This series is a rough guide on how to go about mixing a pop record from scratch. Many people don't seem to know where to start, so hopefully this series of articles will give some guidance.
As a summary of part 7, and using the above-mentioned techniques, I'll describe how you apply them to each track, along with other techniques such as compression.
Finally, if certain tracks have more than one instrument part on them ("track-sharing" is a common practice if the number of tracks you have is limited), then it is extremely likely that the different parts will need different levels, EQ, and effects on them (although if you've read my article on setting recording levels, you will know that I am an advocate of recording multiple things on the same track at their correct relative levels, so that rough "monitor mixing" during production is much easier).
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