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	<title>Comments on: Audio Engineering Mixing Secrets &#8211;  Why Your Mixes Suck Part II</title>
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	<link>http://drumsandsounds.com/making-beats/audio-engineering-mixing-secrets-mixes-suck-part-ii/</link>
	<description>Hip Hop Drum Samples and Sounds</description>
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		<title>By: gnxmusic</title>
		<link>http://drumsandsounds.com/making-beats/audio-engineering-mixing-secrets-mixes-suck-part-ii/comment-page-1/#comment-8502</link>
		<dc:creator>gnxmusic</dc:creator>
		<pubDate>Thu, 08 Nov 2012 04:43:28 +0000</pubDate>
		<guid isPermaLink="false">http://drumsandsounds.com/?p=238#comment-8502</guid>
		<description>Thanks Joe for the tip.</description>
		<content:encoded><![CDATA[<p>Thanks Joe for the tip.</p>
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		<title>By: Joe Cloud</title>
		<link>http://drumsandsounds.com/making-beats/audio-engineering-mixing-secrets-mixes-suck-part-ii/comment-page-1/#comment-3434</link>
		<dc:creator>Joe Cloud</dc:creator>
		<pubDate>Sat, 08 Oct 2011 04:28:53 +0000</pubDate>
		<guid isPermaLink="false">http://drumsandsounds.com/?p=238#comment-3434</guid>
		<description>Listening to your tentative mix in a couple of different car stereos is one of the best things you can do.  After all, where do most people hear music?  I learned a lot of different things in producing, arranging, and directing the mix on my own tunes, but I&#039;ll only pass on one particular trick, because I think it may be a bit unique, as compared to the many out there that may be repetitive, etc.  It&#039;s this:  when double- or multi-tracking vocals, one particular problem can be the overlay of many different &quot;attacks,&quot; sibilants (sp?), and other dynamics of mixing together multiple different vocal tracks.  My secret is this:  have background vocalists leave off the troublesome elements of their vocal tracks.  For example, if a line the vocalists are trying to sing together involves attacks (such as esses/S&#039;s/words that begin with S, and potentially different attacks and sounds), have the background vocalists leave off the attack!  Leave off the beginning of the word.  For example, if the first word in the vocal line is &quot;start a fire,&quot; have the background vocalists sing &quot;art a fire!&quot;  That way, the key parts of the word&#039;s attack are caught by the lead vocalist, but there&#039;s no competition from mistimed backup vocals.  I know you know how to extend this advice, to apply to words in the middle of a vocal line, at the end, etc.  Believe me, it works gangbusters!  Good luck!</description>
		<content:encoded><![CDATA[<p>Listening to your tentative mix in a couple of different car stereos is one of the best things you can do.  After all, where do most people hear music?  I learned a lot of different things in producing, arranging, and directing the mix on my own tunes, but I&#8217;ll only pass on one particular trick, because I think it may be a bit unique, as compared to the many out there that may be repetitive, etc.  It&#8217;s this:  when double- or multi-tracking vocals, one particular problem can be the overlay of many different &#8220;attacks,&#8221; sibilants (sp?), and other dynamics of mixing together multiple different vocal tracks.  My secret is this:  have background vocalists leave off the troublesome elements of their vocal tracks.  For example, if a line the vocalists are trying to sing together involves attacks (such as esses/S&#8217;s/words that begin with S, and potentially different attacks and sounds), have the background vocalists leave off the attack!  Leave off the beginning of the word.  For example, if the first word in the vocal line is &#8220;start a fire,&#8221; have the background vocalists sing &#8220;art a fire!&#8221;  That way, the key parts of the word&#8217;s attack are caught by the lead vocalist, but there&#8217;s no competition from mistimed backup vocals.  I know you know how to extend this advice, to apply to words in the middle of a vocal line, at the end, etc.  Believe me, it works gangbusters!  Good luck!</p>
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		<title>By: Dave</title>
		<link>http://drumsandsounds.com/making-beats/audio-engineering-mixing-secrets-mixes-suck-part-ii/comment-page-1/#comment-2045</link>
		<dc:creator>Dave</dc:creator>
		<pubDate>Sat, 09 Apr 2011 22:19:45 +0000</pubDate>
		<guid isPermaLink="false">http://drumsandsounds.com/?p=238#comment-2045</guid>
		<description>&quot;Mixing Secret #1 – Stop turning knobs and listening.&quot;

Stop listening? You must mean &quot;Stop turning knobs and START listening&quot;.</description>
		<content:encoded><![CDATA[<p>&#8220;Mixing Secret #1 – Stop turning knobs and listening.&#8221;</p>
<p>Stop listening? You must mean &#8220;Stop turning knobs and START listening&#8221;.</p>
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		<title>By: rene</title>
		<link>http://drumsandsounds.com/making-beats/audio-engineering-mixing-secrets-mixes-suck-part-ii/comment-page-1/#comment-1143</link>
		<dc:creator>rene</dc:creator>
		<pubDate>Tue, 18 Jan 2011 20:27:15 +0000</pubDate>
		<guid isPermaLink="false">http://drumsandsounds.com/?p=238#comment-1143</guid>
		<description>I&#039;m a beginner mixing engineer in the industry trying to find my own process and template as I learn more and more techniques at my school, Full Sail University.  I am new to this process but I am finding myself intrigued with this stage of the industry.  I was wondering when you took the internship did you have a strong background on your own template on how you worked on certain tracks?  My biggest fear is not to be able to have the opportunity to work with other more experienced engineers? I am a visual learner, so my main question is how can I appeal and put myself in a strong position to hopefully acquire an internship like you did?</description>
		<content:encoded><![CDATA[<p>I&#8217;m a beginner mixing engineer in the industry trying to find my own process and template as I learn more and more techniques at my school, Full Sail University.  I am new to this process but I am finding myself intrigued with this stage of the industry.  I was wondering when you took the internship did you have a strong background on your own template on how you worked on certain tracks?  My biggest fear is not to be able to have the opportunity to work with other more experienced engineers? I am a visual learner, so my main question is how can I appeal and put myself in a strong position to hopefully acquire an internship like you did?</p>
]]></content:encoded>
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		<title>By: gnxmusic</title>
		<link>http://drumsandsounds.com/making-beats/audio-engineering-mixing-secrets-mixes-suck-part-ii/comment-page-1/#comment-1021</link>
		<dc:creator>gnxmusic</dc:creator>
		<pubDate>Fri, 31 Dec 2010 03:10:07 +0000</pubDate>
		<guid isPermaLink="false">http://drumsandsounds.com/?p=238#comment-1021</guid>
		<description>@ S Flame - Keep at it. Mixing and developing your ear you have to really practice at.</description>
		<content:encoded><![CDATA[<p>@ S Flame &#8211; Keep at it. Mixing and developing your ear you have to really practice at.</p>
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	<item>
		<title>By: gnxmusic</title>
		<link>http://drumsandsounds.com/making-beats/audio-engineering-mixing-secrets-mixes-suck-part-ii/comment-page-1/#comment-1020</link>
		<dc:creator>gnxmusic</dc:creator>
		<pubDate>Fri, 31 Dec 2010 03:09:11 +0000</pubDate>
		<guid isPermaLink="false">http://drumsandsounds.com/?p=238#comment-1020</guid>
		<description>@ Matt. I dont get to do that much live mixing so its tough to make a recommendation. One thing i would try to do is to put the mixing board as close to the audience&#039;s perspective as possible. When your trying to mix something where the band is your not hearing the same thing as the audience. If you do have to mix from a different place then the audience, try to take a walk out into the crowd frequently to take a listen. I have done this in a few small venue gigs and had great results.</description>
		<content:encoded><![CDATA[<p>@ Matt. I dont get to do that much live mixing so its tough to make a recommendation. One thing i would try to do is to put the mixing board as close to the audience&#8217;s perspective as possible. When your trying to mix something where the band is your not hearing the same thing as the audience. If you do have to mix from a different place then the audience, try to take a walk out into the crowd frequently to take a listen. I have done this in a few small venue gigs and had great results.</p>
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	<item>
		<title>By: gnxmusic</title>
		<link>http://drumsandsounds.com/making-beats/audio-engineering-mixing-secrets-mixes-suck-part-ii/comment-page-1/#comment-1019</link>
		<dc:creator>gnxmusic</dc:creator>
		<pubDate>Fri, 31 Dec 2010 03:05:41 +0000</pubDate>
		<guid isPermaLink="false">http://drumsandsounds.com/?p=238#comment-1019</guid>
		<description>@ Vic. Thanks for reading the article. It is so easy to forget to just listen to whats going on and start there. People start mixing turing knobs putting plugins in some time for no reason. When your mixing a song every thing you do should be calculated and should have a clear reason.</description>
		<content:encoded><![CDATA[<p>@ Vic. Thanks for reading the article. It is so easy to forget to just listen to whats going on and start there. People start mixing turing knobs putting plugins in some time for no reason. When your mixing a song every thing you do should be calculated and should have a clear reason.</p>
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		<title>By: Vic Stathopoulos</title>
		<link>http://drumsandsounds.com/making-beats/audio-engineering-mixing-secrets-mixes-suck-part-ii/comment-page-1/#comment-927</link>
		<dc:creator>Vic Stathopoulos</dc:creator>
		<pubDate>Thu, 16 Dec 2010 12:07:29 +0000</pubDate>
		<guid isPermaLink="false">http://drumsandsounds.com/?p=238#comment-927</guid>
		<description>Mixing Secret Number 1 is very important. I think I don&#039;t spend enough time just listening to the song. I usually start mixing straight away and I have noticed on numerous occasions I lose perspective. I think by listening to the song, its easier to get a perspective in how you are going to pan instruments and which ones are the most important to highlight in the mix.</description>
		<content:encoded><![CDATA[<p>Mixing Secret Number 1 is very important. I think I don&#8217;t spend enough time just listening to the song. I usually start mixing straight away and I have noticed on numerous occasions I lose perspective. I think by listening to the song, its easier to get a perspective in how you are going to pan instruments and which ones are the most important to highlight in the mix.</p>
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		<title>By: Mathew Wright</title>
		<link>http://drumsandsounds.com/making-beats/audio-engineering-mixing-secrets-mixes-suck-part-ii/comment-page-1/#comment-539</link>
		<dc:creator>Mathew Wright</dc:creator>
		<pubDate>Fri, 20 Aug 2010 23:56:25 +0000</pubDate>
		<guid isPermaLink="false">http://drumsandsounds.com/?p=238#comment-539</guid>
		<description>what would you recommend for live mixes, seeing as we have about an hour to hour an a half to rehears.</description>
		<content:encoded><![CDATA[<p>what would you recommend for live mixes, seeing as we have about an hour to hour an a half to rehears.</p>
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		<title>By: Lenny LOVE</title>
		<link>http://drumsandsounds.com/making-beats/audio-engineering-mixing-secrets-mixes-suck-part-ii/comment-page-1/#comment-306</link>
		<dc:creator>Lenny LOVE</dc:creator>
		<pubDate>Tue, 25 May 2010 19:15:11 +0000</pubDate>
		<guid isPermaLink="false">http://drumsandsounds.com/?p=238#comment-306</guid>
		<description>Thanks for the help I know I need it trying to do everything on my own...</description>
		<content:encoded><![CDATA[<p>Thanks for the help I know I need it trying to do everything on my own&#8230;</p>
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