step by step.

[Terry Wetzel]

I've been doing this now for a long time and still find myself confused as to the proper steps one should take from the point where tracks have been recorded at the proper levels,(just into the yellow, pre fader), all tracks properly edited, effects inserts added,(compression, eq's, verbs, delays added.
Now ready to mix. Let's say that on average my faders are nested at between
-10dB and -6dB. Do I now raise them all to 0dB to begin mixing? What about a Master fader? Should I complete my mix with that fader set at 0dB and then add compression to bring the level up to between -.01 to -.03? I have never seen these questions addressed in any training aids, YouTube videos etc. It continues to puzzle me and I'm curious as to why I've never seen these logical steps to a finished project outlined. Thanks for any one who can fill in the voids for me. (Pro Tools 9, Win 7, 32bit).

[albee1952]

Hey Terry, I'm sure you will get several opinions on this, so take mine as just that, and remember that some methods stem from old habits(specifically, the ideas of starting with everything at -0, or starting with everything all the way down) which makes a lot of sense if you are mixing thru a console(I assume you are all in the box).

I will paint 2 scenarios for you. 1 relates to mixing a project you(or I) have never heard before. In that case, I would put all at -0, but all muted. Then I would go thru and listen to sections, and any rough mix I may have also been given. Since you are not in this scenario, let's move to yours.

Absolutely add a Master track if you don't have one showing(I like to place mine to separate the music from the vocals). Refer to the master regularly to spot clipping(something you DON'T want). If my master clips, I will pull it by as much as 3-4db. If it STILL clips, then I reduce all the audio/instrument tracks by 5-6db. If(and only if) I will master the project, I will stick Waves L2 on the master now and set its ceiling to -.03 to catch any left-over clipping(if its going somewhere to be mastered, I use nothing, but I might insert a limiter for one pass, to hear what happens).

Starting all at -0 vs rolling from where you are; I roll from where I am as I often already have automation in place, which makes starting with all turned down, OR at -0 a bit of a wrestling match. I prefer to mute sections so I can do critical listening by instrument groups, such as drums, acoustic instruments, electric guitars, keyboards, bass, etc. I generally treat all BGV's as a group and the lead vox as its own(including any double-tracks of it). By the time all my edits are done, my final mix is actually not far off, so its on to the dirty details.

#1 is thinning out(with EQ) the BGV's so they don't mask the lead vox(a dip around 350-400 for all BGV's goes along way).

#2 is to finalize my panning. Sometimes I need to swap some stuff from one side to the other for better separation between instruments(I figure if it was worth recording, and helps the track, then it should be audible, but not fighting for "space").

#3 is to fine-tune the bass drum and bass guitar. For me, that means getting out of my chair and sitting on the couch at the back wall as the bottom octave is almost perfectly represented there. Once it sounds right there, I kill the monitors and double-check with decent headphones.

By now it should be very close to done and I will probably run a Bounce to Disk, and listen from the next room, with the door open. Its surprising how often that will expose something out of place There's more to it, but rather than write a book here(which has been done by others, and much better), at this point I would suggest you compare your mix to a commercial release in the same style(adjust your to match the volume as your track is not mastered yet). I have even ripped and imported a CD track right into a session for quick comparison.

My last tidbit is only if you plan to master yourself. Since I am not a mastering engineer(but get stuck doing it due to budgets), my credo is "don't screw it up" I keep it simple and use an EQ to roll off below 32Hz, followed by a mastering limiter(I use Waves L2) set for no more than 2db of reduction and a ceiling of -.02. If I need more volume, I add a second L2(same rules). If I STILL need more volume, I will add a 3rd L2(this won't happen with a pop/rock/country track, but for acoustic stuff, it might). I am not trying to be louder than Nickelback, just in the ballpark of the average commercial release in the same genre. Assuming your original file is 24 bit(mine always is) I add a dither plugin as the last process. Now you CAN choose to do this right in your session. I generally don't and leave the mastering as a separate process(I just concentrate on getting the best MIX and leave mastering to later) If the final master needs EQ after you listen on several systems, repeat the mastering process(using the original un-mastered file) and add an EQ or multi-band compressor right after the hi-pass EQ.

[Terry Wetzel]

Many thanks albee, (may I call you Dave now?). I am overwhelmed and really didn't expect anyone would respond to specifics in such detail. My problem has always been that, if I feel I have a good mix at a nominal volume, (I don't prefer to mix loud), when I turn it up on the master fader to achieve store bought cd level, (-.03) with no clipping, everything goes to hell! The mix sounds totally different when compared to the lower listening level. My room is not treated as I've budgeted in favor of gear and not acoustics. My mixing spot is semi isolated from the rest of the room by commercial baffles, one on each side, the kind used in office cubicles, in the center of the room, away from corners, (no bass traps). I hope it's not my aging ears but if so I'll have some stuff to sell. You have been a great help but your comments on this would be even further appreciated.

[albee1952]

Since the acoustics in your mix area are not so good, do your "loud" testing in other places(living room stereo, the car...) as the reason things "go to hell" is two-fold. #1 is the old Fletcher-Munson curve, so when you crank up the volume, your ears hear more increase in bass than just the volume. And #2-louder playback will exaggerate room modes(frequencies that get seriously boosted or nulled due to wavelengths). IIRC, 86db is the "ideal" mix volume for dealing with messers Fletcher and Munson, so maybe grab an SPL meter and try working at that level more. Radio Shack has one, or for iPhone users, the AudioTools app(basic version) from StudioSixDigital are all reasonably accurate for this purpose).

[Bill Denton]

A few other things...

My "level choices" are based on recommendations I read from various engineers I respect, but there are a lot of different ideas out there.

Tracking - Average level around -15 to -18 dBFS.

Mixing - End up with peak levels of -3 to -6 dBFS.

Mastering - End up with peak levels as close to 0 dBFS as possible without clipping.

In case you're not familiar with the term "dBFS", it's an acronym for "decibels Full Scale"...it's the meter scale you will see in on your DAW's meters...0 is theoretically where clipping will begin.

A properly treated room is an absolute must...but for a lot of folks, such a room is simply not possible. In that case, you can use a set of "pro" headphones (NOT "Beats"). But you do have to be careful when mixing with headphones, as "ear fatigue" often sets in a little earlier than when working with monitors.

Unfortunately, I can't make any headphone recommendations...mine have a name that starts with "A" (I think, but it's too damn cold for me to go down to the basement and look), and I think I paid around $150 for them around 15 years ago...since they work for me I haven't kept track of what's "hot"...maybe someone else can recommend something decent but not-too-pricey...

[The Weed]

I would audition a pair of Sennheiser HD 380 Pro headphones. Flat and clear with no "color" added - what goes in is what you hear.

Cheers,

[Terry Wetzel]

Thanks bruce,The Weed. I'll look at these and see if I can afford. I've stayed away from expensive head phones since daily studio use exposes them to possible damage from accidental abuse. If I can find the money they are a distinct possibility.

[Terry Wetzel]

Thanks Bill Denton. The levels you gave are right in line with what I am doing although it took a lot of trial and error on my part to arrive there. As I stated in my original post, I don't recall ever reading any training material that spelled this out. I am currently trying to use, (and understand ) the proper use of the Gain app. Sorry about the temp in your basement. My studio is down there too but mine is heated. Beats head phone $$ in winter every time!

[Terry Wetzel]

Thanks again albee. Ah Ha! The old Fletcher Munson Thing. I recall reading about that way back when,(pre stroke) but it became lost in the fog! I'll break out the book and review or Google it. Thanks again.