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First, I've lurked around here for a while and the advice you guys give is great. The tips sheet and many other posts have saved me a lot of trouble. Thanks so much!

Now for my problem. I've been using DP for a while for backing tracks for a band. Normally it's simple stuff like pads, perc. or drum loops. When mixing each song individually, I mixed it until each output sounded good and I didn't pay much attention to the levels. However, now as I put different songs together, I'm finding that my output levels vary too much between songs and it gives the guy mixing a hard time. A pad during one song could be significantly louder than a pad on the following song. I'm realizing that I should have paid attention to levels at the beginning but now that I have about 100 projects already done, is there anything I can do to normalize my levels without remixing everything. I use a lot of volume automation so remixing things would require a lot of editing. I've heard that simply adjusting the master fader can affect the sound quality but is that my only hope right now for a simple solution?

I'm not sure normalizing is what you need to do, but if that's the way you want to go, look for a batch audio processor that supports normalizing. That'll save your wrists from having to do it manually. I can't think of the name of a batch audio processor offhand, but one was mentioned here on the list several days ago. Or just google for "batch audio processor OSX" and maybe you'll get lucky and find a freeware. Best of luck.

KKeys wrote:A pad during one song could be significantly louder than a pad on the following song. I'm realizing that I should have paid attention to levels at the beginning but now that I have about 100 projects already done, is there anything I can do to normalize my levels without remixing everything.

Welcome, KKeys!

Different levels *between* songs is one thing. But a pad in one song need not be the same level in another. That is strictly a mix issue.

Batch-normalizing is a great time saver and can be very effective with the right utility. But it may not serve every track well.

Sometimes, you'll just have to spend a little time with pre-mastering. I would put all the songs for a CD project on separate stereo tracks, then give each track the kind of boost or cut in level so that the master fader meter is peaking close to the same for all tracks. You may want to put a leveling amp or a peak limiter on the master fader just to control the overall levels, but I would save this for last just to make sure that it is even necessary.

In the meantime, I would listen to my first track, and given that I liked the mix and where it was hitting on the master fader, I would compare the second track to it and try to make it work as well as the first track. Subsequent tracks should always be compared to the first track first, since it will be your reference track-- then to each other.

--You may want to find a commercially released track to use as a sound reference for your entire project. Compare each track to the commercial track, and you'll have more security in knowing that your tracks are in the ballpark. Fly that track into DP along with you other tracks, but don't put any processing on it-- (and leave the master fader free of effects until much later)

--Often, the MW Multiband Compressor can serve to tighten up the presence and punch in certain ranges (hi, mid, low).

-- An EQ can help even out differences in frequencies between tracks, but I would not add gain at this stage. I would sooner cut narrow frequencies in very small amounts. Otherwise, another solution should be sought.

--Faders might be adjusted to help even the overall levels between tracks

--Any number of things could be done for each track using any combo of plugins until a sense of relative evenness is acccomplished.

Continue until all tracks have been adjusted to match the first.

Now-- on the other hand, all you should worry about is whether the mixes sound good, period. Your mastering engineer's job is to either do the levelling for you-- OR-- tell you specifically what he needs you to do make his job less of a problem.

That's why you pay him. If he's leaving you out to dry without specific advice, then consider a different mastering engineer. Some advice you may get here may not appeal to another engineer who may find more to complain about. It would be worth sitting down with him to have him level out two tracks and to show you how he'd like it done. You could then do the rest of the work prior to official mastering.

No diss on the previous replies, but I took it to mean you had created tracks you were using for a live band, and "the guy mixing" means for the FOH system.

I would route the output from your various channels through a master fader instead of sending them direct to your audio output interface with the sound system. Then you can adjust the master fader as needed for each song without having to remix channel balances. I don't see any change in the sound quality using a master fader, and for a live sound application, a subtle difference will not be so apparent as it would be in a studio environment.

Thanks for the replies. I am using all my tracks live. I had read some other posts saying that adjusting the master fader messed with the sound quality. I'm sure you wouldn't be able to tell this difference live, but I'd still like to keep things as high quality as possible. Thanks again.