If you've ever had the unfortunate experience of taking a mix you've done outside your studio only to find out it doesn't sound nearly the same or nearly as good on other playback systems and devices, it's time to take your stereo mixes into the mono realm.
If mixing in mono for better stereo results sounds counter-intuitive right now, watch as Ryan takes you through some of the benefits on a huge multi-track production by songwriter Matt Tinsley.
Over the years I've seen a lot of confusion out there about levels and clipping during mixing - but only recently I came to realise that the confusion was so deep that people were altering their mixes to avoid clipping that wasn't even really happening! Once and for all, I thought I'd lay out for people in highly technical terms, but hopefully still keeping it fun too, everything they need to know about digital audio and clipping so that they can finally realise how little they really need to know. If your the type of person who has found themselves worriedly watching the meters more than your listening to the sound, this tutorial will put your mind at rest and your concentration back to the fun part: making music.
Nothing can elevate a beat to sound like a catchy real song faster than a good vocal. But on the other hand, nothing can sabotage an otherwise great beat to sound like an amateur mess than a bad vocal. And sometimes, all that stands between one thing and the other is mix technique.
In this video, Ryan shows us how he added vocals to his own song and went about making them sound every bit as polished and perfected as the instruments that make up the beat. You'll see how to make your vocals pop out of the mix, get natural tuning, and find that balanced with effects that are audible without being overpowering.
Sure, the title of this video reads like classic click-bait but in this case I actually stand by its claim! There are two knobs in Reason's mixer that far too often get overlooked by people new to mixing. Unsurprisingly, these knobs are seldom overlooked by professional mix engineers and once you learn to use them, you'll start using them just as much in everything you do.
The High Pass and Low Pass Filter in Reason's main mixer helps you achieve something called "frequency slotting," which is just jargon for this result: Your instruments won't be fighting each other for the same space in your mix. In this tutorial, Ryan shows us how to get clarity and definition out of your mix by mindfully considering the important frequencies for each instrument in your music.
I touched on this before in my earlier article about creating a Shimmer reverb, but I want to talk about it more now - routing an effects return to its own mix channel.
Normally when adding a send effect to the Reason rack, you'd route the signal from the FX send at the back of the Master Section to the input of the effects unit, and then from the output of the effects unit to the FX return at the back of the Master Section, as shown below.
Instead, let's route the output of the send effect to its own mixer channel - like this:
Why would we do this? By routing the return from the effects device to its own channel, we're effectively isolating it, and now we can do all sorts of creative stuff with it. Here's a snippet of a hang drum with a touch of chorus, delay, & reverb.
Now I've routed the same piece through a long reverb, the outputs of which are routed to their own mixer channel. This mixer track is panned 100% to the right. This gives the reverb an interesting character of its own, but also makes the pre-effect signal stand out against the background.
Here's the same thing again, but now I've added an Audiomatic Retro Transformer as an insert effect on the mixer channel and some automation, panning the mixer channel slowly from right to left and back again.
Having the effect return on its own channel in the mixer also enables setting up a feedback loop, whereby the output of the effects unit is returned to the input to be processed again. You can achieve this by activating the send that's routed to the effect that's feeding the mixer channel. Be careful with this option, and be ready with the fader if you try it, because things can get out of control very quickly!
Isolating the effect return on its own track will also enable you to use the channel strip's EQ and dynamics processing on the effect return, and you can view the return in the spectrum analyser.
Using the various bounce options availble for mixer channels, you can even render the effect return without the original signal. Here I've added some sequenced gating and filters as further insert effects and then renderned just the effect return channel in the mixer by itself, and then added a beat.
I've used a reverb in this article, mostly because it's an effect with a long tail that makes demonstration easy - but any effect is fair game. Give it a try!