Showing a Yamaha AW4416 to a recording engineer, say, 20 years ago, would
have a similar effect to showing an interplanetary probe to Galileo. After the initial shock both parties would probably nod their heads and mumble something
about inevitability. It had to happen. The AW4416 can do what once required a
couple of rooms full of very, very expensive equipment that required considerable expertise to operate. And it does it very well, indeed. In short, the AW4416
can take your sound recording projects from conception to completion with professional-level control and quality.
If you’ve worked with a Yamaha O2R Digital Mixing Console (a de-facto standard
through the recording and production industries today) or one of Yamaha’s other
top-quality digital consoles, 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 first. This tutorial is
designed to help you make friends with the AW4416 as quickly and as painlessly
as possible. Since the actual recording process is pretty much the same no matter
what equipment you use, we’ve provided a complete set of pre-recorded tracks
for the demo song “So Fine”, and will walk you through the process of mixing
and mastering the tracks to create the final product. We haven’t completely
ignored the initial recording process, however; a few guidelines are provided
below.
❒
A Note About the Tutorial
This tutorial assumes that you already have a basic knowledge of how the
AW4416 controls and main features work. If you get lost, refer to the AW4416
operation guide for details.
We’ve also included a simple glossary at the end of the tutorial. If you encounter
any terms you’re not familiar with, you might find explanations in the glossary.
— Tutorial
1
Page 3
Tutorial—AW4416 Professional Audio Workstation
❒
Contents
AW4416 Professional Audio Workstation ........................................1
A Note About the Tutorial .................................................................... 1
Although the basic tracks you’ll use to assemble the “So Fine” mix have already
been recorded for you (of course you can add your own tracks, if you like), let’s
take a moment to discuss the initial recording process.
The basic steps introduced here may not apply if you’re recording something very “avant-garde,” but if you’re laying down a song or instrumental piece with a fairly
standard arrangement, here are a few issues to keep in mind:
❒
Rhythm First!
Since the rhythm parts define the tempo and “groove” of the music, it makes
sense that they should be recorded first so that the musicians who will be overdubbing the subsequent parts — lead guitar, lead vocal, chorus, etc. — will have
something to lock onto. Of course this isn’t necessary if the piece to be recorded
consists of just one person strumming a guitar and singing or, for that matter, if
you’ll be recording an entire ensemble in one take. But if you’ll be recording your
masterpiece track-by-track or at least section-by-section — whether it’s because
like most of us you’re recording with limited studio space and resources, or sim-
ply because you’re a perfectionist who demands total creative control at all times — start with the rhythm. The first rhythm part to 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 microphones at the same
time, the more you need to think about separation (or “isolation” depending on
whom you talk to). Once again, there are no hard-and-fast rules: if you’ll be
recording an entire rhythm section or ensemble with one stereo microphone pair,
for example, separation is a non-issue — but instrument layout and microphone
placement are critical! But assuming you want all instruments cleanly recorded
on separate tracks so you can do all your spatial arranging and processing later
on, you’ll need to ensure that leakage between instruments and microphones is
minimized. How? Physical separation is the best way. Record different instruments in different rooms, if possible (this corresponds to using “isolation booths”
in a recording studio), or use baffles to reduce leakage when recording more than
one source in the same room. Directional microphones are a good idea, and
close-miking can be a big help. The only way to achieve total separation, though,
is to overdub acoustic sources one-at-a-time. Even then, you’ll probably end up
with a little leakage from the vocalist’s headphones, for example. Line sources,
naturally, do not present a problem.
A little leakage is not a big problem, though, so don’t let it bog you down. Listen
carefully to the individual “So Fine” tracks and you’ll hear what we mean.
— Tutorial
5
Page 6
Tutorial—Laying Down the Basic Tracks
❒
“Scratch” or “Guide” Vocals
If you’re working alone this won’t be necessary, but when recording a band it’s
sometimes a good idea to have the singer lay down a “scratch vocal” track while
recording the rhythm section. This is simply because bands are generally used to
playing with vocals, and the performance can suffer if there is a void where the
vocals are supposed to be. The scratch vocal track can also be a useful guide
while laying down other overdubs such as guitar or keyboard solos. DON’T rely
on the scratch vocal track to record chorus parts, though, because the teeniest
changes in the pitch or phrasing of the lead vocal part can throw the entire chorus out of whack.
❒
Microphone Selection?
Oowee! Here’s a subject that can make even the most seasoned recording engi-
neer cringe. But, reality check firmly established, we realize that for most of us
this is not a problem simply because we don’t have a dazzling selection of microphones at our disposal. And that’s that.
But there is one thing we would like to stress: if you don’t already own the micro-
phone(s) you intend to use for recording, CHOOSE THEM WITH CARE!! Really.
Here are a few guidelines for the minimum microphone selection for most home
recording applications.
❍
If you will be recording vocals and/or acoustic instruments in the (home) studio.
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, if
at all possible, try out a few before making a final commitment. Although most
microphones in this category have uniformly excellent frequency response and
high sensitivity, they do have distinctive sounds. Choose the one that sounds the
best to your own ears. Don’t worry about switchable directivity unless you really
think you’ll need an omni-directional pattern for some application; the plainvanilla cardioid pattern is probably all you’ll ever need for most recording. And
since the AW4416 provides switchable phantom power on inputs 1 and 2, you
can choose studio-quality phantom-powered microphones with confidence.
The same microphone you choose for recording vocals will most probably also
be ideal for recording acoustic guitar, piano, and a range of wind instruments as
well. Not a good choice for close-miking drums and percussion, though. One or
two large-diaphragm condenser mics are, however, perfect for use as drum “over-
heads.”
❍
Close-miking guitar amps, drums, and other loud stuff.
Here’s where you need one, or perhaps a few, good-quality dynamic micro-
phones. There are a number of “standard” dynamic microphones that are ideal
for this type of application, and which can be acquired for surprisingly little outlay. If you don’t already have a couple of established makers and models in mind,
ask around.
6
— Tutorial
Page 7
Tutorial—Laying Down the Basic Tracks
❒
Overdubs
The actual procedure for recording overdubs is really no different from recording
the basic tracks, except that you’ll be monitoring previously recorded material
while doing it. Remember to use a good pair of closed headphones to monitor
the backing tracks while recording acoustic overdubs or vocals (not open types or
the in-ear types often used with portable stereos) to prevent leakage of the headphone mix back into the microphone.
❒
To Process or Not To Process?
Now things get a little tricky, because you will be making decisions that will
directly affect your freedom to make changes later in the production process.
Some engineers almost never use processing of any kind (compression, EQ, etc.)
when recording the initial tracks, the reasoning being that it not only reduces
their freedom to shape the sound as required at subsequent stages, but that it also
compromises the “openness” of the sound. There is a good deal of truth in this,
but there are also a few good reasons for some judiciously-applied processing
right from the outset.
❍
Compression & Limiting
Of the several processing options available during initial recording, compression
is probably the most often used. But at this early stage in the production process
it must be applied with care. Compression or limiting is most often used at this
point to reduce high-level transients that, although not a critical part of the instrument’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 at a higher level and thus, in the case of digital
media, increase the resolution of the reproduced sound while reducing potential
problems with system noise. Bass guitar, electric guitar, vocals, and drums are
often compressed during recording. Avoid compression on instruments like
acoustic piano in which the initial attack is critical in conveying the instrument’s
character.
❍
Equalization
During initial recording equalization is normally only used as a compensation
tool. You might need to compensate for irregularities in the response of a microphone or other piece of equipment in the recording chain, or perhaps beef up the
response of a guitar pickup. All mix-related equalization should be left until the
mixdown stage, when you can hear how response changes affect the overall
sound.
❍
Effects
As a rule, don’t apply any ambience-type effects (reverb, delay, etc.) during initial
recording. Ambience added at this stage in the game can’t be removed later, and
will almost certainly get in the way of the overall sound. You’ll have much more
flexibility and control if you save ambience processing until mixdown. Of course,
there are exceptions; but those are creative decisions you’ll have to make on your
own.
Other effects such as modulation and distortion are often applied during recording, but only when they function as an inherent part of the instrument’s sound
(distortion on electric guitar or rotary speaker on an organ, for example).
— Tutorial
7
Page 8
Tutorial—Load the Demo Song
Load the Demo Song
Before you can work on the demo song, you’ll first need to load it onto the
AW4416 hard disk from the supplied CD-ROM.
This tutorial assumes that you already have a CD-RW drive configured for use
with your AW4416. See the Operation Guide for information on installing and
connecting an external CD-RW drive.
Load the Demo Song From the CD-ROM
Onto the AW4416 Hard Disk
1. Press the AW4416 [FILE] key.
2. Press the [F2] function key to go to the “Restore” page.
3. Make sure that the SCSI ID number of your CD-RW drive is selected in the
SOURCE DRIVE window (if it isn’t, move the cursor to the SOURCE DRIVE
window and use the DATA dial to select the appropriate SCSI ID number,
then press the [ENTER] key). The default 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 pressing the [F2] function key (“CD UNLOAD”) while
holding the [SHIFT] key. Place the demo CD-ROM on the tray (label side
up) and press the [F1] function key (“CD LOAD”) while holding the [SHIFT]
key to close the tray and load the CD.
5. The demo song “So Fine” should appear in the list on the display.
Move the cursor to the RESTORE SONG window, and then use the [ENTER]
key to switch the DISABLE button to ENABLE.
6. Move the cursor to “EXECUTE” on the display, then press the [ENTER] key.
When the “ARE YOU SURE?” confirmation prompt appears, move the cursor to “OK” and press [ENTER] to begin the restore operation.
7. When the “COMPLETE” window appears, the restore operation has finished.
It take about 10 minutes to restore the demo song. Once the restore process has begun, it cannot be stopped.
8
— Tutorial
Page 9
Tutorial—Load the Demo Song
Load the Demo Song from the Hard Disk
1. Press the [SONG] key (and the [F1] function key if necessary to select the
“Song List” page).
2. Use the DATA dial to select “So Fine”.
3. Move the cursor to “LOAD” on the display and press [ENTER]. When the
“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 loaded
and is ready for playback.
If you want to hear the pre-mixed version of “So Fine” before mixing it yourself …
Actually, all you have to do is hit the [PLAY] button. The “So Fine” demo will be loaded
with automix enabled, and will play through exactly the way we set it up.
— Tutorial
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Page 10
Tutorial—Mixdown
Mixdown
Although the term “mixdown” seems to imply a single action, it is really a process that can involve many interrelated steps. As you become more experienced,
the individual steps will sort of blend into one larger operation. This is important
because at all times you’ll need to consider how each small action will affect the
overall sound. A small change in equalization on one instrument, for example,
can affect the way the others sound. The ability to anticipate cause-and-effect
relationships like this can only come through experience. The more you mix, the
better you’ll get!
Phase 1: Listen To the Tracks and Make a Plan
One of the most important steps in any mix is to make at least a mental plan
before even starting the actual mix. Here are a few points to consider:
• First and foremost think about the music! What is the song saying? What kind
of mood is the piece attempting to convey? How can you approach the mix in
a way that will enhance the music itself?
• Does the piece depend mostly on the lyrics? The singer’s voice? The rhythm? A
particular instrument or sound? You’ll probably want to emphasize whichever
element(s) of the piece you determine to be the most important. If the 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 stereo soundstage? Are you
trying to create a realistic “live performance” image, or just shooting for an
overall effect?
• What kind of “space” do you want to place the music in? Open and dry?
Large and reverberant? Small and tight? Distant? Intimate?
• What instruments are in similar frequency ranges and are likely to get in each
other’s way? Distorted electric guitar and organ are perfect examples of instru-
ments that do this. You’ll need to think about panning such instruments to different areas of the soundstage and/or using equalization to give them separate
“identities”.
• Will you need to make any mood or scene changes during the mix that might
involve major changes in levels, EQ or effects? Here’s where automation
might make the job a lot easier.
❒
Do It
OK, the tracks are loaded, now let’s go ahead and listen to the raw tracks.
10
— Tutorial
• Remember that the points given here are only a guide, and that every piece of
music is different. In fact, planning the mix is probably the most creative part
of the entire production process.
Make sure that AUTOMIX is disabled before proceeding! You can do this by pressing the
AUTOMATION [AUTOMIX] key, moving the cursor to the AUTOMIX “ENABLE” parame-
ter, and pressing [ENTER] to switch this to “DISABLE”.
Page 11
Tutorial—Mixdown
1. Make sure that the RECORDER [MONI] MIXING LAYER is selected.
2. Recall the scene number 01 “FADERS NOMINAL” provided to set faders 1
through 14 to nominal (Press the [SCENE] key, use the data dial to select
the scene number 01 “FADERS NOMINAL”, move the cursor to “RECALL”,
press [ENTER], select “OK” in the confirmation and press [ENTER] again).
3. Press the MIXER [VIEW] key so you can see the selected monitor channel
parameters on the display. You might also have to press the [F1] function
key to select the “CH View” page.
4. Hit the [PLAY] button and listen.
The chart below lists the contents of the “So Fine” tracks. “V. Tr k ” 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
(virtual track 1) for most of this tutorial, an alternate string take is provided on the
second virtual tracks for recorder tracks 9 and 10, and a male lead vocal track is
provided on the second virtual track of recorder track 14. Later on you’ll use
these alternate takes to build a mix based around a male rather than female lead
vocal part.
V.Trk 1
V.Trk 2
V.Trk 1
V.Trk 2
12345678
Drums
Left
9 10111213141516
String
Left
Alt.
String
Left
Drums
Right
String
Right
Alt.
String
Right
Claves
&
E.Drm
Fem.
Ch. 1
Bass
Fem.
Ch. 2
Rthm
Guitar
Male
Ch. &
Rap
Lead
Guitar
Lead
Vocal
(Fem)
Lead
Vocal
(Male)
OrganPiano
— Tutorial
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Page 12
Tutorial—Mixdown
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 processing, 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.
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.
Tip!
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).
❒
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 channel, you have an inordinately large drum set. For a more realistic drum image in
12
— Tutorial
Page 13
Tutorial—Mixdown
cases where the drums or other instrument seems to occupy the entire stereo
field, try panning the left and right channels between about a third and half way
to the maximum values. In the case of the “So Fine” demo, however, the drums
were recorded “live” in the studio with proper stereo imaging (i.e. this is not a
sampler or drum module), and sound fine panned full left and right. Go ahead
and set the left and right drum track pan values to L16 and R16, respectively.
To pan the drum tracks:
1. Use the [SEL] keys to select the track you’re going to pan (since the channels are paired, the other [SEL] key will flash when one is selected).
2. Use the PAN control near the upper right corner of the display while watching the graphic pan controls in the display.
❒
Add the Claves/Electronic Drums Track
For now just turn channel 3 ON and set the fader at about –4.5 dB.
❒
Add the Bass Track
Turn on channel 4 and listen. Bass is usually panned to center so you won’t need
to adjust the pan control, but you might find that the bass is a little hot (loud) 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. The guitar tracks are REALLY hot in relation to the
drums and bass, so use faders 5 and 6 to reduce them to reasonable levels (track
5 rhythm guitar to about –10.5 dB, and track 6 lead guitar also to about –10.5
dB). Also pan the track 5 guitar to the left and the track 6 guitar to the right (about
L14 and R15, respectively).
❒
Add the Organ & Piano Tracks
Turn ON channel 7 and 8. The organ and piano tracks will also need to be
reduced in level a bit, so use faders 7 and 8 to reduce the track 7 organ to about
–9.8 dB, and track 8 piano to about –10.5 dB. Also pan the track 7 organ a little
to the left and the track 8 piano a little to the right (about L11 and R9, respectively).
❒
Add the String Tracks
Like the drum tracks, the “So Fine” string tracks are basically a stereo pair. After
turning channels 9 and 10 ON and making sure that the faders are both at exactly
the same level, use the same pairing technique described for the drum tracks,
above, to pair the string tracks. Then reduce the level to about –5.7 dB, and pan
the string tracks left and right (about L13 and R13).
— Tutorial
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Page 14
Tutorial—Mixdown
❒
❒
Add the Lead Vocal
Ah-ha! Fooled you! You thought we were going to add the chorus parts on tracks
11, 12, and 13, and THEN add the lead vocal track, didn’t you! Well we won’t,
and the reason is simply that the chorus parts really must be heard in relation to
the lead vocal in order to set appropriate levels.
Turn ON channel 14, leave the pan control set at center (the normal position for
lead vocals), and reduce the fader level to about –7.3 dB.
Add the Chorus
Although the chorus appears before the lead vocal part during the introduction,
and this might require a bit of automation at the final mix stage, adjust 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 the same tracks to L14, R14, and CENTER, respectively.
❒
Listen!
Although you’ve been listening to the song during the entire rough mix process,
now it’s time to listen to the entire song in context rather than concentrating on
individual parts. Hear something you don’t like? Change it.
❒
Save the Song!
Now would be a good time to save your work. Press the WORK NAVIGATE
[SONG] key to go to the SONG display, if necessary also press the [F1] function
key to select the “Song List” page. Move the cursor to “SAVE” on the display and
press [ENTER]. When the confirmation window appears move the cursor to “OK”
and press [ENTER] again to actually save the song.
14
— Tutorial
Page 15
Tutorial—Mixdown
Phase 3: Assemble the Mix Part by Part
Now we’re ready to do some serious work on the sound of the individual tracks
in an attempt to make them “mesh” to create a well-balanced overall mix.
INSTANT GRATIFICATION!
Once again, we’ve provided a scene you can simply recall to automatically make all the
settings included in “Phase 3”, below. 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
03 “PHASE 3 MIX”, move the cursor to “RECALL”, press [ENTER], select “OK” in the con-firmation 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.
Tip!
As you’re working on the various parts of the mix you’ll constantly be turning channels on
and off so you can hear things alone or in combination with certain other tracks. In order
to use the SOLO function for this select “MIXDOWN SOLO” and “AFTER PAN” in the
Solo Setup page (see page 96 of the operation guide for details). The reason for this is that
during this phase of the mix you’ll almost always want to hear the tracks with EQ, dynamics, and other effects applied. Normal solo monitoring lets you hear the tracks “dry”, and
that won’t help you here.
❒ Tracks 1 & 2: Drums
Listening to the drums in the context of the rough mix we notice that they sound
a little dull. The lower end is fine, but the cymbals don’t have quite the degree of
presence we’d like to hear. Otherwise, the drums are fine. If we attempted to use
any compression on these tracks we’d probably lose the natural dynamics that
make this track work — and dilute the contrast between the acoustic drums and
the electronic drums at the end of the song.
A subtle touch of high-end EQ is all that is needed here:
1. Press the track 1 [SEL] key (tracks 1 and 2 are paired, so EQ settings you
make to track 1 will also be applied to track 2 — convenient, eh?)
2. Press the MIXER [EQ] key (this is so you can see the detailed EQ parameters
as we make the adjustment).
3. Make sure that the EQ for the selected tracks is ON (if not, move the cursor
to the “EQ ON” parameter and press [ENTER] to turn it “ON”).
4. Press the [HIGH] key in the “virtual EQ” control section to the right of the
display to select the HIGH EQ band.
5. Use the [G] control to increase the gain of the 10-kHz shelving EQ to
+4.0 dB. No need to change [F] (frequency) and [Q] (bandwidth).
— Tutorial
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Page 16
Tutorial—Mixdown
❒ Track 3: Claves/Electronic Drums
1. Press the track 3 [SEL] key to select the claves/electronic drums track.
2. Press the MIXER [DYN] key to access the dynamics parameters.
3. The “COMP” dynamics type should already be selected (it’s the default).
4. Use the cursor keys and data dial to make the following dynamics settings
❒ Track 4: Bass
This track needs a bit of compression to make the electronic drums jump out of
the mix when they appear at the outro. Later, when we work on the automation,
we’ll boost this track a bit at the outro for extra impact.
Move the cursor to the “ON/OFF” parameter and turn dynamics for the
selected track “ON”.
for the claves/electronic drums track:
THRESH.RATIOOUT GAINATTACKRELEASEKNEE
–2410:10.0296hard
The 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 bass track.
2. Press the MIXER [EQ] key.
3. Make sure that the EQ for the selected track is ON.
4. Use the cursor keys and data dial or the virtual EQ controls to make the following EQ settings for the bass track:
LOWL-MIDH-MIDHIGH
Q6.378—
F66.02234.75 kHz—
G+2.5–4.5+6.0—
5. Press the MIXER [DYN] key to access the dynamics parameters.
6. The “COMP” dynamics type should already be selected. Move the cursor to
the “ON/OFF” parameter and turn dynamics for the selected track “ON”.
7. Use the cursor keys and data dial to make the following dynamics settings
for the bass track:
THRESH.RATIOOUT GAINATTACKRELEASEKNEE
–158:1+2.0511922
16 — Tutorial
Page 17
Tutorial—Mixdown
❒ Track 5: Rhythm Guitar
The rhythm guitar track needs to be a little “chunkier” to achieve the classic R&B
type of sound we’re after. A little EQ and compression will accomplish that feat,
and the compression will also help to even out dynamic variations that cause the
guitar part to be buried in the mix from time to time.
You should know how to make the EQ and dynamics adjustments by now, so
we’ll just give you the figures and you can make the settings yourself.
❍Rhythm Guitar EQ
LOWL-MIDH-MIDHIGH
QL.SHELF9——
F125420——
G+2.5+3.5——
❍Rhythm Guitar Compression
THRESH.RATIOOUT GAINATTACKRELEASEKNEE
–94:10.091104
❒ Track 6: Lead Guitar
In terms 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
THRESH.RATIOOUT GAINATTACKRELEASEKNEE
–53.5:10.0352384
❒ Track 7: Organ
The ultra-lows of the organ sound are muddying the sound a little. We can take
care of that by using a high-pass filter to remove some of the offending frequencies. The LOW band of the AW4416 parametric equalizer functions as a highpass filter — all you have to do is make the appropriate settings. No compression
is required.
❍Organ EQ
QHPF———
F66———
GON———
LOWL-MIDH-MIDHIGH
— Tutorial 17
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