Régler le volume

En 10 étapes

  1. observer les pistes qui clippent, et réduire le gain (moins de -3db) avec un plugin
  2. boucler la partie la plus forte du morceau
  3. descendre tous les faders à 0
  4. écouter quelques morceaux de référence pour se faire l’oreille
  5. décider de la piste la plus importante (voix, snare ?) et la descendre à -5db
  6. ajouter la seconde piste la plus importante, et ajuster son volume avec la première piste
  7. continuer comme ça, en amenant les pistes par ordre d’importance
  8. une fois toutes les pistes montées, ajuster le volume général pendant au moins 10 minutes
  9. prendre une pause, et écouter à nouveau. Faire les ajustements nécessaire
  10. Jouer le morceau en entier, et produire les automations nécessaires

Grosse caisse

Source : http://www.benvesco.com/blog/mixing/2007/mix-recipes-kick-drum-eq-and-compression/

  • Boom is where the low end thud of the kick drum comes from. You can find a cleaner, modern sound boosting around the 50-60Hz area. A more traditional, ringing boom will be found a bit higher, perhaps in the 100Hz range. I typically use a normal, peaking band for the boom but you can experiment with a low shelving band here if your kick drum is lacking girth. Be careful not to overdo it with the shelf though, things can get blurry fast in the sub frequency ranges.
  • Smack is the primary attack of the kick drum. This is the frequency range that helps the ear identify individual kick drum hits. I like to start my search for smack in the 3-5kHz range. Microphones specifically tailored to kick drums will often have a bit of a presence bump somewhere in this range. I always use a peaking band for the smack and keep the Q parameter in the 1 to 1.5 range.
  • Click is exactly what you think it is. At first thought you might not attribute click as a quality desired in a kick drum sound. Click works in conjunction with smack to help bring a kick drum through a dense mix. This is the sound of the beater actually hitting the drum head. You can find the click up around the 6-8kHz range. A peaking band works well on the click (Q around 1.5) but a high shelf can be used to enhance the bleed of the snare wires in the kick drum mic.

Mud is not one of the big three because it is a bad thing! We want the opposite of mud in our mix, especially on the kick drum. You remove some of the mud and clean up your kick drum sound by cutting a thin band in the 250-300Hz range. I will often use a peaking band with the Q set to around 3.

kick schema

EQ

Start here to get a solid, full kick drum sound with plenty of click

  • Band 1: +6dB at 55Hz
  • Band 2: -9dB at 275Hz (narrow)
  • Band 3: +7dB at 3.7kHz
  • Band 4: +8dB at 6.2kHz shelf

Start here to get a more traditional kick drum sound

  • Band 1: +6dB at 100Hz
  • Band 2: -10dB at 800Hz (narrow)
  • Band 3: +6dB at 1.5kHz
  • Band 4: +6dB at 7.0kHz shelf

Start here to get a ringy bottom end with less attack

  • Band 1: +6dB at 100Hz
  • Band 2: -5dB at 250Hz (narrow)
  • Band 3: +3dB at 4.0kHz
  • Band 4: +3dB at 10.0kHz shelf

kick eq

Compression

Subtle kick drum compression

  • Ratio: 3:1 or 4:1
  • Attack: 4ms
  • Release: 200ms
  • Threshold: adjust for about 3-6dB gain reduction

More “in your face” kick drum compression

  • Ratio: 6:1
  • Attack: 3ms
  • Release: 200ms
  • Threshold: adjust for about 8-10dB gain reduction

Plugins

Comme pour la caisse claire, ajouter un Transient Designer pour booster l’attaque

  • Attack Boost : 18%-22%
  • Attack : 20ms
  • Release : 100ms

Caisse claire

Source : http://www.benvesco.com/blog/mixing/2007/mix-recipes-snare-drum-eq-and-compression/

  • Pulse describes the part of the snare drum that smacks you in the chest and makes you want to dance. Another good word for this part of the sound is body. You can often get some extra pulse out of the drum boosting as low as 100Hz but that can start to affect the kick drum and bass sounds so I like to look a little higher. You can get some clean pulse out of your snare drum by looking in the 200-400Hz area. I like using a regular peaking band of eq to boost the pulse. A Q setting (bandwidth) of about 1.0 should be fine. If you don’t get quite enough pulse out of the snare drum you can try making the band a bit wider (lower Q, higher bandwidth).
  • Smack should work in conjunction with the pulse to really help identify the snare drum hit within the mix. Some other common descriptions would be bang or crack. You will find most of your snare drum’s smack around 900Hz-2.0kHz. A peaking band works well here and I will often reduce the bandwidth (Q) to 1.5 or so. A narrower bandwidth here can help pinpoint the smack without taking up too much space in the already crowded and vital midrange frequencies.
  • Wires are exactly what they describe. The snare wires under the drum help to give it much of its characteristic buzz. The snare wires can be found in the 3-5kHz region. A narrower bandwidth can work well here just as in the smack band (see above). While bringing out the snare wires can help the drum sound very exciting, you will have to be careful not to overdo it. This frequency can get buzzy and fatiguing in a hurry. Be sure to evaluate the sound of the drum the way it sounds in your recording. Many snare drums will naturally accentuate the wires enough that you won’t have to boost them. If you have recorded your snare using a dual mic technique (see below) then you might do all the boosting of wire sounds on the bottom snare mic.
  • Head is just what it sounds like, the head of the drum. Imagine the sound of a snare played with a brush. That swishing sound of the brush is the timbre I mean when talking about the head sound of the snare drum. Played with brush or stick, your snare drum still makes a head sound in the 6-10kHz range. Boosting this frequency can give a lot of extra texture to your snare drum sound. A peaking band will often do plenty of work for you but you can try high shelving band too.

snare schema

EQ

Start here for subtle snare drum shaping with mild cut through

  • Band 1: 150Hz high pass
  • Band 2: +3dB at 200Hz
  • Band 3: +4dB at 4.0kHz
  • Band 4: +4dB at 7.0kHz

Start here for a solid, traditional snare drum sound

  • Band 1: +5dB at 250Hz
  • Band 2: +6dB at 2.0kHz
  • Band 3: +4dB at 5.0kHz
  • Band 4: +8dB at 10kHz

Start here for a snare drum sound with a thick body and smooth top

  • Band 1: +6dB at 180Hz
  • Band 2: +4dB at 250Hz
  • Band 3: -4dB at 800Hz (adds clarity)
  • Band 4: +6 at 3.0kHz
  • Band 5: +8 at 7.0kHz

Start here for a deep and punchy snare drum sound

  • Band 1: 80Hz high pass
  • Band 2: +9dB at 200Hz
  • Band 3: +3dB at 2.5kHz
  • Band 4: +1dB at 3.5kHz
  • Band 5: +8dB at 8.0kHz

snare eq

Compression

Start here for light snare drum compression

  • Ratio: 4:1
  • Attack: 4ms
  • Release: 200ms
  • Threshold: adjust for 3-6dB gain reduction

Start here to increase the sustain for a thicker snare drum sound

  • Ratio: 6:1
  • Attack: 1ms
  • Release: 200ms
  • Threshold: adjust for 6-10dB gain reduction

Plugins

Comme pour le kick, ajouter un Transient Designer pour booster l’attaque

  • Attack Boost : 18%-22%
  • Attack : 20ms
  • Release : 100ms

Toms

toms eq

EQ

Compression

Overhead

overhead eq

EQ

Compression

Guitare

EQ

  • D’abord, on coupe les fréquences qui posent problème (prendre une bande, pousser le gain, et déplacer la fréquence pour trouver les nuances nasillardes ou désagréables)
  • Ensuite, hi-pass filter. Monter la fréquence du HPF jusqu’à sentir le son faiblir. Puis revenir jusqu’à retrouver un son plein. On doit se trouver entre 60hz et 250hz.
  • Couper les bas-médiums : 250-500hz
  • Pousser les haut-médiums (pour la présence) : 2-6khz

Compression

Commencer avec des réglages +/- standards.

  • ratio : 2:1
  • attaque : 20ms
  • release : 50-100ms

Basse

On tentera autant que faire se peut de réamper la basse.

EQ

  • 50-60hz (low shelf) : +3-5db
  • 226hz : +8db
  • 1khz : +9db
  • 10khz (low-passe filter) : 10khz

On peut aussi essayer de booster les aigus (claquant, brillant des cordes), qui se trouve entre 1khz et 5khz

Compression

Voix

EQ

  • D’abord, on coupe les fréquences qui posent problème (prendre une bande, pousser le gain, et déplacer la fréquence pour trouver les nuances nasillardes ou désagréables). e.g. j’en avais autour de 1800-2000 hz
  • Ensuite, hi-pass filter. Monter la fréquence du HPF jusqu’à sentir le son faiblir. Puis revenir jusqu’à retrouver un son plein. Ça doit se trouver autour des 100 hz.
  • On boostera aussi au hi-shelf : vers 8-11 kHz, on ajoute 2-3dB

Ensuite, on a deux cuts qui amènent de la clarté :

  • un autour de 150-500 hz (bas-médiums), qui doit couper de la résonance. Déplacer en ayant baissé le gain pour trouver la fréquence coupée qui amène de la clarté.
  • un autre autour de 3 kHz. Celui-ci remédie au côté nasal du chant.

Compression

Sources