These days, musicians make extensive use of music technology, not merely in recording their music but also in how they master and produce it. It is almost standard practice at present for even the superstars to employ artificial mastering and mixing techniques in their work. Assessing how they use these techniques will help you to understand how to make top quality mp3 WAV beats yourself.
The two phases in mixing tracks are the recording or sampling of the actual sounds, and then mixing and mastering them into the final track. Sometimes, musicians use live instruments to record the track, but others simply put the entire track together using synthetic techniques. To draw a distinction, backtracks are those which are sung or dubbed over by the live musicians, while a track itself is the entire song or piece of music. Musicians might follow these two steps in that order, or use them interchangeably as they work on and perfect a track.
Mixing beats usually involves the use of software, mostly or exclusively. The software has been on the market for decades, and is not limited to one specific manufacturer. It is important to experiment with different programs so that you can decide which one you want to use.
These programs all work on the same basis - they use samples, or recordings of sounds and instruments - as the building units in assembling a track. They also allow their users to manipulate every aspect of the track.
You need to have experience in mixing tracks to use this software properly. If you mix the tracks wrong, you won't be able to use them for their intended function, whether that is performance in public or for a vocalist to sing to. There are some common reasons why this is so.
One of the most significant is the way that not all speakers are the same. People who mix their tracks on a PC might be using ordinary PC speakers, which are typically smaller and low in their bass output. The user cannot determine the true bass power of the track on these speakers and so they try to compensate for what they perceive as low output by amplifying the bass component of the track. They find out how wrong they are when the track is played on a much larger, more powerful public speaker system - the track is incomprehensible, the speakers distort, or they are destroyed by the excessive power of the track. This is known as "blowing" the speakers.
It is therefore important to know how powerful your speakers are in comparison to other speakers. Even if your track sounds poor at home on the PC speakers, when it is played in public on a PA system it might be perfectly balanced. Part doubling (inserting two identical channels for the same sample into the track) or even basic amping are features that should only be used if you are aware of how to use them. They are usually not required.
The superstar vocalist Nelly Furtado was once reported as saying that during a practice session the sound was so loud that the speakers started to emit smoke. This sounds like a celebrity joke but it is a reality in track mixing. Speakers do not have an automatic limit on their power output and they are able to blow themselves. You should never try to make up for the low output of your mixing speakers.
The two phases in mixing tracks are the recording or sampling of the actual sounds, and then mixing and mastering them into the final track. Sometimes, musicians use live instruments to record the track, but others simply put the entire track together using synthetic techniques. To draw a distinction, backtracks are those which are sung or dubbed over by the live musicians, while a track itself is the entire song or piece of music. Musicians might follow these two steps in that order, or use them interchangeably as they work on and perfect a track.
Mixing beats usually involves the use of software, mostly or exclusively. The software has been on the market for decades, and is not limited to one specific manufacturer. It is important to experiment with different programs so that you can decide which one you want to use.
These programs all work on the same basis - they use samples, or recordings of sounds and instruments - as the building units in assembling a track. They also allow their users to manipulate every aspect of the track.
You need to have experience in mixing tracks to use this software properly. If you mix the tracks wrong, you won't be able to use them for their intended function, whether that is performance in public or for a vocalist to sing to. There are some common reasons why this is so.
One of the most significant is the way that not all speakers are the same. People who mix their tracks on a PC might be using ordinary PC speakers, which are typically smaller and low in their bass output. The user cannot determine the true bass power of the track on these speakers and so they try to compensate for what they perceive as low output by amplifying the bass component of the track. They find out how wrong they are when the track is played on a much larger, more powerful public speaker system - the track is incomprehensible, the speakers distort, or they are destroyed by the excessive power of the track. This is known as "blowing" the speakers.
It is therefore important to know how powerful your speakers are in comparison to other speakers. Even if your track sounds poor at home on the PC speakers, when it is played in public on a PA system it might be perfectly balanced. Part doubling (inserting two identical channels for the same sample into the track) or even basic amping are features that should only be used if you are aware of how to use them. They are usually not required.
The superstar vocalist Nelly Furtado was once reported as saying that during a practice session the sound was so loud that the speakers started to emit smoke. This sounds like a celebrity joke but it is a reality in track mixing. Speakers do not have an automatic limit on their power output and they are able to blow themselves. You should never try to make up for the low output of your mixing speakers.
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