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.
Reverb.com
To enhance the character of a Black Keys-style drum recording, Noam Wallenberg is using a series of processing techniques on the drum bus. The Decapitator is employed to inject aggressive distortion, immediately adding excitement and a sense of controlled chaos to the drum sound. To smooth out transients, the Satin tape emulator is introduced, providing additional distortion and excitement while taming the sharpness of the hits. The Oxford Inflator, though somewhat mysterious in its exact function, is used to enhance dynamics and add mid-range presence, making the drums sound more lively and engaging. Further refinement is achieved with a Distressor to regain attack, followed by a multi-band compressor to balance the frequency surges and maintain control over the dynamic range. Finally, a touch of subtractive EQ with the FabFilter Pro-Q 3 is applied to manage the mid-range, ensuring the drum bus remains balanced and characterful.
Universal Audio
Joe Chiccarelli uses the UAD Shadow Hills Mastering Compressor on the mix bus to achieve a bigger and more natural low-end for a hip-hop track. He employs a fast release and slow attack with a 3:1 ratio, applying just 1-2 dB of compression to glue the mix together without making it sound overly processed. Chiccarelli opts for the nickel transformer setting to add sparkle and life to the mix. A key feature he highlights is the sidechain filter, which prevents the low-end from triggering too much compression, avoiding unwanted pumping and breathing effects. This technique ensures the low-end remains powerful and natural.
Waves
Chris Lord-Alge emphasizes the importance of listening to a reference track before starting a mix. By doing this, you calibrate your ears to a familiar sound, ensuring consistency and avoiding surprises in your monitoring environment. This practice helps you stay aware of your monitoring setup and maintain a reliable reference point, leading to more accurate and effective mixing decisions.
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DIY Recording Equipment
Peterson Goodwyn opens up an 1176 and takes a close look at one of its most familiar controls. The numbers on the ratio knobs, 4, 8, 12, 20, don't actually set a fixed compression ratio, and understanding why changes how you think about the whole unit. Human hearing is logarithmic. That means equal steps in perceived volume represent exponentially larger jumps in actual signal strength. A signal that sounds 20 dB louder to our ears, represents 100 times more voltage arriving at the compressor's gain element. The circuit operates with linear voltage and has no way to account for that gap. So the effective ratio increases with input level rather than staying fixed. You can't lock in a single ratio with these switches, because the ratio itself shifts depending on how hard you drive the unit. What the switches are actually doing is lowering the threshold, letting more signal into the sidechain and triggering compression earlier. The 1176 has always had a threshold control. It's just been called something else. Peterson also points out that the famous all-buttons-in mode doesn't require all four switches. Pressing only the first and the fourth gets you the same result.
EngineEars
In this mix breakdown, engineer Teezio dives into the process behind Victoria Monét's "On My Mama," focusing on vocal treatment. He uses FabFilter Pro-Q3 for surgical EQ cuts and iZotope Neutron for broader EQ shaping. A touch of DMG Audio Limitless adds subtle limiting, while "Fresh Air" plugin introduces airy texture. Teezio highlights the importance of treating each vocal section separately to maintain clarity and avoid compromise. He also shares his philosophy of working with existing elements when they sound "dope," instead of altering them unnecessarily. This approach ensures each track element is treated uniquely and effectively.
Tape Notes Podcast
Four Tet demonstrates how to create dynamic drum loops by introducing subtle dropouts and manual variations in sequencing. By deleting a few kick drums here and there, he ensures the loop feels fresh and less static, keeping the listener engaged without dramatic changes. He emphasizes the importance of non-repetitive sequencing and automation to make tracks more interesting. Subtle variations, such as these dropouts, refresh the loop, making it feel like it's constantly resetting and starting anew. Additionally, by manually adjusting parameters like the decay on a hi-hat during recording, Four Tet introduces further nuances that enhance the overall texture and interest of the drum loop. This approach highlights the power of small, intentional changes in arrangement and signal processing to maintain interest and prevent monotony in drum-driven tracks.
Puremix
In this session, Jacquire King shares his approach to gain staging a vocal chain using a Neve preamp and an LA-2A compressor. He emphasizes the importance of pushing the Neve preamp to achieve a fuller, saturated tone by adjusting the input and output levels. This technique allows for optimal tonal quality without overloading the compressor. King demonstrates the balance required between input gain, compression, and output levels to maintain a healthy signal and desired compression level. This meticulous adjustment ensures a rich vocal sound and an effective recording level.
SonicScoop
In this masterclass, Dennis Jones, also known as ROC.am, shares his approach to mixing a piano as the main instrument in a jazz fusion/R&B track. He discusses using EQ to manage the piano's organic resonances, removing harsh frequencies while reintroducing desirable elements for balance. ROC.am highlights the use of the Vitalizer plugin to enhance clarity and stereo spread, explaining how its combination of EQ, compression, saturation, and expansion can revitalize the piano sound. He also demonstrates the Waves MV2 plugin, emphasizing its ability to bring out detail and control dynamics in live instrumentation, particularly effective for classical elements.
SonicScoop
Catherine Marks uses distortion to add character and excitement to the overall drum mix. First off, there is a Soundtoys Decapitator (in the Neve setting with brightened tone) on the drum bus, giving the drums more character and presence. To this, she adds further distortion on a parallel bus with the Little Radiator, which is kept quite low in level, but yields additional excitement.
Universal Audio
Will Yip combines two different types of reverb to achieve a deeper, wider, and more intricate space around his lead vocal. One of the reverbs is a shorter, brighter, crisp-sounding plate (1.4s), namely the UAD EMT 140. This is blended with a larger, longer echo chamber reverb (3-4s), the UAD Capitol Chamber. The echo chamber is slightly EQ'ed (high-pass, with highs boosted) to prevent it from becoming too muddy. When blended together, both reverbs provide a coherent, spacious vocal ambiance without overpowering the source or muddying up the mix.
James Hype
James Hype emphasizes the importance of selecting the right kick drum for each track, highlighting that context is crucial. He shares his experience of using the same kick for multiple tracks, which he later realized was a mistake. By demonstrating how different kicks can drastically alter the feel and energy of a track, Hype illustrates that even a great-sounding kick may not suit every musical context. He advises producers to experiment with different kicks to find the one that best complements the track's groove and style. Hype also suggests that if you're struggling with a track's feel, swapping out the kick drum can be a quick and effective way to transform the overall vibe.
Universal Audio
Carlos de la Garza shares a stereo widening technique he picked up from producer Joe Chiccarelli, built around two Eventide H910 harmonizers. Send a mono signal to both units, pitch one up 1 cent and the other down 1 cent, pan them hard left and right, and add a touch of feedback. The result is an unusually wide, immersive spread that sits well in a mix without feeling artificial. Carlos used this approach throughout Paramore's "After Laughter" on vocals, percussion, and drums - often on the majority of songs. It's a simple setup with a dramatic effect, and the 1-cent pitch offset is small enough to stay transparent while still generating serious width.
Elysia
Explore the "droom" technique to achieve a drum room sound free from the flamming effect of direct drum hits. By using hypercardioid mics, such as the Sennheiser 441, positioned in front of the drum kit and aimed at the opposite corner, you capture the room's ambiance while minimizing the direct drum sound. This clever mic placement ensures that the direct drum sound falls into the mics' dead spots, allowing you to compress and distort the droom track heavily without the harshness of direct hits. The result is a stereo room sound that enhances the perceived size of the space and maintains a tight, cohesive mix.
Soundtoys
Jamie Lidell demonstrates using Varispeed in Avid Pro Tools to creatively manipulate the recording of backing vocals. By slowing down the track, he records vocals at a reduced speed, then returns to the original tempo to achieve unique vocal effects. This technique allows for more flexibility and interesting phrasing, as it provides additional time to experiment with vocal delivery. Jamie uses Soundtoys Little AlterBoy to adjust the formants after the recording, restoring a natural timbre to the vocals. Jamie also explores the opposite approach by speeding up the track, showcasing how different artifacts and effects can be achieved. He emphasizes the creative potential of Varispeed for crafting distinctive backing vocals, with a personal preference for slowing down the track to enhance vocal phrasing.
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.
Manifold Recording
In this segment, Ian Schreier shares his preferred approaches for recording a drum kit with a single microphone, emphasizing the importance of microphone positioning to capture the desired drum tone. The video demonstrates four different microphone position options, each highlighting various aspects of the drum sound. Schreier's insights guide viewers in selecting and tuning the optimal position to achieve the best tonal balance and clarity. The discussion underscores the critical role of microphone placement and tone in achieving a well-rounded drum recording, even with minimal equipment.
Splice
Lyncs enhances her chorus vocals by recording the melody twice and panning each take left and right, creating a wider and more impactful sound. She also uses the Antares Harmony Engine plugin to generate background vocals from the lead vocal. By sidechaining the lead vocal to the plugin, she allows the signal to guide pitch detection. Playing MIDI harmony notes, she quantizes them and uses Logic's MIDI Transform with a fixed-velocity setting to ensure harmonic details are clear and vibrant. Lyncs combines doubling, panning, and MIDI techniques to construct a rich, harmonically complex vocal arrangement.
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.
Waves
Tony Maserati enhances the bass's energy using distortion and transient shaping. The distortion introduces harmonics and character, enriching the bass tone. The transient shaper further augments this by adding punch and dynamism, making the bass more prominent and impactful in the mix.
URM Academy
Will Carson demonstrates his approach to using sidechain compression in the low-end, drawing inspiration from Jason Joshua, to craft a powerful, punchy low-end while maximizing headroom and loudness. By applying the Oeksound Soothe plugin on the bass bus and all low-end elements like 808s, Carson ensures the kick drum cuts through the mix. This technique ducks the bass whenever the kick hits, allowing the sub frequencies of the kick to dominate without overwhelming the mix, thus preventing muddiness. This method is essential for achieving a punchy, clear low-end that feels substantial without actually increasing the low-end content, optimizing headroom and overall loudness in the mix.
Produce Like A Pro
Ash Soan shares a playing technique for adding swing to shakers and tambourines by leveraging the natural physics of the instruments. For shakers, instead of forcing a swing feel, Soan suggests playing straight 16th or 8th notes while adjusting your forearm position to control the swing. When the forearm is up, the shaker moves horizontally, resulting in no swing. By lowering the forearm so the shaker moves more vertically, gravity naturally introduces a swing. Any position in between allows you to find a sweet spot that is neither fully swung nor completely straight. This approach also applies to tambourines, where playing it left to right results in no swing, while moving it up and down allows gravity to create a full swing.
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.
Tape Notes Podcast
Bonobo employs the TB Reelbus plugin to introduce tape modulation and saturation, aiming to create a more organic and less static feel in his mixes. While the plugin adds width and subtle saturation, it is primarily used for its tape wobble effect, which Bonobo uses to infuse life and excitement into synth sounds. This modulation enhances the overall texture, making the music feel more vibrant and engaging.
James Hype
James Hype emphasizes the power of simplicity in production, using his hit record "Ferrari" as an example. By employing basic elements like a 909 drum kit and minimal loops, he ensures that the main focus—the guitar and vocal—remains memorable and impactful. Hype highlights that while the house loop is pleasant, it serves primarily to support the track's core elements without overshadowing them. This approach contrasts with the tendency of some producers to overcomplicate their tracks, which can detract from the main idea. By keeping the supporting elements simple, Hype creates a clear focal point, allowing the primary sounds to shine and making the track more memorable.
Waves
Chris Lord-Alge emphasizes the importance of always referencing the rough mix when working on a project. He advises setting it up so that it is easy to A/B between your mix and the client's rough mix, ensuring the levels are matched for accurate comparison. This practice helps identify key elements in the rough mix that the client is attached to, such as specific instrument levels or effects. By doing so, you can better understand their vision and make informed decisions that respect their preferences while adding your own touch. Lord-Alge also discusses the challenge where clients become attached to their rough mix after listening to it repeatedly. He suggests that while you should bring your expertise to the mix, it's crucial to stay within the boundaries of what the client likes to maintain the essence of the original track.
Produce Like A Pro
As an example of how specific reverbs can enhance the character of a sound, Marc Daniel Nelson uses the UAD Lexicon 224 reverb to imbue synthesizer parts with depth and emotion. This choice is driven by the Lexicon 224's historic synergy with synthesizers, famously used by Vangelis to create iconic sounds. Nelson illustrates how the right reverb choice can instantly convey a specific vibe or era, in this case, evoking a 'Blade Runner'-esque atmosphere.
SonicScoop
Sylvia Massy utilizes the JJP Bass plugin to enhance the bass, focusing on two key features: the 'width' control, which is a harmonizer adding stereo width and bigness to a mono bass signal, and the 'edge' control, which introduces parallel distortion for added character and energy. These techniques collectively expand the bass's presence and texture in the mix, and are especially effective if the mix has enough room in the lower mid and bass region to fill out.
Electrical Audio
In this segment, Steve Albini and cellist Alison Chesley explore techniques for recording acoustic cello at Electrical Audio studio. Albini emphasizes using a high-quality microphone, like the Josephson c617, for a natural sound with wide frequency response, achieving a balance of detail and low tones. Albini discusses the benefits of positioning mics where the instrument naturally projects well, avoiding overly complex setups. A lavalier mic, like the Crown GLM 100, can be attached for close, detailed capture, particularly helpful in noisy environments or ensemble settings. By prioritizing natural sound over extensive EQ, they demonstrate capturing the true essence of Chesley’s cello. This approach ensures clarity and faithful reproduction of the instrument’s unique character, which remains crucial whether recorded acoustically or in amplified settings.
Ableton
Rival Consoles explains his method of stacking multiple instances of Ableton's Autopan in series, each set to different time divisions like sixteenth notes and dotted rhythms, along with a free, unsynced instance. This setup allows him to create polyrhythmic tension by contrasting grid-based rhythms with free ones. He maps the effect amount of each Autopan instance to a Launch Control XL, giving him intuitive, hands-on control to blend and introduce these rhythmic effects seamlessly. This enables dynamic interaction and creativity during live performances, adding unique rhythmic articulation and momentum to a single droned chord. This technique is straightforward to implement, providing a clear approach to crafting engaging rhythmic textures with simple tools.