Mix

Dynamics, Dimension & Interest

Esben Inglev - Foråret 2023

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Dimension

• Dimension is made up of modulation (chorus, phaser, anger), reverb and

delay

• Dimension has 2 axis - width and depth

• New mix engineers tend to use the e ects as e ects (which is ok), and not as
mix tools.

• Eg. subtle dark chorus on the lead vocal to fatten up the sound
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Dimension

• Placing an element in the depth-axis is often harder than getting width

• Think of a sound in the real world if its heard from far away:
• Is it mono or stereo?
• Mono!
• Does it have another frequency response?
• Typically less high end
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Dimension

• Some notes for reverb:

• Use an EQ to shape the reverb - both in and out of the e ect
• Don’t be afraid to use saturation or compressor after the reverb.
• Sidechain can often be a good idea, together with the source - especially
on lead vocals

• Overlooked parameter: Predelay - delays the reverb, so the source isn’t

masked by the reverb tail

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Dynamics

• Compressors, but also distortions/saturators, gates/expander and transient

designers

• A compressor is used to alter the volume envelope of an element

• Used as an e ect or mix tool - new mix engineers tend to do the rst
• Parallel compression - use one (or more) compressors together with the dry
signal
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Dynamics

• Lots of di erent types of compressors:

• FET, OPTO, Vari-Mu, VCA
• Multi-band
• De-esser
• Side-chain comp
• Expander - the opposite of a compressor - related to a gate
• Transient designer - A compressor without a threshold, that can compress and
expand at the same time
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Dynamics

• The most important parameters of a compressor:

• Threshold - the volume limit that determines when the compressor activates
• Ratio - How “hard” the compressor grabs the signal (expressed in input/output relations,
eg. 1:2 or 1:8)

• Attack - How fast the compressor grabs the signal above the threshold
• Release - How fast the compressor lets go when the signal falls bellow the threshold
• Knee - The transition curve in the threshold
• Important note: There is no standard de nition on what attack and release times exactly are -
so it’s not easy to compare compressor settings on di erent compressors
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Dynamics

• The “I-don’t-know-where-to-start” compressor guide:

• Start with “NUKE” settings - low threshold, highest ratio, release medium (200-300ms)
• Dial in the attack, and only listen to the attack element of the sound
• Dial in the release - either let it bounce with the groove, or let it enhance ambience
• Raise the threshold as much as you can until the e ect you want is still there
• Lower the ratio, but maintain the e ect of the compressor
• Watch: https://www.youtube.com/watch?
v=K0XGXz6SHco&ab_channel=TheHouseofKush
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Interest

• Interest - making the mix more interesting

• Is in itself not a technical disciplin, but is more about choices and overview
• Find the most important element(s) of a mix and enhance them
• All elements can’t be equally important
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Interest

• Think about:
• Does the mix have a focal point all the time?
• Is there enough dynamic contrast? To0 little/much comp? Too little
automation?

• Can you hear/feel the lead vocal all the way through?
• Is all elements in the same depth plane?
• Is there an element that could use enhancement?