Yamaha AW4416 User Manual 3

Page 1
PROFESSIONAL AUDIO WORKSTATION
Tutorial
E
Page 2
Tutorial—AW4416 Professional Audio Workstation
AW4416 Professional Audio Workstation
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 nd explanations in the glossary.
— Tutorial
Page 3
TutorialAW4416 Professional Audio Workstation
Contents
AW4416 Professional Audio Workstation ........................................1
A Note About the Tutorial .................................................................... 1
Contents .............................................................................................. 2
Laying Down the Basic Tracks ..........................................................5
Rhythm First! ........................................................................................ 5
Separation ............................................................................................ 5
Scratch or Guide Vocals ................................................................. 6
Microphone Selection? ......................................................................... 6
Overdubs ............................................................................................. 7
To Process or Not To Process? .............................................................. 7
Load the Demo Song ........................................................................ 8
Load the Demo Song From the CD-ROM Onto the AW4416 Hard Disk.......... 8
Load the Demo Song from the Hard Disk ....................................................... 9
Mixdown .........................................................................................10
Phase 1: Listen To the Tracks and Make a Plan ............................................. 10
Do It ................................................................................................... 10
Phase 2: Set Up a Rough Mix ....................................................................... 12
Start with the Drums .......................................................................... 12
Add the Claves/Electronic 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: Assemble the Mix Part by Part ........................................................ 15
Tracks 1 & 2: Drums ........................................................................... 15
Track 3: Claves/Electronic Drums ........................................................ 16
Track 4: Bass ....................................................................................... 16
Track 5: Rhythm Guitar ...................................................................... 17
Track 6: Lead Guitar ........................................................................... 17
Track 7: Organ ................................................................................... 17
Track 8: Piano ..................................................................................... 18
Tracks 9 & 10: Strings ........................................................................ 18
Tracks 11 & 12: Female Chorus 1 & 2 ................................................ 18
Track 13: Male Chorus ....................................................................... 19
Track 14: Lead Vocal .......................................................................... 19
Save the Song! ................................................................................... 19
Tutorial
Phase 4: Add Ambience ................................................................................ 20
Engage the Effect 1 Sends and Select an Effect ................................ 20
Add Ambience to the Tracks as Required ............................................ 21
Tracks 1 & 2: Drums ........................................................................... 21
Track 3: Claves/Electronic Drums ........................................................ 21
Track 4: Bass ....................................................................................... 21
Tracks 5 & 6: Rhythm & Lead Guitar .................................................. 21
Track 7: Organ ................................................................................... 22
Track 8: Piano ..................................................................................... 22
Page 4
TutorialAW4416 Professional Audio Workstation
Tracks 9 & 10: Strings ........................................................................ 22
Tracks 11, 12, & 13: Chorus ............................................................... 22
Track 14: Lead Vocal ........................................................................... 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............................................. 28
Step 2: Record the Song to the Stereo Track................................................. 29
Step 3: Write the Song to a CD-R Disk .......................................................... 30
Practice, Practice … ........................................................................ 30
Glossary .......................................................................................... 31
Tutorial
Page 5
TutorialLaying Down the Basic Tracks
Laying Down the Basic Tracks
Although the basic tracks youll 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 youre 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 dene the tempo and groove of the music, it makes sense that they should be recorded rst 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 rst 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 youll 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, youll 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 bafes 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, youll 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 dont let it bog you down. Listen carefully to the individual So Fine tracks and youll hear what we mean.
Tutorial
Page 6
TutorialLaying Down the Basic Tracks
Scratch or Guide Vocals
If you’re working alone this wont 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. DONT 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 rmly established, we realize that for most of us this is not a problem simply because we dont 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 nal 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 youll need an omni-directional pattern for some application; the plain­vanilla cardioid pattern is probably all youll 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 condence.
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 dont already have a couple of established makers and models in mind, ask around.
Tutorial
Page 7
TutorialLaying Down the Basic Tracks
Overdubs
The actual procedure for recording overdubs is really no different from recording the basic tracks, except that youll 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, dont 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. Youll have much more exibility and control if you save ambience processing until mixdown. Of course, there are exceptions; but those are creative decisions youll 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
Page 8
TutorialLoad the Demo Song
Load the Demo Song
Before you can work on the demo song, youll rst 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 congured 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 isnt, 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? conrmation 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 n­ished. It take about 10 minutes to restore the demo song. Once the restore pro­cess has begun, it cannot be stopped.
Tutorial
Page 9
TutorialLoad 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? conrmation 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
Page 10
TutorialMixdown
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 youll 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 youll 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? Youll 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. Youll 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
TutorialMixdown
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 conrmation 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 well 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 youll 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)
Organ Piano
Tutorial
11
Page 12
TutorialMixdown
Phase 2: Set Up a Rough Mix
The rough mix is only the starting point for the nal 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 shouldnt 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 doesnt 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 dont want to set up the rough mix yourself, or simply want to see how weve 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 youll 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 conrmation 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 youll want to adjust the levels of those tracks simultaneously, its 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 isnt always a good idea. If the hi-hat is way over in one channel and the low oor 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
TutorialMixdown
cases where the drums or other instrument seems to occupy the entire stereo eld, 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 ne 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 youre going to pan (since the chan­nels are paired, the other [SEL] key will ash 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 nd 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
13
Page 14
TutorialMixdown
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 wont, 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 nal 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 conrmation window appears move the cursor to “OK” and press [ENTER] again to actually save the song.
14
Tutorial
Page 15
TutorialMixdown
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- rmation window and press [ENTER] again. After doing this youll 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 conrmation 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 youll 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 wont 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 ne, but the cymbals don’t have quite the degree of presence we’d like to hear. Otherwise, the drums are ne. 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
15
Page 16
TutorialMixdown
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. RATIO OUT GAIN ATTACK RELEASE KNEE
24 10:1 0.0 29 6 hard
The bass track is a bit “flabby and lacks punch. Well 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:
LOW L-MID H-MID HIGH
Q 6.3 7 8
F 66.0 223 4.75 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. RATIO OUT GAIN ATTACK RELEASE KNEE
15 8:1 +2.0 51 192 2
16 Tutorial
Page 17
TutorialMixdown
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
LOW L-MID H-MID HIGH
Q L.SHELF 9 ——
F 125 420 ——
G +2.5 +3.5 ——
Rhythm Guitar Compression
THRESH. RATIO OUT GAIN ATTACK RELEASE KNEE
9 4:1 0.0 9 110 4
Track 6: Lead Guitar
In terms of tone the lead guitar part sounds ne the way it is. But perhaps we should apply a little compression to even it out a bit.
Here are the gures; do the dialing yourself:
Lead Guitar Compression
THRESH. RATIO OUT GAIN ATTACK RELEASE KNEE
5 3.5:1 0.0 35 238 4
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 lter to remove some of the offending frequen­cies. The LOW band of the AW4416 parametric equalizer functions as a high­pass lter all you have to do is make the appropriate settings. No compression is required.
Organ EQ
Q HPF ———
F 66 ———
G ON ———
LOW L-MID H-MID HIGH
Tutorial 17
Loading...