the art of mixing…

well, for the past few weeks, because I really, really want to clear my backlog of recordings, or at least, get it to a reasonable state (say, four weeks behind), most of the musical activities I’ve been engaging in lately have been mixing, followed by more mixing, and then, just for variety, a bit of mixing…

over the holidays, I mixed 51 pieces, which of course, if they had been multi-track masters, would have been more like 5, but when I say mix – for me, I am very fortunate, because the bulk of what I record are live improvs, so for these live tracks, “mixing” really consists of a few simple, standard operations (trimming, level balancing & settings, and, deciding if reverb or other treatments are needed and then applying them).

obviously, when I was working on “gone native”, or even “dream time” by “scorched by the sun”, those sessions take much, much longer, you can’t knock out 51 mixes in two or three weeks as you can with the live tracks.  this difference is crucial, of course, it still takes quite a bit of time to mix the live tracks, but what it means is that there is hope – I MAY get caught up, since all the mixes I still have “to do” are live stereo pairs – not multi-tracks.

since the holidays, I’ve managed to mix two more sessions, one with one song, another, with eleven, so I have an additional 12 under my belt.

these sessions have been a real variety, and it’s been very interesting hearing these different sessions and approaches, and hearing the wild diversity of tools and instruments that are at my disposal – mainly due to the incredibly music diversity of the ipad, with it’s ever-growing list of music applications. within this last batch of 63 mixes, I’ve worked on: straight guitar synthesizer sessions; guitar synth & shredder synth & addictive synth (applications) sessions; guitar synth & beatwave (application –NOTE – apology: I erroneously called this “beatscape” in previous postings – my mistake!) sessions; mini-moog V (soft synth) sessions; and finally “all-instrument” sessions – where I play many, many instruments in a completely live setting.

I am not quite sure what is next on the list to mix, but I am sure it will be interesting! I think I am mostly finished with sessions running from the start of the year up through about august – anything left is hopefully in the september to december period.  I know I have some october sessions waiting, 20121028 I think, but I can’t recall what they are – possibly more of those “all instrument” sessions – and those are full of surprises, since there are so many instruments on call.

I have actually mixed a couple of recent sessions, from 20121225 and 20121226, so I know what is coming in that area, the “all instruments” set up already well established at that time, so there will be items from those two sessions appearing eventually.  there are also various sessions involving “scape” –  from october and november, which I am also looking forward to hearing again – hopefully something interesting might come out of those…

 

the one upside/downside is – for each set of audio mixes completed, this generates a list of tracks that require a video to be made – which is good and bad, good, because I captured a decent take that I can present on one of the you tube channels (my only real outlet for live performance at this point in time); bad, because – I have to actually make all those videos.  with 62 audio mixes recently completed – a LOT of tracks are now marked “make video” under the heading “next action”in my tracking document.

 

so in the last session that I mixed, this past Sunday, the 20120616 shredder synth session, for example, which had eleven decent tracks in it – eight of them seem to be viable, so I will need to make eight videos out of that session.  a lot of work, sure, but for me, totally worth it, because I think it’s interesting to see how this music is created – looping shouldn’t really be shrouded in mystery, it’s just a process, and it’s a process that I truly enjoy.

 

before I forget, I have good news: I’ve confirmed with bryan helm, my partner in crime in the band “scorched by the sun”, that the latest master mix of “dreamtime” that I sent him, is a “go”.  we are both very happy indeed with the master recording of “dreamtime”, so it would appear that the début “scorched by the sun” album is ready to go.

this will require a little work on my part, but mostly it will involve preparing the artwork, but I am optimistic that I will find the time to work on this (hopefully this coming weekend) and it’s entirely probable that you will be able to download the album (which is one very long, very ambient track) from bandcamp within the next few weeks – hopefully well before the end of january.  we will keep you posted on this, of course!  this album took a lot longer than expected, mainly due to my manic schedule, but it’s been well worth it – it’s one of the most satisfying, most ambient records I’ve had the pleasure to work on in a long time.

back now to the topic at hand, I was thinking how very fortunate I am to be mostly a live performer, and how fortunate I am that I have these very straightforward, simple-process mixes to take care of – if every piece I recorded was a multi-track, I would currently have a ten year back log, instead of the one year backlog that until very recently, I’ve actually had.

I now have that down to months, probably about three months, and I plan to persist in mixing (despite being just a TINY bit tired of the process!) until everything I’ve recorded has been mixed, and then, moving forward, work harder to stay on top of things, and not end up with a major backlog as I have right now!

 

looking forward, I am really excited about the possibilities, and I think that 2013 is going to be a year of very, very interesting performances and recordings.  I am definitely going to look at live streaming performances, probably through the very convenient new you tube live streaming facility, so I will set up a recording session, and then invent listeners to tune it.

I also plan to try a lot of recordings using new and interesting technologies, the forerunner at the moment being “audiobus” – a unique application that allows you to move back and forth between audio applications that are an instrument, a sound source, and applications that are used to effect that sound, and finally, applications that record that sound – I’ve been testing this out over the weekend, and it works really, really well.  this means then, that I can record and perform live with much more ease on the ipad, because you don’t have to manually open and close applications – you just move between them as you perform – it’s fantastic.

 

if I think back over the past two years, I had two very, very different experiences – going back to the mixing sessions for gone native, which were very traditional, since they involve traditional rock back instruments – drums, bass, mellotron,  guitar, guitar synth – most of the year was spent mixing and remixing multiple instruments, and getting a good sound balance between 20 or 30 instruments can be very difficult, harrowing, stressful – and very, very time consuming.

contrasting that in my mind with the last several months of working on live material for video, where I’ve done about three times the number of mixes on live tracks than there are tracks on “gone native” – because, thankfully, mixing these live tracks is relatively quick, easy and painless, compared to mixing multi-track – they are like night and day.

and to be honest, while I enjoyed both processes, but I will always prefer mixing a two track stereo master of a live track to a multi-track – it’s just so much more straightforward.  I’m actually really lucky, because the majority of the albums I’ve made, and will make, are all consisting of live tracks – there won’t be too many “gone natives” in my future, unless I decide to make more studio-style rock creations – which I very probably will, but in the meantime, I am still patiently, sometimes impatiently, wading through those many, many live stereo mixes – one at a time.

 

I’ve really enjoyed having adobe audition available to do the processing on the live mixes, I have a standard process now where I trim the track in sonar and set the levels roughly; I add any required reverbs using breeze (since it lives in sonar) and then I export the track to a special directory…where I then pick it up in adobe audition.

once in adobe, I open the file, run the amplitude statistics, once I have the numbers, I calculate mentally the amplitude offset I need to get the output to sit exactly at – 6 db, and I then run the amplitude update based on the numbers…  then I save the file which creates the final 24 bit, 8 khz wav master, then, I “save as” a 320 kpbs mp3 file so I can put it on my portable device to listen to.  this also gives me a chance to hear it in compressed form, to make sure the sound quality is liveable compared to the original wav file.

this new process is working really, really well, and I am loving adobe audition – I have also used it to remove pops, to remove badly clipped audio (it did marvellously well at both of these notoriously difficult clean up tasks) and to apply effects and eq to tracks.  I will definitely be depending on adobe audition more and more in the future for most audio work – I love it!

 

 

there is certainly no lack of tracks that need to be mixed, level matched, and so on, and I continue to work through this backlog, I really want to get it  (the backlog, that is) down to nothing so that when I complete a session – I can immediately mix it, instead of it waiting weeks or months for me to “catch up”.  that is the ideal, anyway…

 

of course, it’s not just my tracks that need mixing, I also have the cassette restoration project calling to me, a lot of material there needs additional clean up, and again I will look to adobe audition for some of that, in particular, it has a most excellent fft style clean up available, based on the one originally within it’s ancient ancestor, “cool edit pro”.  I love this kind of noise reduction (where you sample the noise, and then run the reduction based on the sample), and it will be brilliant for cleaning up hissy old cassettes – but it’s finding the time to get back to the cassette project – I have to concentrate on and give priority to the current work, then my collaborations (the “dreamtime” release) and then and only then return to work on the cassette project – as time permits.  and right now, it isn’t !

I am listening this morning to a set of mixes from 20120708, which was my first ever session with the mini-moog V soft synth – and what a beauty it is, possibly the most capable and beautiful soft synth I own outside of the mellotron (m-tron pro).  the artist patches alone are really amazing, and it has a rich and beautiful palette of very analogue-sounding patches…I am in particular looking forward to publishing the work from this session, as a lot of it has come out really well indeed.  and in this case, I am not looping, I am just sitting down at the keyboard, and putting the mini-moog V through it’s paces – and it absolutely performs – a genius instrument. hats off to arturia

so: this coming weekend, I hope to work on finalising “dreamtime” and making the début “scorched by the sun” album available – and then – it’s…

 

…back to mixing, mixing, and more mixing.  next up: remove “pops” from an applications session (live performances on the ipad itself from 20120414 – can’t wait, those were some really exciting first-ever attempts at playing synthesizer directly on the tablet – so those should be really interesting…

🙂

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