How to get a solid MIX: Pre-MIX - MIXING AUDIO | Marco Silvestri | Skillshare

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How to get a solid MIX: Pre-MIX - MIXING AUDIO

teacher avatar Marco Silvestri, Sound Engineer & Music Producer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (22m)
    • 1. Introduction

      0:33
    • 2. The Premix explained

      1:52
    • 3. Listening and Stemming

      6:03
    • 4. Let's get the right Panning

      3:51
    • 5. It's all about dimensions: Leveling

      6:13
    • 6. Comparison of the three steps

      3:24
    • 7. Do it yourself!

      0:23
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About This Class

Welcome to this episode of the Mixing Audio series!

In this class you will learn about the Pre-Mix.

Take your first steps into the professional mixing workflow. A solid mix always start with a perfect premix. In this class you'll learn how to easily premix in 3 steps and it will allow you to:

  • Get the foundations for a solid mix
  • Achieve a well separated, pristine sound
  • Save time and headaches
  • Haas Panning (coming soon)

You can access the other lessons of the Mixing Audio series here:

  1. The Pre-Mix
  2. EQ and Equalization
  3. Compression
  4. The Reverb

Meet Your Teacher

Teacher Profile Image

Marco Silvestri

Sound Engineer & Music Producer

Teacher

Hello, my name is Marco. I am a Sound Engineer, Music Producer and Video Colourist, with more than a decade of international experience in the field. I started my journey in the audio world in Italy, and after working with several studios and production houses, I moved to Ireland and then to Kenya. I have worked with corporates, established and upcoming bands, theatres and live events.

 

Here my playlis!:

Mixing Audio

The Premix: in this class you'll learn how to move to first steps in starting your mix right; The EQ: Equalization, Equalizers and Filters. Learn how to change the frequency content of your tracks! Compression: playing with dynamics is easier said than done. In this class, you will learn everything you need to learn about Audio Compres... See full profile

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Transcripts

1. Introduction: Hi, everybody. My name is Marco Silvestri and I'm a sound engineer and a music producer based boot in Europe and Africa. Welcome to manual skill. Shackle us. I'm going to teach you how to remix a song. Taking your first step into the mix. What do you use for tools? Logical to base. And as long as you have any digital audio workstation these classes for you, I will run you through a session as if he's a baby. Real life scenario. Really usable knowledge so fast on your seat belt and let's get started. 2. The Premix explained: festival. Let's grab our session files. The website. I'm showing you right now as hundreds of professionally recorded sessions ready to be mixed by you. Let's extend our tongues toe. Make senior the older off the book mix in secret for the small studio, which is related to this website. Screw all three options and find a Jara that soc the most dang click on the preview button and either listen to the full song already. Except, if you like it, just a lot of food. Web session and wait for a short while. Did a loaded file is at the park. I continue in the sink. What files Ready to be imported in your favorite digital audio workstation Today we're mixing the glass a song by a pre Markova. Before going straight to our session. Let me briefly explain to you would Premix mints. The premix phase is that step off the audio postproduction that comes after the audio editing and that allows us to prepare our session for the mix. Getting the premix right will allow us to mix quickly without any complication and without compromising the quality of our craft. Basically, it allows us to be more efficient, focusing on what really matters in the Premix, we have three fundamental steps listening where we listen to our session to better understand your material we have to work with. This face is also where we can do our naming, color coded stemming. These will make us save a lot of time later on spacing where we'll do our fast planning for the session leveling where we will build our fast level balance between all the trucks. It is accurate to deduce that during the permits were building the foundation, creating the idea in our heads and giving a direction to our session. For this class A will is put words. But not that what I'm showing you can be easily replicated into any other professional digital audio workstation. 3. Listening and Stemming: Here we are. Decision is loaded and ready to be played. As you can see, I did not have any problem with you. Think everything is already in place? Also always set the tempo in your station. In this case, it's 187 beats per minute before he think play. Let's reduce the level off all our tracks by a good six decibels to allow us to have more headroom as we mix. And Noto have our years raptured during the first listening, Let's listen and , well, a nice tune. I could not hear much off the voices and the melodic instruments, but I got the idea. Let me just once more as they put things in order. I am going to do some basic stemming naming and call. According the time May will invest in these series of operations will allow me to say more time later on during the actual mix, as I want upto waste too much time to find a specific element in my mix. Since these protesters are software specifics, I won't show you in detail, but I just recap understand me. The stemming is that routing process of summing sounder tracks coming from the same logical group into a bus for better management and for more control off the mixing workflow as we can see in the session, the kick was recorded using two microphones. I am going to sound the two tracks in tow one, then send the results on truck into my stem dedicated to the drums. I can do the same with a basic later in the session recorded boat from Lady iBooks and a Mike camp. There is no limit to the use of this timing technique as long as it makes sense to you. See you in a bit many times, but wait around his usual with comedy probably above. 4. Let's get the right Panning: now, we would not really start to trick on levels to make this instrumental song louder or to lower the volume off that other instrument so as to try and get some sort of balance wrong . In this way, you're going to work double, because much that is true, that we're going to create a balance. It is also true that the balance created will only work If all this on sources are put in the same exact position in dissent. The moment we take this morning for Nick Mix and start to move things left and right to make it a stereophonic makes the balance that we created in the first instance will be lost , leaving us to redo it, making us work more than we should. The next step after listening is the process school planning which involves placing every instrument where we would like it to be visualized. How much to the left or to the right. What do we put on each side as usual In the world of sound engineering, there are no rules, just codified behaviors and procedures. As a guideline. You plan according to what you would see if the band would be playing on a stage. Also, the lower the frequency of a certain sound, the more in the center that sounds should be. The rest is left to common sense of personal taste. Let's find these guys in 19. Okay, now let's have a listen. You can compare these with the roast session we've opened before night. As you can hear, things have changed a lot. We can hear things that were buried in the mix before considering what I've just done. It's a big improvement off course. This is just a general planning. As I go deeper into the mix, I might need to modify, adjust, automate my planning. But the point is that we've just gained a better insight on the session. Last but not least, is all about leveling. 5. It's all about dimensions: Leveling: we created a provisional soundscape. The next step is to balance the levels, working on the size of things in the steps. There are no rules, only pieces of advice. Find out the important elements of a song or a project, and I like them like cooking. Create a balance, a blend. Avoid having any sound overwhelming the rest. Chili con carne ese. Um, but it is too hot. We will end up losing on the order. Flavors avoid boredom and monotony. Always try to mix from a different point of view by a lighting. Different elements work with the performance. Miracles cannot happen in a mix. Yes, we have. Imagine toe correct it. But we cannot change the direction that a performance took There. Also, some practical steps and tricks that can help us find the right level for each and every instrument toe practically apply. These tricks is really easy. It might require some practice of the start, but once you repeat it over and over, you will become a master off this technique. So how do we find the right level? First of all, let's start from the instrument that we think are key in our project, in this specific case, we are dealing with a situation where the story is carried mostly by the lyrics, so the voice will naturally have opera porter and troll in our mix. Do you remember the 60 Be a left as a head room. This is where they become 100 because they will give me most pays allowance to play with the voice When you makes as much as you are tempted, avoid placing your channel feeder above the zero to be at least as you begin. I like to consider whatever is about dizzy really be in my fate US as something that I could use in case of imagines. Now I moved slowly up and down the voices fader until average the minimum level, like any of the voice at and I berated down somewhere. The common section in pro tools really comes in handy here, since we can take note of it in this section. After I found my minimum level, I push the fader up. Until that sound doesn't become too much, we can also note down that value, together with the previous one way from landlord Remember, Brothers hadn't at one level is somewhere in between those two is up to us to find it now we can proceed in level. Everything way. Landlord in Remember, two brothers hadn't made I'm not against love in 1973 million on future trusted deputy Many times stage died, but still mother made a joke against 1 10 Gloves remains. Yet in 1973 many times stage died but still drink Lord in remember, brothers had intimated on Joe could not against content gloves remains yet. 6. Comparison of the three steps: that was quite something that's not listening, compared the three different steps of our Premix so we can understand what really went on. - He It was messy street out of the library. Everybody recorded at a level that was technically right without considering any balance with the other instrument. And that's good, since our job is to balance things and things are started to make sense without interfering with any level I've created as much as I could space for each and every instrument. Lord, remember, brothers had intimated on Joe could not against content of gloves remains yet. And here we've got a nice and smooth balance. Off course has lost needs to be done to make the mixed final, but we reach a good point. A direction has been marked. We just need to follow it. 7. Do it yourself!: Why don't you try to yourself download a session your permits and upload it in the projector? That's everything for today. Don't forget to leave a review and upload your assignment. If you have any questions, you might ask it in the community. Have a big city in the next class, and in the meantime, let's rock.