Using mix templates is something i use in the production of my music as well as other clients and in this post, i want to explain the benefits of doing this and hopefully give you a strategy to implement into your own productions.
Keep in mind that in order to utilise a mix template, you firstly need to put the time into creating one.
I firstly start with the drums and depending on whether they are acoustically played and recorded or programmed and sampled, i like to have my channels already set up so that the the kick-in goes to channel 1, the kick-out goes to channel 2, the snare top goes to channel 3 and so on. I also create a drum buss and a parallel drum buss ready for compression and blending. As well as this, I apply console emulation across all the channels and leave them engaged all the time. I like to insert some of my go-to plugins such as the Fab Filter Pro-Q2 EQ, Waves CLA-76, Fab Filter Pro-C2 Compressor, Slate Digital Virtual Tape Machine and Slate Digital Virtual Buss Compressors onto specific channels and busses to prep them for tweaking. I'd to mention that on certain instruments, i have presets saved within the plugins that i like engage to get me into the ball-park of the sound i'm listening for.
I then move onto the bass guitar, keeping it quite simple i create an amp channel and a DI channel, as well as a couple of auxiliary channels for different types of saturation and distortion, should i wish to use them. Similarly to the drums, i like to insert console emulation and a basic EQ and Compressor to get me started. Once I've done this, i create a bass buss so that i can monitor and control the level on one fader.
Next i focus on the guitars and these are very simple for me, i use console emulation and a basic EQ that has a high pass and low pass filter applied to remove some of the unnecessary frequencies. I then create a guitar buss which i apply some gentle tape saturation to. Sometimes, i will use 2 or 3 different busses if i have a lot of rhythms, leads and clean sounds present in the mix to give me greater control.
For vocals, i load up some console emulation, a De-Esser, compressor and a basic EQ with a high pass filter engaged to remove the unwanted low end. Depending on the song, i usually start off with an 1176 style compressor or sometimes i like run parallel compression or even series compression utilising an 1176 and an LA2A style compressor.
Finally, i create a couple of auxiliary channels with reverb and delay effects engaged so that they are there for vocals, guitars or drums to be sent to as and when i get to the state in the mix where i'm wanting to apply effects.
The very last thing i do (sometimes it's actually first) before i start mixing is create a mix buss and this contains console emulation, gentle tape saturation, compression and a limiter to ensure that no peaks creep through. At this point the limiter is doing nothing but ensuring that nothing clips, i do not use it to increase the level of the song.
Once i've done all this, i save it as a mix template and label it accordingly.
I like to utilise mix templates with clients projects particularly when they are looking for consistency across an album because it's a way of mapping out the sounds that i may have already achieved in one session and then i want to apply that across the other songs. It doesn't mean the sounds strictly have to be the same, i still adjust the compressors, adjust the EQs and apply higher or lower values of saturation, but the point is that it's giving me the most positive and constructive start to a mix.
I also like to use a variation of mix templates in the production of my own music because it allows me to hear the finished product much quicker and keeps me inspired during the times that i'm writing and tracking parts.
Considering using mix templates going forward with your own work and if you are doing work for other people, you will find that you will save time, improve your work flow and achieve more consistent results.
If you are looking for editing, mixing or mastering, head over to www.jwaudioproductions.co.uk and get in touch via the contact page.
Keep in mind that in order to utilise a mix template, you firstly need to put the time into creating one.
I firstly start with the drums and depending on whether they are acoustically played and recorded or programmed and sampled, i like to have my channels already set up so that the the kick-in goes to channel 1, the kick-out goes to channel 2, the snare top goes to channel 3 and so on. I also create a drum buss and a parallel drum buss ready for compression and blending. As well as this, I apply console emulation across all the channels and leave them engaged all the time. I like to insert some of my go-to plugins such as the Fab Filter Pro-Q2 EQ, Waves CLA-76, Fab Filter Pro-C2 Compressor, Slate Digital Virtual Tape Machine and Slate Digital Virtual Buss Compressors onto specific channels and busses to prep them for tweaking. I'd to mention that on certain instruments, i have presets saved within the plugins that i like engage to get me into the ball-park of the sound i'm listening for.
I then move onto the bass guitar, keeping it quite simple i create an amp channel and a DI channel, as well as a couple of auxiliary channels for different types of saturation and distortion, should i wish to use them. Similarly to the drums, i like to insert console emulation and a basic EQ and Compressor to get me started. Once I've done this, i create a bass buss so that i can monitor and control the level on one fader.
Next i focus on the guitars and these are very simple for me, i use console emulation and a basic EQ that has a high pass and low pass filter applied to remove some of the unnecessary frequencies. I then create a guitar buss which i apply some gentle tape saturation to. Sometimes, i will use 2 or 3 different busses if i have a lot of rhythms, leads and clean sounds present in the mix to give me greater control.
For vocals, i load up some console emulation, a De-Esser, compressor and a basic EQ with a high pass filter engaged to remove the unwanted low end. Depending on the song, i usually start off with an 1176 style compressor or sometimes i like run parallel compression or even series compression utilising an 1176 and an LA2A style compressor.
Finally, i create a couple of auxiliary channels with reverb and delay effects engaged so that they are there for vocals, guitars or drums to be sent to as and when i get to the state in the mix where i'm wanting to apply effects.
The very last thing i do (sometimes it's actually first) before i start mixing is create a mix buss and this contains console emulation, gentle tape saturation, compression and a limiter to ensure that no peaks creep through. At this point the limiter is doing nothing but ensuring that nothing clips, i do not use it to increase the level of the song.
Once i've done all this, i save it as a mix template and label it accordingly.
I like to utilise mix templates with clients projects particularly when they are looking for consistency across an album because it's a way of mapping out the sounds that i may have already achieved in one session and then i want to apply that across the other songs. It doesn't mean the sounds strictly have to be the same, i still adjust the compressors, adjust the EQs and apply higher or lower values of saturation, but the point is that it's giving me the most positive and constructive start to a mix.
I also like to use a variation of mix templates in the production of my own music because it allows me to hear the finished product much quicker and keeps me inspired during the times that i'm writing and tracking parts.
Considering using mix templates going forward with your own work and if you are doing work for other people, you will find that you will save time, improve your work flow and achieve more consistent results.
If you are looking for editing, mixing or mastering, head over to www.jwaudioproductions.co.uk and get in touch via the contact page.
