Hi Guys

I'm wondering if you guys have like a chart to work with so that you know where you are at with your productions and mixing and to help focus on what you are missing in your mix. If you haven't thought about it then maybe this will be useful, regardless of how proficient you already are. I'm thinking about maybe printing them off for various tracks and then ticking off what I have gone through already so I know where I am at in each track.

My thought is that having a logical process to follow will help for those times when I get distracted and start doing something else. If I'm up to a certain stage then after the tweaks I can fall back into that stage, instead of constantly jumping around and then losing the plot.

I'm also wondering if you can help to expand my list. If you notice anything that I'm missing or you have any suggestions for improvements? Maybe you think the order would work better differently. How do you work right now? Do you think its better to just tweak each sound as you go, sit it into the reverb, add compression, tweak transients etc and then just leave it?

Do you think that it just won't work. If not, why not?

I already use a template for production with various sends set up for compression etc and folders for Bass, Drums etc, so I can see where I'm at there, so I haven't added that into the process. Something to add to your list if you go this way.

If you have or create anything better, like with flow charts that trigger an even better work flow then please share. :D

Production Steps

• Layer the Lead Synths
• Transition FX
• Crashes/Impacts
• Fill FX
• Delay
• Reverb
• Saturation
• Sidechain
• Transients
• Glitch
• Drum Energy Automation
• Compression
• EQ
• Mid/Side
• Panning
• Automation
• Humanising

 

Hey man! Thanl you! That's would be a great topic!

 

I've thought of a couple more things to consider...

• Frequency checks
• Filter sweeps
• Strip unnecessary crap

 

I wouldn't use a sheet like that. What happens in mind stays in mind...unless I was working commercially, then I would create track sheets. Though with instant recall and unlimited memory for virtually everything we do behind the "desk", Save As can and does suffice. If I had an analogue desk a digital photo would work for recall. But for what I have done and should do on a mix, I try not to think...I think.

 

I would understand basic buss settings or groups, some delay and reverb fx, other than that it just doesnt make sense, since you work from song to song.This kind of work will only limit your progress since its all about improvisation.Work fast and improvise.

 

Whatever bit im working on, (i could start from anywhere in a track) i always think about context. How does this bit im working on fit in a track? It could be in an 8,16,32 segment, i always have the thought of view that something else needs to come in or out (unless its an outro). For example if i started with just a bassline i would think about the fundamental note and how will it interact with my kick element, this is a very common idea in most music forms. Then if the bass was organic (i.e not a clean sine wave) or had some mid harmonics such as a bass guitar, i would think about potential clashes with other mid frequency sounds like shakers, hats, pads etc. Its a methods of filling the gaps/ creating gaps or leaving gaps intentionally in the spectrum. The mixing it all down gently in iterations subtractively then additively using eq and compression if it needs it. A quick tip i would suggest it to write a timeline of a track that you would like to break down that is in the stlye you want to make, and just mark all of the sounds and transition points, or points where you hear automations, small and large, listen very distinctly to get as much information about the composition. Then just imitate that to begin with for your workflow. Keep open spectral analyzers to help guide you as well.

 

Mixing is a ART... and every mix is different.. if you follow a step by step guide for mixing you'll end up missing what actually needs to be fixed in a mix. Mixing should come natural and the flow and steps how you approach a mix should never be the same other than the basics such as listening with your ears and deciding what it needed in the mix. the same goes with production... there is no guide book to creativity... but if something works for you and your flow... stick to it. I just honestly think if you follow a guide like that... your work will suffer in the end but as I said what works for someone may not work for others.

 

exactly, there are certain things that we all do for every mix/session but other than that every song requires a different approach. I think those that need a step by step guide should probably focus more on actually creating music and mixing it and develop a formula which comes naturally over time. nobody approaches a mix or production the same way for every project/song... that may be cool if you're working on a specific project that is basically the same stuff like a bunch edits for one song or remixes but I doubt anyone that really does production and mixing does the exact same thing on every project.. the other reality is we learn as we go.. even the PRO's learn new stuff so following a guide means you won't be experimenting as you go.

 

It's a good idea if you find yourself distracted and getting pulled away to help re-integrate yourself. Personally, I couldn't use such a thing for that purpose, instead, before I get up, I jot down which track/bus I'm currently working with, and where I'm at and where I'm headed with it. Also, if I have ideas relating to the piece that I'm afraid I'll forget, I'll scribble them down too. Especially if I know I won't be returning to that piece soon (eg. within the hour)
I think if you use a flowchart to do all of your mix work, you will fall into a rut, and lose some of the spontaneous mix decisions that seem to elevate your mixes to the next level.
I used to think that there are things I'm always doing, but lately that simply isn't the case. I recently began "starting over" on several songs which I simply wasn't happy with. I decided not to structure the mix sessions, and just to listen and go from there. After I broke away from that structure, I think my mixes really have started to come alive. Better dynamics, interplay between tracks, etc. Because now I'm listening in a different way.
I used to always start with the drums, next the bass, then the guitars, then the vocals, and so on. Now I listen for the "magic" track/tracks. The one that moves you. Then I build the rest of the mix around that/those.
Of course these are band recordings of live instruments. But I would imagine the same workflow would work well for electronic music as well. I wouldn't recommend mixing/composing at the same time. I believe they should remain two separate processes.

 

Thanks for all the responses and thoughts. Lots of interesting thoughts on it.

To clear up the process... as my tracks stand they are pretty much arranged and produced already. As a once over, the tracks pretty much have most of these processes already applied to some degree, but because I'm still learning how to get that sparkly pro sound and still understanding what each effect does in practice, there is nothing in stone for me yet. I'm still looking for my own sound and I won't be happy until I discover it.

Using this process will help me to remember which things need to be looked at. As an example, I'm not really big on filter fx, I think they're pretty much murdered by now, but they have their place such as in transitions and building interest. Do I want them? Maybe not, but it can't hurt to have the prompt on the wall to make me consider whether it would improve the current track. I am hoping that my list will eventually include everything that I might want to consider. Again, glitching probably won't happen too much, but its another good prompt to add some great dynamics, and obviously dynamics need to exist. So maybe dynamics needs a sub heading and a flow chart, including automation and maybe sidechain?

Silence is another thing to consider, as a sub heading of transitions - you see, as I think about these things I remember production tricks that I might have totally forgotten that could change my track. Having a list could be a massive help for me.

On a similar note, like many people I have a template that I now work from with compression already set up as basics. They are pretty much there as prompts. My folders are prompts. I don't use all of them just because they are there. I'm not a big fan of toms but I have a folder for it setup. Its easy enough just to delete them later. There are folders that I don't have set up that I end up adding into different tracks. This has been helping me massively so far. I have pan channels as well, which makes me think about adding panning, although that is something that needs a whole process of thought in the mixing as well as just being handy. I will add channels as I go for extra delays etc. I think a template is much better to look at than a blank canvas, but I'm sure there will be some nutcases our there who LOVE a blank canvas ;)

Maybe it would be good to separate the list into a few stages, so that compression and delay is in one band and automation and transitions are in another for example - so that would now give maybe 3 stages of production rolling into the mixing process, and sub-headings in each? Delay feels a bit like a transition from production to me and not so much of a mixing process, whereas automation is pretty much a mixing/mixdown thing, so that would logically follow as a mixing stage. Again, it doesn't have to be set in stone, but when it comes to that transition in approach where you become the engineer, I think it would help to have this at least drafted.

Bear in mind that musicians are all at different levels and I'm pretty sure, even based on the first response above, that other people will get something positive from having this set of thoughts to work with. Even if you don't agree with it or aren't interested in your own productions, it would be nice if you can contribute from your own knowledge which processes I have missed off, especially if you are already good enough not to need these crutches.

I did a search for "workflow" and it seems that people are already making tutorials on these lines, so having a workflow must be relevant to some people, depending on our different characters. I appreciate that some people are already too advanced to have a list. I have a list for scales and frequencies that I don't even look at, but its nice to have it there in case I want to reference it. It also makes a nice wall decoration and makes me feel a bit more musical ;)

This list is a collection of all of the tutorial advice that I can remember that I have come across. These are things that I have been trying to learn and practice, which I am still a long way from fully understanding and hearing well.

I'm not saying that you need to follow each step routinely, although in the early days it could really help a lot of people, but ticking them off when you feel that the delay is already fine as it is, or it wasn't needed, means that you know where you are at. If separating it into 3 groups of transition from production to mixing ties those processes together, again it still doesn't stop accidents from happening. It just helps to know where you are at and what hasn't been completed yet.

I'm sure most producers must have tracks where they sit back and say to themselves "is it finished". Well here is a list for you to flick through and answer that for yourself. If you can tick off every process in the list then it is finished.

If you only have the word "delay" to work with, then you have the crutches to make sure you get through the process, but you also can experiment with whatever delays can happen by accident. Maybe you end up eq'ing that delay and come up with something great that is like a filtering eq on the delay by accident. There is nothing to stop you from tweaking the eq whilst you are sitting the delays in place, but then when you get to eq you can consider eq in its own right.

Maybe I'm overthinking everything, but until I fully understand at least most of the processes and can instinctively grab what I need to blend it all together, I think I need something like this. I'm going to be trying this out for the next few weeks anyway and see how it goes. I don't think it should be written off as a learning process, especially if you have been watching a lot of tutorials, learning the techniques on your own tracks and you are having a bit of a dumbstruck moment of how to piece it all together. It doesn't have to be for life, its just like having stabilizers on the bike. Expect to take them off at some stage but don't throw them away.

I think I got the answer as to whether anyone uses prompt sheets anyway. :D If you can add anything that I have missed off then please contribute. Thanks for the replies. Nice reading and thanks for your thoughts and contributions.

 

I think I more fully understand what you're trying to accomplish with this. Thank you for the detailed explanation. It's actually a great idea to be able to "say what's missing here?", and have a fairly comprehensive list to refer to and see if you see anything there which could help the song. And I agree, there's a TON of things that can be done, and sometimes simple things like delaying or filters could simply be overlooked.
I suppose in mixing/producing, there's work that's to be done in a creative frame of mind as well as an analytical frame of mind. Things like gain staging that has to be done, often isn't "fun", and sometimes downright tedious would be analytical in nature. I tend to get those tasks out of the way first. Then I'm free to let the creative side take over and evolve the mix that way. Thanks for posting this, now you've got my wheels turning thinking about how to apply this to what I'm working with.
Maybe including reverse reverbs in the list. Not useful everywhere, but I love that sound washing in on certain things.

 

Great idea to add reverse verbs into transitions I think, along with crashes and impacts. I'd missed that. Again, that's something that you know about and totally forget.

Gain Staging as well. I guess that is kind of in the production end, but it would be something to keep thinking about throughout and probably would fit into each transition. I think I'm growing into this idea of a flow chart.

 

Gain staging is something I do constantly. I use Nebula, and with it, gain staging is a must. Actually, it improves sound of other plugins as well if you hit them at the correct level. Any time something in the effects chain is altered I go through the chain and re check it. Eq's or compressors affect dbfs as do other plugs when you adjust them. I learned this after I posted something up here and was told that my gain staging wasn't right. Now I kind of know what that sounds like and how to listen for it.

 

Here is my list of where I am at for now. This makes some sense to me. If you create your own version of this list in a different way then please share and let us know how it works out for you.

Production

Production Ideas
…

Arrangement
…

Engineering

Production Tweaks

• Layer the Lead Synths
• Sidechain/Dynamics

• Gain Staging

• Transition FX

• Reverse reverb

• Crashes/Impacts

• Fill FX

• Delay

• Reverb

Post Production Mixing

• Frequency checks (Audiosex Chart)
• Saturation
• Transients
• Glitch
• Filter Sweeps
• Drum Energy Arrange
• Silence
• Compression

Mixdown

• Mid/Side
• Panning
• Strip/dismantle unnecessary items
• Automation
• Humanising
• EQ
• Reference Track

The 'Audiosex chart' refers to a post titled something like "Frequencies, Levels of A Mix and Mastering Tips", I'm not sure where I copied it from. Awesome guide chart. Frequencies need checking in general, but this looks like a great place to start before checking for clashes.

 

here is mine folks


1. set expectations and inner details of the project
2. reference files
3. layout including metering for tracks and master
4.tracking
5.gain staging (i never exceed -6db on tracks and -6db on master fader)
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6.harmonic structure (analog warmth from tube, tape, transformer, transistor (
i use this to transparently get the transients equal thickness at all frequency response of a track then group.
it also accomplishes control of dynamics and loudness at fine grain atomic level of audio.
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7. eq of tracks then groups
8. compression of tracks or groups at mid level detail never exceeding 2:1 ration never exceeding 2 db of peaks middle of road attack and release
9. special fx, fades ,modulation, reverb delay spatial stereo width
10. prep for mastering