All Rights Reserved. What is the Difference Between Mixing and Mastering? I have found this is the common practice. To do this efficiently, organize your hi-hats within a submix and set a high-pass filter to 100 Hz. When I listen to really well produced tracks, I'm always impressed at how clear the hi hats sound without actually being too loud and harsh. But if you have an instrumental that has already been mastered and hyper-compressed which is often the case. You will usually end up somewhere around 300 Hz. Hence the level relationship of your vocals to your drums and music are significantly influenced by the genres. Start from here, then find what actually feels good for each song. But this can vary depending on the artistic effect you’re going for as well as how high the average peak volume of your song is going to be. Required fields are marked *. You do not want that. For example, if your songs peak volume is -3 db than making sure your hi hats hit the meter at about -20 db or less is quite reasonable. Also turn down the crashes or symbols. The Hi-Hat. So if you picked a not so good sounding hi hat, you’ll know immediately. Often hi-hats are much lower in the mix than you may realize, but they are still audible because they are not competing with much in their frequency range. You want a vocal that pulls your listeners into your music. The thing is when your song gets mastered the high frequencies will get pumped up quite a bit bringing along with them all the high frequency information (i.e. Like Jaycen Joshua always says. Your email address will not be published. They define the brightness, air and level of professionalism of the produced track. Just an UNGODLY loud hi hat from the abyss. The dividing line that separates trap hi-hats from hip hop hi-hats, is their level of complexity. If you absolutely must have a volume level for your hi hats, I would suggest -20 db. Move the cutoff upward until you begin to hear the sonic character change, then back off slightly to ensure the signal sounds clean but not thin. Pre-delay allows a few seconds of your vocal to play before the reverberation kicks in. Set your lead vocal peak level at -9db. It is because if you cannot hear the cymbals/hi hats very clearly or it sounds too loud, it drastically affects the whole mix, not only the drums. the hi hats and cymbals). Your email address will not be published. The mix should offer a good balance of frequencies. Mixing hi-hats shouldn’t be complicated at all. muddy bass, muddy bass frequencies, audio mastering, mixing. Solo your lead vocal, mute all other channels, Then Set your Snare Drum peak level at -7db, All other instruments peak levels may be set by taste, To answer a popular question I hear often…. Dave Pensado recommended in one of his youtube videos that vocals tend to sound better on plate reverb, hall reverb, and occasionally springs reverb. Why is this? ... with a right-handed drummer, the kick and snare will be in the center, the hi-hat will be panned slightly right of that, and the overheads will be panned hard left and right. 5. Mixing drums is a selective process, meaning that individual elements of the drum-kit only need specific frequency ranges. The thing you want to create is a “nice even sound” as when your song gets mastered the low and top end will become much louder and much more defined than before. There are various types of reverb, like room, plate, hall, chamber, spring. Use compression to control the instruments with high dynamics. I let the size and weight of the hats do the work for me in terms of projecton, slosh, crispness, etc. But generally speaking, lead vocal should be moderately loud or the loudest element next to your drums in your mix. Let me show you a recent mix I did. This is bc there is going be residual freqs that come up with … My advise:If you are a beginner or intermediate mix engineer, use this rule I have given you for at least 10-20 mixes then you may start breaking the rules. Often hi-hats are much lower in the mix than you may realize, but they are still audible because they are not competing with much in their frequency range. But this can vary depending on the artistic effect you’re going for as well as how high the average peak volume of your song is going to be. Vocals, especially the lead vocal should be louder than musical elements but a tad bit behind the drum transients in my opinion. What you don’t want is a vocal poking out like a sore thumb in your song. Listen here. This is how: The levels of your vocal ( especially lead vocal) are of utmost importance to the genre you are mixing. You only need a particular frequency range from the hi-hat. You may use it lightly or heavily depending on what the song calls for. I pointed out that he should maybe not play the hat so hard, and the guy just flew off the handle, locked up, and played even worse IMO. It was so loud, I couldn't get the phones over the ambient noise without ditortion. this can be 100hz, it can be 1500hz, doesnt matter..Get the low out. As a result of this emphasis on the lower spectrum, they overcompensate the top end by cranking up the hi hats. I checked all my gain staging to the monitor mix etc., all normal. ... panning them very widely can cause them to dominate the mix even when they’re not very loud. 5. Moreover, these are just guidelines. Visit GSol Production for all your mixing and mastering needs. When he's not hunched over a mixing console he's hanging out with his son and daughter age 6 and 8. But having hi-hats too loud is a much more common mistake than having them too quiet. Another mixing tip is: be very picky when it comes to what hi hats you select as when the song is mastered and the top end is brought up, the sound of your hi hat becomes quite apparent. After studying various genres of music mixed by legends in the business. Now: To answer a popular question I hear often…. Use reverb to pan elements from back to front and front to back. If you absolutely must have a volume level for your hi hats, I would suggest -20 db. You cant polish a turd, you shouldnt have to do much processing on hats. I usually have a smidgen of short decay reverb on them in any case, but your suggestion of pushing them further up the frequency range definitely makes sense. It's one thing to tell someone to change their part, it's another to show them to change it. Every vocal is different and every song is different as well. Whenever you are adding any reverb to vocals, repeatedly use a pre-delay. When vocals are too low in volume, they tend to disappear and lose the attention of listeners. Without them, the song sounds dull and ugly. 2. “How do I break the rule wisely, Bunmi?” I’m glad you asked. The high-pass filter will also remove the unwanted mud … Do not bury your vocal in the mix. I record the hi-hat always so that when the drummer comes into the control room to hear a take, I put it way up in the mix.