MUSIC194B

Animation Project

194B Post Production Project

Video 

JNKYRD 2.mov

Foley Link

Download Foley Sound Effects HERE

Download the Foley sounds and place them in the track.

Label Session: "Post Production Project_Your Name"

Placements

1. :05 Intro Music until the LOGO fades out. Fade music with LOGO 

2. :06 Outside sounds of wind and a distant city in the background while the 1st VoiceOver is heard

3. :12 Door opens and closes

4. :17 Louder city sounds at 

5. :22 Background audio changes for the new scene

6. :30 Background audio changes for the new scene

7. :39 Walking sounds

8. :43 Sound when the Cat Mouth/Door opens. Different background audio.

9. Music that suggests the Sutton Street Gang is trouble

10. :53 Background sound changes to the inner-city and music stops

11. :59 Remove temp music and replace with your own constructed beat from Apple loops. You must have multiple loops to create a beat. 

12. Mix the track together to make it sound convincing.

13. BONUS: Add in any other sound effects that you like.

Upload the compressed Parent Folder to the class Google Drive folder.

Mixing a Progressive Rock band, Big Big Train

• This song is titled "Transit of Venus Across the Sun"

• Title your session Transit of Venus_Your Name

• This band has a traditional rock band with drums, bass, guitars, keyboards and vocals but also has a horn section and string section.

• This project will require you to use all of the skills that you have learned so far this semester.

• You will have to consider the sound of a classical orchestra and mix it in with a rock band instrumentation

• The entire session was tracked live at a 48K / 24 bit sample rate through a Midas console via MADI to the JoeCo Black Box Recorder.

• Download the tracks HERE

• Upload the session to our class Google Drive

RENAME AND ORGANIZE THE TRACKS FOR THE PROG BAND SESSION. 

• Create track stacks for:

• Vocals

• Keys

• Guitars

• Horns

• Bass

• Drums

Here is a video of the piece that you will be mixing over the next 2 weeks.

Mix setup Tutorial

MIXING TUTORIAL

Vocal Tuning

• Download this folder and import the tracks into a new Logic session bu clicking HERE.

• Name the session "Vocal Tuning_Your Name"

• Today we will be tuning vocals with Logic's Flex Pitch and Melodyne.

• Upload your session to the class GoogleDive HERE

Compare Melodyne Versions HERE

Melodyne Quick Start Guide

Hip-Hop - Window

DIRECTIONS

• Download the tracks HERE

• Name the session "Window_Your Name"

• Edit and Mix the audio as you did in other sessions

• Clean up tracks

• Add EQ to the tracks or track stack

• Add Compression to the tracks or track stacks

• Add Reverb, Delay, Modulation or other effects on a Bus (Parallel Process)

• Add Distortion to the tracks, tracks stacks or on a Bus, if needed

• Upload the session to the class Google Drive

Mix a Film Soundtrack

Download the tracks HERE

Use all of the tools that you have learned this semester including:

• Title Session "Soundtrack_Your Name"

• Rename tracks

• Organize tracks

• Set Levels

• Pan

• EQ

• Compression

• Time Based Effects

• Modulation Effects

• Automation 

• Make it convincing

• Export the session as WAV and MP3 files.

VIDEO TUTORIAL

Experiment with Mastering a session. 

Mastering is the final step in making a song sound polished and ready to share. It balances the overall sound, makes sure it plays well on all kinds of speakers, and gets it to a good, competitive volume.

• Compressor: Controls the overall dynamics by making loud parts a little quieter and quiet parts a little louder, so the song feels balanced and smooth.

• EQ (Equalizer): Adjusts the overall tone by boosting or cutting certain frequencies, helping the track sound clear, full, and pleasant.

• Multimeter / Frequency Analyzer: Shows you what’s happening in your audio — like a visual map of loudness and frequencies — so you can see if your track is balanced and not too loud or too quiet in any area.

Directions:

• Download the session HERE

• Rename your session Parent Folder and Session icon to "Mastering_Your Name"

• You will see several plugins already in the session with not parameters adjusted as well as a Mastering plugin on the Stereo Out

• Turn on the Mastering plugin and let it analyze the track. 

• Listen to the result and change some parameters of the plugin and make changes to taste.

  • Character

  • Dynamics

  • EQ

• Turn off the Mastering plugin

• Start with the Channel EQ, making overall changes to the track.

• Adjust the Multipressor and Channel EQ to create a better Master than the Mastering Assistant

  • Experiment with having an EQ before and after the Multipressor

• Turn on and adjust the Limiter

• Export / Bounce MP3 and WAVE files

• Upload the Compressed Parent Folder to our class Google Drive HERE.

Your uploaded session should have adjusted the parameters on all of the plugins and your goal is to make a better sounding mastered track than Logic's Mastering plugin. The Mastering plugin should be off but adjusted in your uploaded session.

MultiMeter in Logic Pro for Mac

MultiMeter provides a collection of professional gauge and analysis tools in a single window. It includes:

• An Analyzer to view the level of each 1/3-octave or major second frequency band.

• A Goniometer for judging phase coherency in a stereo sound field.

• Level and Loudness Meters to view the signal level and perceived loudness (conforming to the AES 128 specification) for each channel.

• A Correlation Meter to spot mono phase compatibility.

• Peak parameters.

You can view either the Analyzer or Goniometer results in the main display area. Use the Analyzer or Goniometer buttons to switch between modes and to set parameters. The Loudness/Level and Correlation meters are always visible in the Full display, as are several common parameters.

You can set a size by dragging the lower corners of the plug-in window. The View pop-up menu provides further Display, Meters, or Full items that show a partial view or the complete plug-in interface. Control-click in the main display when a partial view is enabled to switch between modes.

To add MultiMeter to your project, choose Metering > MultiMeter in a channel strip Audio Effect plug-in menu. See Add, remove, move, and copy plug-ins in Logic Pro for Mac.

Although you can insert MultiMeter directly into any channel strip, it is more commonly used in the master channel strip of Logic Pro—when you are working on the overall mix.

There is also a surround version of MultiMeter, with parameters for each channel and a slightly different layout. See Surround MultiMeter overview.

Multipressor frequency band controls in Logic Pro for Mac

Multipressor parameters are grouped into three main areas: the graphic display in the upper section, the set of controls for each frequency band in the lower section, and the output parameters on the right.

Frequency band parameters

• Compression Threshold fields: Set the compression threshold for the selected band. Setting the parameter to 0 dB results in no compression of the band. This parameter can also be set with the upper arrow to the left of each level meter.

• Compression Ratio fields: Set the compression ratio for the selected band. Setting the parameter to 1:1 results in no compression of the band.

• Expansion Threshold fields: Set the expansion threshold for the selected band. Setting the parameter to its minimum value (−60 dB) means that only signals that fall below this level are expanded. This parameter can also be set with the lower arrow to the left of each level meter.

• Expansion Ratio fields: Set the expansion ratio for the selected band.

• Expansion Reduction fields: Set the amount of downward expansion for the selected band.

• Peak/RMS fields: Set a smaller value for shorter peak detection, or a larger value for RMS detection, in milliseconds.

• Attack fields: Set the time before compression starts for the selected band, after the signal exceeds the threshold.

• Release fields: Set the time before compression stops on the selected band, after the signal falls below the threshold.

• Band on/off buttons: Turn each band on or off. When enabled, the button is highlighted, and the corresponding band appears in the graphic display area above.

• Bypass buttons: Bypass the selected frequency band.

• Solo buttons: Turn on to hear compression on only the selected frequency band.

• Level meters: The bar on the left shows the input level, and the bar on the right shows the output level.

Mastering Assistant overview in Logic Pro for Mac

Mastering Assistant is a plug-in designed to make your final mix sound great across any playback device. By meticulously analyzing audio, it automatically fine-tunes the sound through dynamic adjustments, precisely balanced frequency corrections, and additional sonic enhancements. Mastering Assistant also provides dynamic processing and spectral shaping inspired by boutique analog hardware devices used by professional mastering engineers. Using Mastering Assistant on your final mix will help to ensure that your project meets industry-specified loudness levels that can prepare it for distribution on streaming services like Apple Music.

Recommended workflow

The following steps map out the typical workflow for mastering a project using Mastering Assistant:

• Finish mixing your project, making sure everything sounds balanced and dynamically consistent and has enough headroom so that your project doesn’t clip.

• Add Mastering Assistant to the stereo output channel strip. See Add Mastering Assistant to a project in Logic Pro for Mac.

• Let Mastering Assistant analyze your project:

  • When you add Mastering Assistant, an analysis is triggered, and its internal parameters are adjusted to produce the best results.

  • Mastering Assistant analyzes the whole project unless you set a cycle, in which case it will analyze only the part of the project within the cycle area.

• Listen to your project to hear how Mastering Assistant has improved the sound, while noting any manual changes you’d like to make.

• Open Mastering Assistant and adjust essential parameters such as loudness, frequency distribution, and stereo width, or change the overall sound by selecting a character preset. See Mastering Assistant parameters in Logic Pro for Mac.

• When you’re satisfied with the sound of your project, you can bounce your project from the File menu. See Bounce a project to an audio file in Logic Pro for Mac.

Final Session Proposal

• Post a link to the session that you are going to choose for your final mix. 

• Choose a song that has a full band including drums and whatever else sounds good to you. 

• Choose from seasons 1-7 from the Telefunkin site below. 

• https://www.telefunken-elektroakustik.com/livefromthelab

• DO NOT include all of the tracks.

  • I only want the link to the page where I can listen to your choice.

• DO NOT start your final session until I have approved your proposal.

• DO NOT submit you final session to this assignment

  • You can submit your Final in Week 14-15.

• For your information, the final session instructions are below and you can submit it in the week 14 Module but I will accept it through week 15. 

  • In week 15 and 16 we will listen to each others mixes and I will give my comments on how to improve your mix.

  • As long as you complete all of the steps you will receive full credit for the assignment regardless of my artistic comments.

  • If you skip steps then points will be deducted.

Final Session

• Your assignment is to create a full mix of the session that you chose.

• You are free to mix as you like as the skill of mixing takes some time of trial and error to find a sound that you're happy with.

• That being said, I will be grading the Finals based on your ability to follow the directions that I have presented below.

• The sessions have different instrumentation so one set of directions will not apply to all sessions.

• You need to start the same way as you did for the Mid-Term session but then you will go farther and complete a mix.

• REMEMBER! THESE MULTI-TRACKS ARE FOR EDUCATIONAL PURPOSES ONLY AND SHOULD NOT BE SHARED ONLINE

• Upload the session to our class GOOGLE DRIVE LINK

DIRECTIONS:

Follow these directions in order.

There are always exceptions but using this as a guide you will have a pathway to achieving a decent final mix as long as you take your time and enjoy the process.

ORGANIZING AND EDITING TRACKS: 

1. Create a new session and create an Audio File

2. Save the session as a FOLDER

3. Name the track - "FINAL_Session Name_Your Name" (first and last name) 

4. Rename the tracks to eliminate the numbers before the track names 

   1. Abbreviate using CAPS (ex. GTR 1, GTR 2, SN TOP, SN BOT etc.....)

   2. You will have to look at your track and come up with abbreviations that make sense. 

      1. Use all caps and abbreviate as much as possible so you can read the track names in the mix window.

5. Re-arrange the tracks in this order from the top to the bottom 

   1. Main Vocals

   2. Background Vocals

   3. Single note instruments such as violin and wind instruments

   4. Keyboards

   5. Guitar

   6. Bass

   7. Kick

   8. Snare (Top, Bottom and Rim)

   9. Toms

   10. Hi-Hat

   11. Cymbals

   12. Overheads

6. Create Track Stacks to minimize the amount of plugins that you will need 

   1. If you have 6 background vocal tracks, create a track stack for them and use 1 EQ and 1 Compressor on the Stack instead of each individual track.

   2. Send a Bus from the Track Stack for Parallel processing using Reverb, Delay or other Effects

7. Edit the silence when necessary. Some of the tracks have been edited and only need minimal editing to clear noise. Others will require more editing. 

8. Group tracks to do edits as we did in previous sessions to make editing of multiple tracks easier.

   1. The takes need to be the exact same material or copies of the same take for this to make your life better.

   2. If you track was already edited and has not noise between moments of audio then you can skip this step

MIXING: 

1. Start with the drums, Kick and Snare first then Toms (pan them) and finally Cymbals/Overheads

   1. I will give an example in class

2. Add in the Bass and get it to be approximately the same level as the Kick drum 

   1. EQ - Filter out everything under 100hz (high pass filter) and as long as its not a melodic bass line filter out everything above 4000-5000hz (Low pass filter)

3. Add in Guitars and or Keyboards. 

   1. EQ - Filter out everything under 100hz (high pass filter)

      1. EQ the everything else to taste

4. Add single note instruments one at a time and EQ as needed. 

   1. Filter out everything under 100hz (high pass filter) 

   2. If you have multiple single note instruments you will want to put them in a track stack and possible EQ together.

   3. If you have a horn or string section you can still put them in a Track Stack but you will probably want to EQ them separately. 

5. Add in Vocals, if applicable 

   1. EQ - Filter out everything under 100hz (high pass filter) 

   2. EQ the everything else to taste

6. Pan instruments Left and Right (5 points)

   1. You will do this for Background vocals, multiple guitars, horn and string sections, Tom drums, Overheads, High Hat and any other supportive instrument where there are multiple instances of it. 

   2. You might choose to pan a single instrument Left or Right if it help balance the sound.

   3. The Main Vocal, Bass, Kick and Snare should typically be left in the middle

7. Compress Track Stacks or individual tracks as needed 

8. Reverb. Turn up the BUS SEND so the Reverb tracks get the signal. 

   1. Create a bus send to a Reverb track the Guitar, Piano and Background Vocal track stacks

   2. Create a bus send to a Reverb track on the Main Vocal track

9. Delay. Turn up the BUS SEND so the Delay track get the signal. 

   1. Create a bus send to a Delay track on the Main Vocal Track

10. IF YOU PUT REVERB, DELAY ETC ON THE MAIN TRACK OR TRACK STACK YOU WILL LOSE POINTS (-5 points every time this happens)

    1. There are times where you might do this but DON'T do it on this assignment.

11. Export the track as an MP3 and Wave file. 

    1. Turn off OVERLOAD PROTECTION before exporting.

12. Submit a link to your Google or One Drive in this assignment to receive credit.

EXPORTING: 

1. Check the session length to make sure there isn't a bunch of dead space at the end

2. Turn OFF normalization

3. Check your start and End points for the export

4. Export WAV and MP3 files

I will supply a General EQ template for apply EQ to various instruments in another page.

Final Session

• Your assignment is to create a full mix of the session that you chose.

• You are free to mix as you like as the skill of mixing takes some time of trial and error to find a sound that you're happy with.

• That being said, I will be grading the Finals based on your ability to follow the directions that I have presented below.

• The sessions have different instrumentation so one set of directions will not apply to all sessions.

• You need to start the same way as you did for the Mid-Term session but then you will go farther and complete a mix.

• REMEMBER! THESE MULTI-TRACKS ARE FOR EDUCATIONAL PURPOSES ONLY AND SHOULD NOT BE SHARED ONLINE

• Upload the session to our class Google Drive 

DIRECTIONS:

Follow these directions in order.

There are always exceptions but using this as a guide you will have a pathway to achieving a decent final mix as long as you take your time and enjoy the process.

ORGANIZING AND EDITING TRACKS: 

1. Create a new session and create an Audio File

2. Save the session as a FOLDER

3. Name the track - "FINAL_Session Name_Your Name" (first and last name) 

4. Rename the tracks to eliminate the numbers before the track names 

   1. Abbreviate using CAPS (ex. GTR 1, GTR 2, SN TOP, SN BOT etc.....)

   2. You will have to look at your track and come up with abbreviations that make sense. 

      1. Use all caps and abbreviate as much as possible so you can read the track names in the mix window.

5. Re-arrange the tracks in this order from the top to the bottom 

   1. Main Vocals

   2. Background Vocals

   3. Single note instruments such as violin and wind instruments

   4. Keyboards

   5. Guitar

   6. Bass

   7. Kick

   8. Snare (Top, Bottom and Rim)

   9. Toms

   10. Hi-Hat

   11. Cymbals

   12. Overheads

6. Create Track Stacks to minimize the amount of plugins that you will need 

   1. If you have 6 background vocal tracks, create a track stack for them and use 1 EQ and 1 Compressor on the Stack instead of each individual track.

   2. Send a Bus from the Track Stack for Parallel processing using Reverb, Delay or other Effects

7. Edit the silence when necessary. Some of the tracks have been edited and only need minimal editing to clear noise. Others will require more editing. 

8. Group tracks to do edits as we did in previous sessions to make editing of multiple tracks easier.

   1. The takes need to be the exact same material or copies of the same take for this to make your life better.

   2. If you track was already edited and has not noise between moments of audio then you can skip this step

MIXING: 

• Most instruments or track stacks should have an EQ and Compressor

• The EQ should be adjusted to the instrument. Only a High or Low pass EQ is not acceptable in most cases. 

• The Snare or snare stack should have a bus to a snare only reverb

1. Start with the drums, Kick and Snare first then Toms (pan them) and finally Cymbals/Overheads

   1. I will give an example in class

2. Add in the Bass and get it to be approximately the same level as the Kick drum 

   1. EQ - Filter out everything under 100hz (high pass filter) and as long as its not a melodic bass line filter out everything above 4000-5000hz (Low pass filter)

3. Add in Guitars and or Keyboards. 

   1. EQ - Filter out everything under 100hz (high pass filter)

      1. EQ the everything else to taste

4. Add single note instruments one at a time and EQ as needed. 

   1. Filter out everything under 100hz (high pass filter) 

   2. If you have multiple single note instruments you will want to put them in a track stack and possible EQ together.

   3. If you have a horn or string section you can still put them in a Track Stack but you will probably want to EQ them separately. 

5. Add in Vocals, if applicable 

   1. EQ - Filter out everything under 100hz (high pass filter) 

   2. EQ the everything else to taste

6. Pan instruments Left and Right (5 points)

   1. You will do this for Background vocals, multiple guitars, horn and string sections, Tom drums, Overheads, High Hat and any other supportive instrument where there are multiple instances of it. 

   2. You might choose to pan a single instrument Left or Right if it help balance the sound.

   3. The Main Vocal, Bass, Kick and Snare should typically be left in the middle

7. Compress Track Stacks or individual tracks as needed 

8. Reverb. Turn up the BUS SEND so the Reverb tracks get the signal. 

   1. Create a bus send to a Reverb track the Guitar, Piano and Background Vocal track stacks

   2. Create a bus send to a Reverb track on the Main Vocal track

9. Delay. Turn up the BUS SEND so the Delay track get the signal. 

   1. Create a bus send to a Delay track on the Main Vocal Track

10. IF YOU PUT REVERB, DELAY ETC ON THE MAIN TRACK OR TRACK STACK YOU WILL LOSE POINTS (-5 points every time this happens)

    1. There are times where you might do this but DON'T do it on this assignment.

11. Export the track as an MP3 and Wave file. 

    1. Turn off OVERLOAD PROTECTION before exporting.

12. Upload to the class Google Drive folder HERE

EXPORTING: 

1. Check the session length to make sure there isn't a bunch of dead space at the end

2. Turn OFF normalization

3. Check your start and End points for the export

4. Export WAV and MP3 files

Using EQ on Common Instruments

These are general EQ guidelines.

Ex. when dealing with Strings, Horns or Toms some are higher pitched and others are lower pitched so listen and adjust your EQ accordingly.

• Use the this page as a reference when working on sessions.

  • This is a guide not hard rules

  • Use your ears

EQ Guidelines

1. Bass Guitar

• 50 – 80 Hz: Bottom

• 700 Hz: Attack

• 2.5 kHz: Snap

2. Kick Drum

• 50 – 60 Hz: Bottom

• 400 Hz: Hollowness

• 3 – 5 kHz: Beater attack

3. Snare

• 120 – 240 Hz: Fatness

• 900 Hz: Point/Attack

• 5 kHz: Crispness

• 10 kHz: Snap

4. Rack Toms

• 240 – 500 Hz: Fullness/Body

• 5 – 7 kHz: Attack

5. Floor Toms

• 80 Hz: Fullness/Boom

• 5 kHz: Attack

6. Hi-Hat and Cymbals

• 200 Hz: Clang

• 6 – 10 kHz: Sparkle/Sizzle

7. Electric Guitar

• 80 Hz and below: Muddiness

• 240 – 500 Hz: Fullness

• 1.5 – 2.5 kHz: Presence

• 3 – 8 kHz: Brilliance

8. Acoustic Guitar

• 80 Hz: Fullness

• 240 Hz: Body

• 2 – 5 kHz: Presence

9. Organ

• 80 Hz: Fullness

• 240 Hz: Body

• 2 – 5 kHz: Presence

10. Piano

• 80 Hz: Fullness

• 2.5 kHz: “Hony Tonk”

• 3 – 5 kHz: Presence

11. Horns

• 120 Hz: Fullness

• 500 Hz: Honk

• 5 kHz: Piercing

12. Vocals

• 120 Hz: Fullness

• 240 Hz: Boominess

• 4 – 7 kHz: Sibilance

• 5 kHz: Presence

• 10 – 15 kHz: Air

13. Strings (General)

• 240 Hz: Fullness

• 7 – 10 kHz: Scratchiness

Here's a simple EQ chart for violin, viola, and cello as a starting point. Every recording and mix is unique, so these are general settings.

VIOLIN:

• Cut around 250-400 Hz to reduce muddiness and boxiness.

• Boost around 2-5 kHz to add clarity and presence.

• Optional boost around 8-10 kHz for additional sparkle and air.

VIOLA:

• Cut around 200-300 Hz to reduce muddiness and boominess.

• Boost around 1-2 kHz for clarity and definition.

• Optional boost around 5-7 kHz for brightness and presence.

CELLO:

• Cut around 100-200 Hz to reduce muddiness and excess low-end.

• Boost around 500 Hz to add warmth and body.

• Optional boost around 2-3 kHz for clarity and articulation.

• Optional cut around 8-10 kHz to reduce excessive brightness.

14. Conga/Percussion

• 200 Hz: Ring

• 5 kHz: Slap

Further EQ Tips

Using this list of important frequencies, you can experiment by boosting and cutting to achieve the desired result. For example, you may want to pull some “boom” around 240 Hz out of a vocal if it’s clashing with the low end. Likewise, you may need to boost some presence around 5 kHz to make it stand out.

Remember that this is a how to EQ guideline–not a list of hard and fast rules. No two mixes, so sweep above and below the recommended frequencies to find what works best in your specific mix.

Also, experiment with and listen to different octaves of suggested frequencies. If a floor tom’s attack is somewhere around 5 kHz, see what’s happening at 2.5 kHz. When a kick drum’s hollowness is at approximately 400 Hz, listen to what’s occurring at 200 or 800 Hz as well.

• It’s advisable to use a narrow bandwidth (Q) when cutting and a broader one when boosting. Boosting with a narrow Q has the potential to make a frequency stick out in an undesirable way. On the other hand, cutting with a narrow Q means we’re pulling out a particularly offensive tone.

• Rolling off an element’s bottom end will push it forward in the mix. Rolling off the top end will push it back.

• EQ for size when dealing with fewer instruments in a mix. When mixing a 4- or 5-piece rock band, for instance, every instrument should sound quite large.

• In a dense mix with many instruments, each one should sound much smaller. This will help them all fit together in an appropriate way.

• In the same way that boosting with a narrow Q will cause one frequency to jump out of a mix, boosting a lot of a single frequency will do the same. It’s generally advised to boost a little bit of two similar frequencies than a lot of one.

• Perhaps most importantly, don’t forget the context of your mix. Making an instrument sound fantastic soloed doesn’t guarantee that it will fit with the rest of the elements. In fact, you may find that even though it sounds wonderful by itself, it sits very poorly with the rest of the instruments. Frequently un-solo elements to ensure the EQ moves you’re making suit the full mix.

Watch this video for some helpful tips!

This information came from https://producelikeapro.com/

There is a lot of other great information there. 

Now that you know your way around Logic and have an idea of what you want to do sonically this should really help you when searching for tips online. 

5 EQ Mistakes We Make Mixing cheat sheet.pdf 

Mixing a String Quartet

Download the string quartet tracks HERE.

Directions

• Import into the session

• Name the session "String Quartet_Your Name"

• Rename and order the instruments like this:

  • Violin 1

  • Violin 2

  • Viola

  • Cello

• Create Track Stack named "Quartet"

• Mute empty space where other instruments are playing

• Pan

• EQ

• Add Automation in the loud section so it's not overwhelming. 

• Add Reverb from the track stack.

• Light compression on the Track Stack

• Export as WAV and MP3

  • 16 Bit

  • 44.1 Sample Rate

  • Turn off Normalization

  • Select PCM and MP3 to export a wave file and MP3 at the same time

  • See the picture below.

• Upload the Parent Folder to the class Google Drive

Some tips for mixing

EQ Settings

Here's a simple EQ chart for violin, viola, and cello as a starting point. Every recording and mix is unique, so these are general settings.

VIOLIN:

• Cut around 250-400 Hz to reduce muddiness and boxiness.

• Boost around 2-5 kHz to add clarity and presence.

• Optional boost around 8-10 kHz for additional sparkle and air.

VIOLA:

• Cut around 200-300 Hz to reduce muddiness and boominess.

• Boost around 1-2 kHz for clarity and definition.

• Optional boost around 5-7 kHz for brightness and presence.

CELLO:

• Cut around 100-200 Hz to reduce muddiness and excess low-end.

• Boost around 500 Hz to add warmth and body.

• Optional boost around 2-3 kHz for clarity and articulation.

• Optional cut around 8-10 kHz to reduce excessive brightness.

Be careful not to over-EQ or cut too much.

MIXING

Mixing a classical string quartet requires careful attention to detail to capture the nuances and dynamics of each instrument.

Here's an overview of how to approach the mix using EQ, reverb, and light compression:

1. EQ: Use a transparent and surgical EQ to shape the sound of each instrument. Start by identifying and reducing any frequency clashes or resonances that may occur between the instruments. For example, you can cut any muddiness in the lower midrange of the violins and viola, or tame any boominess in the cello's low end. Consider gentle boosts in the