Mixing Mastering online

FabFilter Saturn distortion / saturation tutorial

2012-03-07T10:08:00.000Z

Looks like a very cool plugin !! Check out the video !

Cheers Clive Knightley

http://www.MojoMastering.com/
http://www.cliveknightley.com/

Cubase 6.5 — all about music

2012-03-02T18:59:00.001Z

Bristling with new features and valuable enhancements, Cubase 6.5 is your go-to software for recording, editing, mixing and producing music in all its creative forms. Sumptuous effects, inspiring instruments and stunning editing tools nestle in an easy-to-use interface that puts creativity first.

http://www.steinberg.net/en/products/cubase/new_features/new_in_version_65.html

Cheers Clive Knightley

http://www.MojoMastering.com/
http://www.cliveknightley.com/

Pensado's Place: #58 - Bob Power

2012-03-02T16:45:00.001Z

Loved this show !!!

Cheers Clive Knightley

http://www.MojoMastering.com/
http://www.cliveknightley.com/

Check out Ken Lewis - Lea "November Skies (11/11/11)" Mixing Contest on Indaba Music

2011-12-17T18:22:00.001Z

Cheers Clive Knightley

http://www.MojoMastering.com/
http://www.cliveknightley.com/

Music mixing Client - Jon Allegro - His track is No.1 on Stompy.com

2011-09-25T17:05:00.004+01:00

Jon Allegro was one of my first customers when I started mixing professionally back in 2009. He's currently No.1 and No.3 in the Stompy.com top 100 charts. Well done Jon!, your hard work is paying off! I'm not sure how big Stompy.com is but I think it's fairly big amongst the dance producers. Check out his track 'Honey Honey'.

Cheers Clive Knightley

http://www.MojoMastering.com/
http://www.cliveknightley.com/

Novice - Beginner - New to music mixing? - Budding mix enginners get this right first !

2011-09-15T11:07:00.002+01:00

Mindset entering a mix for a novice - The word confidence comes to mind :

Yes the song and how to convey it for the best in your opinion, is most important !!

But to do this you need to know the technical stuff/engineering !

Which starts with ( Said a million times lol )

Good rooms acouctics, quality monitors !

Here's comes the confidence part because you can now hear everything hopefully correctly. So you can now be confident in adjusting/hearing eq, compression, delays, reverb, stereo field !!!

Cheers Clive Knightley

http://www.MojoMastering.com/
http://www.cliveknightley.com/

Best settings for a SSL G-bus compressor on the mix bus !! How to set up !!

2011-09-14T18:26:00.002+01:00

Totaly depends on material/track !!

I tend to have the ratio @ either 2:1 or 3:1

Then try this:

attack to .30
release auto

Then set the threshold so its doing about 2-3db of compression for starters.

Go back to your attack and try all the settings ! I increase the threshold as the attack gets quicker. So all attack times have roughly the same amount of reduction.

How do they sound?, what sounds best to you !!

Once you have set your attack try all the different release times and pick one which sounds best !

Adjust the threshold again, see how that sounds !

Your just trying to find that sweet spot for each song !!

Cheers Clive Knightley

http://www.MojoMastering.com/
http://www.cliveknightley.com/

64 bit Pro Tools 10 is coming

2011-09-12T17:07:00.002+01:00

- Clip based gain! (also on groups)
- No more rendering fade files (realtime fades)
- 64 bit
- Loads the whole or part of the session into RAM for insane performance
- Extended workflow for dealing with multi-track recordings from field recorders
- open multiple Audiosuite plugs at the same time, support for process whole file (yay, handles!!), you can save open audiosuite plugs as a screenset, for easy replication of fx. So no real undoable undestructive "layered" processing, but step in the right direction.

Cheers Clive Knightley

http://www.MojoMastering.com/
http://www.cliveknightley.com/

UAD Ampex® ATR-102 Mastering Tape Recorder Plug-In

2011-09-03T17:18:00.001+01:00

It's Not a Record Until it's Mastered on an Ampex® Tape Machine.

For more than three decades, the two-channel Ampex ATR-102 Mastering Tape Recorder has turned music recordings into records. With its cohesive sound, punch, and ability to provide subtle-to-deep tape saturation and color, the ATR-102 is a fixture in major recording and mastering studios — and is considered by many engineers to be the best-sounding tape machine for final mixdown. The perfect complement to the workhorse Studer A800 Multichannel Tape Recorder, the ATR-102 Mastering Tape Recorder plug-in for UAD-2 can provide the final “analog polish” on your music, turning songs into albums.

Features

Ampex®-authenticated plug-in emulation of the ATR-102 Mastering Tape Recorder — the most popular professional 2-track machine ever made
Provides rich, cohesive tape sound, without the hassles of calibration, maintenance, tape degradation, etc.
Models entire ATR-102 electronic path, including transformers, amplifiers, Repro, Sync, and Input paths
Features multiple tape formulas, head configurations, and calibration levels
Adjustable Wow, Flutter, Hiss, Hum, Crosstalk, and (L/R) Tape Delay
Requires a UAD-2 DSP Accelerator Card available from authorized dealers worldwide
View All Features
Impeccably modeled in the renowned UAD engineering tradition — and incorporating presets from noted ATR-102 users Chuck Ainlay, Richard Dodd, Buddy Miller, Mike Poole, and more — the ATR-102 Mastering Tape Recorder plug-in emulation for UAD-2 faithfully replicates the unique dynamics, frequency response, and saturation characteristics of the original hardware. Scrutinized and fully authenticated by the Ampex Corporation, the sound of the ATR-102 plug-in for UAD-2 is virtually indistinguishable from its analog cousin.

History
Introduced in 1976, the Ampex ATR-102 2-Track Tape Recorder was a near-instant hit, thanks to its revolutionary servo-controlled reel motors and capstan, which provided smooth, continuous tape tension and handling. The large capstan, and absence of pinch rollers, provided nearly non-existent speed drift and ultra-low flutter. The clever ATR-102 design allowed users to change out heads and guides in mere minutes, with a 1" head being a very popular "hot-rod" modification in more recent years — especially when running at 15 IPS (inches per second). The ATR's role in modern recording history is so prevalent, that it would be easier to list classic albums that weren't mixed down on this machine, rather than to try to list all those that were.

Plug-In Parameters
Like the ATR-102 hardware, the plug-in allows you to choose between various Signal Paths (Input, Sync, Repro), different Tape Speeds / Emphasis EQs (NAB, CCIR, AES) and Tape Formula combinations, even including home/consumer tape. The Input (Record) Gain knob and the Cal button are the primary controls for regulating levels, and even saturating the tape, and can be used to deliver a heavily colored sound if desired. Other ATR-102 features include: 1/4," 1/2," or 1" Head Select, Biasing/Calibration controls (auto and manual), crosstalk, adjustable wow and flutter, and adjustable tape delay, which can be used for Automatic Double Tracking effects on vocals, guitars, and more.

In Use
The primary use for Ampex ATR-102, and the recommended method for “demoing” this plug-in, is as the last stereo insert on your master fader (or possibly the second-to-last insert before a brick-wall processor such as the UAD Precision Limiter). Set up the plug-in by first adjusting Tape Speed, Tape Formula, Cal Level, and Emphasis EQ, or simply select a preset. Note that as you lower the tape speed (i.e. 15 IPS, 7.5 IPS), the tape “sound” becomes more audible. Once this basic setup is made, adjust the L/R Record (input gain) levels for more or less tape/circuit coloration and saturation.

Other common uses for the Ampex ATR-102 are as individual mono or stereo insert effects, or as an auxiliary group effect where the user wishes to apply it only to specified sources or groups (e.g., drums, guitars, etc). Check out the ATR-102 Tips and Tricks blog article below to learn more.

http://www.uaudio.com/store/special-processing/ampex-atr-102.html

Cheers Clive Knightley

http://www.MojoMastering.com/
http://www.cliveknightley.com/

SSL ANNOUNCE RELEASE OF NEW ‘X-PANDA’ 24 CHANNEL SUPERANALOGUE MIXER

2011-04-12T22:23:00.000+01:00

Building on the success of the highly acclaimed X-Desk, ‘X-Panda’ is a new small format analogue mixer aimed at project studio owners and it packs a versatile feature set into its compact frame. As a standalone product it serves as a high quality 24 input mixer that can be used for tracking (in conjunction with external mic pres) or master mix summing. In conjunction with an SSL X-Desk, X-Panda introduces 24 additional channels, which via the ‘X-Desk Link’ connection, feed directly into the X-Desk Master Buss, Cue and Aux Send/Return system. In conjunction with an X-Rack summing system fitted with a Master Module, X-Panda adds faders and additional inputs to create a versatile mixer. X-Panda can also be used with any other mixer to expand available channel count.

http://www.solidstatelogic.com/news/article.asp?ID=348&T=M

Cheers Clive Knightley

http://www.music-mixing-online.com/
http://www.cliveknightley.com/

Universal Audio announces Official Lexicon 224 Digital Reverb Emulation for UAD-2 Powered Plug-ins Platform

2011-04-07T21:44:00.001+01:00

Universal Audio today announced the impending release of the highly anticipated Lexicon 224 Digital Reverb plug-in for the UAD-2 platform.

From the moment it was unleashed on the audio industry in 1978, the original Lexicon 224 Digital Reverb - with its tactile, slider-based controller and famously lush reverb tail - almost single-handedly defined the sound of an entire era, and remains one of the most popular and influential digital reverb units of all time.

The result of UA's modeling expertise, the Lexicon 224 plug-in for UAD-2 precisely captures all eight reverb programs available in original 224 firmware version 4.4, including every tunable parameter, with unique fader-style controls - inviting easy experimentation and sonic exploration. In UA's exhaustive modeling tradition, the Lexicon 224 emulation also incorporates the original unit's input transformers and early AD/DA converters - nailing the entire signal path right down to the last detail.

Additionally, the Lexicon 224 emulation for UAD-2 features direct input and presets from famous Lexicon 224 users, including Chuck Zwicky (Prince, Jeff Beck), Eli Janney (Jet, Ryan Adams), David Isaac (Eric Clapton, Luther Vandross), E.T. Thorngren (Talking Heads, Bob Marley), and Kevin Killen (U2, Peter Gabriel).

"The Lexicon 224 has been a significant player on hit records for three decades," said Matt Ward, President of Universal Audio. "But as with so many great vintage hardware units, original Lexicon 224's are getting harder and harder to find. Luckily, with Lexicon's assistance and our own elite DSP team, we can offer the true, iconic sound of the 224 to anyone making music with a UAD-2 DSP Accelerator on their Mac and PC."

"The 224 was really the product that launched the Lexicon brand," commented Michael MacDonald, Harman Professional Executive Vice President of Marketing and Sales. "At Lexicon, we continue to push the boundaries of audio processing in new directions, but we entrusted UA to accurately model this classic unit from our past, which is really their forte. We look forward to similar collaborations with UA in the future."

Available for purchase via UA's Online Store in Q2 2011, the Lexicon 224 Digital Reverb plug-in will sell for $349.

Lexicon 224 Digital Reverb plug-in features include:

■Lexicon-endorsed, UA-modeled for complete accuracy.
■8 reverb programs and 1 chorus program from final Lexicon v.4.4 firmware.
■Models entire analog circuit and digital path for total authenticity.

http://www.uaudio.com/uad-plug-ins.html

Cheers Clive Knightley

http://www.MojoMastering.com/
http://www.cliveknightley.com/

Neve 1073LBEQ is here !!!! 500 series yes !!

2011-04-05T11:00:00.001+01:00

The Neve 1073LBEQ provides a Neve 1073 EQ circuit in a single 500-series module. The 1073 is widely considered the world’s premier mic preamp & EQ module, delivering the unique Neve sound featured on some of the most famous recordings of the past 40 years.

The big, punchy sound of the classic Neve 1073 module complements any musical genre, from rock to rap, jazz to classical. Its lush sound with classic Neve signature makes it the consummate mic-pre/EQ module for recording vocals, guitars, and acoustic instruments of all descriptions. With the 1073LBEQ module, the highly sought-after classic EQ sound is now available in a 500-series form-factor.

Highlights

Legendary 3-band EQ design
Rotary controls provide accurate adjustment of the 1073 3-band EQ and High Pass Filter
Signal presence LED illuminates green from a level of -25dB and red from a level of +24dB
Switch for EQ IN/OUT function, with LED indication
Electronically balanced circuits used in Line Input and Line Output stages for standalone module use
Audio Processing Insert design allows the audio to/from the 1073LBEQ module to be inserted into the audio path of an existing 1073LB (modules must be fitted in the same rack
Fully screened module packaged in Mu-metal case eliminates stray electromagnetic fields from Lunchbox PSU or other module types

The 1073LBEQ provides the legendary sound of Neve in a remarkably simple format. A Line level input feeds an electronically balanced EQ circuit with 3-bands of adjustable EQ and a High Pass filter, which can easily be switched in/out. The output is also an electronically balanced Line level output. A signal presence LED and Neve’s clever Audio Processing Insert design is also integrated into the module.

The 1073LBEQ can be modified to work as an inserted process with an existing 1073LB mic pre module. A modification is required inside both units and a cable, which is supplied with the 1073LBEQ module, is needed to connect the LB mic pre to the LB EQ. The result of this is a genuine 1073 mic/pre input -> EQ -> output audio path when in this mode. Revolutionary!

This mono unit is the perfect solution for studios and audio engineers looking to bring in the very essence of the Neve 1073 EQ sound to their portable racks.

Cheers Clive Knightley

http://www.MojoMastering.com/
http://www.cliveknightley.com//

Mix case study - Track - Girl come home with me

2011-03-14T20:59:00.001Z

Track - Girl come home with me

Audio files - http://www.mixing-online.co.uk/mixcasestudy.html

Rap vocal lead -

Highpass filter @ 100hz to cut out any rumble or pops in vocal.
boost 3 db at 450 hz to give lttle more body to rap.
Compression ratio 4:1 / med attack / fast release / around 1-3db copression thru out.
Desser - reduces S sounds at 6.5khz.
Reverb - Plate verb mix in low.
Setup automation to ride the volume, mainly to reduce any loud parts.

Adlibs highlights Rap -

Same as rap lead but panned hard left and right for each track.

Adlibs talking - Same as rap lead plus -

3.5 db Boost at 1okhz to give them extra pressence.
Auto pan plugin to pan the track left and right.

Singing chorus main -

Highpass filter @ 135hz.
No compresion.
Desser.
Small amount of plate verb.

Adlibs singing -

Highpass filter @ 135hz.
2 db cut at 235 hz to reduce some muddy frequencies.
Compression ratio 4:1 / med attack / fast release / around 1-3db compression thru out.
Delay plugin set at quater notes linked to tempo.
Desser.
Small amount of plate verb.
Automation for panning.

Main sample -

Highpass filter @ 45hz.
Compression ratio 2:1 / around 1-3db compression thru out.
2.5 db boost at 60 hz.
2.5 db boost at 500 hz.
2.5 db boost at 5 khz.
2.5 db boost at 10 khz.
Increased stereo width with plugin.
Small amount of plate verb.

Bass -

Highpass filter @ 45hz.
2.5 db boost at 60 hz.
3 db cut at 500 hz.
Compression ratio 2:1 / around 1-3db compression thru out.
Side chain compression - So volume dips when kick hits, about 2 db
This allows kick to poke thru more.

Kick -

Highpass filter @ 45hz.
2.5 db boost at 300 hz.
compression 3db thru out 3:1 ratio.
8 db boost at 70 hz - gives more punch.
9 db boost at 1 khz - gives the kick clarity.
4 db boost a 3.4 khz - gives the kick more clarity.

Clap/snare -

4 db boost a 100 hz - gives body.
5 db boost a 16 khz - give pressence.
Medium amount of plate verb.

Hats -

Small amount of plate verb.

Keys -

Highpass filter @ 125hz.
5 db boost a 10 khz.
2.5 db cut at 250 hz.
Small amount of plate verb.

Cymbals -

Small amount of plate verb.

Whole mix sent out to the external analog SSL G-bus stereo compressor.
This gave a little more punch and glued the track together.

Mastering:

Track sounds great with a great balance but still needs an boost
in the highs to get that final shine and clarity:
Whole track is boosted 6db at 10khz.
Final brick wall limiter to bring levels upto commercial levels.

Cheers Clive Knightley

http://www.music-mixing-online.com/
http://www.cliveknightley.com//

Wayneroy & RikRok talk about new single & release party

2011-03-14T20:54:00.000Z

Recently mixed 4 cuts of the album !! Check out Wayneroy's music !

http://www.wayneroymusic.com/

Regards Clive Knightley

http://www.music-mixing-online.com/
http://www.cliveknightley.com//

Stereo Buss Compression - Tips and tricks from mix engineer Dave Pensado

2011-02-22T12:00:00.001Z

World class mix engineer Dave Pensado shares his tricks and tips about Stereo Buss Compression on youtube !

Regards Clive Knightley

http://www.music-mixing-online.com/
http://www.cliveknightley.com/

Update Pro tools upgrade !

2011-02-15T14:47:00.005Z

Got my head around Pro tools 9. Love the ease of editing, setup of inputs outputs,

bus and aux sends ! Which is better Cubase or Pro tools ?. Neither, both are brilliant

programs !I also upgraded PT9 with the complete production toolkit 2. This basically

upgrades Pro tools to have the same features as Pro Tools HD. I've been mixing

rock, pop, dance, R and B and Hiphop so a busy start to the year !! Check out the

first track on my player !! Love that track !!!

Regards Clive Knightley
http://www.music-mixing-online.com/

Full video - Artist Yung Tunez - Song 'Here I am'

2011-01-22T18:50:00.001Z

Full video - Artist Yung Tunez - Song ' Here I am' Released by starboyrecords !!!

Produced and mixed by Clive Knightley

Regards Clive Knightley
http://www.music-mixing-online.com/

The UAD-2 Satellite Pro-quality UA DSP via FireWire!

2011-01-17T18:46:00.000Z

The UAD-2 Satellite series brings the performance and flexibility of Universal Audio's wildly successful UAD-2 DSP-powered plug-ins to virtually every Mac computer equipped with FireWire. These amazing coprocessors give you the ability to run high-track count sessions loaded with some of the best sounding plug-ins that money can buy - sessions that require processing power far beyond the capacity of your computer's CPU alone. Just connect the UAD-2 Satellite to your computer via FireWire 400 or 800, apply you RTAS-, AU-, or VST-format UAD-2 plug-ins to your tracks, and prepare to be totally blown away by the results.

Regards Clive Knightley
http://www.music-mixing-online.com/

Cubase 6 - its coming soon - some info !

2011-01-06T16:05:00.000Z

This webinar will show attendees how to utilize state-of-the-art transient and tempo detection, advanced audio quantization and drum replacement functions - developed in conjunction with recording professionals and top-notch studio drummers - for perfecting the timing, feel and flavor of live-recorded drum tracks. In addition, attendees will learn how to build the perfect take in a simple and streamlined fashion via a new Lane Track concept for lightning-fast multitake comping. When working with multitrack recordings, the new Track Edit Group(s) ties together related events on multiple tracks, saving valuable time in the studio. To round out this webinar, attendees will be introduced to VST Expression 2 - a revolutionary approach to creating and editing multiple controller values in a single graphical interface directly on the note they belong to. Invaluable for demanding orchestral arrangements as well as cutting-edge electronic music, VST Expression 2 reinvents the composer’s editing workflow.

* Transient and tempo detection, advanced audio quantization and drum replacement functions
* Lane Track concept for lightning-fast multi-take comping
* Track Edit Groups when working with multi-track recordings
* Creating and editing multiple MIDI controller values, independently, with VST Expression 2
* Insane tones for your guitar - VST Amp Rack is a new reference virtual guitar tone suite, featuring seven legendary amp models, sixteen vintage stomp boxes, six classic speaker cabinets and two studio-grade microphone types.

Regards Clive Knightley
http://www.music-mixing-online.com

Happy New Year all !!

2011-01-03T20:21:00.000Z

Hope you have an excellent year !!

Now get writing, producing, mixing and mastering !

I've just been sent some very cool tracks to mix. Watch this space !! More info soon !!

HAPPY DAYS !

Regards Clive Knightley
http://www.music-mixing-online.com

Outboardanywhere.com launches (use automated studio outboard over the net)

2010-12-29T14:56:00.000Z

So your track is not quite ready for mixing. You want to process some of your tracks with some real nice analog outboard. This website allows this - very interesting !!

Regards Clive Knightley
http://www.music-mixing-online.com

I have on and off during a few years developed a uniform outboard automation system that can control any type studio outboard gear from a computer.

I recently put together a web I/O system which makes it possible to use the outboard gear over the internet.

Features:
Gear: Neve 2254a vintage, Solid State Logic G384, Vertigo Sound VSC-2, Urei 1176 (revD), Vintage Design CL1 mk1, Neve 1073 reissue
Converter: lynx aurora
Cloud/CDN Backend
Maximum file lenght: 8 min
Minimum turnaround time: 8 min (for short mono files)
Stereo .wav file support coming after Christmas hollidays

Registration is now open but eventually the service will be invitation only

Have a great holliday season and Merry Christmas

Regards
Fredrik Carno

_________________
Use classic studio outboard on your sources online at www.outboardanywhere.com

Getting good sounding vocals in an mix !

2010-12-28T10:43:00.005Z

Try these for starters !!

One of the most important areas of a mix is the lead vocal. In today's music the lead vocal is nearly always upfront in the mix and very present. Tips to achieve this: I will cut all the low freq. Anything below 120 hz. Sometimes even upto 150 hz. I always compress vocals to a degree. Don't have the attack on the compressor too fast. But a have a fast release. Ratio try 4:1. Reverb try a nice plate. Keep the reverb quitelow as alot of reverb will push the vocal back in the mix. Listen to the vocal on its own, sweep through the frequencies with a parametric eq. Reduce any nasty sounding frequencies if you can hear any. When boosting frequencies for presence start by boosting around 10khz.

Automation in your DAW. Help your compressor out by automating the volume. So if a word dips or is too loud in volume, ride the volume up and down and automate.

When you start adding reverb, compression and eq boosts. The S's in the vocal become more prominent. This has to be tamed. For this you'll need a de-esser plugin. Lastly think about the space where your vocal sits. The lead vocal should be in the center of the mix. So try to pan instruments away from the center, leaving space for the lead vocal. Hope these tips help now try them out !!!

Regards Clive Knightley

http://www.music-mixing-online.com

http://www.cliveknightley.com

2010-12-17T09:44:00.002Z

http://www.cliveknightley.com/

My new site offering production and talkbox vocals !
Aswell as online mixing !!!

Regards Clive Knightley
http://www.music-mixing-online.com

Yung Tunez - Here I am - Video clip

2010-12-10T22:10:00.000Z

Track I produced !

Regards Clive Knightley
http://www.music-mixing-online.com

Neve 1073 LB mic preamp = sweet !!! 500 series tho

2010-12-10T12:32:00.000Z

Launched in 1970, the 1073 is the first choice of leading producers and artists, delivering the unique Neve sound on some of the most famous recordings of the past 40 years. The big, punchy sound of the 1073 complements any musical genre – from rock to pop, hip-hop to rap, thrash to classical.

Highlights

Classic transformer microphone preamp amp (Class A design)
Neve designed hand-wound transformers
Both Mic and Line inputs are transformer balanced and earth free
Gain knob with Signal Presence LED
+5/-10dB level Trim control with integrated phantom power on/off switch
Phase, Impedance and Front Input selector switches
Front combi-XLR connector with intelligent switching of phantom power
Audio Processing Insert design allows processing from adjacent Neve modules in same Lunchbox^TM to be inserted into the 1073LB's pre-output stage
Microphone Input: Gain -80db to -20dB in 5dB steps
Line Input: Input impedance 4k ohms bridging, gain -20dB to +10dB in 5dB steps
Output is transformer balanced and earth free
Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output
(80kHz bandwidth)
Freq Response: ±0.5dB 20Hz to 20kHz, -3dB at 40kHz
Crafted in England by Neve

http://www.ams-neve.com/Products/Outboard/1073LB/1073LB.aspx

Regards Clive Knightley
http://www.music-mixing-online.com

UAD at last - Analog Tape plugin - Studer A800

2010-12-02T09:04:00.002Z

http://www.uaudio.com/

Regards Clive Knightley
http://www.music-mixing-online.com/

Ultimate software mastering compressor !

2010-12-02T08:51:00.001Z

http://www.elysia.com/
The alpha compressor plugin is the software reincarnation of our famous mastering compressor. It gives you a painstaking emulation of the sound and features the hardware is known and popular for – programmed by the code experts from Brainworx.

But not only the final stage of mastering will profit big time from this ultimate dynamics processor. In fact, the compression section alone is such a useful tool that we have decided to include a dedicated mixing version with a reduced interface. You might want to use this on every single track of your DAW...

• Integrated M/S Matrix
  Mid/Side and stereo processing modes.
• Auto Fast 
Perfect attack and release in any situation.
• Feed Forward & Feedback
    Two selectable compressor characteristics.
• Sidechain Filter 
Frequency selective compression.

• Parallel Compression
Mixing direct and compressed signals.
• Soft Clip Limiter
More headroom, more loudness.
• Audio Filter
Tweaking the sonic structure easily.
• Warm Mode
Instant signal coloration.

Regards Clive Knightley
http://www.music-mixing-online.com

NECTAR | Complete Vocal Suite

2010-11-24T08:53:00.000Z

http://www.izotope.com/products/audio/nectar/

Regards Clive Knightley
http://www.music-mixing-online.com

Track I mixed - Team BPM 'Robot' - Getting plays on 1xtra !!!

2010-11-23T11:50:00.000Z

BPM feat. Nai Veronique - Robot

Sun, 21 Nov 10

BPM a.k.a. Boys Playing Music are a production duo from London. Watch out for their forthcoming E.P. ‘Late Nights & Early Mornings’ which should be out next year. For more information go to www.twitter.com/TEAMBPM.

http://www.bbc.co.uk/podcasts/series/homegrown

Regards Clive Knightley
http://www.music-mixing-online.com

Pro Music Mixing, Studio Session 1, with Clive Knightley.

2010-11-16T10:24:00.002Z

Regards Clive Knightley
http://www.music-mixing-online.com

Nuendo 5

2010-11-15T14:15:00.000Z

Nuendo 5 incorporates much of the feedback we have received from film and TV editors, mixers and video game sound designers from around the world. We're proud of the result, and confident that we have built Nuendo 5 the way you need it in audio, live and post production.

Key features:

Toolset for ADR work and new native video engine
Extended project exchange, including support of EDL lists
Superior editing features and smooth new scrubbing engine
Unique Nuendo Surround Panner V5 and several new VST 3 plug-ins
Extended automation system with "flexible passes" technology
World-class mixing and routing features with automatable mix buses
Completely reworked MediaBay with networking capabilities
Performance optimization for multi-core CPUs
64-bit support under Windows 7 and Windows Vista

Lexicon PCM Native Effects Plug-In Bundle Packs In PCM96 Effects

2010-11-13T18:03:00.000Z

Some new plugs from lexicon:

http://www.gearwire.com/lexicon-pcm-native-effects-plug-in-bundle.html

Some recent mixes i've done for clients !

2010-11-10T20:59:00.001Z

Just updated my music player with some recent mixes i've done! Producers 'Team BPM' with the track'Robot' featuring vocalist 'NAI VERONIQUE'. Paul Petersen with the song Lady Melody. And finally the track by group 'Born of Grace' song 'On the road'. Some of my favourites !!! Enjoy !!

Have a listen here:

http://www.music-mixing-online.com/clients.html

Pro tools 9 - use any audio interface !!

2010-11-09T21:15:00.003Z

http://www.youtube.com/watch?v=ukwEyzFSQD0&feature=player_embedded

Regards Clive Knightley
http://www.music-mixing-online.com

This is a great read and written very well !!

2010-11-08T18:15:00.006Z

Hi All,

Found this thread the other day !!

Makes things easier to understand !!

I really like the part when he talks about why the room you mix and record in, is so important !!

Why do your recordings sound like ass?

http://forum.cockos.com/showthread.php?t=29283

Regards Clive Knightley
http://www.music-mixing-online.com

Kick and bass relationship in an mix !

2010-11-03T18:12:00.003Z

Bass and kick - This is usually where I start when working on a new track to mix. The way I see it these parts are the groove and root of many tracks. For me the kick and bass are the base of the house. Get the foundations right and the rest of the mix will come along very nicely.

The kick and bass often share the similar frequencies in the spectrum ! Often causing a muddy low end with no definition or punch !

To help this problem, separating them using careful eq. For instance if the bass is more sub try dipping the eq at around 80hz - 120hz. Then try boosting the kick around 80hz - 120hz.

Side chain compression can help alot too. The kick and bass also take up alot of head room. Especially when the kick and bass hit at the same point in the track. Side chain compression helps this by reducing the volume the bass when the kick hits at the same time. You will find the kick will punch through now !!

Sometimes its very hard to hear the low low frequencies, stuff below 60 hz. Basically because your monitors wont go that low. Often a highpass filter cutting everything below 40 - 60hz will tighten up the bottom end. Here's a tip get some high-end headphones, I use the audio technica ATH-M50's. These tell me straight away if the bottom end is way to boomy !!

I hope some of these points can help you !

Regards Clive Knightley
http://www.music-mixing-online.com

My website is almost complete !! http://www.music-mixing-online.com

2010-11-03T16:10:00.000Z

And one of the things was to set up a blog which I have never done before !!

Follow me if your into music production, music mixing !!

Two of my favourite things !!

http://www.music-mixing-online.com/

More to come soon !!!