Mixing String Instruments (3)

Cello

The Music Telegraph | Text 2021/04/02 [13:40]

Mixing String Instruments (3)

Cello

The Music Telegraph| 입력 : 2021/04/02 [13:40]

 

© Pixabay



Mixing String Instruments (3)

 

This article will guide you through the process of mixing a multi-track studio session recorded by a string quartet. After you have achieved the "perfect mix" then you will move on to the mastering process. After mixing the multi-track session, you will insert mastering type plug-ins into the insert of the Master fader in order to maximize the final mix. Remember that the final goal of a good mix is to enhance the features and the musical characteristics of the piece, therefore try to be musical when mixing and mastering a track.

 

 

The Cello

(continued from the previous article)

 

1) Solo the track called Cello.

In this article, I am dealing with 'EQ III' in Pro Tools. See the Figure 1 below.

 

2) Insert a 7-Band EQ on the Cello track with the settings shown in Figure 1.

These settings will add body to the lower tones of the cello (+2 dB @ 300 Hz) and remove some scratchy sounds generated by the rosin and bow hairs (shelf -1.5 dB @ 12 kHz).

 

Figure 1: EQ setting on the Cello track

© The Music Telegraph



3) Pan the Cello track a little bit to the Right (>40)

This helps to recreate the stereo position of the players as they would sit if playing in a live string quartet performance. Notice that the cello has been panned to the outside of the 2nd violin. This will give the quartet a more spacious feel and help the listener to separate the individual instruments. 

 

4) Solo Violins, Viola and Cello tracks. Listen to the 4 instruments together.

Again, feel free to experiment with the settings for the EQ.

 

5) Find the right balance between the 4 instruments.

As an aid, in a typical classical string quartet, the 1st violin acts as the "Lead Vocal" in a band, and therefore is the most important instrument. The Cello acts as the bass and the 2nd Violin and the Viola support the harmonic motion of the piece, almost as the keyboard would in a regular pop band. 

 

6) Un-solo all the channels and find the right balance between the dry signal of the Violins, Viola and Cello tracks and the Room L-R tracks.

As you bring up the levels of the Room L-R tracks you should find that the mix blends better, but be careful not to add too much room ambience otherwise your mix can loose the definition you put in with the individual EQ settings on the tracks. 

 

 

 

 

 

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