The
Audio
Masterclass
Music
Production
and
Sound
Engineering
Course


MODULE
10
PRACTICAL
ASSIGNMENT
NOTES


Here,
we
have
a
selection
of
mixes
of
All
Or
Nothing
by
Audio
Masterclass
Featured
Artists,
Fools
Faith.
You

will
hear
five
student
mixes,
with
an
interesting
combination
of
features,
a
'broadcast
quality'
mix
by
Audio

Masterclass,
and
finally
the
original
producer's
mix.


Example
file:
All
Or
Nothing
Mix
1.wav


In
Mix
1
it
is
evident
that
there
are
some
clicks
in
one
of
the
opening
guitars.
These
are
present
in
the

original
multitrack
recording.
Depending
on
how
the
guitars
are
mixed,
these
clicks
may
or
may
not
be

audible.
It
would
be
better
to
remove
them
just
to
be
sure
that
they
are
not.


As
soon
as
the
drums
start
it
is
evident
that
there
is
a
rather
long
and
poor‐quality
reverb
applied.
There
is

no
absolute
necessity
to
put
reverb
on
these
drums
as
there
is
sufficient
liveliness
available
in
the

overheads
and
room
mics.
It
might
be
desirable
however
to
put
some
reverb
on
the
snare
and
toms,
but

not
so
long,
and
of
better
quality.


The
vocal
is
mixed
rather
low
in
this
version.
It
is
audible,
but
it
doesn't
stand
out
as
the
main
component
of

the
song,
which
it
is.


The
toms
are
rather
loud
and
prominent
here.
It
is
important
to
make
the
drum
set
sound
like
a
drum
set,

with
all
the
drums
and
cymbals
gelling
together.
Of
course,
you
can
bring
out
certain
drums
if
you
want
to,

but
always
it
is
a
good
plan
to
make
the
drums
work
together
well
as
a
unit.


At
2.33,
clearly
there
is
a
mistake
as
the
cymbal
cuts
off
early.


In
the
instrumental
section,
the
solo
guitar
track
is
missing
entirely!


The
solo
vocal
section
at
3.16
has
had
a
distortion
effect
applied.
This
does
not
seem
to
work
as
well
as
the

delay
in
Mix
1.
However,
it
could
have
been
made
to
work
better
with
a
little
EQ.


The
new
guitar
at
at
4.06
comes
out
quite
well
here.
Not
too
quiet,
not
too
loud.
Once
again,
EQ
might

have
helped
the
sound
blend
in
a
little
better
and
seem
like
an
integral
part
of
the
band.


Example
file:
All
Or
Nothing
Mix
2.wav


In
Mix
2,
once
again
there
is
reverb
on
the
drums.
However
here
it
sounds
much
better
than
in
Mix
1.
The

higher
pitched
of
the
two
main
guitars
is
rather
thin
and
lacking
in
level.


The
voice
is
quite
dull‐sounding
on
this
mix.
It
is
high
enough
in
level
to
be
clearly
audible.
However
it
is

taking
up
rather
too
much
space
in
its
lower
range
of
frequencies.
Also,
there
is
a
rather
long
and

unpleasant
reverb
on
the
vocal.
It
is
usually
a
good
idea
to
optimize
the
vocal
as
much
as
possible,
and
then

consider
whether
it
needs
reverb.
If
you
can
say
exactly
why
it
needs
reverb
then
you
are
probably
mixing

along
the
right
lines.


Once
again
the
guitar
solo
is
missing.
But
the
double
kick
drum
pedal
is
heard
to
full
effect!
Perhaps
too

full.


By
the
final
choruses
of
the
song,
the
sound
is
becoming
very
thick
and
congested.
The
main
guitars
are


Module
10
Practical
Assignment
Notes

actually
difficult
to
hear
explicitly.



Example
file:
All
Or
Nothing
Mix
3.wav



Mix
3
is
interesting
because
it
is
difficult
to
pick
out
many
faults,
although
the
solo
vocal
section
could
do

with
some
attention.
This
mix
is
well
balanced
among
the
instruments
and
the
band
sounds
like
a
cohesive

whole.
However,
you
might
consider
whether
the
sound
is
dull
and
congested.
If
it
is
merely
dull,
then

applying
EQ
in
the
master
channels
could
help.
But
congestion
that
is
caused
by
instruments
fighting
each

other
to
claim
space
in
the
frequency
spectrum
is
impossible
to
cure,
other
than
by
mixing
the
track
again.

It's
worth
saying
that
it
is
possible
for
a
mix
to
have
too
much
clarity.
You
should
judge
this
yourself,
in

comparison
with
other
songs
in
a
similar
genre.



Example
file:
All
Or
Nothing
Mix
4.wav



In
Mix
4
the
opening
guitars
are
much
louder,
which
is
good.
However,
they
are
really
too
loud
for
the
rest

of
the
song.
They
should
have
been
dropped
down
in
level.
The
vocal
here
is
quite
difficult
to
pick
out

clearly
due
to
the
over‐loud
guitars.


The
solo
vocal
section
has
an
interesting
'radio
voice'
effect,
which
shows
creativity
in
the
studio.
However,

overall
this
mix
is
about
as
thick
and
congested
as
it
is
possible
to
get.



Example
file:
All
Or
Nothing
Mix
5.wav



Mix
5
features
way
too
much
reverb
in
addition
to
congestion.
One
thing
you
will
realize
as
your
career

progresses
is
that
when
you
first
started
you
used
a
lot
of
reverb.
But
as
you
got
better
and
better
at

mixing,
you
used
less
and
less!


The
toms
in
this
mix
are
absolutely
thunderous,
way
beyond
any
necessity.
The
guitar
solo
is
oddly
quiet
in

comparison
to
the
other
instruments.


One
good
point
about
this
mix
is
that
the
organ
blends
in
well.
The
organ
can
be
a
tricky
instrument
to
mix;

to
get
just
right
so
it
fulfills
its
function,
but
doesn't
stand
out
too
prominently.



Example
file:
All
Or
Nothing
Mix
6.wav



This
mix
has
been
prepared
by
Audio
Masterclass
as
an
example
of
a
'broadcast
quality'
mix.
A
top

professional
mix
engineer
would
spend
a
whole
day
perfecting
his
or
her
work.
On
recordings
made
for
TV

or
radio,
or
live
broadcasts,
the
engineer
has
to
get
the
mix
together
very
quickly.


What
you
should
notice
about
this
mix
is
its
clarity
compared
to
the
others.
This
has
been
achieved
by

EQing
instruments
so
that
each
has
its
own
frequency
'territory'
where
it
is
strong.
Other
frequencies
have

been
cut
back
so
that
they
do
not
trespass
onto
other
instruments'
territories.



Example
file:
All
Or
Nothing
Producer
Mix.wav



Finally,
the
original
producer's
thoughts.
Having
read
the
comments
on
congestion
earlier,
you
might

consider
that
this
mix
is
congested
too.
But
it
isn't.
Listen
again
and
you
will
notice
that
you
can
hear
every


Module
10
Practical
Assignment
Notes

instrument.
Each
instrument
has
been
optimized,
to
a
higher
degree
of
finesse
than
Mix
6.
The
result
is
a

track
that
possesses
clarity
and
'weight',
which
is
not
at
all
easy
to
achieve.
There
are
no
tricks
or
quick
fixes

‐
there
is
no
substitute
for
experience
here.



You
will
notice
that
this
track
appears
different
from
the
others
in
the
waveform
display.
That
is
because

the
original
producer
has
applied
limiting
in
the
master
channels.
The
level
has
been
lowered
in
this
copy
so

that
it
is
subjectively
more
in
line
with
all
the
other
mixes.


In
conclusion...


There
are
no
rights
or
wrongs
in
mixing.
The
essence
of
the
mix
is
all
about
level,
pan
and
equalization.

Instruments
need
space,
instruments
need
to
blend.
The
vocal
should
be
clear
and
supported
effectively
by

everything
else.


Aim
to
mix
as
much
as
you
can
and
as
often
as
you
can.
The
greater
the
variety
of
musical
styles,
the
faster

you
will
progress.



End
of
assignment
notes

Module
10
Practical
Assignment
Notes