Energy To a MIX

GearMan2point0

Musician/Engineer
Feb 13, 2011
550
0
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I know there are a few tricks out there to bring energy to a mix. For those of you that don't understand, a song with energy has this vibe to it that has sparkle and excitement that is achieved with EQ and Compression that coexist with harmony. If that makes sense =P. At the Mastering stage, or it can even be during the mixing stage, when you are operating with Ozone, I have found it useful to use the Multiband Harmonic Exciter panel and it seems to add energy to the mix but I want to know other people's "go to" move they use. I know that there are also saturators that do a decent job on bringing the meat, so to speak. Any tips?

Here is my tip......
Multiband Harmonic Exciter = AWESOME! **note if used correctly, do not overdo it, Ozone can also kill the mix completely.

EDIT: I don't want a repeated thread like the other "mastering" threads, just a more better collision of ideas. Trust me I have ready plenty. And like I said before, before anyone gets grumpy, I have my own moves, but am just interested in yours.
 
i limit everything... i know i know, bad news! but i use a manley vari-mu on almost everything.

but post limiting i patch the massive passive to subdue any "weird" overtones.

building a noise floor helps a lot in my case (with building energy). it's a bit more difficult to do with elements like vocals because of reflections, so in that case all vocal processing is done itb (uad plugins - for the most part)... other than mic/pre/converter, of course

i have never really used ozone for mastering (or much else, really).

i guess, i think the energy is most prevalent in capturing the right/wrong performance. meaning if it wasn't tracked that way, most likely it's not going to be there.

there is a certain degree of exaggeration with performances that i am familiar with, in terms of tracking. this can be a weird "pukey" vocal or a lackadaisical drum style. it's the post production that translates these over exaggerations.

this is just something that i do, so that the mixing/mastering stage only takes about 30 min each (or less).


tools like harmonic exciters and limiters help improve clarity (or destroy it) but i have never really been able to get more energy from a piece of software or hardware... usually it all comes down to how the take sounds and whether or not it is the one going to be printed.


but i do like transient designers and compressing reverbs in the mixing stage.
 
I stopped using the harmonic exciter since it always ends up pumping my mixes.. I guess I'm not trained well enough to use it properly.

However, I did learn early on the importance of high-end presence in mixes along with low end compression. The cymbals and bass are what really make the mix imo when it comes to energy.

A crappy cymbal and drum OH tone can ruin a mix and a great cymbal and drum OH tone can add a lot more to a mix.

As for bass, listen closely to Sturgis's bass tones and you'll realize how audible it actually is. The treble on the bass tracks are actually pretty damn noticeable and it really adds to the presence and liveliness of mixes.
 
I find that it's really important to get this right early, when you're tracking. If the arrangement is energetic the mix will be. Also automation is huge, automating up cymbals for chorus' little swells in the vocal, sometimes taking things out and putting them back in etc.

I think once you've gotten to mastering and you're trying to add energy you've screwed the pooch.