I use 3 extra plugins on top of the ones used in my “Mix Buss Settings” article. These 3 plugins are a multiband compressor, a soft-clipper and a brick wall limiter.

– Multiband Compressor -

Multiband Compressor (Click To Enlarge)

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Certain times I’ll use this as my kind of finalizer/sweetener plugin. My settings constantly change with it and a lot of the time a may not use it at all. I almost wasn’t even going to mention this plugin due to the damage it could cause but I figured I wouldn’t be giving the whole story if I didn’t mention it. I’ll usually start with the “Adaptive Multi Electro Mastering” preset. I’ll bring the threshold down a bit until the compression line starts moving and then tweak the threshold for each band individually to determine the amount of compression each band will receive. Please please I stress extreme caution using this plugin as it can drastically alter the sound of your mixes. Also keep in mind I don’t use this all the time so its not a “must use” plugin.

– Soft-Clipper -

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Ive been loving the T-Racks clipper, I also like Slate FG-X Virtual Mastering Processor very much. If you are unsure what soft-clipping is please read my article to have a better understanding. With this plugin I am just adding gain to the mix. This is the secret plugin to getting your mixes louder. It retains the transient impact much better then a limiter will so you can get a mix a lot louder while retaining the punch. If you try to get a mix loud with just a limiter you’re usually left with very little punch and your mixing sound flat and flabby. This plugin is the key to loudness.

– Limiter -

Limiter (Click to enlarge)

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I always use the Waves L2 limiter. Its an easy to use plugin and sounds great. I usually set the threshold to -2.0 and the output ceiling to -0.1. I then use the soft clipper to feed the gain into the L2. Depending on the style of music and the clients desire for loudness will determine how loud I go. The L2 is basically just there to make sure nothing clips the master fader. It ensures everything maxes out at -0.1 and it usually adds a touch of that “limiting” sound which I like. Although I like to retain the punch of the mix with the soft clipper, I do like the sound of when a limiter is just crushing those peaks ever so slightly.

So there you have it, a little sneak peak at ITB mastering. Now that you know the secret to getting your mixes loud please please please don’t overdo it! With that said Even if you don’t  use this as your final mastering chain its always good to run your mixes through before sending off to a mastering engineer in order to get an idea of how your mix will hold up to mastering. It never hurts to understand each process of audio production.

The more you start learning about music production the more you start to see that the essence of music production is making the natural sounds and performances come alive. The production aspect is designed to arrange these songs properly and make them sound as good and as beautiful as possible.

What I find is that many beginners make the same mistake at first. They assume that what they’ve come accustomed to hearing on their MP3 players, CD’s and Radio is actually just the artist in a room recording and their brilliance just shines. The reality is that the production behind these songs is what makes it sound so good. Is it possible for someone to setup 1 mic in a room and sing a song that the world will love with no extra work required? Sure, but it is very rare. Music production is the process of taking a song and making it sound and relate to people as best as it possibly can. At least thats how I perceive it.

The tools of the craft are microphones, effects, EQ’s, compressors along with the music producer, the engineer and the artist’s ears. Its no wonder that certain record producers and mix/recording engineers get paid incredibly well. It’s because they know how to get these songs sounding better then anyone else. It can be a producer who knows how to arrange a song so that it just grips people or get that last bit of extra emotion out of the artist. It can be a mix engineer that knows how to get a singer to sound bigger then life or maybe just getting those drums to hit harder then anyone else. All of these things are equally as important to the song as the actual melody in my opinion. The reason I believe this is that I have seen the same song flop when it was mixed poorly and then be a hit when it was mixed by a top notch engineer. Ive seen the same when a song was produced by a mediocre producer or a song produced by one of the top talents in the business. Music production is key to the success and appreciation of a song.

Music production is an art just like performing. You have to love what you do and you have to be emotionally invested in the work. Creating and producing music is not like running a business. You are dealing with art that needs to be felt and appreciated in order to bring the best out of it. Of course it can take years of studying and technical knowledge to become skilled at the craft but in the end it is how you perceive the song that will really make you great at what you do. Dealing with sound and music is an incredible thing and knowing the reality of what goes into music production makes it even more enjoyable.

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Alesis MICRON Analog Modeling Synthesizer

The first thing I noticed was how it has very small footprint which makes it extremely convenient to use in a studio setting and probably would be outstanding for live use. If you are a gigging musician the Alesis Micron would really be an incredible fit. Its light weight, easy to travel with and has a great analog synth sound.

Now since I am basically a recording guy lets talk about the recording aspect of things. These days many people get their synth sounds inside the computer. Programs like Reason are awesome and can really do almost anything. What I really liked about the Alesis Micron though was the fact that it was really quick and easy to get some killer sounds. Whenever I end up loading up Reason the artist and I usually start wasting a few hours fooling around with the endless settings and options. The Alesis Micron took a little bit of learning to understand just how to work the programming end of it but once I started to get the hang of it I really realized how powerful it could be. The built in presets were nice but the unit is extremely programmable and the sounds and drums you can create are just beautiful. Ive used a plenty of digital synths in my day and I have used a lot of digital synth’s that model analog synths. The difference here though is that the Micron really had that “analog” sound. For its size it really blows you away with how great it sounds. I doubt you could find anything in its price range that would even come close to sounding this good.

In a nutshell if you are a recording musician or a live musician looking for an affordable virtual analog synthesizer then the Alesis Micron is a great choice. If you are the type that looks to noodle around in programs like Reason for hours on end you might not find a need for it but I highly recommend it.

Discounted Alesis MICRON Analog Modeling Synthesizer

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Yamaha HS80M Studio Reference Monitor

For years and years I have been trying out all different types of monitors. I had a few pairs of Genelec’s, some Mackie’s an old pair of Yamaha NS10′s and even a pair called Truth Audio from a high end no name company that went under after hurricane Katrina destroyed their factory. My point of going into all of this is because I was just never completely happy with any of them. I never felt settled in my monitor choice. Many of my colleagues would always recommend I buy more and more expensive models after i’d tell them I wasn’t fully happy with my last pair. What I found was more expensive didn’t really get the job done any better… Well at least not for me.

Yamaha HS80M – Where Have You Been My Whole Life

I usually shy away from monitors in this price range due to bad experiences in the past. I decided to give the Yamaha’s a shot because I had heard that a few rock and hip hop albums that I loved sonically had been mixed on them. I also love the look of the white cone, I think its got a cool, classic vibe. My favorite thing about my old NS10′s was the look of them. (For those who don’t know Yamaha NS10′s were the most used studio monitors in the world through the 70′s, 80′s and 90′s. Yamaha is marketing the HS80M’s as an updated NS10).

When I fired them up the first thing I noticed was the deep bass you could get from them without even needing a sub. Im not a huge fan of mixing with a sub and with these things ive never had a need for one. They have a rich smooth sound that I hadn’t found in other monitors. Most people love to talk about how “accurate” monitors are. I won’t make any claims to how mathematically accurate the HS80M’s are, you can go check the specs for that, all I know is that they RELATE. Thats always been the key for me. These monitors RELATE IN THE REAL WORLD! What a crazy thought.

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After about 10 hours of getting used to their sound I found that my mixes were just sounding great on everything. Anybody doing audio production knows the feeling of having a killer mix pumping in the studio until you bring it out to the car and the whole thing just falls apart. I had never and still have never used a pair of monitors that relate as well as the HS80M’s. They also have a switch in the back where you can boost or cut either the highs, lows or mids. I always leave these switches alone, but if your room has some acoustic problems these can help compensate.

In a nutshell I can only give high marks for the Yamaha HS80M’s. If you are in the market for a cool looking monitor, that gives you great real world sounding mixes and deep bass then these are an incredible buy. Not to mention the price is basically a steal. You really can’t go wrong.

Discounted Yamaha HS80M Studio Reference Monitor

The Different Audio Engineering Jobs

Recording Studio Engineer/Mix Engineer

This is probably the most well known type of audio engineer. This is what I do and usually what most people think of when they think of audio engineering. Basically you’ll be running the Pro Tools rig, pushing the buttons and getting the tracks to sound amazing. This work can vary from working with Pop and Rock music to doing voice over tracking for commercials or TV shows. This is a great field to go into if you’re looking to be in the modern music game. Also these skills will help you if you ever want to get into producing.

Live Sound Audio Engineer

This is another really popular field in the world of audio engineering. You’ll be running the show, literally! This can vary from setting up and dealing with mic placements to running the board and making the production sound incredible. This type of work can lead to touring if thats something that interests you. For someone who toured a few times in my life I can tell you, touring is a blast.

TV or Radio Broadcast Engineer

This is a great gig and can lead to a really nice paying career. You’ll be apart of the audio team that deals with the sound production of TV or Radio. This can involve live broadcasts.

Movie or TV Sound Engineer

This can be another great job. It can vary from holding the boom stand during the filming of a TV show to winning on Oscar for sound design in a Movie. There is a lot of different avenues you can go in this field. If you love audio engineering and you love movies this is a very cool profession.

Post Production Engineer

Post production engineers deal with the editing, sound design and over dubbing ect… for TV, movies and radio. I included this as a separate category because this a specific sect of the TV, movie and radio business. Post production engineers are kind of like the mix engineers of the TV, movie and radio world. This is where some of the highest paid audio engineering jobs are.

These are just a few of the careers I could think of. Im sure there are many more. If you are interested in audio engineering then you should start researching which field would be best for you. Dealing with sound is a great job. I do it everyday and I couldn’t be happier. If sound is your passion then there are plenty of audio engineering jobs out there for the taking.

Getting a Degree In Audio Engineering

Audio engineering degrees are a relatively knew thing. It used to be a very specialized type of education that only a few schools offered but these days you can find an audio engineering program at most schools. Many schools will offer a BS in audio production or something along those lines but some will only by 2 year programs. Sometimes these 2 year programs may be more specialized and not as general. This is something to look into if you are sure of a specific field you want to get into.

When getting an audio engineering degree you’ll usually be in a program that will combine elements from fine arts, technology, music, broadcasting and electronics. Different Audio Engineering Schools have different programs but you’ll most likely be required to take classes on music theory, music history, communications and electronics along with the specific audio production courses. This is mainly so you will have a broad general knowledge of the field of audio engineering, sound design and audio production.

You’ll really have to research the schools in your area or the schools you are interested in to see the specific degrees and programs offered. The audio engineering world is so different that each school can sometimes take a completely different approach with their degree programs. Also I would definitely recommend ensuring that your school has some sort of job or internship placement program. The hardest part about this business is getting your foot in the door. If you’re going to invest in your education then make sure the school is going to give you a leg up when all is said and done.

When I was working my way up in the recording business these degrees and programs were definitely not as prevalent. Thats not to say they’re not important today. Seeing as a lot of these degrees are somewhat new you’ll want to make sure you do your research and that you will be getting a valuable education. The audio world is definitely changing and education and knowledge is always going to be a good thing. Taking the time to earn one the many audio engineering degrees just might be the right path for you and your goals.

Audio Engineering Schools

Audio engineering schools are everywhere. Pretty much no matter where you live there are schools that have an audio engineering program. When looking for the right school it is important to have at least an idea of what field of audio engineering you might be interested in. If you’re not sure you can check out Audio Engineering Jobs to get an idea of the different possible fields. Each schools program is slightly different and some schools may specialize in certain fields, so its good to at least have an idea.

Usually these audio engineering schools will give you a general education on all things dealing with audio production and sound design. You’ll learn how things work and the basic ideas of what goes into being an audio engineer. Using compressors, EQs, learning about the different mics and their uses. You’ll also most likely get some in depth Pro Tools training which is very important for an audio engineer in this day and age. You’ll also get hands on experience on the computer, behind the boards and with the different gear and microphones. This is definitely a valuable experience. Some audio engineering schools will also give access to the schools recording and sound facilities which is a very nice perk.

One of the best things that audio engineering schools help with is job placement after you’ve finished the program. Depending on your field these schools can usually get your foot in the door with an internship or entry level position. These can positions can be pretty difficult to get so any help is well worth it.

Going to audio engineer school is always up for a debate. Just like with any career, a degree doesn’t guarantee you anything. Some people may say you are better off pounding the pavement. Going to each recording studio you can find, begging to work for free, make coffee run errands, learn from the experienced engineers and work your way up. This is a great way to build a career also if you are driven like that. I personally don’t think either road is better then the other, its just a different way to go about things. I think it all comes down to what you learn and what experience you get. Studios are going to be looking for someone driven, someone who is ready to learn and someone who has at least a basic knowledge of pro audio and engineering. So whether audio school is your path or pounding the pavement and working your way up, make sure you have the passion for this industry. The music and sound industry is a tough business and no audio engineering schools are going to hand you a successful career on a platter.

EQ TIPS – Charts

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EQ Tips

- Saturation-

(Click To Enlarge)

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As usual I pretty much always start off with my URS Saturation plugin. For those unfamiliar with saturation you can read about it here Saturation 101. In this case I went with the british bass preset. I love this preset because it really rounds out the bass in a nice way and starts giving me some of that analog goodness we all love so much.

- EQ – Gate -

(Click To Enlarge)

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Now this step is the really important one. This particular setting is geared towards your modern day rock song. Its a bit aggressive. As usual im using my favorite EQ plugin the Waves SSL E-Channel. You can see im really pulling out the midrange by having a 9db boost at 2khz and a 6db boost at 1khz. This helps the bass cut through in the mix. You’d be amazed at how much midrange you can get away with boosting when mixing bass. Although we want the bass to hold down the low end we also want to hear the notes clearly and be heard through the guitars and possibly keyboards. I sometimes may move the frequency of the boost a little higher depending on if I want a more metallic sounding bass, but usually these are my starting points.

I will then find what frequency the kick drums low end is taking up. I do this by doing an aggressive EQ boost on the kick drum and see at which frequency its really bumping the most. After I figure that out it’ll tell me better where to boost the bass. In this case the kick drum was hitting hardest at 60khz. So I decided to tuck the bass underneath the kick drum and give it a nice healthy 4 db boost at 50khz. This helps define where the heart of the bass guitars low end is gonna be in my mix while also giving it a massive sound. Lets say for example the kick drum was hitting hardest at 50khz i’d then probably fit the bass up above it and have my boost at around 60khz. Usually your kick drums frequency is the deciding factor on where best to boost your bass.

I have my gate set pretty loosely. Nothing crazy just enough to cut out any unwanted noise when the bass player isn’t playing.

- Compression -

(Click To Enlarge)

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With bass guitar it is very important to EQ before you compress. You want the EQ boosts to be pushed against the compressor and tighten everything up. When done the other way around you’ll end up having a bass thats a bit too out of control frequency wise. When EQing into a compressor the compressor almost acts as a smoother. It lets you get away with more EQ but also keeps the EQ under control. In this example im using the Waves CLA-76 plugin. This compressor sounds amazing and I use it for bass guitars almost everytime in my mixes. For those who would prefer to use another compressor you basically want the attack to be medium-slowish and a release thats not too fast. I like a 4:1 ratio and then I really smack the bass hard with between 6-8db of compression. This way I have a really tight bass sound thats not gonna get out of control and will fit nicely in the mix.

- Tape Saturation –

(Click To Enlarge)

So these are my usual starting points for mixing bass guitar. I’ll usually do a little tweaking here or there but for the most part this should be a good template to use. Mixing bass always takes a bit of experimenting and will usually never be exactly the same song to song. Just remember a well balanced mix will always sound bigger then one with a ridiculously huge bassy low end. You’ll notice as you get more and more experienced how the low end reacts in real world listening environments and i promise mixing bass becomes much easier from there.

URS Saturation
Waves SSL E Channel
Waves CLA-76