Mixing with the Console Emulator

Mixing with the Console Emulator

Snake oil, or useful processor? Read on, and find out

by Craig Anderton

Console Emulator plug-ins are controversial. First, a lot of people are convinced they don’t really make a difference. Second, there’s the philosophical question of whether emulating a console is a good thing—after all, you’re emulating imperfections. And third, there’s the question of which console you want to emulate.

However, before you can judge whether a console emulator is going to be useful, you need to know how to use it correctly…so let’s investigate.

About Console Emulation

There are legitimate reasons why analog consoles can sound different compared to mixing “in the box,” and also, legitimate reasons why some might consider these differences desirable. Technically speaking, there are two main differences compared to digital summing.

First, analog circuitry has inherent non-linearities (or in less polite terms, distortion). As a signal goes through multiple analog stages, these non-linearities add up although the end result can still be extremely low-level. Because there are differences between the left and right channels, this tends to “widen” the image and create the appearance of a wider soundstage. If the distortion is relatively high, as can be the case with older consoles, distortion generates harmonics in the audio spectrum’s upper range. With increased highs, and given that highs are more directional, this can widen the sound even further.

Second, consoles often use audio transformers and it’s not an overstatement to say that transformers are some of the most complex signal processors ever introduced into a signal chain. What’s more, the transformer’s characteristics are dependent on the circuitry that surrounds it—such as the source impedance, capacitive loading, resistive loading, and the like. For example, the external circuitry may damp some of the “ringing” that occurs when passing square waves through audio transformers. Transformers also generate distortion (primarily odd-order) that’s highest at lower frequencies. While the effect of all of these variables is subtle, many people like the sonic characteristics transformers can impart to a signal. Overall, good transformer implementations provide a somewhat “fatter” low end, and can add “warmth.”

Inserting Cakewalk’s Console Emulator

As with any processor, there are no rules if you want to get creative—so take the following as personal preferences, not as “rules” that must be followed.

Prior to mixing, I’d recommend inserting a Console Emulator Channel plug-in (CEC for short) last in the ProChannel for every track, and a Console Emulator Bus plug-in (CEB for short) in the master bus. The easiest way to do this is with the Quick Grouping command: in the Console view, open a ProChannel in a non-selected track. Then while holding the Ctrl key, right-click within the ProChannel, select Insert Module, and choose Console Emulator Channel; this places the CEC last in every audio track. You’ll need to insert the CEB in the master bus manually, as Quick Group works only across similar track types.

To ensure that the CEC is last in the chain, place the ProChannel post-FX bin (right-click in a blank space or effect header in the ProChannel, then select Post FX Bin—see Fig. 1).

Fig. 1: Placing the ProChannel post-FX bin, and inserting the Console Emulator plug-in as the last effect in the ProChannel, guarantees that all effects in the track will go through the Console Emulator.

(more…)

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Mixing Tips: Ten Nasty Mixing Mistakes

Not happy with your mixes? One of these reasons might be why

By Craig Anderton

Mixing is tough enough as is, but avoiding the following mistakes just might help the process go a little more smoothly—and give you audibly better results.

1. Mixing in a lousy monitoring environment

If you mix in a room with horrible acoustics or use inaccurate speakers that do tricks like hype the bass, your mix is doomed. You may think it sounds fine, and it might, because you’re compensating for the monitoring deficiencies. But as soon as you get the mix outside of your environment, it will likely sound dreadful.

To solve this problem, strive to use speakers that emphasize accuracy. They may not flatter your music that much, but that’s the point: If your mix sounds great over accurate speakers, it will at least sound decent over other speakers.

Proper acoustic treatment is ideal, but may not be possible. IK Multimedia’s ARC can help with fixing your acoustics (normally I see little value in “room tuning,” but IK’s system is quite effective). Also consider buying a really good set of circumaural headphones, and use them as a reality check compared to your speakers. Just remember that headphones give a particular “flavor” of reality that accentuates ambience and stereo separation; their main use in this case is evaluating the amount of bass because room acoustics aren’t a factor. However if you use something like Beatz, that won’t help—you want headphones designed for monitoring, not consumers.

2. Too much reverb or too little ambience

Some people seem to think that adding lots of reverb will compensate for a problematic part. Actually, all it does is give you a problematic part with too much reverb. Mitigating factor: If you’re doing a 60s revival/tribute recording, then make sure you do use too much reverb if you want to be authentic.

On the other hand, an overly dry sound doesn’t do you any favors either. We usually hear music in an acoustic environment of some kind, so adding in audio like room mics on drums (Fig. 1) can create a much more realistic and satisfying mix.

Fig. 1: Take advantage of the room mic option in Addictive Drums to give a more “real” feel.

Note that with recorded drums that already have some ambience, you can often make the existing ambience more prominent by putting the drums through the Concrete Limiter. By reducing the peaks (more…)

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SONAR X3 Clinic by Craig Anderton – Berklee Online

In case you missed the Berklee Online Webinar with Craig Anderton (March 31st, 2014) – here is the video in it’s entirety! Craig outlines some of his favorite topics including:

  • The MIDI advantage for songwriting
  • Using loops for both songwriting and EDM
  • Speeding up workflow to prevent “inspiration atrophy” (effects chains, track templates, browser techniques, etc.)
  • Creating your own mixer architecture
  • Using “spot” timing correction to tighten timing without destroying feel
  • How to make amp sims sound great (e.g. effects chains)
  • Mastering in SONAR

Learn more about SONAR X3

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SONAR X3: Producing Drum Samples (Video Series)

In the midst of recording a whole record it’s always a good idea to take some samples of the drum set so that you can replace and reinforce the drums later on in mixing. Here is an 11-part video series that shows you how to apply some basic EQ, Compression, and Editing techniques to get your drum samples to sound pro within SONAR X3.

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Subtractive EQ Part 4: Bass

Miss part 1? Read Subtractive EQ – Snare Drum.

Bass
The bass in this track caters to fans of the early Metallica era.  Bassist Cliff Burton popularized this distorted sound on such tracks as (Anesthesia) Pulling Teeth.  It’s important to blend this type of bass tone into the bottom of the guitars.  In this mix the guitars and the bass become a single unit ebbing and flowing with one another at certain points through the song.

Understandably one can assume that there was much processing done to this track before it’s transfer into SONAR.  It’s important to capture the sound before you start mixing so that your mixing process is not a patch-job.

This tone is aggressive and piercing to the ear.  A significant way to know that this instrument needs attention is by the aural fatigue that you may experience while soloing this track and listening to it rather loudly for more than 10 seconds.  I aimed to adjust the bass track to fit like a glove under the mix by applying a HPF at 78Hz with a steep bandwidth setting.  The amount of bass here needs control. Using a compressor to control the sound would be redundant because of how much overdrive was applied to this track.  The overdrive has ultimately eliminated any trace of strong transients.

Lastly, there is another dip in the EQ around 2.2kHz.  This adjustment reduces some of the aforementioned piercing sound. Any harsh tones in this register will be too overbearing in the mix.

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Subtractive EQ Part 3: Kick Drum

Miss part 1? Read Subtractive EQ – Snare Drum.

The Kick Drum
If the snare was the primary listening point for Rock music then the kick drum is the second most important. By working in the guitars in over the snare I was then met with the challenge of working in a solid kick drum sound. This kick drum was tracked using two different kick drum microphones, one deeper into the drum than the other. For reference, the first kick signal is called the “Kick-In” microphone and the second is the “Kick-Out” signal. (This is one example of the nomenclature used by many engineers to differentiate between the different microphones placed on a drum set)

Kick In

I started by blending the two signals (more…)

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Subtractive EQ Part 2: Heavy Rhythm and Lead Guitars

Did you miss Part 1? Read Subtractive EQ for Snare Drum.

Guitars
Your guitar tone can change significantly by carving out the correct frequencies and reducing those that introduce unwanted noise. Distorted electric guitars tend to occupy most of the mid-range based on their nature of their sound. This mix was tricky because the band is instrumental and their music relies heavily on the layering of multiple guitar tones.

Rhythm Guitar 1

Here I have chosen to attenuate the unwanted rumbling of the of the low end of the rhythm guitars using the supplied HPF. The bass guitar is rather guitar-like in this song therefore it is important to make room for that. The HPF for Guitar 1 was applied at 50Hz and similarly to Guitar 2 at 47Hz. Why not the exact same frequency you ask? Having the slightest (more…)

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Free Download: White Knuckle Bass Presets for TH2 Producer

I sat down with some of my best session players to collaborate on 50 presets for TH2 Producer that are sure to add some grit to your low-end instruments. It’s no secret that my passion is mostly in the Rock and Metal world of music and I’ve felt that Bass doesn’t get enough love in those genres. Below are 5 examples from the Free Download that outline some great Rock and Metal lead, rhythm, clean, and ambient effects and I would definitely pull out of my bag of tricks for a record.

1. Pick Rhythm

Here’s a style of playing called “Djent” that has been popular in the last couple years. Typically this sound is done with down-tuned guitars but why not just use a bass? I’ve double-tracked this recording to give a wider sound (more…)

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Better together: Try SONAR X3 and Melodyne For Free!

What could be better than Melodyne Essential included with every copy of SONAR X3 Studio & SONAR X3 Producer? Only full integration of Melodyne in SONAR through ARA technology.

The future is here folks! This means the best pitch correction, time stretching, and audio to MIDI conversion in the business are at your command in SONAR X3 Studio & Producer. Whether there’s a flat note in a vocal, or you want to adjust phrasing, Melodyne makes it a snap to polish your recordings.

By adding support for ARA technology (Audio Random Access), we were able to seamlessly integrate Melodyne Essential into SONAR’s Skylight interface. This means no waiting for data to transfer into the Editor. Simply click to open the audio clip and get to work. To convert audio to MIDI, simply drag and audio clip onto a MIDI track and Melodyne takes care of the rest. And if you are using any other version of Melodyne or plan to upgrade, you get to enjoy the same level of integration automatically.

Best of all, ARA integration is available in the SONAR X3 Free Trial!  Download the 30-day Melodyne Trial to experience both together and see (more…)

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New Chocolate Cake Drums for Session Drummer 3

Cakewalk and Chocolate Audio have teamed up to bring you the brand new Chocolate Cake Drums – a flexible and delectable set of highly quality expansion packs for Session Drummer 3. (more…)

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