Think you can mix… Round 2

A month ago I discussed LEWITT Audio’s music challenge mixing contest. While there’s no current contest, all of the past tracks are still available for download, so you can try your hand at mixing. To date, there are six songs running about 3 1/2 minutes each. LEWITT has selected a cross-section of eclectic European artists, showcasing styles that include R&B, rock, jazz, folk, swing, and punk. I mixed one of the songs for that first post, but decided to take my own suggestion and ended up mixing all six. I have posted that compilation to Vimeo.

As I previously mentioned, I don’t mix songs for a living, so why add this to my workload? Well, partially for fun, but also to learn. Consider it a video editor’s version of the “busman’s holiday.”

Each of the six songs poses different challenges. LEWITT’s marketing objective is to sell microphones and these recordings showcase those products. As such, the bands have been recorded in a live or semi-live studio environment. This means mics placed in front of instrument cabs, as well as mics placed all around the drum kit. Depending on the proximity of the band members to each other and how much acoustic baffling was used, some instrument tracks are more isolated than others. Guitars, bass, and keys might have additional direct input (DI) tracks for some songs, as well as additional overdubs for second and third parts. The track count ranged from 12 to 28 tracks. As is typical, drums had more tracks to deal with than any other instrument.

The performing styles vary widely, which also presents some engineering decisions that have to be made in how you mix. Move Like A Ghost was deliciously nasty by design. Do you try to clean that up or just embrace it? 25 Reasons is closer to a live stage performance with tons of leakage between tracks.

The video component

LEWITT, in conjunction with the performers, produced videos for five of the six songs. The mixes are specifically for LEWITT, not the official release versions of any of these songs. Therefore, the LEWITT videos were designed to accompany and promote the contest tracks. This makes it easy to sync your mix to each video, which is what I did for my compilation. In the case of Move Like a Ghost, LEWITT did not produce a full video with Saint Agnes. So, I pulled a stylized live music video for the band from YouTube for my version of the mix. I assembled this reel in Final Cut Pro, but any editing was really just limited to titles and the ins/outs for each song. The point is the mix and not the editing.

On the other hand, working with the video did inform my mix. For example, if a lead instrument had a riff in the song that’s shown in the video, then I’d emphasize it just a bit more in the mix. That’s not a bad thing, per se, if it’s not overdone. One quirk I ran into was on The Palace. The tracks included several vocal passes, using different mics. I picked the particular vocal track that I thought sounded best in the mix. When I synced it up to the video, I quickly realized that one vocal line (on camera) was out-of-sync and that LEWITT’s mixers must have blended several vocal performances in their own mix. Fortunately, it was an easy fix to use that one line from a different track and then everything was in sync.

Working the DAW

One of the tracks even included a Pro Tools session for Pro Tools users, but Logic Pro is my DAW of choice. Audition and Resolve (Fairlight) could have been options, but I prefer Logic Pro. It comes with really good built-in plug-ins, including reverbs, EQs, compressors, and amp modelers. I used all of these, plus a few paid and free third-party plug-ins from Accusonus, Analog Obsession, iZotope, FabFilter, Klevgrand, Sound Theory, TBProAudio, and Tokyo Dawn Labs.

One big selling point for me is Logic’s track stack feature, which is a method of grouping and organizing tracks and their associated channel strips. Use stacks to organize instrument tracks by type, such as drums, guitars, keys, vocals, etc. A track stack can be a folder or a summing stack. When summing is selected, then a track stack functions like a submix bus. Channel strips within the stack are summed and additional plug-ins can then be applied to the summing stack. If you think in terms of an NLE, then a track stack is a bit like a compound clip or nest. You can collapse or expand the tracks that have been grouped into the stack with a reveal button. Want to bring your visual organization from a couple of dozen tracks down to only a few? Then track stacks organized by instruments are the way to go.

For those unfamiliar with Logic Pro basics, here’s a simplified look at Logic’s signal flow. Audio from the individual track flows into the channel strip. That signal first hits any plug-ins, EQ, or filtering, and then flows out through the volume control (fader). If you need to raise or lower the volume of a track going into the plug-in chain, then you either have to adjust the input of the plug-in itself, or add a separate gain plug-in as the first effect in the chain. The volume control/fader affects the level after plug-ins have been applied. This signal is then routed through the track stack (if used). On a summing track stack, the signal flow through its channel strip works the same way – plug-ins first, then volume fader. Of course, it can get more complex with groups, sends, and side-chaining.

All track stack signals, as well as any channel not placed into a track stack, flow through the stereo out bus (on a stereo project) – again, into the plug-ins first and then out through the volume control. In addition to the stereo output bus, there’s also a master output fader, which controls the actual volume of the file written to the drive. If you place a metering plug-in into the chain of the stereo output bus, it indicates the level for peaks or loudness prior to the volume control of the stereo output AND the master output bus. Therefore, I would recommend that you ALWAYS leave both faders at their zero default, in order to get accurate readings.

All mixes are subjective

The approach to the mix varies with different engineers. What worked best for me was to concentrate on groups of instruments. The order isn’t important, but start with drums, for instance. The kit will likely have the highest number of tracks. Work with the soloed drum tracks to get a well-defined drum sound as a complete kit. Same for guitars, vocals, or any other instrument. Then work with the combination to get the right overall balance. Lastly, add and adjust mastering plug-ins to the stereo output channel strip to craft the final sound.

Any mix is totally subjective and technical perfection is merely an aspiration. I personally prefer my mix of Dirty to the others. The song is fun and the starting tracks nice and clean. But I’m certainly happy with my mix on the others, in spite of sonic imperfections. To make sure your mix is as good as it can be, check your mix in different listening environments. Fortunately, Audition can still burn your mix to an audio CD. Assuming you still own a disc burner and CD players, then it’s a great portable medium to check your mix in the car or on your home stereo system. Overall, during the course of mixing and then reviewing, I probably checked this on four different speaker set-ups, plus headphones and earbuds. The latter turned out to be the best way to detect stereo imaging issues, though not necessarily the most accurate sound otherwise. But, that is probably the way a large swath of people consume music these days.

I hope you enjoy the compilation if you take the time to listen. The order of the songs is:

The Seeds of your Sorrow

Spitting Ibex

25 Reasons

Louis Berry and band

The Palace

Cosmix Studios session

featuring Celina Ann

with

Thomas Hechenberger (guitar)

Valentin Omar (keys)

David Leisser (drums)

Bernhard Osanna (bass)

Home

AVEC

Dirty

Marina & the Kats

Move Like a Ghost

Saint Agnes

©2022 Oliver Peters