Roey Izaki Information

Roey Izhaki

The information gathered from Izhaki's book called Mixing Audio (2008) has information ranging from preparing for a mix, the techniques and problems which can occur when tackling a mix.   

Planning

When planning on tackle a mix it is best to approach each mix with an open mind as izhaki states "every mix is different, and different pieces of music require different approaches". Izhaki is stating that different genres of music are mixed in different ways to express a type the feel of each song. Mixing involves both being technical and creative. Technical processes include resolving problems and improving instrumental clarity. The creative aspects of mixing consists of panning, loudness and timbre effects, in addition to providing ideas for further song enhancement. All corrective processing such as noise gating, compressing or corrective EQing should be done first, as Izhaki affirms "Technical tasks can break the creative flow, they are better completed first".

There is a set of questions to ask when mixing a song. The questions should be used for analysing a finished mix. The Questions gathered from Mixing Audio (2008, pg24) used for analysing mixes are as follows:

·                            How loud instruments are in relation to one another?

·                            How the instruments are panned?

·                            How are the different instruments laid-out on the frequency spectrum?

·                            How far are instruments with relation to one another?

·                            How much compression was applied on various instruments?

·                            Is there automation?

·                            How long are the reverbs?

·                            How defined the instruments are?

·                            How different mix aspects change as the song advances?

Figure 3.0 (pg37) has been gathered because it helps show a broad overview of how to treat a mix. This is not the exactly how to mix as different engineers mix differently with different environments.

Figure 3.0 shows the standard mix treatment procedure

Mixing tools and controls

From page 213 a frequency graph (figure 4.0) shows the subjective term people use when describing a sound. An equalizer can enhance the sound of these terms either good or bad through the use of filters. The filters are used for cutting, boosting or removing frequencies to attain a specific timbre. When using an EQ the terms can help the mixing engineer self assess how the mix sounds and if there is any way to improve.

There are different types of EQ such as:

·         Semi parametric

·         Parametric

·         Dynamic EQ

·         Graphic

Figure 4.0 shows the subjective terms used when describing a sound.

An EQ can also be used for separating the different instruments into bands for mixing and increasing clarity. Figure 4.1 shows the different perceptions of how each instrument fills the frequency spectrum. The first spectrum in figure 4.1 shows an imbalanced mix which is exactly the opposite of what is required for a mix with clarity. The b) shows a balanced mix where all instruments have their own allocated space in the frequency spectrum. The last shown as c) has the different spectral ranges of the instruments. It is important that instruments are spread across the stereo field for a highly detailed mix.

Figure 4.1 shows the frequency spectrums of a) unbalanced mix, b) balanced mix and c) the actual instrument spectrums 

Reference
Izaki, R (2008). Mixing Audio - Concepts, Practices and tools. Second Edition. England: Focal Press.

Gibson, David. (2012). The Art Of Mixing.

The video explains both the mental attitude to tackling a mix and how to divide each instrument into different sections of a stereo image. The information is elucidated in an easy to understand manner and each point is explained in different ways. Although the video is old, it takes place in a studio where Gibson worked and the facts stored within the video are useful for being applied to the final year project.

The video is split into different sections. The first section used in the project explains about using an imaginative stereo field between the speakers and “how do you use it to create a good mix” (2012). Gibson uses the stereo imaging to help the mixing engineer think about where in the mix they want a particular instrument to be located from the listener’s point of view. Furthermore Gibson explain simply that if an engineer wants the vocals to be up front, the vocal channel need to be turned up to the desired amount. The same for a vocal being distant, where by a engineer would turn the vocal channel down. In addition Gibson explains that to create distance a reverb can be used but shows more about using reverb later on in the video.

The second section illustrates about controlling the mix to stop it being crowded and complicated. Gibson clarifies that a “mix should fit the song like clothing fits your personality” (2012). The quote suggests that the mix of each instrument should match the songs style. It would mostly be ineffective to mix a drum kit to a reverb the same as a church in a country and western song because it doesn’t suit the style. Gibson describes that to control the crowding of a mix there are three main processes used. The first being an EQ which can be used for moving the instrument the EQ is applied to up and down. The second being volume to move the instrument to the front or to the back. Lastly, use panning to move the instrument left and right, and with this in mind making the mixing field seem 3D as illustrated in Fig 4.0.

Fig 4.0 – A simple drawing of the Mixing Stereo Field of the left and right speakers found in a studio

However Gibson also explains that the timbre of instruments may need to be controlled to stop crowding, by defining that a low frequency instrument such as a bass has a lot of power. A bass would take up much more space than a high pitched instrument such as a bell. The higher the frequency the less space is taken whereas the lower the frequency the more space that is taken. Also larger sounds will seem louder. A kick will seem louder than a ride cymbal because of the energy in the low frequency area.

A third section clarifies what makes a great mix. Gibson points out that all the factors of a song must be recorded to the highest quality. The factors are the:

·         Lyrics

·         Melody

·         Harmony

·         Quality of equipment

·         Performance

·         Song Structure

·         Concept

·         Rhythm

It is from the factors revealed that helps mixing engineer achieve the best possible results. Gibson states “the art of mixing is the way which the dynamics we create with the equipment in the studio interface with the dynamics appropriate in the music and song” (2012). The dynamics are the changes which can trigger different emotions within the brain. Gibson further verifies that “music is just an extension of our personality” (2012). The music we listen too can implement the different emotions of our personality.

The last section demonstrates dividing a mixing stereo image into six levels from front to back. The six levels are used for the placements of where each instrument should be placed depending on the song. From looking at other resources it is clear that a reference track should be used when deciding where each instrument should be placed.  Below are the different levels of what a mixing engineer should be searching for when mixing a song. One is closed to the front and six being furthest to the back in the stereo image.

6.       Subliminal sounds – very quit instruments

5.       Effect/Background – Kick, Reverb, Delay and other related effects

4.       Secondary Rhythm – Guitar , Snare

3.       Main Rhythm – Guitar, Toms

2.       Lead Instruments – Vocals and perhaps Guitar solo

1.       Shocking Sounds that stick out – Perhaps one off percussion to grab listeners attention

References

Graupera, J. (2010). Is Mixing an Art. Available: http://jordigraupera.cat/wp-content/uploads/2010/06/stage-scheme2.png. Last accessed 07th Oct 2014.

Gibson, David. (2012). The Art Of Mixing (A Arte da Mixagem) - David Gibson. Available: http://www.youtube.com/watch?v=TEjOdqZFvhY. Last accessed 14th Sep 2014.

Sound on Sound (2011) Information

Written by Mike Senior, the text explains different ways to tackle mix mistakes that are common in studio practice. The article had useful information on tonality problems, using wrong reverb and along with others which will be explained and assessed. The information in this section will give a brief outline of the subdivisions of information that has been found in the Mix Mistake part of the book.

A section containing information on tonality misjudgments was useful in understanding some problems that may have occurred with the first mix done. The text explains that comparing the project mix to other commercial mixes can help show the tone problems within the project mix. In addition, Mike explains to “Compare mixes on more than one listening system, if possible, and at different playback volumes” (2011), to show how each system is going to play the project mix back. A comparison on how each different system sounded will be noted, such as a Hi-Fi system having a frequency band boosted. Furthermore applying a frequency analysis tool on the master channel of the project mix will help show any tonal imbalances.

However phase misalignment is another common mistake and some useful information was found of how to overcome this problem. Firstly using in program plug-ins such as an EQ and phase inversing or using a fine delay to place the two contrasting wave shapes in time correctly. The main point expressed by Mike is “listening to your mix in mono is a quick way to check if any stereo signal in your mix harbors phase problems” (2011). When doing the second project mix the phase misalignment test will be done and may help show any other mistakes within my project mix.

Moreover a section called Mix Mud had information on trying to arrange and correct the low end of a mix. The information states how to use and apply different plug-ins to correct the bottom end, the first being really simple by applying a high pass filter to instruments not using any low end. “This will ensure that DC noise, traffic rumble, mic-handling noise, and any other low-octave rubbish doesn't interfere with your main bass parts” (2011). In addition mike further explains about being wary of any effects that may change the characteristics of the instruments such as a delay or reverb. There is information on using the wrong reverb within a project mix, such as how to use a reverb correctly and the type of reverb that should be used for the project mix.

Additionally there are details on dealing with harshness by using an EQ. The details are mainly about avoiding common mistakes made aspiring studio engineers. The mistakes explained from the text are to mainly avoid EQ’ing in Solo and to try and “avoid boosting in the 2-5kHz region” (2011). 

References

Senior, Mike. (2011). Mix Mistakes. In: White, Paul and Lockwood, Dave Sound on Sound. Cambridge: Warner Midlands plc. p116-127.

First Mix

Task 1 - First Mix Corrective sound engineering

The mix was started with corrected with trying to remove as much spill from the kick drum as a possible. The spill was mostly removed by placing a noise gate on both kick channels. The kick had still some spill left but not enough to warrant any problems. The two kick drum channels had some EQ applied. Kick drum “01_kickin” had EQ applied in the low frequency area (115Hz) to try and increase the boom sound of the kick as it felt that it was lacking. The second kick drum channel called “02_kickout” had EQ applied in the high frequency area (2 kHz) to try and bring out the click of the kick. As the kick now sounded like it had a very short release because of the noise gate, another channel was created (DrumAux). The two kick drums where bussed to the DrumAux channel in pre fade. The channel had an AIR reverb placed on it to try and acquire the release that had been lost because of the gates, and also had a compressor to level off both kick drum thresholds.

The second instrument to be corrected was the snare drum. There were three channels used for recording the snare drum which were named (03_snareup1, 04_snareup2 and 05_snaredown). The three channels where gated like the kick drum to try and alleviate any spill. Like the kick drum, the snare drums where bussed to auxiliary track (DrumAux) in pre fader mode to get the release that had been removed because of the gates. There was EQ placed on all three snare channels to try and enhance the timbre of each channel. The 03_snareup1 and 04_snareup2 tracks where chosen to increase the snare crack, from when the stick hits the snare drum and the other snare drum and to improve the low end. The 05snaredown was used for augmenting the rattling of the snares. The rest of the drums didn’t need any corrections but were bussed the DrumAux track.

The bass was corrected by applying a Compressor to both bass channels; 14_bassDI and 15_BassCab to increase the volume of the quiet notes. The two bass channels where then bussed to a created auxiliary track (BassAux) where an EQ and reverb where placed. The EQ was many used to bring out the LM frequency. The EQ was also used to bring out the HM frequency so that the finger plucking could be more present. 

All of the guitars where mixed the same. The guitar tracks had their own effects on in the recording. Acquiring the desired volume, placing a compressor and small reverb on auxiliary guitar tracks (AcousticGuiAux1, ElectricGuitarAux1 and ElectricGuitarAux2) was used to blend in a bit more was all that was used. The guitars did seem to be well enough recorded.

There were two vocals tracks in the project originally. The first vocal track was a lead vocal called 24_LeadVox. The Lead vocal had a compressor created so that there was more substance and could be heard clearer. The second vocal track was a harmony called 25_LeadVoxHarm. The harmony vocals didn’t seem to give much power to the song when there where first heard. To correct this, the HAAS effect was used to widen the stereo image of the harmony. All three of the vocal tracks where pre-fader bussed to a main vocal auxiliary, where a AIR reverb was placed to help the vocals blend in.

Task 2 - First Mix Creative sound engineering

The first instrument chosen for creativity was the acoustic guitar. The acoustic guitar had the HAAS effect applied to try and increase the acoustic guitar stereo width. A TimeAdjuster was placed on one of the acoustic guitar channel and had a sample delay applied. One channel was panned hard left, a channel stayed central and the last channel had the TimeAdjuster and was panned hard right.

The vocals had the HAAS effect used by creating a duplicate of the 25_LeadVoxHarm track. The tracks where then panned in the opposite directions of 100% left and right, and one side was delayed using TimeAdjuster by 2576 samples.

Task 3 - Soundcloud Links

Commercial Extant Track

https://soundcloud.com/nathanielevansuni/commercial-extant-track

Mix 1

https://soundcloud.com/nathanielevansuni/final-year-project-mix-1

 Task 4 - First Mix Peer assessments - Mixing

Below in Fig 2.0 are the peer assessments score sheets on the mixing techniques of the first mix produced. The scoring sheets were enough for the track to be analysed with negative and positive comments. The negative information showed the improvements that needed to be made and the positive information showed what complexities have worked in the mixing piece.

Task 5 - Scoring sheet - Mixing

The scoring sheet was used for peers to assess the mixing quality and how close the mix is compared to the commercial mix.

	Name	Mix Dynamics	Mix Panning	Mix Effects	Comments	Total score
Score		/10	/10	/10		/30

Fig 2.0 – The scoring sheet used for assessment of mixing

Study Brief

Project Title

The application of a range of mixing techniques to improve an extant mix.

Brief Description of Project

The studies aim is to analyze mixing techniques that increase required knowledge for studio productions. The techniques will be derived from experts in the field of work and an extant recording multi-track will be used for the experiments to be carried out on. Electronic and paper literature will be used for learning different the methods and creating the different tasks. In order for this investigation to be successful the different variables will need to be managed and reduced so that the tests of the study are fair.

An extant multi-track recording will chosen to be mixed to the ability’s possessed before the investigation experiments start. The track will be placed on sound cloud for experts and peers to assess any improvements or problems which can be addressed from the investigation and literature to be used. The commercial mix of the extant track will also be placed on soundcloud for experts and peers to compare against.  The same extant multi-track recording will be mixed numerous times showing the different techniques acquired from research of literature. When all tasks have been completed a final mix will be done to show the gained knowledge from the project.

The literature that is to be used within the investigation is by studio experts with information on how to overcome problems with a mix such as being muddy and understanding the sound of different genre types. Gibson (2012) provides information on mixing and combining different instruments, the mental attitude to mixing to the best of an engineer’s ability and using an imaginative stereo field. Sound on Sound (SOS, 2011), a book with information about mistakes made by mixing engineers will be in an experimental mixing session. A book by Roey Izaki (2008) shows both corrective and creative methods of mixing.

A report will have information on the different stages of analysis’s, experimental outcomes and any problems that will have to be overcome, all of which will be included in experiments from the appendices. Additionally an assessment of what would be done differently in the future if a similar experiment was done again. 

Motivations

The study is inspired by an interest in studio engineering for future purposes and overcoming previous problems engaged in the past when using the studio. 

Online Project Blog & Media

http://nathanielevansuni.blogspot.co.uk

https://soundcloud.com/nathanielevansuni

Project Learning Outcomes

•  Create and regularly update an online blog using Blogger.com.

•  Create a soundcloud.com account and upload audio from all experiments and productions.

•  Prioritize techniques identified from the literature survey and devise experiments to implement the techniques knowledge learnt..

•  Analyze extant recordings in terms of corrective and creative sound engineering, mixing.

•  Prioritize the techniques identified from the analysis of extant recordings.

•  Write brief Task Reports (as word documents or posted to the blog) for each task - using the headings Aims, Method, Results, Conclusions - and include edited screen shots, photos and other media.

•  Implement techniques investigated in experiments culled from the literature survey and the analysis of extant mixing practices.

•  Create a number of mixes of the original piece, upload to soundcloud.com and invite comments from experts and peers relating to the mixing of the original composition.

•  Create and deliver a presentation of the final outcomes to peers.

•  Produce a cited, reflective report upon the investigation/creation and the experience of independent study that makes reference to appended tasks and to files accessible on soundcloud.com (audio files, stereo, streaming) and https://drive.google.com/(for all other files such as ProTools project files, etc.) 

Evidence

•  Peer Presentation of final outcomes.

•  Cited, reflective Project Report including appendices with links to online blog and audio storage.

•  Online blog at Blogger.com.

•  Audio recordings stored for access and comment at soundcloud.com and https://drive.google.com/.

Time Plan

AUTUMN TERM 2014/2015
TU Week #	W/C	Event	Comment & Deadlines	MC College week #
Pre-Term		Pre-Term Tutorials
0	22-Sep	Induction Week		9
1	29-Sep	Prepare Study Brief/Create Literature Survey/Create online blog and SoundCloud account		10
2	6-Oct	Prepare Study Brief/Create Literature Survey/Create online blog and SoundCloud account		11
3	13-Oct	Conduct, report upon and upload outcomes of experiments	Deadline Project Brief (including link to online blog) Deadline Friday 17th October	12
4	20-Oct	Conduct, report upon and upload outcomes of experiments		13
5	27-Oct	Academic Support Week 1		14 HT
6	3-Nov	Conduct, report upon and upload outcomes of experiments		15
7	10-Nov	Conduct, report upon and upload outcomes of experiments		16
8	17-Nov	Conduct, report upon and upload outcomes of experiments		17
9	24-Nov	Conduct, report upon and upload outcomes of experiments		18
10	1-Dec	Conduct, report upon and upload outcomes of experiments		19
11	8-Dec	Conduct, report upon and upload outcomes of experiments		20
-	15-Dec	XMAS 1 XMAS 2 XMAS 3		21
-	22-Dec			22 X1
-	29-Dec			23 X2

SPRING TERM2014/2015
TU Week #	W/C	Event	Comment & Deadlines	MC College week #
12	5-Jan	Conduct, report upon and upload outcomes of experiments	Deadline: Interim Report Friday Jan 9th	24
13	12-Jan	Conduct, report upon and upload outcomes of experiments		25
14	19-Jan	Conduct, report upon and upload outcomes of experiments		26
15	26-Jan	Conduct, report upon and upload outcomes of experiments		27
16	2-Feb	Acquire Peer and expert feedback		28
17	9-Feb	Acquire Peer and expert feedback		29
18	16-Feb	Academic Support Week 2		30 HT
19	23-Feb	Implement Peer and expert feedback		31
20	2-Mar	Compile Draft  Report		32
21	9-Mar	Compile Draft  Report		33
22	16-Mar	Individual Tutorials	Deadline: Draft Report: Friday, March 16th	34
-	23-Mar		SPRING 1	35
-	30-Mar		SPRING 2	36
-	6-Apr		SPRING 3	37

SUMMER TERM 2014/2015
TU Week #	W/C	Event	Comment & Deadlines	MC College week #
23	13-Apr	Implement draft report feedback		39
24	20-Apr	Implement draft report feedback		40
25	27-Apr	Compile Final Report/Prepare Final Presentation		41
26	4-May	Compile Final Report	Deadline: PRESENTATION: Tuesday May 5th	42
27	11-May	Compile Final Report	Deadline: FINAL REPORT & Artefacts: Friday May 15th	43
28	18-May	Completion week 1
29	25-May	Completion week 2

Human & Physical Resources

•  Middlesbrough College Recording Studios

•  Middlesbrough College Music Labs

•  LRC  (learning Resource Center)

•  Avid ProTools (and a range of plug-in processors)

•  Project Tutor

•  Expert panel

•  Peer panel

Literature Survey - Summary of Three Main Sources

The three main sources used for this assignment helped to carry out tasks and understandings. The first source is a YouTube video of Gibson (2012).The video of Gibson states the techniques used by experts of mixing. The video has been watched and has the different techniques written down in a note book and will challenged in a mixing session that will take place in the Middlesbrough College recording studios. There isn’t a particular section of this video that has been used because there are facts about everything a mix engineer needs to know. The facts spoken about by Gibson are about the mental attitude of a mixing engineer and logical solutions to problem scenarios. The video was chosen because Gibson is a known figure in the mixing industry and provides the information wanted for this investigation to be a success.

Another source that has been chosen is information from SOS (2011), showing the ten common mixing mistakes made by engineers learning in the industry and how to correct them. The reason the SOS article was chosen is because SOS are known to have the information wanted by learning sound engineers. The articles of SOS have the factual information wanted and is written in terms that can be understood clearly. The information wanted from the book starts on page 116 and finishes on page 127. The information of the ten different mix corrections is split into subdivisions through pages 116 – 127. Seven of the ten mixing solutions have been selected and will be used as these provide the best information wanted for undertaking experiments within this investigation.

The last of the main references is a book by Roey Izaki called Mixing Audio (2008). The book has information split into the different sections of mixing. Each section has different parts of information. Part one has information regarding concepts and practices such as how to prepare for a mix. Part two has instructions about using the correct tools for a mix. Lastly, part three has sample mixes which help the reader to hear techniques that have been implemented. The book was chosen because Izaki has been a well known audio engineer 1992.

References

Gibson, David. (2012). The Art Of Mixing (A Arte da Mixagem) - David Gibson. Available: http://www.youtube.com/watch?v=TEjOdqZFvhY. Last accessed 14th Sep 2014.

Senior, Mike. (2011). Mix Mistakes. In: White, Paul and Lockwood, Dave Sound on Sound. Cambridge: Warner Midlands plc. p116-127.

Izaki, R (2008). Mixing Audio - Concepts, Practices and tools. Second Edition. England: Focal Press.