Audiopunks
Chris Coady demonstrates his drum recording techniques for Rachel Bobbitt's "Sweetest Heart," using a combination of close mics and room mics to capture a balanced sound. He explains his use of vintage Neve BCM10 preamps and Highland Dynamics BG2 compressors to add depth, particularly to the ride cymbal, without relying heavily on compression for level control. Instead, he uses plugins as gain stages to shape the drum track's color, akin to mixing on an analog console. By experimenting with different microphones and placements in his live room, he achieves a cohesive and dynamic drum sound that enhances the track's indie rock vibe.
SonicScoop
In this segment, Joel Hamilton explores creative drum mixing using a unique setup with separate elements rather than a traditional drum set. He emphasizes the use of parallel processing, where EQ and compression are applied to a parallel send. This technique allows him to shape the drum sound without altering the original dry signal, enhancing the snare's mid character and adding some top-end sparkle using the Iron Age EQ. Hamilton's approach showcases his hybrid method, combining analog and digital tools to achieve distinct and dynamic drum textures.
Produce Like A Pro
Moses Schneider demonstrates capturing a full drum sound with a single character mic, focusing on the "V" mic technique. Inspired by old recordings, he positions the mic to capture both the snare and kick, enhancing the kit's character through heavy compression and gating. This approach led to his famous "Wurst" technique (German for "sausage"), named because heavily processed waveforms resemble a sausage. By minimizing the need for multiple mics, this method offers a distinctive and efficient drum recording solution, but also blends nicely into more complex setups.
Ultimate Studios, Inc
Charlie Waymire demonstrates how to use a Cascade Fat Head II ribbon mic positioned 3-4 feet in front of a drum kit to add depth and ambience. The ribbon mic captures a balanced relationship between the kick and snare, smoothing transients for a fuller sound. This setup is ideal for rock recordings, as it enhances low-mid frequencies, making the kick feel fat and punchy while adding body to the snare. Waymire highlights the mic's ability to handle cymbals without harshness, thanks to its natural high-frequency roll-off, allowing the drum kit to sound spacious yet cohesive. This technique effectively creates a natural room sound, adding beefy depth to the mix.
Ultimate Studios, Inc
Charlie Waymire explores how different front-of-kit mics can alter the drum kit's character by adding texture and color. He demonstrates how mics like the Audio-Technica AT4047 and Cascade Fathead II can enhance specific elements like the kick and snare, while others like the Shure S55 brighten the entire kit. Waymire highlights the importance of strategically using these mics, sometimes turning them on or off during a mix, to achieve the desired sound without overwhelming certain frequencies. This approach allows for creative flexibility and can significantly affect the overall texture of a drum mix.
NPR Music
Josh demonstrates a distinctive method for recording a drum kit with just one mic, called the “right knee technique.” Using a Blue Hummingbird small-diaphragm condenser, known for its adjustable capsule, he positions it between the drummer’s right knee and the snare to capture a naturally balanced kit sound. This approach showcases how creative mic placement can deliver a full, cohesive drum mix with minimal gear.
Produce In a Minute
In this tutorial on avoiding phase issues, the focus is on managing the stereo content of bass signals to maintain audio quality. The video demonstrates practical solutions such as reducing reverb on the bass, using mid-side EQ to remove unwanted stereo content in the low-end, and applying Ableton Live's utility plugin to convert bass frequencies to mono. These techniques help ensure the correlation meter stays above zero, indicating a healthy phase relationship. The emphasis is on simple, effective methods to prevent phase problems without resorting to complex solutions.
SonicScoop
Matt Lange demonstrates how he uses Soundtoys' Filter Freak to transform bass sounds in electronic music production. By applying a six-pole low-pass filter at 135 Hz, he achieves a subby bass reminiscent of drum and bass styles, creating depth and warmth with simplicity. Lange adds another layer of complexity by using a custom step-sequence modulation. Syncing to tempo and using a four-pole bandpass filter, he crafts a dynamic bass line that evolves with rhythmic modulation. Pushing the input for extra overdrive and saturation adds warmth and grit, producing a rich, textured sound. Explore these techniques to add creative movement and depth to your bass tracks, making them more engaging and sonically interesting.
URM Academy
Tom Lord-Alge breaks down his method for crafting aggressive vocals on The Adventure by Angels & Airwaves. He talks about sticking to the plugins he knows inside out and not being afraid to process heavily. The goal isn’t to polish but to add attitude. He pushes the mic pre slightly to get a vocal that “spits and barks,” landing somewhere modern but raw enough to feel alive. Instead of comparing to the untouched vocal, he mixes against a real-world reference. The aim is simple: make the vocal sit naturally in the track while keeping that sharp, aggressive edge.
SonicScoop
In this masterclass, ROC.am demonstrates his approach to mixing a jazz fusion/R&B track by Alexis Lombre, focusing on creating a powerful low-end. He starts by experimenting with bass frequencies using plugins like LilLabs VOG to find the sweet spot, emphasizing the importance of feel over technical precision. He uses the Decapitator for drive and tone shaping, and prioritizes making the kick and bass work together. ROC.am highlights the use of sidechain compression and transient design to add punch, while FabFilter Pro-Q is employed for precise EQ adjustments. This session is a deep dive into crafting a mix that balances technical skill with musical intuition, perfect for those looking to enhance their low-end mixing techniques.
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.
Sage Audio
This bit from "Fixing Phase" explains fundamental concepts of phase relationships, using a sine wave to illustrate how phase interference occurs in audio signals. You'll learn about constructive and destructive interference, and how frequency, timing, and amplitude affect these interactions. The demonstration highlights how perfect alignment leads to constructive interference, whereas phase inversion can cause complete cancellation. The video sets the stage for practical techniques to manage phase issues in audio production, making it essential viewing for those looking to deepen their understanding of phase in mixing and recording.
Electrical Audio
Steve Albini delves into the nuances of microphone placement to enhance the sound quality of speaker cabinets. By leveraging the proximity effect, he explains how closer microphone distances can boost low frequencies, particularly useful for thin or weak-sounding amplifiers. Albini highlights that figure-eight and ribbon microphones exhibit stronger proximity effects compared to omnidirectional ones. He notes that large housing microphones, like those in ribbon designs, create a greater acoustic shadow, further exaggerating this effect. For dramatic low-end enhancement, he suggests positioning a ribbon mic with a large magnetic armature close to the speaker. This approach can make an amplifier sound bigger and heavier. Albini's hands-on demonstration offers invaluable insights for achieving optimal amp recordings in the studio.
SonicScoop
Matt Lange creatively uses Soundtoys plugins to transform a simple synthesized drums into a dynamic and engaging element in electronic music production. He starts by applying a short plate reverb to the snare for initial space, but the magic unfolds with the Crystallizer plugin, creating a reverse delay effect on every other hit for a rhythmic effect. He also offsets the delay in the left and right channels, adding width and depth to the return signal. For high-end percussion, Lange uses PhaseMistress to introduce resonant frequencies and movement, crafting a glitchy texture. Finally, Devil-Loc is applied to enhance the percussive elements, boosting the clickiness and phasiness for a complex, rhythmically interesting sound. This approach showcases how effects can breathe life into beats, making them more intriguing and textured.
SonicScoop
Renowned mixer Richard Furch highlights common pitfalls in using reverb, specifically when applying it as an insert with a mix knob. Furch explains that this approach can alter the dry signal's level, causing problems when adjustments are needed, such as providing dry stems or tweaking the reverb mix. He advocates for using sends to maintain consistent dry levels while adjusting reverb, offering more flexibility and control in the mix. This ensures that changes to the reverb effect don’t inadvertently affect the original signal’s volume, making it easier to meet client requests and maintain a balanced mix.
Electrical Audio
Steve Albini explores the art of miking speaker cabinets by emphasizing microphone placement's impact on sound accuracy and quality. He advocates positioning the mic at the speaker's center to capture the most accurate signal and suggests backing it off to around 12-14 inches for a natural cabinet sound. This distance helps blend the eccentricities and reflections into a cohesive tone, similar to what a listener experiences in a live setting. Albini demonstrates practical methods, like using a flashlight to locate the speaker center and employing mic stand adjustments to achieve precise alignment. His insights are valuable for anyone looking to capture the authentic sound quality of a guitar or smaller combo amplifier cabinet.
Audiopunks
Chris Coady explores the use of the Spectronics 610, a vintage compressor known for its unique distortion and harmonic saturation, in producing an indie rock track. While originally intended to mimic the 1176, the 610 excels in adding excitement and presence to recordings, especially when layered across multiple elements like vocals, drums, and guitars. Coady highlights how the plugin version captures the hardware's essence, allowing for creative flexibility without the constraints of physical gear. Through a demonstration, he shows how applying the 610 plugin can revitalize sterile recordings, making them more vibrant and engaging. This tool is particularly effective in enhancing tracks where the performance is passionate but lacks sonic life.
Produce Like A Pro
Marc Daniel Nelson demonstrates a creative delay technique for electric guitar using the iZotope Vinyl plugin followed by H-Delay. By hard-panning the guitar and its delay, Nelson creates a unique stereo effect that provides a lush, ambient texture. He explains how feedback automation is used to add dynamic, organic qualities to the sound. Hard-panning the guitar and its delay to opposite sites allows the guitar to stand out and contribute to the song's atmosphere without cluttering its center. Nelson emphasizes the value of intentionally using noise and distortion artifacts to enhance the guitar's character, turning what might be considered undesirable elements into a distinctive, musical texture. This is especially useful for adding depth and interest to simpler guitar parts.
SonicScoop
Joel Hamilton demonstrates his hybrid mixing approach on Sparklehorse's "Skull of Lucia," focusing on bringing an intimate vocal forward using a combination of analog and digital processing. He uses the Distressor and the obscure Magnetech compressor to add presence and snap, while employing console EQ and Kirchhof EQ for precise tonal shaping and problem frequency control. Hamilton complements the vocal chain with the Fairchild 660 and Neve 1084 plugins, creating a rich, dynamic sound. Additionally, he uses parallel processing with the SansAmp plugin to add urgency, showcasing a creative blend of traditional and modern techniques. This session highlights Hamilton's philosophy of making aesthetic decisions that align with the compositional intention, offering insights into mixing unusual arrangements with limited resources.
SonicScoop
Renowned mixer Richard Furch explores the art of using reverb to add excitement and clarity to vocal tracks. He prefers plate reverbs over halls for their cleaner midrange and brighter high-end, allowing more control over the reverb's tonal qualities. By starting with a brighter reverb tail, Furch demonstrates how to use high-frequency damping to tailor the sound, ensuring the reverb complements rather than competes with the vocal. Furch emphasizes the flexibility of subtractive synthesis principles, adapting reverb settings to fit the mix. This approach enables precise placement of the vocal within the soundscape, ultimately enhancing the listening experience.
Audiopunks
Chris Coady provides an in-depth look at his production techniques on Rachel Bobbitt's "Sweetest Heart," focusing on creating depth and atmosphere with vocals. Using a Heiserman 251 microphone, he filters both highs and lows to narrow the vocal range. For a unique touch, he adds a distorted vocal double, inspired by Rachel's demos, using Avid's Real Tape Saturation plugin compatible with ProTools HDX. Coady also highlights the use of the Audio Punk's Great British Spring reverb, which adds warmth and cohesion to the vocals. In the song's outro, Coady incorporates demo elements and layers recorded from a distance, adding richness and fullness. By capturing live claps and snaps in the room, he maintains an organic feel, blending these elements back through the KN desk for the final mix.
Record Production
Andrew Scheps discusses his practical approach to using samples in drum mixing. He emphasizes that while he rarely fully replaces a kick or snare with samples, he often uses them to enhance the original sound, such as adding brightness or length to a snare. Scheps highlights the importance of the listener's experience, noting that most people aren't concerned with the technical details like sample usage. He prioritizes making the music enjoyable, even if it means using techniques like tuning vocals when necessary. Ultimately, Scheps advocates for letting go of rigid studio ethics in favor of achieving the best possible sound for the listener.
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.
SonicScoop
In this reverb masterclass, Richard Furch discusses four classifications of reverb: vocal, ambient, special effect, and throws. He focuses on using long vocal reverbs and short ambient reverbs to create space and texture in a mix, demonstrating his techniques with a session from R&B artist Leela James. Furch showcases the use of different reverb styles, like plate and spring, to emphasize how each affects the vocal's texture and presence. He uses creative descriptions to convey the subtle differences between various reverb effects, highlighting the importance of choosing the right reverb to enhance a track’s emotional impact. This session offers practical insights into how reverb can be used to shape the space and vibe of a track, making it essential viewing for those looking to refine their skills.
Kohle Audio Kult
Kristian Kohle dives into drum bus compression using an SSL-type compressor, focusing on achieving natural-sounding results. He explains crucial parameters like attack and release times, illustrating how to maintain punch and transients without over-compressing. Kohle highlights the importance of not setting the attack too fast to avoid cutting off transients, particularly for kick and snare. He suggests a 3-millisecond attack as a good compromise. For release time, Kohle advises faster settings for an invisible compression effect and to emphasize the room sound. The auto-release feature is recommended for an organic and dynamic compression approach. By comparing compressed and uncompressed drums, Kohle demonstrates how these techniques create a compact, glued-together sound with more punch, making them ideal for rock and metal productions.
Elysia
Moses Schneider introduces the "SnareO" technique, a unique method for capturing a powerful, 808-style drum sound. By placing two small condenser omni mics beneath the snare, equidistant from the kick beater, this setup avoids cymbal bleed creating a clean stereo image of the whole kit. Schneider emphasizes the importance of phase correction and encourages pushing the low frequencies to their limits for maximum impact. The SnareO technique involves heavy processing, including gating, EQ, and over-compression, to enhance the drum's character and presence. This approach allows for a distinct, punchy drum sound that stands out in the mix, offering a fresh alternative to traditional overhead miking.
Reverb.com
Jessica and Noam explore the iconic drum sound from Amy Winehouse's "Rehab," known for its crunchy, lo-fi vibe with a modern low-end, reminiscent of hip-hop records. They achieve this using a 70s Gretsch drum set and a single Shure SM57 microphone, emphasizing its precise placement to capture the essence of the sound. To shape the sound, they employ Pultec EQs, boosting and cutting frequencies to add low-end and manage high-end clarity. The use of an Otari MTR90 tape machine adds saturation and transient control, creating a vintage yet energetic drum tone.
Universal Audio
Grammy-winning producer Jacquire King demonstrates how to record pop/rock acoustic guitars using modern microphone techniques. He prefers a large diaphragm condenser mic, like the Mojave MA 200, for a broader top-end range, paired with a characterful mic like the 57 for added grit. King swaps guitars and mics to fit dense rock mixes, ensuring the acoustic can hold its place amid powerful drums and other instruments. He emphasizes mono recording for flexibility in mixing, allowing for creative rebalancing. The approach includes using a DI signal, enhanced by the UA 610-B and 1176, to bring presence and stability. King showcases how adding room reverb replicates the feel of a big studio, making the acoustic sound expansive and rich. This method suits a rock context, providing a robust acoustic presence that complements a full band arrangement.
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, Tony Maserati emphasizes the critical role of understanding the mood conveyed by a vocalist when mixing pop music. He highlights that a performer's delivery should naturally communicate the song's essence, even if the lyrics are unclear. Tony shares his approach of relying on the vocalist to steer the direction of a mix, trusting their performance to guide the emotional tone. He humorously notes how, when mixing K-pop, he often doesn't understand the lyrics but can still grasp the song's mood through the vocal delivery. This session is part of a broader discussion led by Maserati, where he shares insights into his mixing philosophy and techniques, including visualizing mixes mentally before making adjustments. This is valuable for anyone looking to enhance their intuition and responsiveness in mixing.