'un morceau de bout en bout dans Logic Pro — des templates et du workflow jusqu'à la synthèse et la programmation de beats, les effets MIDI, le montage et le mix final — pour les producteurs qui veulent transformer leurs idées en disques aboutis.
