From experience if everyone did this, it would have saved me quite literally days of time across my career so far. Next is making sure your tracks are named correctly. By which I mean that they all have what instrument is on each track. Chances are your engineer wont know who Barry, Steve or Bob is let alone what they play. Make sure they have appropriate naming. This is how your tracks should look like before sending off to mix.
Also, keep the naming consistent between each song. This is important, as the engineer will want to pull in settings between each song for instruments that remain consistent within the project.
If they are all named the same then this process is easy, as the DAW will be importing session settings to each track that has identical naming and numbering. With that in mind, the next step is making a document to include with the song folder that details the numbering system. I will get to tempo maps later on See Step 3. The next hurdle is editing and consolidation ready to export your tracks. It is a good idea early on in the process of booking a mix engineer to decide who is editing the song if it is required.
I have had some less than ideal conversations with clients who have presumed it was my job to edit the song as well as mix. It is not always a given that the person you are sending it to is going to do this for you so the best thing to do is simply ask.
Ask if editing, pitch correction, comping takes etc. This avoids headaches and gives you an idea of the expectations of your chosen mix engineer. Also, do all appropriate fade-in and fade-outs.
I have had tracks sent that have clicks, pops and generally unpleasant sounding edits which could have all been solved by simply cross fading between. This will save both parties time with not having to have that conversation.
Next, make sure you are including dry tracks of anything that has had an effect added as well as an effected track if it is essential to a part in the song. This way your mix engineer has ultimate control to either recreate the effect perhaps in a different or better way as well as giving the option to use your effected version. Also include DI tracks for guitar and bass guitar. Next is making sure each track within the song is consolidated back to the 0 point of the song.
This means that you are creating a single file that starts at the very beginning of the session and runs until the track finishes. Every DAW has a way of doing this. If you are unsure on how to do this within your DAW then pop it into Google or YouTube as I am certain you will find a useful tutorial to allow you to do this.
The reason this is essential is so that when the mix engineer is importing your tracks they all line up and all the parts of your song appear in the correct place on the timeline. Consolidating tracks is essential. It will save your mix engineer a lot of time and most importantly, save you money! Otherwise it will take a lot of back and forth with the client, hours of time and headaches playing sonic jigsaw getting your song back together! Once your tracks are consolidated, it is time to export.
WAV format is the universal standard. Export the files at the same sample rate and bit depth as your session. Make a note of what that is on your document you have created for the song which I mentioned earlier as this will again save time and guess work. When exporting, make sure mono sources are exported as mono and stereo as stereo. You could also try mixing with the free 10 tracks I released as Ableton Live Templates. I took my whole album, tides of twilight, and packaged up each of my tracks at Live Sets for you to use.
You can see how I organize my projects, try out new mixing techniques, and get a taste of what my production style is like. All 10 are downloadable for free. I also have a premium version with added video content and downloads available.
With this list, you have access to hundreds of tracks to practice with. If you new to mixing and what to level up your skills, try mixing one a day or one a week. Over time your workflow will be fast and your skills lightning speed. You know the saying, practice makes perfect. Check out the Multitracks from Cambridge. Check out the Multitracks by Telefunken. Check out the Stems at Metapop. Check out tracks at Splice. Facebook Twitter Reddit WhatsApp. To put it simply, multitracks are the individual recorded elements of a song, and may be stereo or mono.
Using a four-piece rock band as an example, the recording engineer likely miked the kick, snare, hi-hat, and overheads; the vocalist; the guitar amp; and the bass amp. Each of these recorded signals comprises a separate track, of which there are 8 in this case. All of them together are a multitrack audio production!
Multitracks are often unprocessed to give the mixing engineer the greatest amount of flexibility when it comes time to put the puzzle together. Stems are stereo bounces of pre-mixed elements. For instance, a drum stem would be a single stereo track of the entire recorded kit. This is because a mixing engineer already committed to signal processing choices and printed his or her tracks as a stem.
The ability to individually manipulate the kick, snare, hi-hat, etc.
0コメント