Mixing
supplementing a mix that’s done primarily in the box, to mixing with an analog console and all analog processing gear (often with external digital processing gear, as well). In this book, I limit the discussion to mixing within the box. I’m not arguing that this is the best way to be mixing, but this approach has some distinct advantages in regard to budget and work flow, and it has become increasingly common at all levels of production, including big-budget projects. Beyond budget, the advantages to mixing in the box include ease of setup and outstanding automation and recall systems (discussed later in this chapter). The primary disadvantage is that you eliminate your access to analog processing gear, which some people prefer. Some people also believe that analog summing (combining of tracks) is superior to the digital summing within a DAW. While there continues to be considerable debate about the relative merits of analog and digital processing and summing, everyone agrees that the digital options have been tremendously improved in the last several years and there are more digital options than ever before. There’s no simple answer, but the fact is that a great many projects, including some high-profile projects, are being mixed in the box—including several of my own Grammy-nominated projects.
Processing gear (plug-ins) Along with setting levels and pan positions, it is audio processing that occupies most of the recordist’s attention in the mixing process. The tools of DSP (digital signal processing) include the EQs, dynamics, and ambience processors discussed in the second half of chapter 2. These tools play a critical role in mixing, as you will see in the following section, when I discuss building a mix. Each DAW comes with plug-in versions of most of these tools, but there are an enormous number of third-party developers that supply additional tools for every DAW. Some supply capabilities that are not included with the DAW and some supply higher quality versions of the same basic tools. Obtaining these plug-ins can be a near endless process of acquisition (and expense!). What do you need to mix effectively? As you might expect, there is no simple answer to that question. Theoretically, you don’t need anything more than the tools that come with your DAW. More important than any plug-in is the ear and creative vision that drive the mixing process. That said, not having some high-quality processors of nearly every kind can be a distinct disadvantage in trying to create satisfying mixes. I remember very well the first time I got access to an SSL mixer (one of the highest quality analog consoles). As I was working, I started thinking, This is why my drums have never sounded the way I want them to—I didn’t have the necessary tools! It’s true that certain qualities to sound are just not available unless you have the right tools—with either the right capabilities, or the right level of quality, or both. So, again, what do you need to mix effectively? As much gear as you have the ear and the experience to use effectively—and can reasonably afford! It’s not
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