Taming Your Levels: Compression Basics
I work with a team and it's really important for our team to be in communication with one another, you know, to have ways where even if we're not in the same room that we can comment, so we just give ourselves, you know, a little bit of, kind of backup, really. Like, okay Patrick needs to retract this. This is from my, one of my reporters. I've got this information, that like, okay before my mix is done, this has to be done. So this is like, kind of like a script notes phase. I will sometimes get audio notes here like okay, there's a bad edit, upcut. You know people just make a selection, comment and Google Drive and tag me. And it's, it really helps move things along pretty swiftly. I just expect that that's gonna be a stage in my mix. Or, you know, like this one, cut this. We had a show that at the 11th hour ended up a little bit long. Podcast is not such a problem, but, you know, you might have cuts that make the show better regardless and, you know, that having some communication a...
bout what the priorities are, is really good. So these would be kind of things that like as we're edging toward the final mix I'm looking at. And then what we do, it reveals we have this kind of show mixing notes process, this looks like a lot of crazy, but what the colors are all about is just, you know here are the different people who are weighing in. We have them working in a suggestion mode, so that we can decide if we're going to take their notes or not. So that idea of like who are all the people in the chain, like the editor is the person at this point that I'm responding to and working through the changes and deciding like, what's important. I've had some sonically ambitious reporters who've given me way too many notes at too late of a stage. So, you know, I try to work with them later. Okay what can I do to either get the mix to you sooner in a stage to where I can anticipate your needs there. Or like here, you know, these are just some sacrifices that we have to make based on when this came in. So this show mixing notes doc is great. Like I get these little comments that I can look at. You know people make them in suggestion mode. You know it can be anything from music was kind of long here, my narration steps on his. So, you know, I use my nudge command. I just, I know easily what that means. And then, I just cross them all out as I go. We also have this kind of folder hierarchy like in the online world, I'm still doing the template and repetition, you know every show kind of looks like this, where we've got scripts, we've got show mixing note, I've got a rough mixes folder where I can upload and share and distribute to everybody and it's super useful.
To be successful at podcasting, you’ve got to have a solid understanding of the mixing process and sound design. But even experienced producers can feel overwhelmed by the intricacies of mixing and the cornucopia of tools available to them.
Taught by Jim Briggs, lead sound designer and engineer for “Reveal,” this course covers all of the basic elements of a mix from top to bottom. Students will become conversant in the language of mixing, understand the workflow and various stages of the mixing process, and be ready to explore different mix tools so they can practice on their own.
In this class, you’ll learn how to:
- Approach equalization sculpting and compression packaging.
- Mix artfully and think musically about your finished product.
- Deal with all of the tools and avoid option anxiety.
- Know what your anchor is and how to build a mix.
- Work with studio voices to achieve consistency, continuity, and quality.
- Work with field voices, ambient sounds, and other tapes.
- Perform fades and crossfades.
- Utilize music so it adds depth to your podcast.