MortuusMachina
Premier Tone Nazi
Can anyone tell me how to properly mix and master a single mono acoustic guitar track?? Any advice is greatly appreciated!
How properly mix and master a single mono acoustic track??
- Thread starter MortuusMachina
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Remember that since it's a mono track only, you will want to add in stereo depth using effects. This actually shouldn't be too bad because most recordings are going to be mono anyway. I would start by adding some simple reverb and echo to bring some ambiance to the piece. From there, you can try using a stereo expander on the guitar itself - used subtly it will widen the mono track a bit. As usual, add EQ to provide sparkle and get rid of the boomy frequencies.
Problem is, acoustic guitar more than anything else is very heavily dependent on the quality of the guitar, player, strings used, and the recording. If it's sounding pretty flat and lifeless, effects can only do so much.
Problem is, acoustic guitar more than anything else is very heavily dependent on the quality of the guitar, player, strings used, and the recording. If it's sounding pretty flat and lifeless, effects can only do so much.
Daybreak
Well-Known Member
What he said^
Adding subtle chunks of stereo effects will make if more lively and seem less mono. Chorus, reverb, perhaps even some subtle delay depending on the music itself will create some movement within the stereo image. Do not overdo it, though, it should only be subtle changes to make it FEEL better, not something you instantly hear.
Adding subtle chunks of stereo effects will make if more lively and seem less mono. Chorus, reverb, perhaps even some subtle delay depending on the music itself will create some movement within the stereo image. Do not overdo it, though, it should only be subtle changes to make it FEEL better, not something you instantly hear.
Ok, all good advice in terms of adding effects to provide an impression of stereo, but I think the OP might have meant more like 'how do I make it sound good'...
On acoustic, the EQ is very important - there is usually a fair bit of low end, but it's important to concentrate on the rich mids and highs without making it sound thin. I always roll off the low end with a high pass filter EQ at around 150Hz, not too steep. A steep roll off at 60Hz might also be necessary if there is flub going on down there. There almost always is.
I boost the low mids a touch, say around 250-350 as well as a high shelving EQ at around 6K for brightness. Then sweep for any boxy or boomy frequencies and cut them out a bit (or a lot if they suck). Remember, cut narrow, boost wide - the Q value of your curves really matters here.
After the EQ has got the guitar sounding nice and killed off the bad stuff, I compress a little, depending on the material. Normally at least 2:1 ratio, setting the threshold to just even out the dynamics without choking anything. I like the LA-2A-style comps for this, Vari-Comp by NI (vari-mu style) is also awesome.
The final thing is reverb - a like a lexicon-style (RC24 is cool) to add a bit of sparkle and '3D-ness'.
Stick a full-wet stereo verb on an Aux and send the mono acoustic to it - viola! instant awesome stereo room.
Get stuck in!
On acoustic, the EQ is very important - there is usually a fair bit of low end, but it's important to concentrate on the rich mids and highs without making it sound thin. I always roll off the low end with a high pass filter EQ at around 150Hz, not too steep. A steep roll off at 60Hz might also be necessary if there is flub going on down there. There almost always is.
I boost the low mids a touch, say around 250-350 as well as a high shelving EQ at around 6K for brightness. Then sweep for any boxy or boomy frequencies and cut them out a bit (or a lot if they suck). Remember, cut narrow, boost wide - the Q value of your curves really matters here.
After the EQ has got the guitar sounding nice and killed off the bad stuff, I compress a little, depending on the material. Normally at least 2:1 ratio, setting the threshold to just even out the dynamics without choking anything. I like the LA-2A-style comps for this, Vari-Comp by NI (vari-mu style) is also awesome.
The final thing is reverb - a like a lexicon-style (RC24 is cool) to add a bit of sparkle and '3D-ness'.
Stick a full-wet stereo verb on an Aux and send the mono acoustic to it - viola! instant awesome stereo room.
Get stuck in!
Given To Fly
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What kind of mono acoustic track are we talking about? Will it be added to anything else or is this essentially the final product? The reason I ask is because I can't name a single professional solo acoustic guitar recording that was done in mono. They are all recorded in stereo. Unfortunately, stereo wideners on a mono track sound exactly like a mono recording with a stereo widener. It might sound better, but it might also make it glaringly obvious its a mono track with a stereo widener or delay offset.
I'm not criticizing your efforts, I just hear of people doing this a lot, recording in mono and expecting a stereo sound. The way sound emanates from the guitar is actually quite complex which is why stereo recording is the method of choice.
I'm not criticizing your efforts, I just hear of people doing this a lot, recording in mono and expecting a stereo sound. The way sound emanates from the guitar is actually quite complex which is why stereo recording is the method of choice.
Yeah, unless it's one side of a double track - I guess it really depends on the music, as you say. I normally double mic my acoustics (sound hole about a foot away with a large diaphragm condenser and 12th fret close with a pencil condenser) but if it's literally a solo acoustic track (like a classical recital or something) I would use a stereo pair for sure.
All very genre-dependent!
All very genre-dependent!
Winspear
Winspear // Noisemother
Everything has been covered here really but mastering:
Stick a limiter last in the master bus chain and set it to limit at -0.1dB. Push the threshold down to achieve commercial loudness but I would be very gentle with acoustic. Get the meter to read RMS rather than peak - have the RMS hovering around -15 to -12dB. Any higher than that and you're likely squashing it unnecessarily unless the piece has almost no dynamic range. Peaks should be at -0.1dB due to the limiter.
Inaudible (or audible if desired) fade in and fade out on this master bus - not the track itself.
Stick a limiter last in the master bus chain and set it to limit at -0.1dB. Push the threshold down to achieve commercial loudness but I would be very gentle with acoustic. Get the meter to read RMS rather than peak - have the RMS hovering around -15 to -12dB. Any higher than that and you're likely squashing it unnecessarily unless the piece has almost no dynamic range. Peaks should be at -0.1dB due to the limiter.
Inaudible (or audible if desired) fade in and fade out on this master bus - not the track itself.
