ALL KIND OF ROCK MIX AND MASTER TUTORIAL

All into the box

A mixing and mastering tutorial, all into the box, plugins, samplers, programs but also recording tips and microphones diagrams.

Rock, Hard Rock, Pop Rock, Indie, Folk, Country, Punk, etc. But also Funk, Jazz, Soul and real bands in general

Layers, Channel Strips, Buss Mixing, FX Channels Send Returns, Panning, Equalizers, Dynamic Processors, Analysis, Master

Layers

First of all layers, always layer your kick, snare and toms with some other sample. You can trigger audio drums with ApTrigga (check well the mix section of the plug, just the wet sample's sound is needed) or use your virtual drums midi to add elements.
You can also use a parallel compression style, with clean not compressed drums.
There are many ways to do it, from having 2 drums, one processed, one not, routed to the master. Till -my way as example:
1) complete processed drums, tracks, triggered elements, kick, snare, toms, rooms sub buss, reverbs, all routed to a final drum bus.
Eqs and compressors on each track and bus.
2) a stereo track of the clean drums with just an eq with 20-30 Hz low cut, maybe a cut in the 400 Hz zone, maybe at around 1 kHz, hi cut at 19-20 kHz, no compression. All routed to the Drums Bus, with an eq, comp, limiter, eq on the Bus.

Minimum 2 Bass lines, Amp and DI, but also a low end track and an overdriven bass line can help a lot and encrease the sonic chances by automating volumes.
Record the bass with more mics if you have the chance.
Or use the DI line and add amplifiers simulations.

Stereo or dual mono guitars
Synths or violins layers
Vocal doublers or vocals multi takes

Buss Mixing

Always divide the mix in sections, drums, bass, guitars, vocals, keys, etc
Route the Channels to their respective Buss, and the Buss to the Master
More control over: transients, loudness, EQ, phase, volume automations
Less analysis plugins
Final 5-6 Bus faders control for maximum control of the mix
Check well FX Channels routing, signal flow, if a Channel goes to a Bus, its FX will go to the same Bus. If a channel goes directly to the Master, its FX will do the same.

FX Channels Send Returns Technique

Don t insert pitch, reverb, delay FX directly in your strip channel
Use FX channels and use the sends on your track to mix the FX level
You d need less Reverbs, save CPU and don t give too many different spazializations, which is wrong.
Always insert an EQ like Brainworx, light and good, after the Reverb or Delay, pitch, to low and hi cut the FX. Less confusion, more clean.
Analog mixers always have FX cuts in the returns channels.
With Soundtoys, Nomad Factory, PSP delays, Lexicon, Native instruments and Altiverb reverbs you can be able to give some spatialization to your mix.
Don t add reverb to the very low end, more clean, definition
All reverbs can be low cut below 100 Hz as start by inserting a low cut EQ after the Reverb in the FX Channel.
I low cut kick's rev below 70
Rhythm guitars around 100 Hz
Guitar leads and sols and vocals even 200-300 Hz low cut
Delays can be cut below 200-300 Hz and hi cut above 8 to 10 kHz
Pitch FX works well just in the mid, mid-high range
You can low cut between 500 and 1000 Hz and hi cut above 8-9 kHz
FX WILL BE MORE PRESENT WHEN ALL MASTER PLUGS WILL BE USED, THEN LOWER DOWN ALL FX FADERS BY 1-2 DB IF NEEDED

Pre and post Comp Equalization

In this tutorial you will often find the channel strip EQ-COMP-EQ
Where the first one is for low cut and negative eq, the second post comp one is for lows and mid-highs enhancing.
Using a pre EQ to cut unwanted portions of sound makes the comp work better, it doesn t ennhance those garbage portions of sound, and using a post comp EQ you can work and give DBs to the mids and hi end, it won t engage the comp so, it will not be "frequency dependant".
When you use just an EQ before a Comp, and you give 4 DB at 3 kHz, say, anytime the material will play in that range of frequencies, it will hit the compressor harder, with more input volume therefor more gain reduction at a given treshold.
Uncompressed highs sounds are pristine and sparkling without compression artifacts. If you do it on all channels, whole mix, your high end will get a very noticeble improvement. Try it. Money back in 30 days.
Use low and hi cuts, but pay attention don t exagerate with the number and cut, cause you have many (a kick can go through a channel, sub buss, bus and master eq) shelvings eqs to open low and hi end, parametric eqs for drastic cuts and low and mid equalization.
Always open the high end with a shelving, but for the lows use a parametric for the channels, too many things running in the lows, and maybe a shelving to add some low end color in the Buss.
Don t exagerate with hi end shelvings, often + 2 DB are enough
The bass needs a lot of mids and highs, don t have doubts to give 5-6 DB in that ranges, from 2.6 to 5 kHz.
For the rest not much highs, in the master section they could turn too much.
Sometimes guitars needs some more high end
I make many frequencies examples, take them as "more or less", starting presets. Listen and analyze your material

Equalizers and Compressors Infos

Brainworx EQs are light and sounds good.
Flux EQs are relatively heavy on CPU, sounds incredibily analog and natural at the same time. Top eq, no mono version, stereo only.
Maybe the best EQ of its kind, along with UAD Cambridge Eq.
On Dolby applications one single istance can handle 8 channels EQs, mono
I guess on PC only.
On the Flux Epure Eq, a Q of 2 corresponds to a Q of 20, a Q of 4 is 40
For lead instruments like guitars and keyboards more colored actitude simulations can help, if you know their carachter.
From UAD to Waves, PSP, and many others there are many simulations.
Equalizers, compressors. Pultec EQs, Fairchild and usually valve based simulations sound dark and warm.
Modern A Class transistors consoles strips simulations like SSL, Neve and FET comps are brighter.
EMI ABBEY ROAD TG Limiter comes with two models, 1969, dark and 2005 bright
All good modern digital compressors and limiters are neutral or bright
Switch the plug pole filters that you don't use off, save CPU

Use of Scales and Notes to Frequencies Charts to Equalize

First of all it s better to know the scale played, tonality of the song
Ask a musician for help. The scale played depends on the tonality and if it s minor or major. Tell him so. How to determinate the scale of your song.
Very useful on bass, vocals and the Master.
Download tonality lists, to see the note played in the scale.
There are charts online, NOTES TO FREQUENCIES charts.
Use them. Know the scale, look at the notes and modes, get the respective frequencies and move on those frequencies with the EQ. If you see in the spectrum some nice stuff in the bass mids, around 2.6 kHz check what is the exact mid frequency of your scale and boost it. Maybe it will be 2.4 or 2.7 kHz. Same for mids. On vocals and Master too.
If the bass hits a low note that cuts throught the mids, too much, find the frequency of that note and with a narrow Q parameteic Eq put it down by 10-15 DB. Maybe automate the pole filter just where needed.
This is real equalization.
You don t have enough poles to mix a whole song, thought.
But you can go by hear on all drums, percussions, some synth and guitar.
Use it strategically. Bass, problematic. Vocals, important. Master, tone.

CHECK THIS VERY SIMPLE SILLY EXAMPLE FROM BOB KATZ:
Just to understand the principle, he makes it veeeery easy... Even too much

Signal Flow Clipping

Never ever clip a track, Buss or Master
Never exceed 0 DB in digital, it adds digital saturation which is awful
Always check all the passages, no red clipping
Leave the fader at 0 DB, insert an EQ and check if it clips
Insert a compressor, check again and so on plug by plug, Bus by Bus, till the Master, check always the whole signal flow, as you adjust plugins parameters, adjust the volume.
You may want to consider using Unity Gain:
When you insert a plugin like equalizers and compressors limiters, make your sound, then move the plug output volume to match the original track (plug bypassed) volume. Don t let more volume fool you. Sometimes it hides a worst achieved sound. Compare at the same volume.
That's sound engeneering, a lot of work.

Analysis and Metering

Check everything often. Spectrum, Phase, Loudness. Trust your ears but watch analyzers.
A wrong phase correlation can make stereo guitars disappear in radio mono playbacks. If you can listen to your track in mono too.
Nowadays more loudness is required, check your style standards and achieve that loudness by compression.

About drums phase aligning: when you record drums the distance of the mics is very important, with virtual drums is all already done.
All the drums wave files must be aligned.
Plugins introduce latency so if you have 1 plug on a kick, 4 on a snare, manu Sub Buss and Buss passages they won't be aligned anymore.

On Pro Tools you can calculate the latency of the added plugins with a dedicated plugin, by making some count you would be ready to align a whole mix.
Sound Radix makes a similar plugin very good for drums.
(Plugins Delay Compensation features DON'T really work, on any software, they won't align it all for you)


MIXING

Drums

3 Sub Buss for Kicks, Snares, Toms, 2 FX Channels for Reverbs, a final Drum Bus where to route all, Sub Buss, Hi Hat, OVHDS, Room, FX
A virtual like Toontrack drum, multioutput istance, all channels routed to your software channels
The Superior Drummer (give it 2 GB of ram in its settings) has a "bleeding mics" feature. Actually, unchecked, it s like a gate.
You can have all gated elements or not, so you can use your preferite gate as first plug in the channel strip.
If You have real recorded audio drums, kick, snare and toms can be triggered with Apulsoft ApTrigga to create layers
You can add layered fat big kick and snare, punchy ones, and maybe an electronic kick layer, for pop rock songs

EXS 24, Stylus RMX, Kontakt or another sampler for some drum layer and percussions

Live in Rewire mode that's another good option for percussions, create some aux for it in your software, 3-4 channels. Live third part VST plugs won't work in rewire.

Kicks, Snares, Toms and final Drum BUSS, 2 FX channels for Snares and Drums reverbs
Percussions BUS, 1 FX channel for Rev

You can use Waves SSL Channel on all drums, just 1 plug, eq, comp and gate, a lots of drums starting presets for any element
You may want to use a 1176LN comp (attack release positions are inverted respect other comps, its old school style settings, check em well) on a snare to achieve the famous snare sound (standard, even Superior Drummer has one sampled with the 1176LN)

On all BUSS you may want to use a digital EQ like Brainworx or Flux and a limiter like Flux.
On Kicks, Snares and Toms BUSS add also a plug for transients control like Sonnox Oxford TransMod, good tool

Of course it depends, but my choices are more or less: Room or short Plate Reverbs on all drums, Plate, Hall or Nonlinear Rev on Snare, and Chamber Reverbs on Percussions.

Pan your drums, think you're in front of the drummer and pan all.
Kick center, Snare can be panned a little, pan the hi hat and toms.
Check a virtual drum internal mixer pan if you have no idea.
On virtual drums, reset all the internal pan and rebuild it, copy it, in your mixer channels.
Drums sounds will hit the channels compressors correctly so, not panned.
Then you pan the produced sound.
Pan all elements, audio toms and toms triggers exactly the same in the stereofield.
You can use a stereo metering plug on the Toms Bus to match them.


Kicks

SSL channel or Softube Valley People Dyna-Mite Gate, Brainworx Eq, 1176LN
Another good standard for the OUT or FAT kick is the use of an LA-2A compressor, valves, dark colored.
Or a good old 1176LN (attack release positions are inverted respect other comps, its old school style settings, check em well).
Keep the attack of the comp slow and the release fast
Low cut around 20-30 Hz
Kicks have 2 important low poles 50 and 100 Hz more or less
You have a OUT MIC Kick and a fat kick sample, for the 50
IN Mic and punchy kick samples for 100
Cut the roundness around 200 and the unwanted mids around 800-1 kHz
Someone likes a DB or two narro Q around 850-950 Hz for small speakers
On the kicks mids around 3400 are good
On the IN mic, especially if taken with a Shure kick mic, the snap around 5200 Hz is perfect.
On brighter kick, open the high end from 8-10 kHz

Snares

Always remember you may have TOP and BOTTOM snares and 2 more triggered samples
Snares can be low cut below 70 Hz, has a good low end from 150 to 300 Hz,
They need to be cut around 400-600 Hz
Have a good mid range at 1.3 , 1.4 kHz
Mid highs from 4 to 6 kHz
And a shelving to open the hi end around 9 kHz would be perfect
TOP MIC is to take the full snare range, while the BOTTOM MIC is for the highs, ringings, and can be cut to cut the kick around 100 Hz
About added samples snares, try to take the mid low end from the fat big sample and the highs from the punchy bright one, as istance.
SSL Channel Strip, has gate comp and eq and many presets to start
Or same old EQ-COMP-EQ
1176LN (attack release positions are inverted) or Softube FET Comp are just perfect on snare.

Hi Hat

Try a 4 kHz low cut, to take just the mid highs, or low cut at 300 Hz for more body
The hi hat is always too present in acoustic rooms
Control the volume well, the hi hat is also in the Overheads track, snare mic, everywhere.
Frequencies around 6-8 kHz can be too much
Low cut it below 100 Hz
If you want to add some body, around 1.5 kHz


Toms

Toms are usually 3 from the lowest floor tom, to toms 1 and 2
The floor tom need a good low end, from 50 to 70 Hz check with kick and bass, low cut at 30-40 Hz
Something must be cut around 300-500 Hz
Give some DB to the mid-range around 3 kHz
Open the hi end from 4-5 kHz
Same for the Toms 1-2 just move everything higher, a bit
Tom 1 100-150 Hz good low pole, cut around 400-600 Hz, mids around 3500, high end from 4.5 kHz
Tom 2 150-200 Hz, 500-800, 3.5-4 and so on
Check with spectrum analyzers
SSL Channel or GATE-EQ-COMP-EQ
I always try to remove too much attack from already boxy boomy toms.
Softube Tube Tech CL 1B comp has Toms presets and it s good to remove some attack being a tube based comp, therefor it has slower intervent tool than a FET comp, also Sonnox Oxford TransMod is good to REDUCE, this time,the attack on the Bus
Don t PAN the Toms too open in the stereo field, we're not in the 80s


Overheads (OVHDS)

If you have the chance to record drums, record OVHDS in dual mono, not to a stereo track, A-B mics scheme, then PAN L&R
this will help you, 2 faders, the mic above the snare is usually lowder, lower it to match the other channel then route all to a Sub Buss
Insert EQ-COMP-EQ in the Sub Bus, the two channels must hit the compressor at the same level, adjust their faders

Two schools: most of the drums from the overheads then mix all accordingly, or just take the cymbals and of course part of the Toms, snare, everything, but not the whole set range
I m for the second so I low cut below 300 Hz to eliminate the kick and open the high end above 12 kHz, just 2-3 DB, to stay away from the hi hat
Use a FET comp or Flux Limiter

Old school drums were recorded with just 4 mics, Glyin Johns, producer of Led Zeppelin, Who, Stones and many others invented this technique that took his name: 1 mic at the kick, 1 snare, one from above pointed to the rack Toms, one aside the floor tom, pointing to the hi hat.
The last two are his OVHDS, a triangular shape which avoids phase issues easy to be found in modern A-B or X-Y mics schemes
Most of pre 70s drums are recorded like that
I have recorded modern drums with A-B OVHDS scheme and added Glyin Johns' vintage OVHDS, ALL OK no phase issues in mixing.


Room

You can take the room sound and make it sound better or use it to create a strongly compressed low and mid pushing track to enforce the drums
In the first case just low cut below 30 and hi cut above 18 kHz, maybe check around 1 kHz if you need some cut
In the second case you may use a Pultec simulation, and enhance and reduce (Pultec Eq style) at 100 Hz to get a fat low end
Use an actitude compressor like Fairchild, or all bottons 1176LN, PSP Vinatge Warmer 2, Soundtoys Decapitator to push hard.

Kicks, Snares, Toms Buss

EQ-LIMITER-EQ-Transient Control plugin
(see Pre and post Comp Equalization explaination)

Drum Bus

On the final Drums Bus, where all channels and BUSS are routed to, an ideal set of plugs would be EQ-COMP-LIMITER-EQ-Stereo Image Plugin
(see Pre and post Comp Equalization explaination)

First pre comp EQ
Waves Fairchild, a worldwide drum standard, watch out the low end it will raise it a lot, use snare preset or anyway a fast recovery setting
Or a Flux compressor, modern model, very good
A limiter like FLUX's
A final post comp EQ
Waves S1 if you want to open the width and stereo image, don t exagerate.
Sound Radix makes a nice Drum Leveller plug, if used wisely.
Analysis tools, like RNDigital to check EQ and Stereo Image.
Low cut below 20-30 Hz, use shelvings eq to open the low, around 150 Hz, and hi end around 10 kHz, cut around 200-300 Hz narrow Q, maybe cut around 1 kHz, good mids from 4 to 5 kHz


Bass

4 mono channels on a mono Bus
1) Amp 2) DI 3) FAT amp simulation (Softube Bass Amp Room, FAT preset) 4) maybe an overdriven DI line it helps in mixes full of guitars
Kontakt for bass, violins, pianos
If you have only a bass DI you can use Amplitube for line 1), The SVT CL is a rock standard, use the DI for the other 3 lines too
The best thing would be to record the Amp with 2 mics, AKG D112 for lows, Sennheiser MD421 for midhighs and a clean DI. Then you'll have
1) Amp Lows 2) Amp midhighs 3) DI 4) Distorted DI. You can cut the FAT DI of the previous scheme

play with the 4 channels volumes automations to change the color of the bass. As istance more FAT bass in the breakdowns or clean verse
more distortion under a guitar riff, or when the bass is alone with drums but needs aggressivity

Unwanted bass low end may start around 60 Hz and below
Some good low pole could be from 80 to 130
But look out, around 160-200 you have to cut maybe a lot too, narrow Q of 4
There s something good around 280-320 Hz but just a couple of DB ++ and narrow Q
Find the mudness usually from 400 to 700 Hz and cut it. The Q can be a bit broader here.
Around 900 Hz just 1-2 DB with a narrow Q helps the bass on small speakers listenings
There s something good around 1.8 kHz but be careful, and narrow Q of say 3
On Amp, DI, Overdriven DI you will push the mids around 2.6 to 3.2 kHz and open the high end from say 4-5 kHz. Bass needs of a lot of mid highs usually. Push them, no fear !
That "dirty" bass sound, so noisy is usually around 8-9 kHz, cut it if needed, narrow Q like 4
So EQ-COMP-EQ (see Pre and post Comp Equalization explaination) Brainworx and 1176LN or Softube FET comp would do a good job here
Just and EQ on the FAT bass line, to control the low end below 40-50 Hz

On the mono Bass BUSS you may want to use an IK Multimedia rack to have EQ-COMP-EQ and some analysis tool in just 1 plug. Great sound.
Classic Eq, Soft Clipper, Classic Eq. The Brickwall limiter ruins the bass sound to me, don t use it


Guitars

If you have dual mono guitars (2 mono recordings of the same amp, 2 maybe different mics and pres) Of course PAN em L&R has hard as you can before getting phase issues, especially for rhythm guitars.
Usually one guitar dark, one bright.
The bright one must be panned to the opposite side of the hi hat, which is bright and present, so they won't interfer.
Always use EQ-COMP-EQ (see Pre and post Comp Equalization explaination)
On the dark one you may want to use old school dark devices actitude simulations, like a Pultec EQ and find a pole in the mids to give some carachter, like around 3 kHz, start with a Q in the middle between narrow and broad, usually then around 3-4.
On the bright guitar, I like 80s console EQs simulations
There are many, PSP, UAD, Waves... Neve like sound
Mids around 4 kHz, open hi end at 5 more or less, by ear and analysis

Low cut guitars below 60-70 Hz
Good low poles are from 250 (metal standard) to 330 (crunchy grunge)
Check unwanted frequencies and cut at around 1 kHz and 1.7 kHz (here just - 1.5 DB is very noticeble) keep the Q narrow around 4 cause at 1.5 kHz there s the guitar "body", useful
you can find a pole around 3 kHz for the dark guitar, and 4 kHz for the bright one, for the mids, and open the bright one high end, or both

FET COMPS like Softube's or 1176LN are perfect on rock rhythm and solo guitars
UAD Neve 33609 Compressor Limiter is very good on acoustic guitars
In general acoustic and electric rhythm guitars need a very fast attack and fast release
Joe Satriani's producer uses a Neve strip and eq and 1176LN on rythm and solo guitars.
For arpeggios he uses more valve based devices, cause the formant waves looks like vocals, he says. So he treat em like vocals.

Create a RHYTHM GUITARS BUS for the dual mono guitars
Route them and all the FX channels you may need to it
Here you may start with a FLUX limiter and a post FLUX EQ
Analysis tools, spectrum and phase (check the PAN, if you encoure into phase issues, narrow the PAN, from 100 L to 90, 80 say...)

For lead guitars and solos more or less the same, if there s some mono one you can skip the Bus
Always check the spectrum to know what to cut and what is good.

Use Room or short Hall Reverbs on rhythm guitars, Hall, Plate and Spring Reverbs on arrangements and solos.
I use pitch FX only for arrangement guitars, and Soundtoys Delays, sometimes a Roland Re-201 for echoes.


Synths, Keyboards, Pianos

If you have many create a SYNTH or KEYS Bus
If you have high volume lead synths and very subtle pad strings sounds, don t put them on the same Bus too much volume difference
Route the synths to the Bus and the pad to L&R if so
Try to low cut everything below 130 Hz say, make room for bass, kick...
Well it s so vaste here... Depends on the material, analyze it. Listen to it. Find a nice low end, a mid range to cut, around 1 kHz, and good mids and hi end to open.
LA-2A is a standard compressor for strings.

Use layers, dual mono techniques for your lead synths. Open 2 synths, to make a single sound, put EQ-COMP-EQ on them, PAN em L&R, route em on a Lead Synth Bus, insert an EQ maybe, surly a Limiter and a Waves S1 to open the stereo image.
Play with their cut off. Slightly detune one of them. Fine detune.
Check the phase always with an analyzer. Keep it as wide as possible.
Check with other Buss, and Master.

Pay attention at the FX routing, route the FX to the final sound destination. If a channel goes to a Bus, FX goes to the same Bus.


Vocals

ALWAYS START MIXING FROM THE VOCALS, MEANINGFUL TRACK, MAKE THE TONE, COMP, ADD REVERB THEN YOU CAN MIX THE KICK, DRUMS, BASS, GUITARS ETC ALWAYS CHECKING WITH THE VOCALS, NOTHING GOTTA INTERFERE WITH VOCALS.

There are useful tools like Celemony Melodyne or Autotune to tune and have some formants, vibrato, espression control.
Vocal Alligner to allign vocals.
If you need a de-esser to cut around 6-8 kHz use it as first plug in the strip channel.
EQ-COMP-Limiter-EQ
(see Pre and post Comp Equalization explaination)
1176LN slow attack fast release, EMI TG Limiter fast recovery to add liveness.

See the tutorial, "Groove3 - Recording Vocals Explained", same tools.

From no reduction up to 15 DB of reduction in intense moments, on the 1176LN.
Few on the TG, 4-5 DB
Keep vocals mono in the verse and open it to stereo in the chorus
Big effect
For stereo vocals, there are many techniques, you can just double the track and shift the two same audio files to avoid phase issues, use a plug in like a mono to stereo, a doubler.

I record more exactly same vocal lines, then place one in the center, one hard pan L, one R. No harmonizations, just one voice, unison.
3 lines for a main vocal.
Then the center one is the main one.
Low cut at 70-150 Hz depends male, female
Good Low pole from 260 to 350 Hz
Cut around 650 Hz (especially dynamic mics) A LOT sometimes 8-9 DB
The mid range can go from 1.5 kHz to 6
For main male vocals from 3.5 to 5.5 kHz is good, keep in mind most of the mics diagrams show a curve enhancement around 3-4 kHz so maybe already enough. Try around 5 kHz.
Another parameteic eq with a narrow Q like 3 around 9-11 kHz, max 2 DB
Open the hi end at 14-15 kHz, just 2-3 DB
About the L&R vocal tracks you can low cut a little higher like 130 Hz, then make a darker one, mids around 2 kHz as istance, and the other brighter, mids around 6 kHz the open the high end
Route all vocal tracks and FX channels to the VOX Bus

Use the mono central main vox in the verse, maybe with a shorter reverb and add the side ones in the chorus for a full mono to stereo effect. Listen to the effect.
It can be encreased by a long reverb and a ping pong or stereo delay.
Automate the volumes to fit in the mix.
If you need distorted vocal Soundtoys Decapitator is the tool for you, so many vocal presets!

Open FX channels for:
Main Vox Chorus (Roland Dimension D, Nomad Factory Chorus, low hi cut EQ)
Main Vox Short Delay (Soundtoys Echoboy, low high cut EQ)
Main Vox Long Delay, Ping Pong (Soundtoys Echoboy, PSP85, low hi cut EQ)
Main Vox Short Reverb (Room Reverb, low cut EQ)
Main Vox Long Reverb (Plate Reverb, low cut EQ)
Choirs Phaser (Nomad Factory Phaser, low hi cut EQ)
Choirs Delay (Soundtoys Echoboy, low hi cut EQ)
Choirs Reverb (Hall Reverb, low cut EQ)

Route the 3 main vocals tracks and their FX Channels to the VOX Bus
Use an eq like Flux, Flux Limiter, Waves S1 Image plug, spectrum and phase analysis plugs

Route Choirs to a Choirs Bus with a similar strip

Automate all your BUSS (Drums, Bass, Guitars, Keys, Vocals etc) to make slow, gentle 2 DB fade ins from the start to the middle of the main moments, verse, chorus etc
Big effect, flying faders


MASTERING

Usually UAD and TC Electronics Powercore are my main plugs.
I have examples for the whole mix except the Master strip.
You may try with Flux, they are top notch sounding plugs.
Remember that the 1.014 version for PC doesn t include the Multiband Alchemist (5 bands), so find a good Multiband Compressor of your choice.

I do it all in the same song, mix and master, maybe by freezing tracks to save CPU power, but only if needed. All live it sounds better.

UAD Cambridge Eq low cut at 20-30 Hz, positive shelving eq at 140-180 Hz, cut at 350-450 Hz, cut at 1 kHz last twos narrow Q around 4
UAD Precision Multiband Compressor (5 bands), max 5-6 DB of gain reduction each band
UAD Precision Bus Compressor (Side Filter, no compression below 300 Hz), max 5-6 DB of gain reduction, 300 Hz side filter, I don t process lows
UAD Cambridge Eq good mids from 3.5 to 5.5 kHz, narrow Q around 11 kHz, + 1 or 2 DB, open the hi end at 16 kHz just 2-3 DB, hi cut at 19-20 kHz
Waves S1
UAD Precision Limiter (Bob Katz K-12 or K-14 set up max 8 DB of reduction)
Analysis tools for spectrum, phase, loudness

I don t use any mid-side device, I decide it all in the mix.
Kicks, bass, vocals (1 of the 3 vocal lines) are true mono, with stereo FX.
All the BUSS (Drums, Guitars, Keys, Vocals) have a Waves S1 stereo width tool, and I have PAN on the channels, that s where I decide the stereo image of the mix. I find that doing it all drastically on the Master can work for many tracks and the whole mix, but can destroy other ones.

MIX WITH SOME LOW CUT AND COMPRESSION ON THE MASTER, TO GET THE FEELING YOU WILL GET WITH MASTERING
FX WILL BE MORE PRESENT WHEN ALL MASTER PLUGS WILL BE USED, LOWER DOWN ALL FX FADERS BY 1-2 DB IF NEEDED
ALSO THE HI HAT, CYMBALS AND HIGH FREQUENCIES SOUNDS (violins) WILL RAISE UP

GIVE THE SONG AN APPROPRIATE "COLOR", SAD SLOW SONG, DARKER TONE, MAJOR HAPPY RADIO POP SONG, BRIGHTER
FOLLOW THE MOOD OF THE SONG

WHEN YOU'RE READY TO BOUNCE YOUR SONG, SAVE A NEW SONG UPDATE AS "Song Bounce", AND REMOVE ALL ANALYSIS TOOLS IN YOUR MIX.
EVEN IF BYPASSED THEY WOULD ADD LATENCY AND TAKE RAM

SOME INFO, HISTORY AND BACKGROUND

LA-2A and 1176LN Compressors Explained

The first LA-2A model was produced by Teletronix back in the early 60s
things weren t doing well at Teletronix so Bill Putnam decided to buy the whole factory just cause of...
the LA-2A.
Bill Putnam was the owner of the Universal Audio, and developer of the famous valve based console, known to be "the father of modern recording", he worked intensively with Frank Sinatra, Nat King Cole, Quincy Jones, Bing Crosby.

https://en.m.wikipedia.org/wiki/Bill_Putnam

LA-2A has an A class tube driven electro optical circuit (T4)
of course completely hand made even nowadays at UA
This is a so called actitude compressor.
it means that just inserting in the signal flow it changes a bit the color and the grain of the sound.
it as fixed attack and release. A very fast attack and a very singular release that makes it unique
I ll copy and paste from the site cause it s well Explained:

"The attack time is 10 milliseconds and the release time is about 60 ms for 50% release and 0.5 to 5 seconds for full release, depending on the previous program material."

this makes it perfect for slapped bass, congas and percussions in general
a standard for female or falsetto vocals (Julio Iglesias)
or perfect on a second fat or OUT mic kick
also used on acoustic guitars and strings

I think the tutorial will also explain how it developed through the years with the different Models
this is a super standard since the 60s and a weapon of top producers in any pro studio for any kind of music

LA-2A and 1176LN FET limiter are between the best compressors in the world, and influenced the audio production of decades of music, from Glyin Johns 70s rock so Led Zeppelin, Who, Stones, etc to all Michael Jackson carrier, till the Killers, Lenny Kravitz you name it.


The 1176LN is a vocal standard compressor, followed by the EMI TG Limiter in the channel strip
slow attack and fast realease for the first, fast recovery for the second
Those are the "presets" of most of the last 40 years of vocal compression
you can learn more in our tutorial section: Recording Vocals

(attack release positions are inverted respect other comps, its old school style settings, check em well).

Joe Satriani's technician uses a Neve strip channel and UA 1176LN on rythm and lead solo guitars
LA-2A on fingered arpeggios cause the formant waves looks like vocals so he threat em like vocals

1176LN is the main standard for:
drums, a 1176LN snare is a must, you find it in virtual drums like Superior Drummer too
bass
guitars
vocals

that s why sometimes you can say that a record sounds "1176LN" because the main elements are compressed by that
and being an actitude compressor it gives a color and a carachter to the mix

those are 2 of the many basis an audio engeneer must have
know the tools and their actitude
you can do it with the simulation plug ins
as istance the EMI Abbey Road TG Limiter plugs are 2: 1969 and 2005 models
the first is dark, the second bright colored
you can use this knowledge to choose the right compressor

color and actitude are meaningful to decide what compressor suits with the given material

LA-2A History

http://www.uaudio.com/blog/la-2a-analog-obsession/

1176LN History

http://www.uaudio.com/blog/analog-obsession-1176-history

UAD Plugins comparision and hints

http://www.uaudio.com/blog/la-2a-collection-tips-tricks/


LIST OF TOP MIX AND MASTER PLUGINS

Strip Channels

Waves SSL Channel

IK Multimedia T-Racks


Equalizers

UAD Cambridge Eq

Flux Epure

Brainworx BX Hybrid 2

FabFilter Pro-Q 2

UAD Pultec EQP-1A

UAD Neve 1081

UAD Neve 1073

UAD Helios Type 69

PSP RetroQ

PSP ConsoleQ

PSP ClassicQ

PSP McQ

Softube Active Equalizer

EMI Abbey Road TG12412 Tone

Waves API 550 A and 550 B

IK Multimedia T-Racks Classic Equalizer


Compressors

Softube FET Compressor

Softube Tube Texh CL 1B

UAD Fairchild

UAD 1176LN

UAD LA-2A

UAD LA-3A

UAD 33609

UAD Precision Buss Compressor

Flux Pure Compressor

Waves SSL Bus Compressor

Waves API 2500 Compressor


Limiters

EMI Abbey Road TG12413

Flux Pure Limiter

UAD Precision Limiter

IK Multimedia T-Racks Soft Clipper

FabFilter Pro-L


Pitch FX

UAD Roland Dimension D

Nomad Factory Chorus

Nomad Factory Phaser


Delays

Soundtoys EchoBoy

PSP 85

UAD Roland RE-201 Space Echo


Reverbs

UAD EMT 140 Plate

Lexicon Reverbs

Native Instruments RC 24 and RC 48

Audio Ease Altiverb

Waves IR-1


Overdrives/Distortions/Saturation

Soundtoys Decapitator

PSP Vintage Warmer 2

Nomad Factory British MLC-2269


Analysis Tools

RNDigital IXL Spectrum Analyzer

RNDigital IXL Stereo Analyzer

RNDigital IXL Level Meter

Flux Stereo Tool


Gates

Softube Valley People Dyna-Mite


Transients Control

Sonnox Oxford Transmod

Stereo Image Enhancer


Triggers

apulSoft appTrigga3


Tuning Formants Editing

Celemony Melodyne

Antares Autotune


Vocals Aligning

Synchro Arts VocalAlgn


Multiband Compressors Limiters

UAD Precision Multiband Compressor

Flux Alchemist

IK Multimedia Quad-Comp

IK Multimedia Quad-Lim

IK Multimedia Multiband Limiter

Amplifiers Simulations

IK Multimedia Amplitube

Softube Bass Amp Room


Virtual Drums

Toontrack Superior Drummer 2

Toontrack EzDrummer 2


Samplers

Logic EXS 24

Native Instruments Kontakt

Spectrasonics Stylus RMX

Ableton Live (I use it in rewire, as a big sampler)


LIST OF TOP MICROPHONES
(cheap and expensive ones, some price, dated 1-18-2016)

Drums Microphones

KICK

AKG D112 € 174

AKG D12 VR € 386

Shure Beta 52a € 175

Electro-Voice RE20 € 466

Beyerdynamic M 99 € 347

Audio-Technica AE2500 Dual Element Mic € 450

Interesting insight about kick recording:

http://recordinghacks.com/2010/09/07/bass-drum-microphones/


SNARE

Sennheiser MD421 MKII € 383

Shure SM57 € 110

Shure Beta 56a € 139


HI HAT

AKG C451 B € 368

Neumann KM184 € 650

Shure SM81 € 350

AKG C1000 € 150

AKG C12


TOMS

Sennheiser MD421 MKII € 383

Sennheiser MD 441 U € 867

Sennheiser e604 € 125

AKG D112 € 174

AKG D12 VR € 386

Shure Beta 52a € 175

Shure Beta 56a € 139


OVERHEADS

Neumann KM183 for AB stereo takes, KM184 for XY, ORTF. But I prefer KM184 for AB too cause KM183 has a too hot boost of +7 Db at 10 kHz

AKG C414 - stereo pair - € 2000

Neumann KM184 - stereo pair - € 1000

AKG C 214 - stereo pair - € 750

AKG P 17 drum set OVHDS mics


ROOM

Neumann U89i - stereo pair - € 4600

Any stereo pair of AKG room overheads mics


Bass Microphones

AKG D112 € 174

Sennheiser MD421 MKII € 383


Guitar Microphones

Royer R-121 € 1447

Royer R-122 MKII € 1973

Sennheiser MD421 MKII € 383

Shure SM57 € 110

Neumann U89i for the amplifier room € 2300


Vocal Microphones

Neumann U87 ai € 2300

Sony C 800 G

Telefunken ELA M251

Then... What you like and prefer

 

Last edited: Jan 30, 2016

Kick Mics

 

Kick Mics

 

Last edited: Jan 19, 2016

Kick Mics

 

Last edited: Jan 19, 2016

Snare Mics

 

Snare Mics

 

Last edited: Jan 19, 2016

Hi Hat Mics

 

Hi Hat Mics

 

Last edited: Jan 19, 2016

Toms Mics

 

Toms Mics



AKG D112, AKG D12 VR, Shure Beta 52a for the Floor Tom

 

Last edited: Jan 19, 2016

Overheads Mics

Neumann KM183 for AB stereo takes, KM184 for XY, ORTF. But I prefer KM184 for AB too cause KM183 has a too hot boost of +7 Db at 10 kHz

 

Overheads Mics

 

Overheads Mics

 

Room Mics



Or the AKG models suggested for the Overheads

 

Bass Mics

 

Bass Mics

 

Electric Guitar Mics

 

Last edited: Jan 19, 2016

Electric Guitar Mics

 

Last edited: Jan 19, 2016

Acoustic Guitar Mics

 

Last edited: Jan 19, 2016

Acoustic Guitar Mics

 

Last edited: Jan 19, 2016