Cheez
Moderator
For those who compose/write songs/sequence, how do you do mixing? All along, I've always been mixing directly from my midi tracks - ie do all my mixing from my softsamplers/softsynths via midi, and mix down directly to audio. I didn't realise that this is not the ideal - as there are a lot of processing and post-production that will be missed in this process. However, there's a sort of workflow for composers and writers that we follow to make things easier while we write. How do you overcome that? It will also be great to have sound engineers to chip in on what you think is the ideal from your perspective. I recall a musical I arranged for 10 years ago - I rendered everything to a stereo audio track. Then during recording with live vocals, the studio engineer was really upset because he said he can hardly do anything to the "damage" I've caused in my 1 hour track!!!!
Here goes. My "new realised" method now becomes:
1. Set up template of instruments within DAW. At this stage, each instrument's volume/panning is already fixed to a listener's perspective. I sequence as I write and layer as I go, so hearing how it should sound like right from the start is crucial.
2. Sequencing and writing step. Will not go into detail (as there's an old thread where we discussed extensively about this)
3. Mixing step. I realised that the actual (or final) mixing should really be done in audio, not midi. Step 1 is hence not real mixing - but getting a sort of perspective that helps me to write. In the mixing step, I would:
4. Reset all panning to center. Reset all volume for every instrument. Each track is played solo and volume set so that masters meter would be at least -12dB for each track.
5. Bounce individual midi tracks into individual audio tracks.
6. Mix using audio + processing.
7. Listen very carefully. Sometimes I would discover after processing (which becomes more evident sometimes) that certain parts require changing (e.g. lack of tightness of bass guitar and kick drum). I would go back into the midi track and make changes, and re-bounce to audio track. Or if I find certain discrepancies with volume - so instead of just applying compression, I can go back again to the midi to edit certain midi note velocity, then re-bounce.
8. Master.
For sound engineers, when somebody sends you an OMF file for mixing and mastering, would each track be how it is as described?
Here goes. My "new realised" method now becomes:
1. Set up template of instruments within DAW. At this stage, each instrument's volume/panning is already fixed to a listener's perspective. I sequence as I write and layer as I go, so hearing how it should sound like right from the start is crucial.
2. Sequencing and writing step. Will not go into detail (as there's an old thread where we discussed extensively about this)
3. Mixing step. I realised that the actual (or final) mixing should really be done in audio, not midi. Step 1 is hence not real mixing - but getting a sort of perspective that helps me to write. In the mixing step, I would:
4. Reset all panning to center. Reset all volume for every instrument. Each track is played solo and volume set so that masters meter would be at least -12dB for each track.
5. Bounce individual midi tracks into individual audio tracks.
6. Mix using audio + processing.
7. Listen very carefully. Sometimes I would discover after processing (which becomes more evident sometimes) that certain parts require changing (e.g. lack of tightness of bass guitar and kick drum). I would go back into the midi track and make changes, and re-bounce to audio track. Or if I find certain discrepancies with volume - so instead of just applying compression, I can go back again to the midi to edit certain midi note velocity, then re-bounce.
8. Master.
For sound engineers, when somebody sends you an OMF file for mixing and mastering, would each track be how it is as described?