Mixing is more than just an art, it's a key step in assembling soundtracks into final music. An excellent mix can showcase the highlights of your music in front of people, which can be thought of as the most important detail of the spotlight you are playing into the music, adding another surprise to the already very excited audience. At the same time, it is necessary to ensure that the music is played on a transistor radio or from a "dream combination" of an enthusiast, and the sound is not said. In theory, mixing should be a very simple matter: all you have to do is adjust some knobs until all the sounds sound good. But generally not so good luck. Mixing is hard for a mixing engineer to be as difficult as playing an instrument. So we have to go closer and take a closer look at each step in the mix. You can start by analyzing the excellent mix recordings of some of the top mixer engineers and producers. These "big names" include: Bruce Swedien, Toger Nichol, Shelly Yakus, Steve A1bini, and Bob Clearmountain. Don't focus on the music, but pay attention to the mix. You have to try to hear the sound of every instrument, even the "wall sound", because every element in the music has its own acoustic spatial position. Also pay attention to the balance of the frequency response in the music, you should try to make the sound have enough high-pitched parts but not make it scream, but also have enough bass to pave the way, but don't make the mix into a ball Drowning, of course, to ensure a clear and obvious mid-range is also necessary. One of the best mixing reference tools is a CD player and a great reference CD (on rock and roll CDs, my favorite one is Tom Petty and The Heartbreakers' album Damn the Torpedoes, which The beauty is that no matter what kind of sound system you use to play it, its sound is very good). Connect the CD player to your mixer and compare your mix with the reference CD frequently. If the sound you're condensing seems a bit dull, harsh, or uninteresting, then you should carefully monitor and isolate the sources that produce these undesirable consequences. A reference CD can also guide you in many ways, such as the relative level of drum sounds, vocals, and other sounds. Look at the mixer's level meter so that the level of the songs in the reference CD is as high as the level of your mix (so that their peak signal is as high as on the meter). At this time, if the overall volume of your work sounds small, even when its peak value has exceeded the level of the reference CD, it means that the music in the reference CD must have been subjected to a good compression limit. So that the dynamic difference of the whole piece of music is not too great. In fact, compression is always one of the few things you have to do when mixing. At the same time, a formal production room should have at least one first-class compressor and a first-class user. Appropriate sounds with too much monitor level can make your ears feel tired. The lower mix level keeps your ears in a "sensitive" state and is not prone to fatigue: too much mixing level can boil your whole body blood, but this is not conducive to perceiving subtle changes in levels. . There are noise problems in many music studios, so using headphones when mixing is a good idea. Although the headphones are excellent for capturing details that are not easily audible in the speakers, they are not the best choice for mixing because they overexpress some of the details in the music. Therefore, it is best to use headphones to check the mix results instead of using headphones for mixing. Don't let the device "stain" the sound to prepare for the mix when you start recording. One of the most critical elements of getting an excellent mix is ​​to make sure that the sound of each track is clean during recording. Remove all the devices that can be removed from the source and the recorder. In most cases during recording, you should turn on the “bypass†switch on the signal processing device so that it does not add any effect to the signal. And keep the signal "original". If possible, it is best to enter the sound signal directly into the recorder (for a microphone, use a separate ultra-high quality preamplifier) ​​and set the console aside. For a single tone, you may not hear the difference between direct recording and recording through the mixer and other devices, but a piece of music is made up of many tracks, and the components of each track are not "clean". Adding up will definitely affect the clarity of the music during the mix. The arrangement of the music should take into account the problem of mixing when composing. A typical problem in personal music studios is that it is easy to mess up the work. In the early days of the orchestration, the structure of the music was full, so that as the recording progressed, you have no room to add new ideas. Keep in mind that the fewer notes, the greater the impression each note gives. As Sun Ra once said: "Blank is also a manifestation." Here are some tips: ◠Once the adapter is too bloated, a better way is to splicing the music. As with many people, I also write songs while recording in the production room, so the illusion of songs is usually temporary and improvised. So deleting something can make the music simple and nice, and give you a clearer idea of ​​the overall grasp of music. ◠Try to construct a song with a singer's singing or other melody instrument instead of the rhythm part. Simply enter some drums, basses, and pianos to mark the beat points, then enter the vocals and edit them as much as possible. At this time, when you rearrange the rhythm track, you will be very sensitive to the subtle characteristics of the vocals, so it will be very easy to feel where to strengthen the rhythm part, where to keep the rhythm part quiet . ◠Sequence software that includes digital audio functions (such as Opcode's StHdio Vision, MOTU's Digital Performer, Steinberg's Cubase Audio, Emagic's Logic Atldio, and Cakewalk Pro Audio) can add too much Before the music texture, it is very easy to enter and edit the human voice track first. In this way, listening to the human voice to carry out the orchestration, the songs you compile will be more closely attached to the human voice. Product categories of Maskking, we are specialized electronic cigarette manufacturers from China, Vapes For Smoking, Vape Pen Kits, E-Cigarette suppliers/factory, wholesale high-quality products of Modern E-Cigarette R & D and manufacturing, we have the perfect after-sales service and technical support. 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