Here are some secrets behind getting those wide, spacious, pro-sounding mixes that translate well over any system.
We know them when we hear them: wide, spacious mixes that sound larger than life and higher than fi. A great mix translates well over different systems, and lets you hear each instrument clearly and distinctly. Yet judging by a lot of project studio demos that pass across my desk, achieving the perfect mix is not easy…in fact, it’s very hard. So, here are some tips on how to get that wide open sound whenever you mix.
The Gear: Keep it Clean
Eliminate as many active stages as possible between source and recorder. Many times, devices set to “bypass” may not be adding any effect but are still in the signal path, which can add some slight degradation. How many times do line level signals go through preamps due to lazy engineering? If possible, send sounds directly into the recorder—bypass the mixer altogether. For mic signals, use an ultra-high quality outboard preamp and patch that directly into the recorder rather than use a mixer with its onboard preamps.
Although you may not hear much of a difference when monitoring a single instrument if you go directly into the recorder, with multiple tracks the cumulative effect of stripping the signal path to its essentials can make a significant difference in the sound’s clarity.
But what if you’re after a funky, dirty sound? Just remember that if you record with the highest possible fidelity, you can always mess with the signal later on during mixdown.
Before you even think about turning any knobs, scrutinize the arrangement. Solo project arrangements are particularly prone to “clutter” because as you lay down the early tracks, there’s a tendency to overplay to fill up all that empty space. As the arrangement progresses, there’s not a lot of space left for overdubs.
Here are some suggestions when tracking:
- Once the arrangement is fleshed out, go back and recut tracks that you cut earlier on. Try to play these tracks as sparsely as possible to leave room for the overdubs you’ve added. Like many others, I write in the studio, and often the song will have a slightly tentative feel because it wasn’t totally solid prior to recording it. Recutting a few judicious tracks always seems to both simplify and improve the music.
- Try building a song around the vocalist or other lead instrument instead of completing the rhythm section and then laying down the vocals. I often find it better to record simple “placemarkers” for the drums, bass, and rhythm guitar (or piano, or whatever), then immediately get to work cutting the best possible vocal. When you re-record the rhythm section for real, you’ll be a lot more sensitive to the vocal nuances.
- As Sun Ra once said, “Space is the place.” The less music you play, the more weight each note has, and the more spaciousness this creates in the overall sound.
Now let’s take a closer look…
Mastering is the Supreme Court of audio—if you can’t get a ruling in your favor there, you have nowhere else to go. A pro mastering engineer can often turn muddy, tubby-sounding recordings into something much clearer and defined. Just don’t expect miracles, because no one can squeeze blood from a stone. But a good mastering job might be just the thing to take your mix to the next level, or at least turn a marginal mix into a solid one.
The main point of this article is that there is no button you can click on that says “press here for wide open mixes.” A good mix is the cumulative result of taking lots of little steps, such as the ones detailed above, until they add up to something that really works. Paying attention to detail does indeed help.
To read the full detailed article see: How to Create Wide Open Mixes