![]() However, a common mistake is the failure to realign the re‑amped track to the DI, to take into account the delay introduced by this signal path. ![]() Like sample reinforcement, re‑amping the bass guitar is common place in metal mixing. Room mics can likewise be time‑aligned to your snare spot mics.Īs phase cancellation is a very common problem with a multi‑miked kit, all other spot mics should now be checked against the overheads for phase, and polarities reversed if appropriate. Simply line up a significant transient on your overheads to the same transient on your snare top channel by zooming right in to the waveform display as far as possible, then physically shift the overhead audio files earlier so that this transient is starting at exactly the same point. It is amazing how much difference bringing the overheads just two or three milliseconds earlier in the digital domain will make to the overall body and tone of the snare when these sources are combined, due to improved phase coherence. Usually, one of these settings will provide a much thicker, fuller low end, and clearly this indicates phase summation.Īfter doing the same with your individual snare tracks, I can recommend that you spend time experimenting with time‑aligning your overheads to your snare spot mics. Start by ensuring that your various kick‑drum sources (multiple mics and samples) are phase‑coherent, by fading each source in with one of the kick mics, and comparing this without, and then with, the phase inverted. Paying attention to phase issues can often make the difference between a clear, well‑defined mix that has a heavy yet tight low end, and one that is thin, with poor intelligibility. Start by getting rid of any unwanted audio from your project: for unwanted sections where toms are not being used, as well as incidental bass and guitar string and amp noise, waveform edits with appropriate fades are a lot more accurate than trying to get manual gates to operate correctly. If you're going to be using samples to replace or reinforce your drum tracks, now is the time to add them (see 'Drum Samples In Metal Mixing' box). So it's a good idea to carry out all the technical preparation on your files before getting stuck in. Mixing is a creative process, and it's important that you aren't continually distracted by technical issues. With time and experience, these will serve as a starting point for developing your own personal mixing style. Despite the fact that each mix will present its own specific challenges, this article aims to explain basic techniques that are common practice within the genre. In extreme metal, a good mix is usually characterised by hyper‑realism of performance and tightness of production, with a particular emphasis on low‑end definition, overall clarity and intelligibility. The way music is balanced, equalised, processed and effected has an overwhelming impact on the way it is perceived. In the second part of our masterclass on the production of modern metal music, we explain what makes a great metal mix.
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