How to get that "airy" sound in recordings?

[RobRR]

So Im working on mastering a song of mine. All the levels and mix is just where I want it... but I just cant seem to get that "airy" studio quality final mixdown. I guess what I mean if you dont know what Im talking about, is like... The volume is there, but it sounds more "open" I guess... Im sure some of ya know what Im talkin about. Whats the secret? Im sure its possibly the limitations of my computer based equipment, even if it is Im still very curious.

[j4vice]

You may be referring to a short 'REFLECTIVE' reverb setting.

[Number Of The Priest]

Panning the different tracks to the left/right channels to various degrees also gives the sound a feeling of "space", especially layering the tracks, tweaking their levels/EQ to taste, and then panning them to various degrees.

[Endrik]

room mics.... and plenty of 'em

[Spivonious]

I'd try some light reverb. Since you seem to already have things recorded, doing stuff with extra mics is out of the question

[Endrik]

then the only way is to get some $$$$$ verb units... with cheap shit no way you can get that nice natural sounding airy ambience.

[rjohnstone]

Panning the different tracks to the left/right channels to various degrees also gives the sound a feeling of "space", especially layering the tracks, tweaking their levels/EQ to taste, and then panning them to various degrees.

+1

[RobRR]

I know what you guys mean about panning, that works really well but doesent quite get it there. Ill have to post the clip up pretty soon and see what you all think... Im usually way over critical about the stuff I do, so who knows, maybe it does actually sound ok!

[Bert]

I know exactly what you mean and haven't figured it out myself either. Sadly it seems only the pros really get this right. Most home studio produced stuff is severely really lacking in depth. I wish I knew how to do it myself. I've tried panning, digital reverbs, room mics, you name it, but sadly there doesn't seem to be any simple formula. I find I have some luck with digital delay (more so than reverb) but then you have to be careful not to go overboard.

[rjohnstone]

I've met a few guys that only did mastering and that is where the magic happens.
Putting it all together is an art.
I've spent weeks screwing with a song only to say fuck it and hand the raw tracks over to a pro, who in 30 minutes, accomplished what I had spent weeks attempting to achieve.

[Newc]

Depending on the speed of the track, pan a stereo rhythm track no more than 50% left/right, and only apply reverb to one side, leaving the other side dry. If the track is too fast for the 'verb, it'll mush.

You may also want to EQ one side differently to shape the tone so it's not identical to the other side for that 2-guitar sound. Ideally you'd want to use two different overdrive settings as well, one kinda grainy and the other kinda rumbly.

What are you using for drums? Can you access each drum piece on an individual track? If so, you can play around with the EQ and ambience of each piece, and even set an effect track for each piece (copy the snare to a new track and add reverb, then bury it in the mix to taste).

Nero (the CD-burning thing) has a nifty built-in Spatial Expander that I really like, and sounds better than the ones found in Adobe Audition.

Bass tone has a lot to do with it as well. If you're using a tone with more punch than rumble (ala Maiden), the whole track will sound different than the same track with more rumble and less punch (ala Priest).

[j4vice]

the newest CUBASE software can record a mono guitar signal as a 5.1 SURROUND recording on five TRACKS.

Engineers who record 'air' are hired from the outside. It takes forever and they get paid by the hour.

[jackson1]

Rob, are you talking about the guitar sound or the whole mix?

Either way, I know exactly what you mean. The most elusive part in recorded music today, is air. Only the best engineers know how to capture that. And I mean "capture", because it is in the recording phase, that you should be looking for air. "We'll fix it the mix" is why most mixes sounds like 2D brickwalled crap.

Wrt. guitar recording, it starts with the room, the mics used, their placement (nearfield / ambience), the gain on the amp and the guitar. Staying low on gain and bass level typically helps capturing a great guitar sound.

Oh wait... it just dawned on me... are you using direct recording? Like guitar -> POD - computer? And drum machine? If yes, just forget everything I said and I'll be outta here

Let me elaborate on the bass level, though. If you have problems with missing air in a mix, try frequency low cutting ALL instruments at 140hz, except drums and bass guitar. Just put an equalizer there with a low cut set at 140hz / 12dB. It's drastic, I know, but use it as a test to see, if your mix is too bass heavy. Almost every multi track recording suffer from too much bass / lower mids (0-350hz). It all adds up in multi track sessions and becomes too much. This trick is a true eye (ear) opener in most cases.

[mpigott]

alot of that sound is in the limiters and compressors that pro sound studios (especially mastering suites) use in order to get the tracks to cd volume. Avergage outboard gear or plugins dont do the trick like a 15000 dollar limiter haha. Guys were spot on about the verb and panning too. a very light dark reverb quiet in the mix is great at adding depth to your sound.