9
Tutorial
Mixdown
“Mixdown” sounds like it refers to a single operation,
but in reality, it is a sequence that consists of numer-
ous processes. As you become more experienced, the
various steps will blend together into one big process.
It is important to keep this in mind, because you must
be aware of the effect that even the smallest operation
will have on the overall sound. For example if you use
the equalizer to slightly modify the tonal character of
one instrument, it will affect the way in which other
instruments are heard. Through experience, you will
gain the ability to predict the result of such changes.
As you create more mixes, you will become better at
it.
Step 1. Listen to the recorded
tracks and make your plans
The most important step in mixing is to make plans in
your mind before you actually begin mixing. Consider
the following points.
• Think about the music you intend to produce.
What is the lyric content? What is the atmosphere
you want to convey? How can you create a mix
that enhances the music itself?
• What is the defining characteristic of the song? The
lyrics? The voice of the singer? The rhythm? A spe-
cific instrument or sound? You should emphasize
the element that is most important. For example if
the lyrics are important, you should avoid letting
the vocal be buried in the background, or obscured
by excessive reverb.
• How are the instruments placed in the stereo field?
Are you going to recreate the sound field of a life
performance? Or are you trying to create a more
abstract impression?
• In what type of space do you want to place the
music? An open and dry space? A spacious and
reverberant space? Narrow and tight? Distant?
Nearby?
• Are there any instruments that share a similar fre-
quency range and might conflict with each other?
Distorted electric guitar and organ are good exam-
ples of this. Such instruments might be separated
by being panned to left and right, or you might use
the equalizer to give each instrument its own dis-
tinct identity, skillfully bringing out the unique
character of each instrument.
• Will you need to change moods or scenes to create
significant shifts in level, equalizer, or effects dur-
ing the mix? By using automation, even such com-
plex mixes can be easily performed.
These are just a few examples, but as you gain experi-
ence, you will learn how to make a good mixing plan
for each song.
■
Let’s begin
Now that the song has been restored to the hard disk,
let’s listen to the “unmixed” song.
Before you proceed, you must be sure to turn AUTO-
MIX off. In the AUTOMATION section, press the
[AUTOMIX] key. In the AUTOMIX area, move the cur-
sor to the ENABLE button and press the [ENTER] key
to set AUTOMIX to DISABLE (off).
1
Make sure that in the MIXING LAYER sec-
tion, “1-8” or “9-16” is selected.
2
Recall scene number 01 “FADERS NOMI-
NAL” to set faders 1–16 to the nominal
level. (Press the [SCENE] key, and use the
[DATA/JOG] dial to select scene number 01
“FADER NOMINAL,” move the cursor to
the RECALL button, and press the [ENTER]
key. Then select “OK” and press the
[ENTER] key to confirm.)
3
Press the MIXER section [VIEW] key to
access the parameters for the selected
monitor channel. Press [F1] to access the
CH View page.
4
Press the [PLAY] key, and listen to the
tracks.
The following table shows the track contents of
the included demo song.
1
2
3
4
Kick
Snare
Overhead (L) Overhead (R)
5
6
7
8
Hi-hat
Acoustic
bass
Percussion
Acoustic
guitar
9
10
11
12
Piano
Synth
Organ
Electric
guitar
13
14
15
16
(Chorus)
16 Vocal
