I've discovered lots about mixing since I produced Mix 3. One important lesson is that tracks and busses can be overloaded without any dreaded red lights appearing.
I normalise each stem to -2 dB, otherwise it is not possible to get some tracks to the best level. However, because the clip lights operate at the output of a track or buss, mixing several of these hot tracks together can overload the input by several dBs without any clip lights appearing.
I still normalise items to -2 dB, but put a gain stage at the beginning of the inserts of tracks and busses (JS: Volume Adjustment, in Reaper) and adjust the track/buss level to -20 dB down) with the fader set at 0 dB. If any plugins, such as saturation or drive, need more level to get into the zone, a little more level can be dialled in with Volume Adjustment. The track cannot overload because all the items are -2dB down. The busses can be checked for input overload using the input meter in the Volume Adjustment plugin.
This, my final mix, uses two techniques that are new to me.
1) Vocals are band split and exciters used in a mid band. The bands are panned slightly apart for a richer sound. The track is also passed (pre fader and effects) to an effect-free parallel bus. The two faders are juggled for the best overall effect.
2) The Master Buss is checked with a Spectrum Analyser and compared with the trace (a straight line slope) for pink noise. Differences in the angle of slope or kinks in the slope, itself, are corrected with a multi-band EQ. The final mix is then tweaked by testing with a pair of ears.
To me, it sounds like real people singing in front of a real drumkit, guitars, bass and keyboards. Mix three has a similar balance, but misses on clarity and definition.
I normalise each stem to -2 dB, otherwise it is not possible to get some tracks to the best level. However, because the clip lights operate at the output of a track or buss, mixing several of these hot tracks together can overload the input by several dBs without any clip lights appearing.
I still normalise items to -2 dB, but put a gain stage at the beginning of the inserts of tracks and busses (JS: Volume Adjustment, in Reaper) and adjust the track/buss level to -20 dB down) with the fader set at 0 dB. If any plugins, such as saturation or drive, need more level to get into the zone, a little more level can be dialled in with Volume Adjustment. The track cannot overload because all the items are -2dB down. The busses can be checked for input overload using the input meter in the Volume Adjustment plugin.
This, my final mix, uses two techniques that are new to me.
1) Vocals are band split and exciters used in a mid band. The bands are panned slightly apart for a richer sound. The track is also passed (pre fader and effects) to an effect-free parallel bus. The two faders are juggled for the best overall effect.
2) The Master Buss is checked with a Spectrum Analyser and compared with the trace (a straight line slope) for pink noise. Differences in the angle of slope or kinks in the slope, itself, are corrected with a multi-band EQ. The final mix is then tweaked by testing with a pair of ears.
To me, it sounds like real people singing in front of a real drumkit, guitars, bass and keyboards. Mix three has a similar balance, but misses on clarity and definition.