Fixing phase issues in the mix

Phase correlation is always important in recording and mixing, and if you’re interested in this topic, please read on. I’d like to tell you how I „rescued“ a guitar recording during the mixing stage. Written by Tim Teissen   First of all, I must admit I did the recording myself, using M/S technique. It’s one of my own songs. I used an omnidirectional mic for the mid signal (which is not as usual as using a cardoid pattern but nevertheless possible), and, of course, a figure of 8 for the sides. All in all, I liked the overall sound, which,…

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Exporting stems and mix-buss compression – A workaround

Some mixing engineers like to have compression or even limiting on their mix-buss. This is fine unless you want to export your mix into stems, especially when you decided for stem-mastering of your song. (If you don’t know what stem mastering is, please read this first.) The problem is as follows: Let’s say you have your mixdown (brown) split into two stems, a so-called TV-stem (without vocals, here: blue), and all the vocals (yellowish). When your mixing engineer exports these two stems (blue, yellow), your mix-buss compressor (or limiter) behaves differently than during mixdown (where it is fed by the…

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Why you should care about mastering before your mix is done

Mastering is the last stage before your music is being published. During mastering, the sound of your production is enhanced. And it’s the last chance to correct flaws and weaknesses of your song’s mix. As a musician producing your own music, there are some mistakes you can make that lower your chances of getting really pro-level results. Therefore, you should think about mastering before you’re finished the mix, and I’m going to tell you why. I hope my following advice is useful and worth reading on. 1. Make sure your mixing engineer does the mixdown of your song in the…

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Vote for my song!

Ich nehme mit meinem Song “Fehler im System”, einem Vorboten meines Albums, an einem Songwriting- & Produktionswettbewerb teil. Ich habe ihn komponiert, spiele (fast) alle Instrumente selbst und habe ihn selbst produziert & gemixt. Hört mal rein: http://songcheck.hofa.de/index.php?p=song&id=934 Wenn er euch gefällt, gebt ihm bitte eure Stimme! Danke.

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Working with opto-style compression (2): mixing a song

As I promised (see my first post on the topic), I’m going to reveal some secrets about my last mix project. It’s kind of a DIY music video, made for my youtube channel. It’s an acoustic ballad, played by Julia Motz and me on two guitars. If you like our music, check out www.motzundteissen.net. Now here’s how the recording was made: We recorded it on a 4-track basis: 2 mono guitars, 2 mono vocals. That’s it. No compression oder EQing during tracking. While mixing the audio track for the video, I processed EVERY track as follows: phase alignment between the…

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Working with opto-style compression (1): bass

ONE LA500

Opto compressors are said to sound very musical, especially when used with bass instruments and/or vocals. In my live rig, I’ve been using an opto compressor pedal for quite a while now, it makes my bass or guitar sound thick and warm, while preserving the punch of the instrument. In the studio, I’ve recently had the opportunity to work with the IGS ONE LA500 (see picture), which is a single channel optical compressor just like the “good old” Teletronix LA-2A, a compressor heard on countless records since the 1960’s. Soon, I’m going to post a mix I finished a few…

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