reduce unwanted rumble, between 180 and 250Hz to
reduce boxiness.
Compressor:
Attack around 50mS; Release, around 0.4S,
Ratio, between 4:1 and 12:1.
KEYBOARDS
• Most electronic keyboards can be plugged directly into
the line inputs of the mixing console.
• Bear in mind that the majority of contemporary
synthesizers etc, have stereo outputs and will require two
mixer channels.
• Most synthesizer sounds can be used without
compression, though they do benefit from effects such as
reverb or chorus.
• Overdriven keyboard sound may be created by feeding
the signal via guitar recording preamp.
H. Planning a Session
• You have a lot to remember during a session, so create a
track sheet to keep a log of what instrument is recorded
onto what tape track, plus other relevant information.
• Record rhythm sections first; drums, bass, and rhythm
guitar.
• Add vocals, solos, and additional instrumentation as
overdubs.
• Decide whether you want to add effects at the mixing
stage or while recording. If you can, try to keep a copy of
the original “dry signal” on tape. You may wish to remix
at a later date!
• When recording vocals, ask the singer what instruments
they most need to hear in the headphone mix.
I. Creating a Mix
Go into ‘neutral’ before you start off -
• Set all the Aux Sends to zero.
• Set all EQ controls to their central positions.
• Pull all the faders down.
• All routing buttons ‘up’.
Organize your Subgroups
• Put logical groups of sounds together.
• Route drums to a stereo sub-group.
• Consider grouping backing vocals.
• Group multiple keyboards.
Metering
• Use the PFL metering system for each channel in turn to
optimize the gain setting.
• The PFL should just go into yellow band of the meter
section, although peaking into the red area is acceptable.
• Check all the effects units for correct input levels.
• If fitted, use the Solo In Place function to check
individual channels in isolation while retaining their
original pan and level settings.
J. Balancing the Mix
If you don’t have a lot of mixing experience, it can help to
set up the drums and bass balance first, then move onto the
vocals and the other instruments. Don’t worry about fine
tuning the EQ or effects until your dry mix is somewhere
near right.
• Satisfy yourself that the mix is working in mono. Check
for Phase problems.
• Pan bass drums, bass guitar and lead vocals to centre -
this will stabilize the mix.
• Spread other instruments across the stereo stage as
required, including backing singers.
• EQ the mix as required.
• Now add stereo effects as necessary to add to the illusion
of space and width.
• Check the balance of your final mix by listening to it
from the next room through the adjoining door: for
some reason, this often shows up whether the vocals are
too loud or quiet.
Hints & Tips
• Clean the heads of analogue tape machines before every
session. Use cotton buds dipped in Isopropyl Alcohol.
• Check all instrument tunings before each take, because
they have a tendency to change as the room warms up.
• Make a pop shield from stocking material stretched
across a wire frame. This will minimise vocal “popping”.
• Don’t skimp on cables and connectors; these can be a
source of noise.
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