background image

 

Tutorial—Mixdown

 

12

 

        

— Tutorial

 

Phase 2: Set Up a Rough Mix

 

The rough mix is only the starting point for the final mix, and it doesn’t have to be 
perfect. The purpose of setting up a rough mix using only levels and panning is to 
give you a reference point on which to base decisions about more detailed pro-
cessing, effects, automation, etc. You shouldn’t spend a lot of time on this phase 
of the mixdown process. But if a fader or pan setting really bugs you, you should 
readjust it to within an acceptable range so that it doesn’t stick out like a sore 
thumb and affect your ability to make appropriate decisions about the rest of the 
mix. Also keep in mind that mixing is really a trial-and-error process, and you’re 
likely to adjust and readjust parameters many times before you’re totally satisfied 
with the results. 

 

 

Start with the Drums

 

Use the channel [ON] keys to turn off all tracks except the stereo drums on 1 and 
2 (leave the STEREO track on, too).

Since the drums are recorded in stereo on tracks 1 and 2, and you’ll want to 
adjust the levels of those tracks simultaneously, it’s a good idea to pair the tracks 
to make adjusting level and other parameters easier. To do this:

 

1.  Press the track 2 [SEL] key while holding the track 1 [SEL] key.

2.  When the CHANNEL PAIRING window appears select the “MONITOR 

1

 

 

2” mode and press [ENTER].

 

The tracks are now paired so that when you move the fader for one track the 
other will automatically follow. Also note that in the MIXER VIEW display the pan 
and routing controls for both channels appear in the same display. 

Now to pan the stereo drum tracks left and right to create a stereo image. There is 
a tendency to pan stereo drum tracks (or any type of stereo track, for that matter) 
hard left and right but, depending on how the drums have been recorded or the 
type of drum module you’re using, this isn’t always a good idea. If the hi-hat is 
way over in one channel and the low floor tom hard over in the opposite chan-
nel, you have an inordinately large drum set. For a more realistic drum image in 

 

INSTANT GRATIFICATION!

 

If you don’t want to set up the rough mix yourself, or simply want to see how we’ve done 
it, recall the scene number 02 “ROUGH MIX” we have provided. Press the [SCENE] key 
(and the [F1] function key if necessary to select the “Scene Mem” page), use the data dial 
to select the scene number 02 “ROUGH MIX”, move the cursor to “RECALL”, press 
[ENTER], select “OK” in the confirmation window and press [ENTER] again. After doing 
this you’ll need to press the MIXER [VIEW] key to go back to the VIEW display.
An alternate method of doing this — without leaving the VIEW display — is to use the 
panel SCENE MEMORY keys. Use the [-] and [+] keys to select the scene to be recalled 
(scene numbers and names appear in the upper right corner of the display), then press 
[RECALL], select “OK” in the confirmation window, press [ENTER] again, and you’re 
done.

While setting up the rough mix it can be useful to set up a repeat loop that covers the 
entire song, or at least a “representative” section of the song that will allow you to easily 
set up the levels and pan positions. Use the A and B markers to specify the beginning and 
end points of your repeat loop, then press the [REPEAT] key to engage repeat playback 
(see page 118 of the operation guide for details).

Tip!

Summary of Contents for AW4416

Page 1: ...PROFESSIONAL AUDIO WORKSTATION E Tutorial...

Page 2: ...soles operating the AW4416 will not be a challenge But if you ve never had the pleasure the power and depth of the AW4416 translation lots of features and flexibility might be a little daunting at fir...

Page 3: ...ctronic Drums Track 13 Add the Bass Track 13 Add the Guitar Tracks 13 Add the Organ Piano Tracks 13 Add the String Tracks 13 Add the Lead Vocal 14 Add the Chorus 14 Listen 14 Save the Song 14 Phase 3...

Page 4: ...ocal 22 Save the Song 23 Phase 5 Finalize the Mix Set Up Automation 24 The Automix 25 Phase 6 Use the Virtual Tracks to Create an Alternate Mix 27 Mastering 28 Step 1 Set Up the Master EQ and Dynamics...

Page 5: ...be recorded could simply be drums and or percussion alone drums and bass or drums plus bass and a rhythm keyboard or guitar part Separation Remember that the more instruments you record via microphon...

Page 6: ...and or acoustic instruments in the home stu dio Quite a number of high quality large diaphragm condenser microphones have become available at very reasonable prices in the last few years Get one But i...

Page 7: ...f the instru ment s sound would otherwise take up a large portion of the recording system s available dynamic range By reducing transient peaks you can effectively record the main body of the signal a...

Page 8: ...SCSI drive number is SCSI 3 If you install a CD RW drive manufactured by Yamaha the SCSI ID will be set to 3 at the factory and we recommend that you leave it at this setting 4 Open the CD tray by pr...

Page 9: ...e Will Save Current song ARE YOU SURE confirmation prompt appears move the cursor to YES or NO and press ENTER to begin the load operation 4 When the progress window disappears the demo song has been...

Page 10: ...lyrics are critical for example you won t want the vocal track buried in the back ground or rendered unintelligible by an excessive wash of reverb How do you want to place the instruments in the ster...

Page 11: ...ne tracks V Trk at the left side of the chart refers to the recorder s virtual tracks there are actually 8 virtual tracks for each recorder track Note that although we ll be using only the main tracks...

Page 12: ...in the same display Now to pan the stereo drum tracks left and right to create a stereo image There is a tendency to pan stereo drum tracks or any type of stereo track for that matter hard left and r...

Page 13: ...d in relation to the drum tracks with their faders at nominal so move fader 4 down to reduce the bass track level by about 5 dB 5 0 on the fader display Add the Guitar Tracks Turn ON channel 5 and 6 T...

Page 14: ...djust the chorus levels while listening to a section of the song during which the chorus parts appear with the lead vocal Turn channels 11 12 and 13 ON then set their fader levels to about 10 0 Pan th...

Page 15: ...e the gain of the 10 kHz shelving EQ to 4 0 dB No need to change F frequency and Q bandwidth INSTANT GRATIFICATION Once again we ve provided a scene you can simply recall to automatically make all the...

Page 16: ...bass track is a bit flabby and lacks punch We ll use EQ to tighten the sound up a little and compression to give the track a little more uniformity and power 1 Press the track 4 SEL key to select the...

Page 17: ...rms of tone the lead guitar part sounds fine the way it is But perhaps we should apply a little compression to even it out a bit Here are the figures do the dialing yourself Lead Guitar Compression Tr...

Page 18: ...iltering to remove rumble from the studio and other low frequency noise that can lead to unclear overall sound Some midrange has been removed to prevent the chorus from get ting in the way of the lead...

Page 19: ...a subtle boost in punch and power Lead Vocal EQ Lead Vocal Compression Save the Song Once again now s a good time to save your work Press the WORK NAVIGATE SONG key to go to the SONG display if neces...

Page 20: ...r 2 We ll only use the AUX 7 sends for this example 2 Press the F2 function key to select the Effect Library page The default Reverb Hall effect is a little too big and spacious for our needs The Reve...

Page 21: ...sually a good idea to avoid adding reverb to bass because the resultant boomy wash of sound can severely compromise the clarity of the mix And that s precisely what we ll do with the So Fine bass trac...

Page 22: ...rings Since the strings themselves are sort of used as a wash or pad type of sound some reverb is essential to fill out the image In short the right amount of reverb can give strings especially the sy...

Page 23: ...tally unplugged or there s a power failure or your pet cat decides to do a mix of his own you ll have to go back and start again Ouch Press the WORK NAVIGATE SONG key to go to the SONG display if nece...

Page 24: ...you record fader channel ON Off pan and EQ automation changes one at a time so you can put together the perfect automix with relative ease For the So Fine automix we ve used a combination of fader ch...

Page 25: ...of unwanted noise can also be removed auto matically by gating a type of dynamics processing in which signals below a specified level are cut off the AW4416 dynamics processors can do this But since t...

Page 26: ...om for the denser arrangement of the bridge section 00 02 36 The level of the lead vocal track is briefly lowered just a bit to soften the impact of the very high notes 00 02 47 Another brief dip in t...

Page 27: ...as follows 1 Press the RECORDER TRACK key 2 Press the F2 function key to go to the V Track page 3 Move the cursor to virtual track buttons 9 2 10 2 and 14 2 and press ENTER each time so that the alter...

Page 28: ...quired To enable the pre programmed mastered automix 1 Press the AUTOMATION AUTOMIX key and if necessary press the F4 key to select the Event List page 2 Move the cursor to the SCENE LIB button on the...

Page 29: ...r EQ The trend these days in popular music is to squeeze as much level onto the final mas ter as possible without making the music sound unnatural sometimes on the other hand unnatural is a desirable...

Page 30: ...h practice You have the tools the AW4416 is about the coolest little mixing and mastering toolkit you can lay your hands on now it s up to you to learn how to use them like a pro Don t be afraid to go...

Page 31: ...gid diaphragm connected to a coil which moves in a magnetic field to transform acoustic sound into electric energy Dynamic microphones are generally rugged and provide consistent performance under a w...

Page 32: ...d in studio recording or live sound but this type of microphone can be useful when you want to capture the main source as well as it s environment room ambience for example in one go Overheads Microph...

Page 33: ...keyboards Karl Christmas Backing vocals Billie Godfrey Bass Finn Day Lewis Drums Andrew Small Recorded at Protocol Studios and Darren s Studios London Mixed at Transmedia Services Ltd Bedford UK Speci...

Page 34: ...YAMAHA CORPORATION V678610 R1 1 IP 36 Pro Audio Digital Musical Instrument Division P O Box 3 Hamamatsu 430 8651 Japan 00 08 7000 AP Printed in Japan...

Reviews: