https://soundcloud.com/aaudiomystiks/the-organik-eye Ok I've been busy working on my mixing and mastering technique over the last 3 weeks...waiting to start my Fine Arts research degree. Even though I've been close in regards to mixing and mastering and even by luck have had good results, last night it all fell into place...see above link...the vocal isn't my best...it was done in 2005, and I'm a much better vocalist now but I worked out after setting up a mix, you need to go back and tighten everything...so in effect mix twice.
First you need to set the mix...this includes the gain stage...I've found that Sonar is a very comprehensive in regards to "its sound"...meaning all the components interact. By using the Pro Channel compressors...I only have the two included ones, I was able to set the average for the individual tracks at the "standard" of -18 to -12 RMS...note you need to set your meters to RMS and Peak. Because the components of the song were recorded somewhat badly 10 years ago with nothing more than a Behringer Ultra-Gain and a 150 dollar Audio Technica mic, I was limited in what I could do to get a better sound, the above components were fed into an unbalanced Creamware audio connection, and were compressed badly on the way into the system. But by using the Pro Channel master buss compressor set to limit or 10:1 ratio, I was still able to turn the tracks up to the above average and catch the peaks. I would then carve out the EQ, using the black backdrop theory, sometimes using E Type EQ...which whilst dipping the selected frequency band also raise's the preceding frequency band-audio engineers call this a "musical" type EQ, my point is experiment with the Pro Channel EQ...you will be amazed by the results. Personally I only need one more type of EQ...which the ubiquitous Pultech and I'd be happy. I also did some compression with Pro Channel channel compressor and once I figured it out...I was amazed at how "musical" the result was. Finally I used the console emulator to catch the peaks...once you figure out what you are listening for...you will be amazed at how it affects the sound
http://blog.cakewalk.com/console-emulation-in-sonar/ this was particularly useful in deciding which console emulation to use. One of the mistakes I was making was using the console emulator in one way...i.e. using the N Type across the mix, rather than experiment to see which one sounds right. Although I would use a one size fit's all, if I was mixing just an acoustic track or a rock track but experiment. Another thing to do is whilst your pulling a mix together...but before you set the levels...check your pan law...if the pan law is set to zero, you will find the mix bunches up in the middle...it's alight if you want that sound, but it also means there is less head room...if you want a wider sound change the pan law to minus 3...I think minus six is for broadcast...TV and Video.
Here is a bit of controversy...it doesn't matter if your individual channels are hot or peaking...lets clarify this...on the way into your DAW, when the recording signal is going through the converters...peaking is a NO!...but once it's inside the DAW, because of 32 bit and 64 bit processing...the dynamic range is much larger...I'm not saying burn your way to the top...use your ears but a few DB over once inside the box is fine...use the console emulator to tame the peaks somewhat too, and if you set the compressor right...this will make a marked difference as well.
Once the mix is set up...and this is where I was making a huge mistake...I could go yea ha and just master, you need to finesse the mix or mix a second time. HERE IS WHERE JEFF IS RIGHT ABOUT VU METERS...over the last few weeks I've been getting really good results but sometimes the mix would not fall into place, transients would smear...things would sound out of time and out of tune...the mix just would not jell. So last night I went back and tuned all the compressors and EQ...and wham...the vocal which was a bit wonky or the timing that was a bit wonky...fell into place. I know ball park settings, so this is how I would set up the mix...ball park settings, because I have terrible concentration I wasn't really listening but after my ADHD medication last night I was able to sink into the mix and just slowly tighten every little transient...and JEFF IS RIGHT, those VU meters-even the virtual ones rock back and forth in a particular way, which indicates you have the settings right...I knew this already...its something you learn in audio school but it does get a bit boring when Jeff rabbits on about it and in particular when he starts telling newbies to go and buy the real thing...but I will concede he is right.
Anyway, I will one day get a screen capture program and do some tutorials...I'm always broke because I'm an unsuccessful polymath...always too busy at the coal face of new ideas...or this is how it seems. But I think if you listen to this
https://thedigitalpoet55....-organik-eye/ and read over what I've just read you might get a better understanding of how to mix in Sonar and how Sonar is a complete mixing environment and how all the components interact with one another to create "a sound" a very musical sound but I'd be happy to answer any questions...I haven't really spoke about how I set up the mix and effects buss's which I use a similar technique but it is slightly different-this is where I use the tape emulator but that's another day.
Cheers Ben