Reveal your dirty production secrets...

[spkey]

Mix in mono on ONE speaker until it sounds good wich is really fucking hard and sort out levels/EQ arrangement problems, then go to stereo to sort out the panning. If you have two sets of speakers start on the ones that sound the worst (like NS-10's or Auratones)

Not bad idea but what if you have recorded some instruments such as PADS in Stereo?

Its often much more valuable to figure out a track that can be deleted than to find yet another melody that could fit in.

A friend of mine was telling me that he usually likes deleting the track that initially inspired him for a track. I think this gives a different perspective.

[andrew_]

A friend of mine was telling me that he usually likes deleting the track that initially inspired him for a track. I think this gives a different perspective.

Yes!

[B-S]

- EQ wise, CUT, don't BOOST
- mix to sub-groups
- mono your bass and kicks, or generally all below 300Hz
- don't work in long sessions as your ears get fatigued
- don't start and finish your track during just one session
- use paralel compression
- use Reverbs on Return chanells
- drink a lot, smoke a lot
- keep the things simple (simple yet effective, you know)
- when finetuning/EQing your kick, don't solo it
- dont think in sounds, but think in Hertzs
- listen at low levels, and crank it up for just few seconds to hear all sits on its place
- LEDs on each channels should never stay on one place (must go up and down, up and down, or you are loosing dynamics)
- when use compressors watch LEDs, and apply above mentioned rule
- drink a lot, smoke a lot
- work on more tracks at the time. refresh your ears for few minutes with listening to different track. when you go back then, you hear what you didnt hear previously
- treat your room acousticly
- spend as many grands as you can on good nearfield monitors/DA converters,.
- have fun!

[funky shit]

- EQ wise, CUT, don't BOOST
- mix to sub-groups
- mono your bass and kicks, or generally all below 300Hz
- don't work in long sessions as your ears get fatigued
- don't start and finish your track during just one session
- use paralel compression
- use Reverbs on Return chanells
- drink a lot, smoke a lot
- keep the things simple (simple yet effective, you know)
- when finetuning/EQing your kick, don't solo it
- dont think in sounds, but think in Hertzs
- listen at low levels, and crank it up for just few seconds to hear all sits on its place
- LEDs on each channels should never stay on one place (must go up and down, up and down, or you are loosing dynamics)
- when use compressors watch LEDs, and apply above mentioned rule
- drink a lot, smoke a lot
- work on more tracks at the time. refresh your ears for few minutes with listening to different track. when you go back then, you hear what you didnt hear previously
- treat your room acousticly
- spend as many grands as you can on good nearfield monitors/DA converters,.
- have fun!

Good first post!
Anyway you can mono a track on ableton?

[Angstrom]

yes, you can mono a track using Utility.
plonk one on your master in fact.

[B-S]

i am doing that with OtiumFX Basslane

EDIT: http://www.kvraudio.com/get/1086.html

[spkey]

yes, you can mono a track using Utility.
plonk one on your master in fact.

So is this how some people, above, mix in mono?

[Angstrom]

I don't really 'mix in mono' , I mix in stereo and do a check to make sure that it all works in mono sometime about 2/3rds of the way through the process. So yes, at that point I use a utility on the master. I actually try a few things at that point when I am reasonably sure of my arrangement when I test the song on a little crappy portable speaker that is designed for an MP3 player of some kind.
At that point I test it in mono, I make sure I can actually hear some element of the bassline and that the song hangs together OK in such a bad playback condition. I actually slap on a multiband compressor and turn it up way too much, just to see what is lurking just below the surface to be revealed by bad people with compressors. I don't keep that compression - but it can reveal issues that were just 10db too quiet in a normal situation and need fixing. Often this is things like note ends which are not quite right, or mis-timed percussive junk which is not really needed.

I could do all this earlier on in the process, but it suits me to do it at the 2/3rds stage. I usually have to alter a sound or a voicing to address issues there and usually find it also benefits the composition on 'normal' speakers.

[spkey]

I actually slap on a multiband compressor and turn it up way too much, just to see what is lurking just below the surface to be revealed by bad people with compressors. I don't keep that compression - but it can reveal issues that were just 10db too quiet in a normal situation and need fixing. Often this is things like note ends which are not quite right, or mis-timed percussive junk which is not really needed.

This is actually a good tip. I'm also curious about the mono thing so I think I'll try it.

[Aequitas123]

What benefit is there to using or mixing in Mono?

[spkey]

What benefit is there to using or mixing in Mono?

I guess it helps you get the levels and EQ right before returning to Stereo for separation?

[sweetjesus]

What benefit is there to using or mixing in Mono?

helps audience members with one ear..

[SimonPHC]

What benefit is there to using or mixing in Mono?

helps audience members with one ear..

I hear ya

[Goran@Irrupt]

I don't really 'mix in mono' , I mix in stereo and do a check to make sure that it all works in mono sometime about 2/3rds of the way through the process. So yes, at that point I use a utility on the master. I actually try a few things at that point when I am reasonably sure of my arrangement when I test the song on a little crappy portable speaker that is designed for an MP3 player of some kind.
At that point I test it in mono, I make sure I can actually hear some element of the bassline and that the song hangs together OK in such a bad playback condition. I actually slap on a multiband compressor and turn it up way too much, just to see what is lurking just below the surface to be revealed by bad people with compressors. I don't keep that compression - but it can reveal issues that were just 10db too quiet in a normal situation and need fixing. Often this is things like note ends which are not quite right, or mis-timed percussive junk which is not really needed.

I could do all this earlier on in the process, but it suits me to do it at the 2/3rds stage. I usually have to alter a sound or a voicing to address issues there and usually find it also benefits the composition on 'normal' speakers.

wise man this Angstrom is.
i use THIS toy in my studio for previewing my mix in mono. and i always check mix on my laptop speakers.
i also start my songs with all channels set to -6dB. master channel is set to 0 and never goes in to red. when i finish the whole mix i put Oxford limiter and beef it up a bit. don't know why, but Oxford limiter is doing a better job to my mixes then Oxford dynamics?!

w

[roach808]

i was told this dirty little secret from another producer friend of mine...

dont spend all of your time on the ableton forum

its a great way to spend your time while your waiting for your tune to render.

Altho, I have found in the past that this works just as wel......

Couldn't help but notice your Fatso there, roach. Nice nice choice man

Thanks, wish i didn't have to sell it awhile ago.

Anyho, my other favorite dirty little production secret is that I normally play most of my tunes back on afew different sources.

1. Studio Monitor....but of course.

2.Crappy Personal Monitors (if it sounds good on there...well you know the rest)

3.Car Stereo

4.A massive JBL Vertec Line Array with 4 sets of double 18'' subs, driven by all crown amps. (if you want to know how your stuff will sound in a festival/concert/club situation this is the best option....if you know people that will let you have your fun with the audio rig)