In this assignment we were asked to produce two static mix recordings.

A static mix refers to a recording that consists of no volume automation whatsoever. This required us to apply other recording techniques such as dynamic range compression and equalisation. Compression is simply a way of reducing the volume of the loud sounds or boosting the volume of the quiet ones in any one signal. Compression allows us to take out the spikes in the wave forms of our mixes. Using such techniques has forced us to broaden our knowledge on these contingencies to volume automation and increase our understanding of compression/ equalisation and how they can be applied to our work. We also had to show an understanding of the following 6 terms:

- Signal to Noise Ratio or SNR:

Signal to noise ratio is the measurement or comparison of wanted sound (the signal), to the amount of unwanted sound (your noise). One way you can reduce the amount of noise in your mix is with a noise gate, which as a plug-in on Logic Pro, should look a lot like this

One of the main causes of a low signal to noise ratio (too much noise) is a bad instrument connection. In the picture above I was using a noise gate to alleviate the problem of a noisy Bass Guitar recording. Another way I could have done this is with subtractive equalisation, which will be explained in further reading/viewing.

- Decibels Relative to Full Scale or dBFS:

dBFS is simply a measurement of amplitude most commonly on DAWs. Maximum dBFS with digital sound is measured at 0dB before clipping or distortion which is usually shown by a peak level indicator on a level monitor, when youre mastering. On a DAW the dBFS level is measured by how far below zero the signal is.

- Dynamic Range:
Dynamic range is the more radial measurement of the wave form. Quite simply, the difference in volume between the quietest and loudest point of the signal. The genre with arguably the most amount of dynamic range in it is classical. It is easy to see whether or not a signal has a lot of dynamic range just by observing its waveform. For example; Here is a waveform of a signal that has a lot of dynamic range

and here is an example of a waveform that doesnt show a lot of dynamic range.

- Headroom:
Headroom is the measurement between the peak of a wave form and 0dB. The lower the dBFS the larger and more optimum your headroom will be.

In my static mixes, whenever I recorded an instrument, Id always make sure that it was recorded at a fairly low level, as to ensure that I had plenty of headroom to work with.

- EQ/Frequency Spectrum:
The EQ frequency spectrum refers to the area in which typically, between 20Hz (the low end) and 20KHz (the high end) on the equaliser that, for example a certain instrument would be the most effective the signal that a sound transmits. In this sense, things like a kick drum or a double-bass would be most heard in the low end frequencies of the EQ. Some would say that if youre working with a typically low end frequency transmitting sound or instrument, you would cut the high end frequencies and of course vice versa. Here is a visualisation of the EQ frequency spectrum of some quintessential instruments.

In my static mixes I would use the higher frequencies to bring out the texture of some of the more bassy instruments. For instance I recorded a piece of music with a software instrument Cello and because it sounded too artificial and MIDI-like, I altered the frequencies that were being accentuated with a channel EQ plug-in.

- Digital Distortion:
Digital distortion most commonly occurs when something is recorded with too much gain and is often irreversible. When a channel is allowed to clip it will more often than not distort. If an instrument per se was recorded at too higher level and distorts on the recording then it is to be re-recorded but when it occurs post-recording then it is a mixing issue and can be rectified just by changing levels.

I tried to approach dynamic range compression in my mixes, not just in the way it was described in my tutors seminars. I attempted the use of a side chain effect with a bus to bring out the percussion in my mix.

In terms of manipulation this proved most affective as a technique AND an effect. Another way (of many) in which I manipulated my sounds is with reverberation. In my first mix I wanted everything to sound as if it was coming from a tube station or tunnel and as I was working with a slightly older version of Logic Pro I didnt have my favoured reverberation plug-in Space Designer so I used AVerb to create the desired effect. Much to my frustration, I applied this effect to my drums in my first mix Minds a Chafe only to discover that this particular plug-in already had a subway tunnel effect preset.