Izotope
Explore the importance of phase alignment in audio mixing with iZotope's Neutron 5 phase module. This video delves into the theory of phase relationships, explaining how constructive and destructive interference can impact your sound. Learn how misaligned phases can lead to a loss of low-end frequencies, especially when layering sounds like kick drum samples or using multiple microphones on a single source. The video provides practical demonstrations, showing how to identify phase issues.
Produce In a Minute
In this segment, the speaker demonstrates how to use Izotope's Ozone Imager to identify and manage phase issues in a stereo mix, focusing on a bass line. The key tool here is the phase correlation meter, which helps ensure a balanced stereo image by indicating the phase relationship between the left and right channels. A reading between 0 and +1 is ideal, as it suggests a good balance without phase cancellation. The speaker shows that increasing stereo width can risk phase issues, as indicated by the meter dropping below zero. Conversely, converting the signal to mono can achieve perfect phase correlation, highlighting the importance of monitoring and adjusting stereo width to maintain audio quality.
Sage Audio
This bit delves into the use of linear phase EQ to address phase rotation issues caused by equalizers. By employing a linear phase setting, you can maintain phase integrity, avoiding interference and ensuring the phase stays at 0°, as demonstrated with the free Burum EQ analyzer. While linear phase filters are beneficial for preserving phase relationships, they can introduce pre-ringing distortion, which affects transients. However, this distortion is minimal, making the advantages of linear phase EQ outweigh its drawbacks. The bit also highlights the challenges of parallel processing, where phase interference can occur if phase rotation is introduced. By using linear phase EQ in parallel setups, you can prevent destructive phase interference and maintain the integrity of your mix.
Pensado's Place
Tom Elmhirst highlights the importance of a lean and organized session workflow to boost efficiency and focus during mixing. He achieves this by bouncing down large multi-track sessions into essential stems, such as combining layered elements or multi-mic sources, which helps avoid the clutter of excessive tracks. This preparation allows for intuitive and goal-oriented mixing. Elmhirst often relies on assistants for this task, but the principle remains the same: streamline your session to focus on creativity rather than organization. If you're working solo, try organizing your session a day in advance. This way, you can dive into mixing with a fresh perspective, enhancing creativity and focus.
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Agartha Podcast
Ryan Schwabe shares his insights on the power of automation in mixing, highlighting its importance in enhancing musical dynamics. He frequently automates the master fader, adjusting volumes in various song sections to create an engaging sonic arc. Schwabe emphasizes the vocal's role as the premier instrument, dedicating automation efforts to adjust volume, effects, and stereo width, particularly during transitions between verses and choruses. This detailed automation ensures the music feels dynamic and alive. He also discusses automating volume changes into clippers, ensuring gain staging maintains clarity without unwanted clipping. Automation introduces energy shifts, making modern, compressed tracks feel more vibrant and exciting, utilizing even minor changes for dramatic effects.
Produce Like A Pro
Darrell Thorp demonstrates using a pre-delayed reverb on vocals to enhance clarity and depth in the mix with Valhalla VintageVerb. By applying a chamber reverb with a long tail and adjusting the pre-delay between 60-100 milliseconds, he allows the dry vocal to be heard before the reverb kicks in, creating a more pronounced and spacious effect. Thorp highlights how this use of pre-delay, a staple at Ocean Way Studios, prevents the vocal from being smeared, ensuring it remains clear and impactful within the mix. Experimenting with pre-delay can significantly improve the perception of reverb without overwhelming the vocal.
Elysia
Explore the creative possibilities of compression with negative ratios using the Elysia mpressor|500 on drums. Traditional ratios like 2:1 or 4:1 are reducing the output gain incrementally. Infinite:1 limits any increase past the threshold. Unlike that, negative ratios invert the dynamic curve. As the input gets louder, the output becomes quieter. This adds punch and movement. Negative ratios introduce unique envelope shapes and sonic textures, serving as a "magic spice" when seeking unconventional dynamic effects.
RecordingMag
Exploring different mic placements on an acoustic guitar can dramatically affect the recorded tone. This video compares four key positions: at the sound hole, near the 12th fret, at the bridge, and from above the guitar. Placing the mic at the sound hole often results in excessive low-end, while the 12th fret offers a balanced sound with clear highs. The bridge position adds fullness in the lower mid-range, and above the guitar provides a balanced upper mid-range. Many engineers favor the 12th fret for its tonal balance, but each position can be optimal depending on the song and production context. For even richer textures, combining these positions in a multi-mic setup is possible—just be mindful of phase issues.
Eric Valentine
Eric Valentine showcases how Empirical Labs Distressors on the drum bus can inject energy, excitement, and aggression into a drum mix. He uses a 20:1 ratio with a slow attack to boost the drums' punch, adjusting the release to match the song's tempo for a musical swell without overpowering cymbals. Valentine emphasizes engaging the high-pass, presence, and link settings to prevent over-compression of the kick drum, maintaining balance. The high-pass reduces sensitivity to low frequencies, while the presence boosts high-mids in the sidechain path, resulting in a smoother sound with less strident cymbals. This technique, paired with subtle EQ shaping, dramatically transforms the drum sound, enhancing the mix's overall impact.
Tube-Tech
Gabriel Roth delves into shaping vintage drum sounds using a passive EQ, focusing on the "Pultec trick" with his Tube-Tech PE 1C equalizer. This famous technique with Pultec-style equalizers involves applying both boost and attenuation in either the low or high bands simultaneously, producing unique EQ curves. He describes boosting around 10k sharply while pulling down on the top shelf to achieve a crisp drum sound without harshness, eliminating unwanted frequencies above 15k. For the low end, Roth applies the "Pultec trick" around 60Hz, balancing the kick drum's punch with reduced muddiness. This results in a peak at 80Hz and a dip at 200Hz, tightening the low frequencies while maintaining clarity. Roth highlights the musicality of passive EQs, especially when compared to more clinical parametric units, emphasizing their effectiveness in capturing the warm, vintage character of Daptone's legendary drum sound.
EngineEars
In this segment, Teezio details his mastering process for Victoria Monét's "On My Mama". He focuses on cutting out unwanted frequencies to enhance clarity without boosting unnecessarily. Teezio applies multiband processing to manage low-end dynamics and uses a final limiter for volume control, ensuring the mix retains its intended vibe and energy. This meticulous approach highlights the importance of surgical EQ and controlled dynamics in achieving a polished, professional sound.
Electrical Audio
Steve Albini highlights the nuances of recording a violin with Susan Voelz at Electrical Audio studio, focusing on microphone selection for capturing a natural sound. He explains the importance of a smooth high-frequency response and compares two microphones: the Lomo 1918, a tube condenser, and the STC 4038, a ribbon mic. The Lomo offers detailed precision, while the STC 4038 provides a softer, smoother tone. Albini also demonstrates isolation techniques, such as using a lavalier microphone attached to the violin. This setup can help achieve good isolation in ensemble settings, emphasizing the balance between capturing natural tone and managing instrument bleed.
SonicScoop
In this segment, Joel Hamilton demonstrates using a hybrid approach with digital and analog processing on a nylon string guitar. He employs a UAD Fairchild 660 plugin for subtle tonal enhancement, followed by the Chandler Zener hardware for added character. The Fairchild plugin is used minimally, primarily for tone and slight gain adjustment due to the lower recorded volume of the instrument. This bit offers insight into Hamilton's creative mixing process, efficiently combining digital and analog tools to enhance the sound without overwhelming it.
SonicScoop
Tony Maserati discusses the choice between analog and digital equipment, emphasizing his preference for a hybrid approach that combines both. He highlights the unique qualities of analog gear, specifically mentioning the Chandler RS.124, which he believes adds a special character to vocals that he hasn't replicated with plugins yet. Maserati underscores the importance of using what works best for your workflow and sound goals. He values the distinctiveness of certain analog tools but remains open to digital advancements, suggesting that the right gear enhances creativity and results.
SonicScoop
In this bit, Matt Lange explores creative ways to add movement and complexity to a pad using Soundtoys plugins. He begins with two Filter Freaks in series; the first is a two-pole low-pass filter with step-sequenced modulation, creating rhythmic motion. The second combines a low-pass and high-pass filter, forming a custom band-pass effect that adds unique tonal characteristics. Lange further enhances the stereo field with PanMan, crafting intricate panning patterns for dynamic movement. Finally, EchoBoy adds a warbly delay effect, enriching the sound with a touch of vintage character. Together, these tools transform a simple pad into a lively, rhythmic element, demonstrating the power of modulation and effects in electronic music production.
Electrical Audio
In this segment, Steve Albini and banjo player Taylor Hales explore the unique timbre of a banjo. The video offers insights into the differences between resonator and open-back banjos, detailing how these affect sound projection and tonal quality. The use of dampening techniques is also highlighted to manage the instrument's natural resonance and volume, ensuring a cleaner recording.
Electrical Audio
Steve Albini shares practical microphone placement strategies, such as positioning a lavalier mic near the bridge for clarity and trying internal mic placements for additional low end. Although a microphone placed inside the banjo was found unsatisfactory for sound, a ribbon mic alongside the lavalier provided a fuller sound. This segment showcases innovative techniques for capturing the distinct timbre of a banjo and learning to record acoustic stringed instruments with precision and depth.
NPR Music
Josh Rogosin from NPR's Tiny Desk Concert series demonstrates the classic Glyn Johns drum mic setup, a technique famously used to record drummers like Keith Moon and John Bonham. This method involves placing two microphones, each 30 to 40 inches from the center of the snare drum at a 90 degree angle and ensuring they are equidistant to avoid phase cancellation. This precise placement allows the sound waves from the snare to reach both microphones simultaneously, preventing a hollow sound and maintaining the integrity of the drum recording. Rogosin highlights the effectiveness of this setup, even with limited equipment, making it a valuable technique for achieving a full, balanced drum sound with just two microphones.
Record Production
Renowned recording engineer Owain Fleetwood Jenkins shares his approach to capturing a great piano sound using a C. Bechstein Model C grand piano. He employs a HUM Audio RS-2 stereo ribbon microphone in a Blumlein configuration to achieve a natural, classical tone that captures the room's ambiance beautifully. For a more contemporary and punchy sound, Jenkins uses a pair of close AKG C-414s positioned over the hammers, adhering to the 3:1 rule to ensure phase coherence. This setup provides a distinct punch to the notes, helping them cut through the mix effectively. Jenkins emphasizes the importance of microphone placement and room acoustics in achieving the desired tonal characteristics, whether aiming for a natural or brighter sound. His techniques demonstrate how different microphone combinations can be tailored to suit various musical genres and recording contexts.
Universal Audio
Producer and engineer Jacquire King shares essential tips for recording string ensembles, emphasizing simplicity in recording setups. He highlights the importance of allowing string players to balance themselves and focuses on strategic microphone placement. King recommends using darker mics on cellos and brighter ones on violins, with a focus on the instrument's body above the bridge. A stereo pair for the ensemble captures ambient color and room balance. He advises on headphone monitoring, suggesting panning to one side to minimize leakage, since a lot of times the players have one ear out of the headphones. Encourages recording multiple passes to enhance texture and lushness, using the ensemble and close mics creatively. Lastly, King stresses collaboration with musicians, acknowledging their feedback to ensure a supportive and co-creative environment. Engage these tips to elevate your string recording sessions with clarity and depth.
Thomas Juth
Thomas Juth explores the idea of enhancing drum bleed using parallel compression and transient shaping tools, challenging the common practice of gating bleed on toms. He highlights the use of the Waves TG12345 compressor in a parallel setup to add character and excitement, emphasizing how this can bring life back into drum recordings. Juth also suggests using tools like the SPL Transient Designer to shape attack and sustain, enhancing the acoustic environment. This approach isn't limited to drums—it can apply to any live-recorded session where bleed contributes to the song's unique feel. Juth references early Beatles recordings, where bleed was an integral part of the sound, showing how it added energy and cohesion to the mix. While this technique can be powerful, it's important to remember that there are situations where reducing bleed is necessary. Different genres may favor different approaches, so consider the context and don't default to a single method.
Noam Wallenberg
Noam Wallenberg uses the Waves DBX 160 compressor to fix floppy kick drums, giving them a punchier, tighter sound. This straightforward compressor is super easy to use, with fixed attack and release times that emphasize the kick's attack and reduce its length by clamping down after the transient. This creates a shorter, more defined impact. By comparing it to other compressors like the LA2A, which can lengthen kicks, Wallenberg highlights the DBX 160's unique ability to tighten and add punch to the kick drum.
Electrical Audio
In this segment from "Electrical Audio How-To: Microphone Techniques for Speaker Cabinets," Steve Albini explores the use of a ribbon microphone, specifically the STC 4038, for capturing guitar amp sounds. He explains how the figure-eight pattern allows for significant flexibility by capturing direct sound with the front lobe and ambient room sound with the rear lobe. By adjusting the mic's distance, you can tailor the sound character, emphasizing either a more intimate bass response or a more spacious ambient presence. Albini highlights the microphone's proximity effect, which enhances bass when placed close, giving a small amp a larger sound. This technique demonstrates how careful microphone placement can dramatically alter the sonic quality of a recording.
Agartha Podcast
Ryan Schwabe discusses his straightforward approach to gain staging in mixing sessions by ensuring sufficient headroom before automation. He prefers working with stems and initially lowers the clip gain to achieve about 5-6 dB of headroom on the master fader, keeping faders at unity for flexibility in gain manipulations throughout the mix. Schwabe uses his Gold Clip plugin on the mix bus to maintain optimal gain staging, employing a personal preset of +4/-4 dB to monitor and adjust levels effectively. This setup helps maintain clarity and headroom, allowing for precise control and dynamic flexibility during mixing.
Audiopunks
Chris Coady shares his unconventional technique of applying spring reverb to the bass in verses, creating a special atmosphere that subtly enhances the song's vibe without muddying the low end. This contrast between the verbby verses and tighter choruses adds dynamic interest. For this effect, Coady uses Telefunken Echo Mixer plugin by Audiopunks and highlights its unique distortion and reverb capabilities, reminiscent of germanium transistor warmth, using it as a tone-shaping tool to add depth and character.
Studio.com
H.E.R. explores the process of crafting catchy melodies by emphasizing repetition and variation, using her vocals as the primary tool. She suggests repeating a phrase to uncover its potential, helping to determine if it could become a verse or chorus. This technique aims to create melodies that are memorable and easy to sing along with, appealing to audiences who enjoy simplicity over complex vocal runs. H.E.R. advises using voice memos to capture ideas when inspiration strikes.
Universal Audio
Vance Powell shares his expertise on using two microphones to capture guitar, focusing on phase alignment and tonal variation. By positioning the mics near the speaker's edge, he achieves a pseudo-stereo effect that enhances the guitar's presence in the mix. Powell explains how each microphone's unique tonal characteristics can be leveraged for subtle tone shaping without EQ, allowing for flexibility in the mix. He also highlights the creative use of phase flipping to achieve a wide stereo image, cautioning that this technique may cause cancellation in mono. Throughout the discussion, Powell emphasizes the importance of not being overly concerned with perfect phase alignment, as slight variations can add character to the recording. His approach encourages experimentation and embracing the natural sound of live recordings.
Agartha Podcast
Ryan Schwabe discusses how loudness targets in mixing and mastering vary based on genre and production style. He generally aims for an average program loudness of -9 dB, adjusting for the genre's vibe—rock may be louder, while Afrobeat often focuses on transients and may sit lower than American music. Schwabe shares his insights on whether to master within the mix session or as a separate process. While he sometimes integrates mastering with mixing, especially with certain artists, he prefers separate sessions to streamline the process and avoid the loop of continuous adjustments. For singles, integrating both might work, but for albums, he advises against mastering your own mixes due to potential inefficiencies.
Studio.com
Ryan Tedder discusses how varying the start of melodies in different song sections can prevent monotony and keep listeners engaged. By strategically altering where a melody begins relative to the downbeat—before, on, or after the one beat—you can maintain interest even if listeners aren't consciously aware of the variation. In this demonstration, Tedder examines the starting points of melodies in the verse, pre-chorus, and chorus to ensure they differ, thereby enhancing the song's dynamic and preventing it from feeling repetitive. This technique is part of his broader approach to crafting compelling melodies.
Produce Like A Pro
Darrell Thorp shares a technique using the Sennheiser MD 441-U as a "poke mic" to enhance the punch and character of drums. This method emphasizes the kick and snare's attack, often times even without heavy EQ, making it a great addition to the other drum mics. By incorporating this mic, Thorp achieves a tight, cutting drum sound that adds depth and clarity, seamlessly fitting into the mix.