# How Do You Create a Smooth Mix Like This?



## CatComposer (Apr 9, 2022)

I am impressed with this song's mixing/mastering:


As I'm making similar music, with lead vocals, and backing orchestral/synth,
I would like to know how to achieve such a smooth, cohesive end result.

Perhaps someone with experience and good ears can answer these questions:
1. How does the lead vocal remain clear, despite the ramping volume of background instruments?
(eg. would the volume of the lead vocals be automated to rise as the song progresses?)

2. How does it sound like everything is in the same space? 
(eg. is it likely through applying the same reverb and compression to everything)

3. What kind of compressor settings would have been used?
eg. Threshold, ratio, attack and release times.

4. Would a limiter play a significant role in achieving such a consistent, smooth sound?

I know you'll only be guessing (unless you're Brad Jerkins!),
but any tips would be appreciated!


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## CatComposer (Apr 10, 2022)

I've tried many different compressors to get a smooth sound, but the one I've found best is the presonus Everest C100A as seen in this video:


I use a medium attack with slow release.

Still, it doesn't sound as smooth as in "Tears and Rain", 
so I'm thinking of compressing tracks individually with a stock compressor first,
and use the Everest C100A as a finishing touch (as it adds saturation).


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## R10k (Apr 10, 2022)

I love that kind of sound. Can it be done with low pass filters?

A while back I picked up the Lindell TE-100, and enjoy using it to smooth things a bit. I don't have experience using compressors to achieve the same thing.


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## CatComposer (Apr 10, 2022)

R10k said:


> I love that kind of sound. Can it be done with low pass filters?
> 
> A while back I picked up the Lindell TE-100, and enjoy using it to smooth things a bit. I don't have experience using compressors to achieve the same thing.


Oh, are you referring to the muffled heart-beat sound in "Tears and Rain"?
Yeah, that sounds like it's got a LP filter, but I'm not trying to emulate that.
I'm just trying to emulate the overall sound of the mix.


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## doctoremmet (Apr 10, 2022)

I think a lot of it starts with actually making very good vocal recordings.


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## CatComposer (Apr 10, 2022)

doctoremmet said:


> I think a lot of it starts with actually making very good vocal recordings.


Hi Doc!
Yes, you are right.
In this case, it's showcasing "Amy" which is a VST that I own.
However, I can't get it to sound this good, hence the thread.

There must be some mixing magic that I'm missing.


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## b_elliott (Apr 10, 2022)

My answer will not impress; however, this (your audio link) sounds straight outta _Ori and the Blindforest._ 

Gareth Coker is its composer. Somewhere on vi-control there is a link to his interviews wherein he sheds light on the whole process to arrive at the Ori sound.

You'll have to dig around; it won't be the insta-solution you needed yesterday; but, you'll have a starting point from someone who at least resonates with your sound interests.

Hope this is not too far off base. 
Good luck, Bill


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## R10k (Apr 10, 2022)

Sseltenrych said:


> Oh, are you referring to the muffled heart-beat sound in "Tears and Rain"?
> Yeah, that sounds like it's got a LP filter, but I'm not trying to emulate that.
> I'm just trying to emulate the overall sound of the mix.


No... I was just thinking of rounding off the high end 😊 I mean, everything in that song sounds like that's what's happened to it, except less so for the vocals.


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## R10k (Apr 10, 2022)

b_elliott said:


> My answer will not impress; however, this (your audio link) sounds straight outta _Ori and the Blindforest._
> 
> Gareth Coker is its composer. Somewhere on vi-control there is a link to his interviews wherein he sheds light on the whole process to arrive at the Ori sound.
> 
> ...


This one?






Interview With Gareth Coker, Composer for Ori and the Blind Forest


Hey guys, I recently had the opportunity to interview Gareth for the Tracksounds podcast, The SoundCast. It was a great conversation, and I figured it would be of interest. We talk about lots of things, but the central theme is his magnificent score for Ori and the Blind Forest, which...




vi-control.net


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## CatComposer (Apr 10, 2022)

b_elliott said:


> My answer will not impress; however, this (your audio link) sounds straight outta _Ori and the Blindforest._
> 
> Gareth Coker is its composer. Somewhere on vi-control there is a link to his interviews wherein he sheds light on the whole process to arrive at the Ori sound.
> 
> ...


Thanks for contributing!

I'm not actually trying to emulate the composition, but rather try to figure out what was done at the mixing/mastering phase of production.

I love how everything sounds so cohesive and "glued" together.

I'm guessing it's the particular compression and reverb used, but in my own works, they never sound this smooth.

Here's my guess on the reverb - Ambient (not room) 

My hope is that more experienced audiophiles will be able to narrow down the specifics of the compression and mixing techniques used in the song, so I can at least get in the right 
ball-park for my own mixing settings.


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## AceAudioHQ (Apr 10, 2022)

I'm always impressed by Brad Jerkins' demos, I'm nowhere near that level, since it's probably taken years of practice, but I've noted that Nectar 3 has some tricks that will make the vocals pretty clear against the background, I also use SSL Vocal Strip 2 and it also makes my vocals pop. I also make the vocal reverb duck the signal by adding a signal follower to the vocal track which pushes the vocal plate reverb track down every time it hears the vocal, it gives lots of clarity


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## CatComposer (Apr 10, 2022)

AceAudioHQ said:


> I'm always impressed by Brad Jerkins' demos, I'm nowhere near that level, since it's probably taken years of practice, but I've noted that Nectar 3 has some tricks that will make the vocals pretty clear against the background, I also use SSL Vocal Strip 2 and it also makes my vocals pop. I also make the vocal reverb duck the signal by adding a signal follower to the vocal track which pushes the vocal plate reverb track down every time it hears the vocal, it gives lots of clarity


Thanks ACE!
I will try your suggestions. 
This is the kind of help I was hoping for.
I have the Izotope elements bundle.

Do you use the Izotope limiters, or have you found something better?


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## AceAudioHQ (Apr 10, 2022)

Sseltenrych said:


> Thanks ACE!
> I will try your suggestions.
> This is the kind of help I was hoping for.
> I have the Izotope elements bundle.
> ...


I usually only use the automation and presets in izotope products, if there's something wrong with the sound, I try to mess with the settings, but usually they come out pretty good without. I rarely use separate limiters much, I just compress the vocals a bit (1.5-3db) if the dynamics vary too much.

The free Slate Digital Fresh Air is also great on vocals, it adds some high frequencies and you get the presence you often lack, it's easy to overdo it though.









Fresh Air | Slate Digital


Get Fresh Air for FREE & give your mixes the smoothest highs you’ve ever heard. Fresh Air puts serious audio power behind a gorgeous facade. Based on vintage exciter circuits & state-of-the-art dynamics processing, Fresh Air lets you add just the right amount of brilliance & shine to your mix in...




slatedigital.com





Here's the first part with just plate reverb, and the second part with nectar 3, reverb ducking and fresh air. Obviously I overdid it just as an example but the latter one pierces through in a mix a lot better. The reverb goes to almost zero when the vocal is on, and returns back to the normal level right after the singing stops to leave the tail but not to muddy the vocal.

View attachment vox.mp3


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## doctoremmet (Apr 10, 2022)




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## CatComposer (Apr 10, 2022)

doctoremmet said:


>



Thanks Doc.
You reminded me that I have DSEQ3 which can be used for unmasking.
I should give it a shot if the vocals are getting crowded.


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## doctoremmet (Apr 10, 2022)

Sseltenrych said:


> Thanks Doc.
> You reminded me that I have DSEQ3 which can be used for unmasking.
> I should give it a shot if the vocals are getting crowded.


I am only guessing here! But I do suspect tools like this may come in handy for vocals.


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## CatComposer (Apr 10, 2022)

AceAudioHQ said:


> I usually only use the automation and presets in izotope products, if there's something wrong with the sound, I try to mess with the settings, but usually they come out pretty good without. I rarely use separate limiters much, I just compress the vocals a bit (1.5-3db) if the dynamics vary too much.
> 
> The free Slate Digital Fresh Air is also great on vocals, it adds some high frequencies and you get the presence you often lack, it's easy to overdo it though.
> 
> ...


I haven't been using Fresh Air lately, but it's definitely worth revisiting.

My main reverb is Seventh Heaven basic, and I'm pretty sure it doesn't have built-in ducking.
Can you explain how to do the signal-following ducking?
Or is that only with certain reverb plugins that have a ducking feature?


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## AceAudioHQ (Apr 10, 2022)

Sseltenrych said:


> My main reverb is Seventh Heaven basic, and I'm pretty sure it doesn't have built-in ducking.
> Can you explain how to do the signal-following ducking?
> Or is that only with certain reverb plugins that have a ducking feature?


It's not a feature in the reverb itself, I put a signal follower on the vocal track, before sending the vocal to the reverb in the bus, and add a gainer (controls the overall track volume) to the bus after the reverb, and then route the signal follower to the gainer, so whenever something in the vocal track makes a sound, the signal follower sends the signal to the gainer in the bus, and lowers the volume of the whole bus (and therefore the reverb). The higher the volume of the vocal track, the lower the volume of the reverb bus. You could also compress it based on the signal I guess, but I'm happy with just controlling the volume.


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## b_elliott (Apr 10, 2022)

R10k said:


> This one?
> 
> 
> 
> ...


Not seen that one. This was one I watched.





Composer interview - Gareth Coker (ARK, Ori and the Blind Forest, Halo, etc...)


Composer interview with Gareth Coker is now up on my Youtube channel and website. On this episode we talk about orchestration, Ori key changes, licensing your music, hiring an agent, synths, working in LA, plugins, plus many other interesting topics. Please enjoy the episode and be sure to...




vi-control.net





The others I must have searched via Youtube showing live recording his score with session musicians. Inside the studio control room I did not pay attention at the time to the mix process but got the idea he turned that over to another team= the convenience of a big budget gaming project.


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## doctoremmet (Apr 10, 2022)

The newly released BABY Audio reverb has a built in ducker. And so does the Denise Audio reverb - Perfect Room and Perfect Plate. The latter vendor’s verbs sound particularly nice on vocals I’ve found.


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## Junolab (Apr 10, 2022)

I can also recommend Tai Chi which includes a ducking, but honestly sidechaining your built in DAW compressor can do just the same. No need to buy anything.

I'm not able to listening to the audio right now, but just remember getting a great sound is not done in the mixing it's done in the recording process (or choosing the right sound) and in the arrangement. Mix is fixing issues and enhancing what's already there (the last 5-10%)


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## CatComposer (Apr 10, 2022)

doctoremmet said:


> The newly released BABY Audio reverb has a built in ducker. And so does the Denise Audio reverb - Perfect Room and Perfect Plate. The latter vendor’s verbs sound particularly nice on vocals I’ve found.


Thanks Doc. That's very helpful.
I'll check them out.
I do feel the basic Seventh Heaven to be a bit limited with its options,
but it stands above everything else I have tried.


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## CatComposer (Apr 10, 2022)

Junolab said:


> I can also recommend Tai Chi which includes a ducking, but honestly sidechaining your built in DAW compressor can do just the same. No need to buy anything.
> 
> I'm not able to listening to the audio right now, but just remember getting a great sound is not done in the mixing it's done in the recording process (or choosing the right sound) and in the arrangement. Mix is fixing issues and enhancing what's already there (the last 5-10%)


Yes, I've done my best with the arranging etc,
If that's the cake and the mix/mastering is the icing on the cake,
it's still important to know how to make the icing smooth and presentable!


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## Trash Panda (Apr 10, 2022)

Sonible Smart EQ3. One instance on the music bus, another instance on the vocal bus. Set up a group, stick the vocals in the top slot with the music bus below and hit the learn all button, set both instances of Smart EQ3 to 100% dynamic. Tailor the strength of the smart band in each instance and the group impact setting to your preference, but I typically find the default works well enough.

Alternately, or in addition to the above, set up an instance of Smart Comp on the music bus on sidechain ducking, set the vocal output to sidechain into it, run the learn function. SmartComp will transparently duck only the frequencies that clash with the vocals.


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## antames (Apr 10, 2022)

To me it sounds like simple volume mixing.

The vocals are the loudest instrument of the track, with the strings and brass lower in volume so as not to overwhelm the vocals.

The strings and brass also sound as if they have had bit of EQ removed in the high frequencies to allow the vocals in that frequency to be more present.

The drums occupy a lower frequency, so they are not competing with the vocals, strings or brass, but similarly they are not competing with the vocals for volume.

Any compressor should give you these results on a vocal. Typically a fast attack and release gives it that smooth consistency, with a ratio between 3 and 4:1. You can also add in some parallel processing, which is blending the original, unprocessed vocal with a heavily processed vocal so as to get the best of both worlds.

You can also send the signals of each track to a single reverb so they sound like they are in the same space, but you don't need to overdo it.


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## CatComposer (Apr 10, 2022)

Trash Panda said:


> Sonible Smart EQ3. One instance on the music bus, another instance on the vocal bus. Set up a group, stick the vocals in the top slot with the music bus below and hit the learn all button, set both instances of Smart EQ3 to 100% dynamic. Tailor the strength of the smart band in each instance and the group impact setting to your preference, but I typically find the default works well enough.
> 
> Alternately, or in addition to the above, set up an instance of Smart Comp on the music bus on sidechain ducking, set the vocal output to sidechain into it, run the learn function. SmartComp will transparently duck only the frequencies that clash with the vocals.


Thanks Panda,
Yes, DSEQ3 works the same way as SmartComp with a multiband compressor,
so I will use that.


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## Henu (Apr 11, 2022)

b_elliott said:


> however, this (your audio link) sounds straight outta _Ori and the Blindforest._


I've prolly said it before, but that has to be the best- mixed game soundtrack I've ever heard in my life.


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## Henning (Apr 11, 2022)

Ok, why not ask the man himself? @guydoingmusic might be able to eloborate


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## Henning (Apr 11, 2022)

And this plugin might also be helpful to help keep the vocals clean in a mix. https://www.wavesfactory.com/audio-plugins/trackspacer/


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## PaulieDC (Apr 11, 2022)

One of those round pop filters with thin fabric place 2” in front of the mic manages the proximity effect nicely, plus having the vocalist sing pretty much up against it is a great start in order to get a fairly level starting signal. Don’t be afraid to print the dry vocal with an LA-2A compressor like the Waves CLA-2A with just 2-3db gain reduction, nice and light. Then you have a great vocal going in. But also, for a piece like this that’s heavy with ambience, reverb in the closed-back headphones helps the singer sing to that style, so direct DSP in her head-phones providing reverb to her ears (not the track) will have a huge impact on performance. Do all that, and your post work to get the final result will be easier. I love the drum sound in Toto’s “Rosanna” but no engineer would have gotten that without Jeff Porcaro’s amazing skill and his set, so input has a ton to do with it.


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## Junolab (Apr 11, 2022)

Ok got to 


Sseltenrych said:


> Yes, I've done my best with the arranging etc,
> If that's the cake and the mix/mastering is the icing on the cake,
> it's still important to know how to make the icing smooth and presentable!


Sure, but as you don't know how it sounded before the mixing stage it's quite impossible to know what was done. Ofc reverb is a big thing and some other good suggestions in this thread, but all in all, it just sounds like someone who knows how to do stuff well. Properly 500 different small things which end up in something which sounds awesome.

Suggestion specific plugins don't make sense IMO. But if you post your track which you want to sound like the embedded link, then users where can come up with suggestions


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## CatComposer (Apr 11, 2022)

Junolab said:


> Ok got to
> 
> Sure, but as you don't know how it sounded before the mixing stage it's quite impossible to know what was done. Ofc reverb is a big thing and some other good suggestions in this thread, but all in all, it just sounds like someone who knows how to do stuff well. Properly 500 different small things which end up in something which sounds awesome.
> 
> Suggestion specific plugins don't make sense IMO. But if you post your track which you want to sound like the embedded link, then users where can come up with suggestions


Yes, it seems you're right.
I was hoping there might be characteristic qualities that would point to particular mixing methods,
but it seems best to ask Brad himself (which I have done thanks to Henning).
And yes, probably 500 things, but if he gives me just three key ones, I can apply those.

I plan to get feedback from VI control members, but I'm still waiting on my background vocals to be delivered (from Fiverr). 

Also, in the mean time, my voice is improving steadily (and I'm doing the lead vocal),
since I bought V60, a great singing course.

I've gotten a few handy tips in this thread so far, and that should make a difference.


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## guydoingmusic (Apr 11, 2022)

Thanks for all the kind comments! Very flattered!!



Junolab said:


> Properly 500 different small things which end up in something which sounds awesome.
> 
> Suggestion specific plugins don't make sense IMO.


THIS ^^ is probably the best way anyone can say this. But I'll throw out some food for thought.

This mix (I reopened and looked) is surprisingly very sparse with plugins. There are no eq's or HP LP filters rolling off the high end on anything - in fact, I'm pushing the high end up on the strings to brighten them with a high shelf. While there is a great deal of CC1 and CC11 automation, there is no volume automation. I do own the Trackspacer plugin but it is not used in this track. So there is no ducking, sidechain action happening at all here. There's also very little use of reverb. 4 to be exact. 2 of those for the vocal. 1 for the strings and brass. And the other for a perc sound I wanted to last apparently from then until the end of time.

My approach tends to be this: 

In the writing process - try to find sounds that compliment each other sonically. A lot of this comes from just plain old trial and error. Don't use a sound just to use it. Even if it sounds cool/amazing. Let the instrument or voice that needs to be heard... simply be heard. Don't collude the song with unnecessary fluff (I've made this mistake waaaaay more than I'd like to admit). A good example would be: if you are writing a solo for the violin, you don't write FFFFF Brass to play alongside. 

In the mixing process - Don't use a plugin, just to use the cool new plugin you bought. Have a purpose, a reason. From everything I've ever learned either by talking or listening to the guys that mix phenomenally is to be intentional. I have a mix bus chain that I usually load up. It works for me. But it fits my style of mixing. There's no 1 plugin or 1 chain of plugins that will magically get you there. Alan Meyerson could take the stock plugins in any DAW and flat out embarrass most of us. Why? Because he knows what he wants to hear. Has a purpose with everything he does. Does he have a few tricks up his sleeve? Yup. But the problem with tricks... is they don't fit EVERY situation. Knowing when to use them and when NOT to use them is paramount and then also how to adjust them for each time you use it. The technique you use on one track won't work with the next. It's usually 1,000 little things that I do along the way that culminates in the final product. Don't use one compressor to tame a vocal... use 2-3 if it needs it. But only let each one do a small bit of compressing. I mix like I'm mixing a pop/rock track most of the time. So my processing tends to reflect that. Finding what works for you is a journey for sure. Trying things you see others do is ok... but again trial and error is the only way to come up with a mix philosophy and approach that works for you. 

To sum it up - the mix on this track is not overly complicated. A bit of eq on the vocal. 2 compressors Rvox and an 1176 being used in succession after the eq with each only doing 3db of compression. Sending to 2 verbs/1 delay and then sending to a slight bit of parr compression (barely being used). That's it. No smoke and mirrors. No tricks. 20 plugins (minus the verbs/delay) were used in total... including mastering. 

Hope that helps some.


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## CatComposer (Apr 11, 2022)

guydoingmusic said:


> To sum it up - the mix on this track is not overly complicated. A bit of eq on the vocal. 2 compressors Rvox and an 1176 being used in succession after the eq with each only doing 3db of compression. Sending to 2 verbs/1 delay and then sending to a slight bit of parr compression (barely being used). That's it. No smoke and mirrors. No tricks. 20 plugins (minus the verbs/delay) were used in total... including mastering.
> 
> Hope that helps some.


Hey Brad,
Thanks for going to the effort of opening up your project to enlighten us.
And for sharing your wisdom.
It's more than I expected when I started this thread.
I hope I can apply your good advice in my mixes in the future.
I'm all fired up to do some mixing now!


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## R10k (Apr 11, 2022)

guydoingmusic said:


> Thanks for all the kind comments! Very flattered!!
> 
> 
> THIS ^^ is probably the best way anyone can say this. But I'll throw out some food for thought.
> ...


Thankyou so much Brad! That’s so helpful to know 😊


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## LiquidSonics (Apr 12, 2022)

Junolab said:


> I can also recommend Tai Chi which includes a ducking, but honestly sidechaining your built in DAW compressor can do just the same. No need to buy anything.


I think there's a lot of value in using an integrated ducker if it allows you to duck only the reverb and not the reflections, that's a workflow that is a bit more of a pain to set up in the DAW. Ducking a reverb tail can certainly improve intelligibility/clarity in many contexts, but I find reflections don't generally do very much harm and often will just be adding a lovely spatialisation to the dry even if you're ducking the tail to keep it out of the way. I often think a ducker hitting the entire reverb takes with one hand and gives with the other.


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## Junolab (Apr 12, 2022)

LiquidSonics said:


> I think there's a lot of value in using an integrated ducker if it allows you to duck only the reverb and not the reflections, that's a workflow that is a bit more of a pain to set up in the DAW. Ducking a reverb tail can certainly improve intelligibility/clarity in many contexts, but I find reflections don't generally do very much harm and often will just be adding a lovely spatialisation to the dry even if you're ducking the tail to keep it out of the way. I often think a ducker hitting the entire reverb takes with one hand and gives with the other.


Good point... Hope you add the flexibility of Tai Chi into all your other reverbs


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## CatComposer (Apr 15, 2022)

Trash Panda said:


> Sonible Smart EQ3. One instance on the music bus, another instance on the vocal bus. Set up a group, stick the vocals in the top slot with the music bus below and hit the learn all button, set both instances of Smart EQ3 to 100% dynamic. Tailor the strength of the smart band in each instance and the group impact setting to your preference, but I typically find the default works well enough.
> 
> Alternately, or in addition to the above, set up an instance of Smart Comp on the music bus on sidechain ducking, set the vocal output to sidechain into it, run the learn function. SmartComp will transparently duck only the frequencies that clash with the vocals.


Thanks Panda,
I pulled the trigger and bought this today.
Since I already owned Smart EQ2, it was only 20 Euros for the upgrade.

I did a head to head comparison with Trackspacer, and although Trackspacer is good,
it left me feeling nauseated with a pumping effect.

Smart EQ3 is vastly better than Smart EQ2, with the grouping feature, that works exceedingly well.
I would love to see them bring in a preset for strings though.


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## LiquidSonics (Apr 20, 2022)

Junolab said:


> Good point... Hope you add the flexibility of Tai Chi into all your other reverbs


Not sure about _all_ yet, but easing slowly in that direction for sure - I've added a basic ducker to Seventh Heaven Pro in today's 1.4 release which I think was the most pressing one to get done. It also includes surround support up to 7.16, a highly requested feature by those that need it.


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## Junolab (Apr 20, 2022)

LiquidSonics said:


> Not sure about _all_ yet, but easing slowly in that direction for sure - I've added a basic ducker to Seventh Heaven Pro in today's 1.4 release which I think was the most pressing one to get done. It also includes surround support up to 7.16, a highly requested feature by those that need it.


The new ducking in 7HP is very appreciated!!


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## Beat Kaufmann (Apr 20, 2022)

Sseltenrych said:


> I am impressed with this song's mixing/mastering:
> 
> 
> As I'm making similar music, with lead vocals, and backing orchestral/synth,
> ...



*The bad news to all your questions*: there is no extra plugin that makes such a mix possible.
There are a few mistakes that many hobby mixers usually make that prevent such transparent mixes.
----------------------------------------------
*The good news is* that if you are willing to do certain things differently, you too can create such a mix as well.
----------------------------------------------

*The answers to the analysis of the piece of music above, make up the main part to create just such a mix...*​
a) How would you judge the distance of the voice to the listener?
_near, close_
b) How would you judge the distance of the rest of the orchestra?
_most instruments sound far away_
c) How would you judge the sound of the voice?
_bright transparent, rich in overtones_
d) How would you judge the sound of all the other instruments?
_dark to *very* dark (only now and then a bright hit of the drums)_
e) How would you judge the sound of the instruments that are not very distant?
_also dark_
f) Where are the relatively close instruments placed - beside the voice?
_far left / far right_
g) Can you tell at any time which instruments are playing?
_no, you only notice that obviously many different ones are playing along._
---------------------------
All of these things go along with the physics of how we perceive sounds distant or close. The mix just takes everything into account so that we perceive the voice close, clear and distinct. Anything that sounds close as well is pushed to the side (L and R) and is darkened so that it doesn't compete with the voice. The very large orchestra is pushed *far away* into the distance. Far away sounds dark and not totally resolved.
The beginner's mistake:
Most mix beginners think you have to hear every instrument. Each instrument is then processed with all kinds of tools until you hear each one well. So finally most of the time you hear the orchestras distant but totally brightened and far tooooo transparent. The brain is thus already somewhat irritated, because the reality of what sounds far away cannot be like that. Further: A soloist can of course never assert himself in this context.
It therefore initially takes some courage to design a mix in such a way that one does not always hear everything at all times, but only what is important at the moment. In the case above, it is the solo voice.

*So the recipe for such a mix is*: (very) different distances, different sounds from dark to (very) transparent. So exaggerate everything a bit and voilà, you will be happy.
----------------------------
*Finally, two different examples, but both built with the above recipe...*
1. Soloist instrument very close (bright sound), accompaniment (partly distant) darker in sound.
2. Orchestra very close (rather bright in sound) / soloist (organ) distant and dark.
_In both demos the distance differences of the instruments are larger than in the average mixes. _

How to achieve dark, bright, distant and close in sound is what all the tools and effects are for.
Try it yourself... and have fun!

Beat


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## MarcusD (Apr 20, 2022)

Just to add to the suggestions.

* Mid Side EQ

You can use it to make the lows of instruments more mono, by rolling of the low end on the side channel.

Or you can do the opposite and roll off the lows from the centre channel and let it sit on the sides.

Careful though, it can alter the perceived placement by doing this too heavily. But great for getting a tighter sound.

You can also use it to add more excitement to high end by bumping the side channels.

Or carve out space with other instruments. Instead of processing the entire stereo channels to do so.


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## vitocorleone123 (Apr 23, 2022)

I've had the most success (project not commercial) when I've had a vision of what I want when arranging (electronic music not orchestral), and then also updating that vision before starting to mix. This generally leads to the use of fewer plugins, and more of the plugins are for fixing just a few issues, like a resonance or something, rather than trying to make things work together in the first place.

This means choosing sounds/instruments that fit into different spectrums and, if in the same spectrum, either aren't playing at the same time or one will be louder than the other. I also use reference songs and also reference tools because I'm not a pro and just need an example because my monitoring isn't the ideal - e.g., Mastering the Mix Reference, Tonal Balance Control, frequency matching on an EQ with a reference track to see if I can spot problems and fix them in the arrangement or track instead of the mixbus, etc.

I wish I was able to be consistent with that approach because I definitely notice a difference.


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