Production Advice

This post will tell you everything you need to know about mixing.

OK, not really. If that was possible there would be no need for this site ! In fact, it won’t even  scratch the surface of everything there is to say about music and audio mixing – but it will tell you ten fundamental rules that – if you follow them – will enable you to make your mixes sound better and achieve the best possible results from your music and audio productions, every time.

But before I get to the rules, I want to point out a few things that DON’T matter. At least, no-where near as much as the things on the list. These things which are NOT important to achieving a great mix are:

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One of the most common pieces of advice I give people is to include some real instruments in their mix. This documentary about multi-instrumentalist Dominik Johnson proves the point perfectly. Just listen to all those beautiful textures, the unique space and character of the different recordings, the superb performances – this, folks is how it’s done.

But not all of us are lucky enough to be able to play so many instruments – I count myself lucky that I can play just one ! That doesn’t mean you can’t get some of this flavour into your recordings, though.

Want some real strings in your mix ? Talk to Pete Whitfield at Real Strings. For bass I can recommend the one and only Sigurdór Guðmundsson. How about a virtuoso harmonica player ?!? That would be Steve Lockwood. You can even have a full orchestra, using a company like Tadlow Music, if the budget will stretch to it. Check this wiki for more ideas !

My point is, the internet makes all of these options a possibility for anyone’s music – and perhaps most importantly, you get a superb musician and their performance into the bargain. There are even companies who specialise in creating entire arrangements from your demos.

And if you don’t have any kind of budget for this kind of thing – record things yourself ! Maybe you know a friendly amateur violinist or cellist. Just adding one real instrument into a string pad mix can transform it. Or play some percussion – instruments like shakers and tambourines are very affordable – you can even make your own. Having small, real details like this can bring an otherwise sequenced and sampled backing to life, adding a crucial human element, and some of the atmosphere that only real space can bring.

I have to be honest, I have mixed emotions about this one !

On the one hand, Foo Fighters are doing what I often advocate – recording in a real space; relying on performance both in tracking and in mixing rather than computers; setting limitations to add inspiration; going for something raw and honest over something polished and soul-less…

On the other hand, they recorded and mixed their new album in a garage ! With no acoustic treatment, no professional acoustics, and only razor-blades for editing…

This record will either sound very cool, or very bad.

What do you think ?

PS. One ironic thing about this allegedly “lo-fi” setup, is the cost of analogue tape and maintenance on the machines alone probably cost more than many of us spend on recording albums in their entirety…!

And what does this motley crew have to do with answering them ?!?

Here are some questions people ask me all the time.

• Can I really master my own music ? Should I consider going to a professional mastering engineer ?
• Can you recommend any plugins for mastering ? And are there any that are free ?!?
• How can I measure loudness, and how loud is too loud ?

If you’d like to know my answers to these questions, you have two options:

1. Use the Search facility here and on my Mastering Media blog
2. Listen to the interview I just did with Joe Gilder – it’s one of nine included in his excellent Home Recording Tactics series.

What is Home Recording Tactics ? In a nutshell, Joe went out and interviewed nine different engineers (in the picture above !) and asked them questions he wanted the answers to, like my examples and many more. There’s so much there that I still haven’t had time to listen to all of the interviews yet, but the ones I have heard are great, and I can’t wait to listen to the rest.

I could list all the highlights here, but it’s probably simpler to just send you over to Joe’s page so you can check it out for yourself. No, the interviews aren’t free – but they are insanely good value at the moment, and if you decide you want to get them, you’ll be supporting Production Advice at the same time.

The thing I liked best about my own interview, was the fact that it was a real conversation. I had some ideas about what we would talk about going into it, but like all the best conversations, when Joe and I got talking it went in some unexpected and cool directions !

I genuinely think all the interviews are packed with great information. If you’d like to find out more, click here.

Or, there’s always the Search box

[Update - Joe has allowed me to give my own interview to Production Advice readers for free. If you'd like to check it out, click here.

This is a guest post by Joe Gilder from Home Studio Corner. Many of you will already know Joe – if not, I strongly recommend you check him out – his site and twitter feed are crammed full of useful real-life advice to make your recordings and mixes sound better.

There are HUNDREDS of acoustical issues going on in your studio. And it may not make sense for you to invest in completely treating your space acoustically.

That’s fine.

But if there was ONE thing I would do if I were to do it all over again, I’d address one key issue:

FLUTTER ECHO

Flutter echo is that weird sound you hear when you clap your hands in a bare room. If there are any parallel walls (and there almost always are), you’ll hear the sound waves bouncing back and forth, making this “fluttering” sound.

[Ian says - I always think the flutter echo from a clap makes a "zoing" noise, but maybe that's just me...!]

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