BY: KATIE MORGAN.Mixing Analysis:

As part of my portfolio I mixed two tracks. One was my own track, which is called: ‘Timpani & Bass’ and the other was given to us. This track is called: ’Africa’.

On every day that I was at collage I would always work on both mixes the same day. (In the mornings I would work on ‘Timpani & Bass’ and in the afternoons I would work on ‘Africa’).

Timpani & Bass:This track’s name came from the instruments that I used to create the track. I used the timpani for the rhythm and the bass for the melody. When making this track I was out of my normal zone because I normally make my music out of time. However in this case I had to make this track in time so someone could play to it. Despite this change I knew how make something in time. I listened to the metronome and placed each note on the same beat of the bar, like all of the other notes that I have composed. This didn’t take me long to do. The metronome is used to keep the musicians in time when they are practising or being recorded. To set the metronome right we have to consider the volume and the tonality and weather or not it suits the musician. I had to record midi instruments before recording live instruments. Also somethings were recorded after the live recordings just so there is something a little bit extra in this mix. (The recording equipment is talked about in my pervious analysis; Recording Analysis). For the mixes I had multitrack and single track! I also did the following mixing tasks for both of my mixes:

Eq, distortion, lyric editing, buses and effects, tuning, delays, compression, reverb, echo, automation and mastering the sound (volume).

I did change the eq of Timpani & Bass with the instruments being of different frequencies. However I do not have any screen shots for this. I used the different eq s to create tension and affect. Some of the frequencies are high and some are low. This makes the track more interesting and complex.

Sometimes finding the right eq can be hard because sometimes the instruments that you use might not go to a frequency that is out of their frequency response spectrum. However if you put the analyser on you can find some of the unfound frequencies. Plus if you change the frequencies so they are out of the frequency response spectrum you might find that the hidden frequencies have changed to suit the mix better.

It was the same for Africa. In Africa there are a lot of different frequency spectrums, for example some are narrow and some are wide.

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You can also create eq s that are not even narrow or wide.

Like these two above:

Narrow: Wide:

BY: KATIE MORGAN.I found the eq s by listening to each instrument/audio region and picking out the right frequencies and tones. Each instrument has their own frequency, so when mixing we have to make sure that no interference happens. To prevent this don’t make the different regions have the same frequencies; vary them! This can be very difficult. Despite this I have learnt a lot about eq and I have used this knowledge in my work.

Here is some useful information about eq:

There are three variables in a fully parametric eq, which are: frequency, bandwidth (this is weather or not it is narrow or wide), Q Factor and DB Boost/cut.

Parametric eq are multi-band variable equalisers that allow us to control the three primary parameters above.

Q Factor is a parameter that is dimensionless. This parameter describes how under-damped the oscillator/resonator is. The characterises of a resonator’s bandwidth is relative to it’s centre frequency.

DB Boost/cut:

If the shelf is high then it boosts or cuts the frequencies at the cutoff and all of the other higher frequencies are set at that cutoff point. The only two parameters that is has are: the cutoff and the gain. This is usually used at the mid-high and high parts of the spectrum. It uses a positive gain of 3 or 4 dB. Also a cutoff frequency of 10 kHz and higher. This is used to reduce the noise/sound of the mix by reducing the 3 or 4 dB frequencies that are around 15 kHz and higher.

If the shelf is low then it boosts or cuts the frequencies at the cutoff and all of the other lower frequencies are set at that cutoff point. The only two parameters that is has are: the cutoff and the gain. This is usually used at the low-mid and low range of the spectrum. However this spectrum is audible! This is also used to reduce some of the rumble noise/sound. The rumble noise/sound is caused by the microphone stand that is used. Also the other low end sources that you use.

If the shelf is high pass then all of the frequencies that are below the cutoff point are cut off. The only one parameter it has is: frequency. This is known as a very drastic filter! This filter is used to cut the very low rumble noises/sounds that are below 60 Hz.

If the shelf is low pass then all of the frequencies that are above the cutoff point are cut off. The only one parameter it has is: frequency. This is known as a very drastic filter! This filter is used to cut very high hiss noises/sounds that are above 18 kHz. When using this we should be careful because sometimes you can cut too much high end of the mix.

More frequency information:

Frequencies: Applications:

20-60 Hz Cut these frequencies to reduce the rumble nosies/sounds that are related to the electric interfaces.

60-80 Hz Boost these frequencies to add more life to the instruments that play low frequencies, for example, bass drums and bass.

Frequencies:

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BY: KATIE MORGAN.

This table shows us that instruments have different frequencies. By knowing these frequencies we can cut and reduce the inactive frequencies. If you do this you will reduce the volume of the overall mix.

100-200 Hz Boost these frequencies to add more life to the instruments, like snares, piano, trombones, French horns and guitars.If you cut these frequencies you can reduce the boomy effects on the instruments that play the mid-range frequencies, like drums and string bass.

200-300 Hz Cut these frequencies to reduce and unwanted resonances on certain instruments, such as cymbals.Boost these frequencies to add life to the vocal tracks of the mix.

400-600 Hz Cut these frequencies to reduce the not normal boxy nosies/sounds on instruments, such as, drums.Boost these frequencies to add clarity and presence to the bass.

1.4-1.5 kHz Boost these frequencies for a clear bass and piano sounds.

2.8-3 kHz Boost these frequencies to add clarity to the bass. Also boost these frequencies to add punch and attack to instruments, such as, guitars.

5-6 kHz Boost these frequencies to boost the vocal’s presence and also adds attack on drums, guitars and piano.

7.5-9 kHz Cut these frequencies to avoid the sibilance on the voices/vocals.Boost these frequencies to add attack on percussion instruments and you should also add sharpness, breath and clarity to the following instruments: guitars, piano and synthesisers.

10-11 kHz Boost these frequencies to increase the sharpness on instruments, such as, cymbals.These frequencies also add sharpness to guitars and piano.Cut these frequencies to darken the following instruments: percussions, drums, guitars and piano.

14-15 kHz Cut these frequencies to reduce sharpness on guitars, piano and cymbals.Boost these frequencies to add more life to the vocals.Furthermore these frequencies to add ambience to sampled and synthesised patches.

18 kHz Cut these frequencies to reduce hiss nosies.Boost these frequencies to add clarity the whole mix.

Applications:Frequencies:

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BY: KATIE MORGAN.When mixing tracks I consider these different frequencies. To eq successfully I look at each frequency range and see which one is best to use.

I try to use as many different frequencies as I can. This is known as shelling EQ and this ranges from 20 Hz - 20 kHz.

Here are the different frequency ranges that you can get:

Sub-bass frequencies

Bass frequencies

Mid range frequencies

High mids frequencies

High frequencies

Frequency links to compression!

Compression Parameters:

The audio compression is the reduction of an audio file in order to increase the overall volume of the mix. (This reduction is in the dynamic range).

Compression evens out the audio levels and reduces ‘spikes’ in mixes.

Threshold, Gain and Compressing:

The threshold affects the gain. So to prevent this the threshold should be turned down and the gain can then be turned up. However sometimes it can work the other way around!

Compression sounds better if the threshold is at zero and if the gain is higher than the threshold.

The Compression Ratio:

The compression ratio indicates how severely the audio file is compressed.

Here is an example of a compression ratio:

Ratio = 3:1 3 DBS = 1 DB (2 DB)

In my mix Timpani & Bass I have used compression, like this:

This screen shot shows that I have put compression on the Heavy Drums in my mix. I did this so they stand out. I wanted them to stand out because they only happened a few times and you wouldn’t really notice them if you was to listen to the whole mix once.

However adding in the compressor has made the Heavy Drums noticeable. You can hear them very clearly!

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BY: KATIE MORGAN.Reverb:

Reverb is the direct sound is a room, it’s like an echo. It is also the persistence or echo of a sound after it has been produced. (In studios most sources produce little or no reverb).

In Africa I used reverb, like this:

This screen shot shows that I have added some decay and sustain to the track. (The decay is at 300ms and the sustain is at 52%).

Also the following:

Dry single delay= 50ms

Destiny= 100%

Spread= 100%

High cut= 5000Hz

Crossover= 500Hz

Low freq level= 0.0dB

Mix= 25%

When adding in reverb sometimes you can add in too much, so I always do a little bit of reverb.

The Delay Designer:

This effect allows you to delay interments and audio files, for example, in Timpani & Bass I used this effect, like this:

I added delay onto the kick. The kick plays through most of the mix. So I added in delay to make the kick last longer. This made a good impact on the mix. It made it more amusing because it was something that is different.

Delay is like reverb because if you add too much the mix will not sound right.

Tape Delay:

I used this in Timpani & Bass. (See next page).

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BY: KATIE MORGAN.

I used Tape Delay on the timpani. I did this because the timpani is the instrument that keeps mix in time. (There is a lot of Tape Delay at the end of the mix). By me adding this Tape Delay the end was successful and effective. It ended the mix well and made the track different from all of my other tracks/mixes.

Distortion:

I used distortion twice in Africa! This is an add on from the delay.

I did it like this:

This distortion is for the dynamic microphones.

I used bitcrusher distortion.

The drive is on 6.0dB

The resolution is on 18bit

The downsampling is on 5x

The mode is in the middle

The clip level is at 0.0dB (This means that it will not clip)!

And like this:

And this distortion is for the condenser microphones.

And for this one I used clip distortion.

The drive is on 35.0dB

The tone is on 13300Hz

The symmetry is on +18%

The clip filter is on 2900Hz

The mix is at 80%

The LP filter is at 920Hz

The high shelving frequency is at 4200Hz

The gain is at +30.0dB

I wanted the distortions to sound different. I did this by choosing different types of distortions. By doing this it made each the microphones stand out and thats what I wanted to do. Also I one stronger than the other to make them stand out even more.

Echo: Page � of �6 11

BY: KATIE MORGAN.I added echo in Africa, like this:

In most of my tracks and mix I have used echo. It is one of my favourite effects. As you can see:

The time is 1/16

The repeat is set at 68%

The colour is set at 52

Dry is at 70% and wet is at 68%

I added the echo on too instrument 8, which is called Rock Kit (they are drums). This instrument is played all throughout the mix. So to make it more interesting I added in an effect that would have a great affect on the mix. Echo can create many emotions in just one mix!

Automation:

In Timpani & Bass I originally had automation. However when I mixed it I turned it off and I have decided to not to turn it on again. So this mix has no automation!

But in Africa I have used automation on the guitars, like this:

For this part of Africa I did the automation like this because I wanted peaks in the mix. So on each note there is a little peak so that each time a note plays it goes high in volume. (It can be unexpected)!

And like this:

In this part of Africa I made volume change with the mix. This part starts of low and slowly goes high and then low again. This goes with the vocals. I also did some automation on the vocals to make them with the rest of the mix.

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BY: KATIE MORGAN.The Lyrics In Africa:

These two screen shots above shows that I have edited the vocals. If I am honest it was quite difficult because if you cut it wrong the lyrics will not follow after each other. I edited the vocals because I edited the other audio and midi tracks.

Despite these problems I managed to edit the vocals to go with the whole mix.

I feel confident after practising this skill. So next time when it comes to editing vocals I know what to do.

The Tuner:

I used the tuner for the recording of the bass in Timpani & Bass. Here is the tuner:

We should allow musicians to tune their instruments before they play/record. This is because when you don’t tune an instrument it can sound too flat or too sharp. (Tuning the instruments will make the recordings sound a lot better). The tuner is very clever because it can recognise all of the notes perfectly. So the recording will sound professional because the instruments do!

Mixing the Volume:

Mixing the volume in Timpani & Bass looks, like this:

Timpani & Bass has varied volume. The timpani is up high and the drums are at different volumes to make them varied a little bit. Also the bass is is in the middle because it is just background music to help the mix flow.

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BY: KATIE MORGAN.And in Africa it looks, like this:

Africa also has varied volume. Instrument 8 is up high and the drums are at different volumes to make the drums unlike each other. Also the guitars are roughly at the same volume. This is so they sound the same. Lastly the other instruments are either low, in the middle or high. (The master in the middle because when I took the screen shot I had my headphones in and it was too loud). But when I took out my headphones I put my mix onto speakers it was quiet so I tuned it up. This means that headphones and speakers sound different. So thats why it is best to mix on both sources so you can get the best results. Also the effects will stand out on the speakers more!

Buses and effects:

The buses and effects in Timpani & Bass looks, like this:

This screen shot shows you the effects and buses that I used in Timpani & Bass.

The effects are:

Delay Designer

Channel EQ x 6

Compressor

Space D x 5

Tape Delay

The buses are:

Bus 6

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BY: KATIE MORGAN.Bus 5

Timpani & Bass from start to finish:

Africa from start to finish:

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BY: KATIE MORGAN.Conclusion:

I have learnt a few things while mixing these tracks, for example, I learnt how to record and mix the tracks competently. I have been able to practise using the different effects and because I have practiced I have memorised what each of the effects do and how you use them properly.

Timpani & Bass was harder to mix than Africa because it was tough to cut and edit parts as there was a lot of clipping and loud booming sounds from the drums. However I managed to get rid off these unimportant parts that effected the mix’s effects and automation.

Africa on the other hand was easier to edit because their was no clipping and booming sounds. I made Africa different by duplicating certain parts of the song, for example,

I added more Marimba and Xylophone sounds at the start of the mix.

Each mix was different and had different parts that needed editing. Timpani & Bass and Africa are mixes where you can do almost anything and it will sound good. I found these mixes entertaining, especially Africa. This is because Africa is a song that everyone knows and loves. However Timpani & Bass is a track that I created so people might not find it pleasurable like Africa. But some people will like my work because it is unique. All of my mixes are dissimilar because some have effects and some don’t. Also I don’t always use automation and audio files. Most of my tracks or mixes are midi instruments!

I am update with my work and I can’t wait for the next project. Finally the written work has helped my with my practical work because I have researched during this project and I have picked up a lot of information that I never knew about. (I will use this information for my next project and other projects to come).

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