The
Audio
Masterclass
Music
Production
and
Sound
Engineering
Course


MODULE
10
AUDIO
EXAMPLES
NOTES


It
is
often
interesting
to
hear
components
of
a
mix
in
various
combinations.
Hearing
a
mix
in
this
way
can

give
new
insight
on
how
the
individual
tracks
can
fit
together
to
form
a
convincing
and
satisfying
whole.


Example
1



Here
is
a
section
of
the
lead
vocal
from
It
Would
Be
So
Easy
by
Audio
Masterclass
Featured
Artists

Chandelle...



Example
file:
It‐Would‐Be‐So‐Easy‐lv.wav


It
may
sound
bare
with
no
backing
instruments
and
no
effects,
but
this
is
exactly
the
right
sound
to
fit

comfortably
in
the
track,
yet
be
clearly
audible
in
the
mix.


Let's
mix
in
a
few
background
vocals.
Background
vocals
can
really
bring
a
song
to
life.
But
it
takes
care
and

attention
to
detail
to
record
them
well.
And
patience.


Here
is
the
vocal
with
four
tracks
of
background
vocals
mixed
in...


Example
file:
It‐Would‐Be‐So‐Easy‐lvbv.wav


It's
starting
to
sound
like
a
song
now,
but
let's
look
at
it
another
way.


Here
is
the
lead
vocal
from
the
same
extract,
but
this
time
with
the
kick
drum
and
snare
drum
mixed
in...


Example
file:
It‐Would‐Be‐So‐Easy‐lvks.wav


The
first
thing
to
say
is
that
you
are
listening
to
a
good
drummer.
That
makes
a
real
difference.
The
next

thing
is
that
you
can
hear
that
the
drums
are
neither
big
nor
bright.
It's
tempting
to
try
and
'beef
up'
the

drum
set
and
make
it
larger
than
life.
But
that
isn't
always
the
best
thing
for
the
song
as
a
whole.


You
can
also
hear
some
of
the
spill
from
the
cymbals
and
hihat.
That's
what
makes
it
real,
rather
than
using

sampled
drums
that
are
often
too
clear
and
not
realistic.


Let's
add
a
couple
more
mics...
here
is
the
same
extract,
this
time
with
overhead
and
room
mics
mixed
in,

and
a
separate
track
of
a
shaker...


Example
file:
It‐Would‐Be‐So‐Easy‐lvksohrm.wav


The
kit
supports
the
vocal
beautifully,
and
we
haven't
even
gotten
round
to
the
other
instruments
yet.


Did
you
notice
that
we
can
how
hear
some
stereo
depth
and
perspective?
This
comes
from
the
drum

overheads
and
room
mics.


Here
is
the
drum
set
in
isolation...


Example
file:
drums‐extract‐it‐would‐be‐so‐easy.wav


Here
is
the
entire
mix
for
that
particular
section
of
the
track.


Example
file:
It‐Would‐Be‐So‐Easy‐mix.wav


Module
10
Audio
Examples
Notes



Example
2


Here
we
have
two
two
guitars,
taken
from
a
mix
of
Pretending
by
Audio
Masterclass
Featured
Artists
Judy

Money
and
Larry
Dvoskin.


Here
are
the
guitars
as
they
were
recorded...


Example
file:
two‐guitars‐confused.wav


It's
a
rather
confused
sound.
It
doesn't
even
sound
like
two
guitars,
just
one
rather
jumbled
up
one.



Let's
listen
to
the
guitars
individually
so
we
can
see
what
we
are
working
with.
Here
is
Guitar
1...


Example
file:
two‐guitars‐guitar‐1‐left.wav


And
here
is
Guitar
2...


Example
file:
two‐guitars‐guitar‐2‐right.wav


As
you
can
hear,
they
are
playing
in
different
ways,
one
playing
simple
notes,
the
other
playing
chords.
So

let's
add
a
little
clarity
by
panning
them
out
in
the
stereo
image.
One
guitar
is
panned
left,
the
other
is

panned
right...


Example
file:
two‐guitars‐panned.wav


It's
much
better
already.
The
two
guitars
are
now
distinct
in
the
stereo
sound
stage,
but
they
are
still

fighting
each
other
within
similar
bands
of
frequencies.


Let's
look
at
how
the
individual
guitars
can
be
improved
with
EQ.
Firstly
each
guitar
will
be
given
an
EQ

boost
around
its
predominant
frequency
range.


Here
is
the
EQ
curve
for
Guitar
1
on
the
left...







Here
is
the
EQ
curve
for
Guitar
2
on
the
right...


Module
10
Audio
Examples
Notes

 




And
here
is
what
they
sound
like
playing
together...


Example
file:
two‐guitars‐EQ‐boost.wav


Sometimes
it
is
better
to
use
EQ
cut
rather
than
EQ
boost.
Here
are
the
settings
for
Guitar
1
on
the
left
with

EQ
cut
applied
to
frequencies
that
didn't
really
contribute
well
to
the
sound...




And
Guitar
2
on
the
right...


Module
10
Audio
Examples
Notes

 




And
here
is
what
the
combination
sounds
like...


Example
file:
two‐guitars‐EQ‐cut.wav


Although
the
EQ
boosted
guitars
sound
bigger,
this
is
not
always
appropriate
in
the
context
of
the
mix.
Of

course,
more
complex
equalizations
are
possible.
Here
is
a
more
complex
EQ
setting
for
Guitar
1
on
the

left...







And
Guitar
2
on
the
right...



Module
10
Audio
Examples
Notes

 




And
here
is
what
they
sound
like...


Example
file:
two‐guitars‐EQ‐complex.wav


At
this
point
we
have
successfully
separated
the
instruments
in
space
and
in
terms
of
their
relative
balance

of
frequencies.


We
can
add
to
this
with
a
little
reverb.


Mono
reverb
has
been
applied
to
Guitar
1
on
the
left,
and
the
reverb
signal
panned
to
the
right.
Here
is

what
it
sounds
like...


Example
file:
two‐guitars‐reverb‐left.wav


And
here
is
the
same
done
to
Guitar
2
on
the
right,
with
the
channels
reversed
of
course...


Example
file:
two‐guitars‐reverb‐right.wav


And
now
we
put
them
together...


Example
file:
two‐guitars‐reverb.wav


Just
be
to
be
absolutely
clear
of
the
massive
improvement
that
we
have
made,
compare
the
final
processed

version
above
to
the
original
below...


Example
file:
two‐guitars‐confused.wav


Normally
this
kind
of
processing
would
be
done
in
the
context
of
the
entire
mix.
But
it
is
often
very

instructive
to
put
these
kinds
of
things
under
the
microscope
to
see
the
fine
detail
of
what
is
happening.


Finally,
here
are
the
guitars
in
the
context
of
the
entire
rhythm
section
of
the
song.


Example
file:
two‐guitars‐mix.wav


Sounds
good,
doesn't
it?


Module
10
Audio
Examples
Notes



Example
3


Here
some
partial
mixes
of
All
Or
Nothing
by
Audio
Masterclass
Featured
Artists
Fools
Faith.
The
extract
is

from
the
end
of
the
song
where
the
mix
is
busiest.
This
is
a
simple
mix
with
no
level
changes,
no

compression
and
only
minimal
EQ,
delay
and
reverb.
In
all
of
these
partial
mixes,
the
levels
of
the
individual

channels
are
exactly
identical.
There
is
an
overall
EQ
in
the
master
channel,
thus...







It
will
be
useful
to
load
all
of
these
files
into
your
digital
audio
workstation.
You
will
then
be
able
to

compare
them
directly.
Note,
you
are
not
meant
to
mix
these
files.
Heaven
only
knows
what
will
happen
if

you
do...
:‐)



Firstly
the
drums,
starting
with
just
the
kick...


Example
file:
kick.wav


Add
the
snare...


Example
file:
kick‐snare.wav


And
boost
the
snare
with
a
sampled
snare
drum...


Example
file:
kick‐snare‐esnare.wav


Add
the
toms...


Example
file:
kick‐snare‐esnare‐toms.wav


Next.
let's
hear
the
overhead
mics
by
themselves...


Example
file:
overheads.wav


And
the
drum
set
together
with
overheads...


Example
file:
drums‐overheads.wav


For
added
fullness,
a
more
distant
'room'
mic
has
been
used
too.
Here
it
is
by
itself...


Module
10
Audio
Examples
Notes

Example
file:
room.wav


And
the
combination
of
the
close‐miked
drums
and
room
mic...


Example
file:
drums‐room.wav


And
for
the
overall
effect,
the
drums
together
with
overheads
and
room
mic...


Example
file:
drums‐room‐overheads.wav


Notice
how
the
mix
of
the
drums
sounds
correct
within
itself,
like
a
real
drum
set
in
a
real
room.
Which
it
is,

apart
from
the
snare
sample.
This
is
an
important
part
of
mixing
‐
getting
instrument
families
to
sound

good
in
themselves.
They
will
then
contribute
effectively
to
the
overall
mix.



Moving
on
to
the
other
instruments...


Here
is
the
bass
in
isolation.
It's
very
clean
and
dry,
as
you
can
hear...


Example
file:
bass.wav


But
since
the
kick
drum
is
so
resonant,
it
works
well
in
combination
with
the
drums...


Example
file:
drums‐bass.wav


Here
are
the
three
guitars...


Example
file:
guitars.wav


And
the
guitars
together
with
the
bass..


Example
file:
guitars‐bass.wav



You
will
notice
that
the
guitar
solo
that
enters
later
seems
rather
high
in
level.
This
is
in
fact
the
same
level

as
the
complete
mix
extract
you
will
hear
later.
The
ear
can
easily
be
fooled
and
you
will
probably
think
that

it
is
higher
in
level
here
than
in
the
mix.
It
is
at
exactly
the
same
level.


Other
than
that,
the
guitars
and
bass
seem
well
balanced
as
a
group.


Here
is
the
organ
alone...


Example
file:
organ.wav



Let's
add
the
drums,
bass
and
guitars
to
that...


Example
file:
drums‐bass‐guitars‐organ.wav


All
that
remains
now
is
to
add
the
vocals.
Here
is
the
lead
vocal...


Example
file:
vocal.wav


And
together
with
a
doubled
vocal
track
that
is
a
little
lower
in
level
than
the
main
vocal...


Example
file:
vocal‐double.wav


Here
are
the
background
vocals...


Example
file:
background‐vocals.wav


And
here
are
all
the
vocals
mixed
together...


Module
10
Audio
Examples
Notes

Example
file:
vocals.wav


Notice
how
they
blend
well
within
themselves.


Here
are
the
vocals
and
drums
together...


Example
file:
vocals‐drums.wav


And
the
vocals
and
instruments...


Example
file:
vocals‐bass‐guitars‐organ.wav


Finally
we
are
ready
to
hear
the
entire
mix
of
this
section...


Example
file:
all‐extract.wav


Of
course,
this
is
not
the
only
way
to
mix
this
song.
You
are
listening
to
a
very
simple
mix.
But
by
listening
to

the
elements
and
combinations
you
should
be
able
to
become
much
more
aware
of
the
possibilities

involved
and
improve
your
own
mixes
to
a
much
higher
standard.



End
of
audio
examples
notes.


Module
10
Audio
Examples
Notes