Copy Link Copied! Last updated 8 November, A typical selection of mixes on a dance promo release. Original mix — The main mix, the one that comes first usually on the package.
Depending on the genre or style, this could very likely also be the… Radio mix — A 3 or 4 minute version of the original mix, minus any expletives. With the stereo console output going back into Pro Tools where I can print the final mix. If you were to do this in your DAW, start by setting up your effects on auxiliary sends and make sure you have a place to return them.
For a very basic dub setup, you can try this:. These auxiliary sends will then return to individual channels in your DAW. So sending single sounds or groups of sounds to effects, and then sending those effects to further effects to create soundscapes. This is like the main, main skill in dub—sending the delay back to itself.
The more you turn it up, the longer and louder it goes. As long as the time gap between each turn of the knob is so small it's musical. The best delays are like that. With a dub, you want to literally turn the delay rate from super-fast and then back to super-slow so the entire thing sounds musical. Another part of dub mixing is combining the use of effects with pulling faders or pressing mute buttons while using effects, to break down the existing multitrack into a much more sparse version.
For example, try hitting your delay aux on the snares at the end of a drum phrase. Then hit mute on the drum group at exactly the same time - cutting out the drums and dropping the mix down to the raw bass and guitars. Experiment by sending some drums to an aux with a phaser, and then sending that phaser to the reverb to create a really nice textured, phased reverb sound that you can blend in behind your drums—high-passed of course. If you are used to working on a digital recording setup, there are a few problems that can occur when you apply dub mixing techniques.
Here are three of the most important troubleshooting issues:. Instead of playing a musical instrument, the dub master plays the mixing board. In effect, dub turns the mixing process into a live performance happening in real time. With a digital recording setup it is tempting to use automation to record all your moves, to make it possible to go back and tidy up later, but in the purest form dub wants to be mixed in real time and preferably on an analogue board.
Changing pages on a digital desk or switching windows on a PC takes the juice out of the fruit. So let's see what are the creative techniques available to us. Three typical reggae bass lines. This technique is a classic example of using equipment in ways it wasn't designed to be used! Set up an auxiliary send on your desk, and route it to a delay unit. Set the delay time to about 0. Route the output signal from the delay unit back to the desk on a full stereo channel or a pair of mono channels that has an aux send on it, rather than on dedicated effect return inputs, which do not always have auxiliaries.
Play back a sequence or a bit of a recording, turn up the aux send, and you'll hear some delays and echoes developing, just as you would when using delay in any mixing session.
Now here is the trick: gradually turn up the aux send on the return channel s , so that you're sending the returned signal from the delay unit back to its own input.
As you turn up the aux send, listen out for an increase in the feedback level. When you hear the echoes picking up, mute the source channel to avoid interfering with your process. Finally, try playing about with the aux send pot on the return channel and see how every move up or down affects the feedback. It's quite easy to lose momentum, but practice will help.
It's a bit like trying to keep the engine of an old car going just after you start it in the morning on a winter's day — you need to adjust the accelerator to prevent stalling!
An example of a reggae keyboard part playing both the 'chop' and the 'shuffle'. This technique works best with an analogue desk. It can be done in a digital setup, but you need to be careful, as I explain in the 'Digital Dub Mixing' box. Another effect that is used a lot in dub mixing is reverb, but again, it's the opposite of the usual 'set and forget' approach.
The dub way of doing it is much more dynamic! A reverb is set up on an auxiliary send, and as the track is playing, the send level is altered for different instruments. For instance, you can turn on the aux send just for one single hit on the snare or the chop, and then revert to its original position.
First the snare is right here with you, dry and present, and suddenly you hear it shooting off the planet at great speed. I call it the room shot! The shots alternate, and an accomplished dub producer knows exactly when to insert echoes, swirls and reverb shots in strategic places.
Flangers and phasers are great effects on piano or guitar chops, hi-hats and other instruments. Dub mixes are a useful tool for DJs to create mash-ups , since the DJ can put vocals from another song on top of the dub mix. Many longtime producers will mash up their own works by putting vocals from old songs on top of dub mixes of their newer songs as a way to please old and new fans and keep the music fresh.
However, dub mixes may be enjoyed as finished productions in themselves, without vocals from the original or any other song. The DJ can then use the extracted vocals over the dub mix of another song to create a mash-up. It is possible to remove vocals from finished song files, but the process can be tricky and the quality of the final song will suffer. You are commenting using your WordPress. You are commenting using your Google account.
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