![]() Rough mixes help your mixer hear your emotional response to the song. With all of your processing on, bounce a mix to include. Most engineers like to have your rough mix as reference. Still send the unprocessed file in case something isn't working. It is beneficial to send this to the mixer as well as some premixed material such as background vocals and drum loops. However, in some cases, you've worked hard to define and shape a special sound and that shouldn't be ignored by your mixer. The reasoning behind not sending heavily processed tracks to your mixer is so they aren't inhibited by the compression and EQ or other effects you have "printed" or bounced to the track/stem you are sending. This is probably the most subjective point of this article but I hope to stay on the ideological side rather than being definitive. This will have an affect on our turn over time.Ĥ. We all our mixes to sound the best we can but sometimes we are charging a ridiculously low rate to accommodate the time it takes to time align or pitch correct 30+ tracks. You are safer to do it yourself than trust it is included. Not every mixer includes these services in their rates. All these little things that may not be heard before mixing will most likely show up in the master after loads of compression has been added.ģ. Crossfading at edit points fixes most of this, but, a good measure of this is to hear if you can identify your edits with the track solo'd and your eyes closed. Other noises include improper edits that cause clicking, popping or other artifacts. ![]() Sometimes you want to leave a vocalist's breathe for emotion or a guitarist or drummers noises, communicate that to the mixer. This means remove unwanted noises between performance parts. This point is especially important if you are sending your project session folders because keeping them clean of unwanted takes, clips, tracks will save you hard drive space and ultimately a headache sorting through your files or uploading.Ģ. I'm guilty of this but these should not be sent to your mixer either. ![]() Comping a final take is part of the production process and should not be left for the mixer to do, unless you are also hiring them to help you with these decisions.Īnother practice is keeping ideas or parts that we ultimately don't think fit in the song. We keep multiple vocal takes or guitar solos or what ever arrangement decisions we don't make. However, sorting through your takes is not considered part of the mixing process. Besides the many benefits of digital recording, one of the downsides is that we don't make decisions because we have seemingly uncapped amounts of storage. Send only the tracks you want to be mixed. ![]() And, hey, these tips aren't meant for those working with another mixer but are great M.O. Regardless, you are still going to need to do a few things before formatting that will save you time, and maybe money, as most of these processes will not be something your mixer considers part of mixing. Some mixers prefer to receive your project sessions and others only want your audio files or stems in a certain file type. I am often asked about how to prepare and send tracks for mixing by another engineer.
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