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43s

Mix with the Masters

Get more detail with upward compression

Justice discuss their use of upward compression to enhance the detail and depth of a drum track. Unlike traditional downward compression, this technique works from the bottom up, raising subtle elements in the mix. The result is added movement and texture, as low-level details such as room sustain or reverb tails are brought forward without compromising the transient punch. While demonstrated here on drums, upward compression can be equally effective on other dynamic material such as percussion, vocals, or instruments with wide dynamic range, making them feel more alive and expressive.

1m 28s

Mix with the Masters

Mid-focused monitoring for precise mix balance

Xavier de Rosnay from Justice shares insights on using mid-focused monitoring to enhance mix balance. By simulating a radio setup, this technique isolates the midrange, allowing for precise balancing between elements without the distractions of low and high frequencies. The filtering is achieved with a steep low cut at 150 Hz and a steep high cut around 1.5 kHz. This approach helps avoid the misleading fullness that abundant low-end can create, ensuring a clear understanding of the musical content. The producer highlights this method as an effective, old trick for achieving faithful and consistent mixes.

13m 17s

Record Production

Phase-aligning three mics for big guitar tones

Dan Austin demonstrates a technique for recording guitars using three different microphones on a guitar cabinet to achieve a rich, full sound. He emphasizes the importance of phase aligning the microphones to avoid phase issues, which can occur when using multiple mics. Austin uses a pink noise technique to phase align the mics, starting with a Shure SM57 to find the sweet spot on the speaker cone, followed by an 87 condenser and a ribbon mic. By listening for phase cancellation, he ensures the mics are aligned, allowing for tonal blending without phase interference. Once aligned, Austin blends the mic signals to achieve the desired guitar tone, using EQ and compression to enhance the sound. He then sums the three mic signals into one track in Pro Tools, applying additional processing with a valve EQ and compressor for added character. This method provides flexibility in shaping the guitar sound while maintaining clarity and depth.

2m 38s

Record Production

Distorting room mics for explosive guitars

Dan Austin demonstrates a creative technique for recording guitars by heavily distorting a room microphone to add energy beneath the main guitar sound. He uses a bright condenser mic, like the AKG 414, placed about 12 feet from the guitar cabinet. By cranking up the mic preamps, he achieves a unique distortion, adding a lively character to the mix. Austin emphasizes the importance of recording this distorted room mic on a separate track, allowing it to be blended subtly under the close mics for a fuller, more exciting guitar sound.

7m 15s

URM Academy

Making kicks punchy with sidechain compression

Dan Braunstein demonstrates how to achieve a punchy kick and better separation in a mix using sidechain compression with the FabFilter Pro-C 2 on bass. By sending the kick signal to the compressor's sidechain input, Braunstein ensures that the bass ducks out of the way, allowing the kick to cut through the mix with clarity and impact. He starts with extreme settings and dials them back to achieve 3-6 dB of gain reduction. This technique enhances the mix's overall movement and clarity, making the kick more prominent without overwhelming other elements. Braunstein also uses the FabFilter Pro-Q 3 to EQ the kick and bass, deciding whether the bass should occupy the sub frequencies and the kick the low mids, or vice versa. He ultimately prefers the kick to dominate the low end, giving the bass more harmonic presence. This strategic frequency separation reduces muddiness and enhances the mix's overall balance.

2m 59s

URM Academy

Sidechaining for a bigger snare room

In this session, Dan Braunstein focuses on using sidechain compression to enhance the snare room sound in a mix. He demonstrates how adjusting the attack and release settings on the sidechained compressor allows the snare's decay to shine through. The key is going for a longer attack time, so that the ducking makes room for the snare's decay rather than the initial snap. Dan sets up the sidechain to duck bass and guitars when the snare hits, allowing the room sound to pop through. Dan suggests sourcing the sidechain signal from the most direct snare track rather than the entire snare group, ensuring that the room's ambiance is effectively highlighted without overwhelming the mix. This approach is part of his broader strategy to make drums punch through the mix with clarity and presence.

9m 18s

Produce Like A Pro

Adding character with mono overhead and poke mic

Darrell Thorp demonstrates how to add character and depth to drum recordings using a mono overhead and a "poke" mic. By employing the Coles 4038 as a mono overhead, he captures a fuller drum sound, enhancing the snare's presence and overall kit depth. Thorp uses the UREI 1176LN for compression and the Pultec EQP-1A for EQ, boosting at 10kHz and 100Hz to add thickness and brightness. For added character, Thorp introduces distortion to the mono overhead using the Overstayer Saturator NT-02A, creating a trashy yet controlled sound. He also utilizes a Sennheiser MD 441-U as a "poke" mic, positioned to capture the kick and snare, and processes it with a DBX 160VU for punchiness. Aggressive EQ boosts at 7kHz and 50Hz further enhance the mic's impact, providing an aggressive knock that cuts through the mix. Thorp emphasizes the importance of phase coherence, ensuring it is as good as possible during recording. He suggests using Auto Align by Sound Radix during mixing to align these special mics with the rest of the kit. He encourages engineers to embrace aggressive EQ during recording, as it can significantly enhance the character and depth of the drum sound.

1m 32s

Produce Like A Pro

Finding bass definition in the 800Hz sweet spot

Marc Daniel Nelson highlights the importance of the 800Hz frequency range for achieving bass definition. This area is crucial for capturing finger noise, which adds character and clarity to the bass without sacrificing its low-end power. Nelson shares that he learned this technique from Bruce Swedien, emphasizing that the 800Hz to 1kHz range is a sweet spot for most bass tracks. By focusing on this frequency range, you can maintain the thunderous low end while enhancing the bass's presence and detail. After establishing definition, Nelson suggests adding vibe and grit through distortion, further enriching the bass sound.

1m 23s

Mix with the Masters

Add character and depth with tape delay

Russell Elevado shows how tape delay can be used to add character and depth to drum tracks. By applying a subtle quarter note delay, the drums gain a dirty quality and an airy presence, making the delay feel like an integral part of the drum sound rather than an obvious effect. The technique involves dialing in the tape echo to a desired setting and then printing it, which means recording the effect to a track. This approach not only preserves the tape but also ensures consistency throughout the song without continuously running the tape echo. Using tape delays on drums is a great way to enhance the rhythmic texture and atmosphere of a mix.

2m 7s

Mix with the Masters

Shaping kicks with parallel distortion

Tchad Blake demonstrates how to shape kick drums using the Avid SansAmp PSA-1 plugin for parallel distortion. By experimenting with the SansAmp, he adds grit and a throatier quality to the kick, enhancing its presence in the mix. He emphasizes the importance of playing with the plugin's settings, flipping phase, and low-pass filtering, to achieve the desired effect without losing the kick's essential character. Blake prefers a kick sound with more mid-range growl rather than a high-end "ticky" sound, showcasing his approach to creating a unique and powerful drum tone.

2m 54s

Elysia

Adding grit to drums with the "Wurst" mic

Moses Schneider demonstrates how to add character and texture to drum recordings using a unique approach with the "Wurst" technique. He employs saturation through distortion pedals and strategically places microphones, such as the SM57 and a custom-built Periscope mic with an inbuilt limiter, to capture a larger-than-life drum sound. The key is positioning the mic equidistant from the snare and kick beater for optimal tone. Schneider further enhances the drum sound by gating and over-compressing with an 1176 compressor, creating a dynamic and textured drum mix. The Periscope mic's inherent distortion and side-chained gating to the snare add a distinct character, making the drums stand out in the mix.

2m 40s

Splice

Glueing hi-hats to the beat with sidechain distortion

Vaughn Oliver explores the use of the Zef Parisoto FLVTTER plugin to apply sidechain distortion to hi-hats, creating a more coherent and glued-together sound. By setting the sidechain input to a low-end signal like a kick or 808, the plugin distorts the high-end elements, such as hi-hats, based on the low-end input. This technique not only adds a unique character but also subtly dips the volume, enhancing the cohesion between the elements. Oliver highlights the versatility of the FLVTTER plugin, noting its ability to emulate the sound of slamming elements into a master clipper, akin to techniques used in FL.

4m 1s

Universal Audio

Depth and dynamics with gated room mics

Inspired by David Bowie's "Heroes," Thorp and Dave Grohl implemented a dynamic room mic effect for the vocals using gates, allowing for an intimate sound during quieter verses and a more expansive, reverberant sound during louder choruses. Thorp's technical execution involved an LCR track configuration that holds the dry vocal along with two mono room mics. The gate on this track has its settings unlinked, permitting individual adjustment for each channel to dynamically alter the room sound based on the vocal performance intensity. After the gating process, Thorp applied compression to further shape and control the dynamics of the vocal, ensuring both the intimate and expansive moments translated effectively in the mix.

1m 4s

Produce Like A Pro

Playing shakers and tambourines with swing

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.

6m 10s

SonicScoop

Crafting psychedelic vocals with layered effects

Stuart White delves into crafting psychedelic vocals by layering and interweaving multiple effects. He combines a short delay for texture, a stereo flanger for width, and a long, psychedelic delay to create a rich, ethereal sound. By routing the long delay into a spring reverb and the widener, Stuart enhances the psychedelic atmosphere and expands the soundstage. To maintain clarity and prevent the effects from overwhelming the dry vocal, Stuart heavily compresses the effects returns, ensuring they remain controlled within the mix. This approach allows the effects to be prominent without overshadowing the vocal's presence. Additionally, he employs sidechain compression on the long delay, ducking it with the dry vocal to preserve intelligibility and keep the vocal at the forefront.

1m 46s

JHS Pedals

How op-amp distortion pedals work

Operational amplifiers allowed for the creation of distortion pedals in the early 70s by starting with a clean boost circuit. Unlike the fuzz pedals of the 60s that overloaded transistors, these distortion pedals used op-amps to amplify the guitar signal cleanly before passing it through diodes. These diodes then clip the loud, clean signal, allowing for unique sound customization and creating the distinct distortion that became a staple in music. This approach offers more control and versatility in shaping the distortion compared to the earlier fuzz pedals.

2m 52s

Science Of Loud

How diode clipping shapes op-amp distortion tone

The MXR Distortion Plus utilizes a 741 op-amp to achieve its signature distortion sound, with the guitar signal entering through the non-inverting input. The op-amp's differential amplifier compares the two inputs and amplifies the difference, with gain controlled by resistor values in a feedback network. This setup allows for a gain range from a subtle 6 dB boost to a massive 46 dB increase, depending on the resistance. However, the true magic of distortion comes from the germanium diodes, which clip the signal by only allowing voltages above 0.3 volts to pass, creating a distorted output. This combination of op-amp gain staging and diode clipping offers a more refined and controllable distortion compared to the raw fuzz pedals of the 1960s, allowing for a range of tones from a gentle sparkle to a full-on fuzz. The MXR Distortion Plus exemplifies this elegant approach to achieving amplifier-like distortion.

14m 15s

JHS Pedals

The 5 essential styles of overdrive pedals

Explore the diverse world of overdrive pedals with a deep dive into five essential styles, each offering unique tonal characteristics. The journey begins with soft clipping overdrives, featuring the iconic Tube Screamer known for its mid-frequency boost, and the Blues Breaker style, celebrated for its transparency and natural sound. Next, delve into hard clipping overdrives, where the DOD Preamp 250 and MXR Distortion Plus set the stage for a more aggressive, clipped sound. The Klon Centaur, a modern favorite, stands out with its unique gain structure and clean signal blend, offering a distinct EQ profile. Finally, discover transistor-based pedals like the Blues Driver, which mimic the cascading saturation of tube amps. These pedals provide a natural, touch-responsive overdrive, perfect for players seeking dynamic control.

2m 40s

Audiopunks

Using character mics while tracking to inspire drummers

Tchad Blake shares insights into using effects like distortion and compression while tracking drums to inspire drummers and enhance their performance. By sending processed sounds back to the musicians, such as a Spectrasonics 610 compressor or delay on the snare, drummers can react to the altered textures and rhythms, leading to more dynamic and expressive playing. Blake emphasizes the importance of creating characterful sounds and textures, which can transform the way musicians interact with their instruments. This approach encourages drummers to play differently, adding a unique groove and feel to the music. The use of contrasting hi-fi and lo-fi elements can infuse a track with depth and character, reducing the need for excessive overdubs. Incorporating these techniques into the recording process not only enhances the creative atmosphere in the studio but also results in more authentic and engaging music. By creatively placing mics and using effects, engineers can create a rich sonic landscape that inspires musicians to explore new musical expressions.

1m 54s

Tyler Gilmore

Comparing the sound of 7 tape loop machines, back to back

BlankFor_ms demonstrates the sound of different tape machines from his collection using two different tape loops: a synth pad and a beat. This showcases the character of each machine This explores the creative potential of tape looping to add depth and movement to music.

4m 24s

Hainbach

Tape loop tricks: Bypassing the erase head for layering

Hainbach demonstrates the technique of sound on sound using a Nagra tape recorder, focusing on the roles of the erase, write, and read heads. By bypassing the erase head, he creates multiple overlapping signals, adding depth and movement to the sound. He explains how to cut and splice a tape loop using quarter-inch tape, emphasizing the importance of a smooth splice to minimize noise. This setup allows for the creation of a continuous loop that can be layered with new sounds. Hainbach sets up the tape loop in a standard configuration and shows how bypassing the erase head results in a repeated sound, forming a rich, layered soundscape. This technique is ideal for creating more interesting and dynamic synth textures.

4m 55s

Reverb.com

4-track cassette mixing: Creating a track with tape loops

Alessandro demonstrates how he transforms Logic sessions into four-track cassette recordings, utilizing EQ and effects like reverb and shimmer for a lo-fi warmth. He emphasizes the flexibility of using a pitch wheel for live performance, allowing for dynamic pitch control and creative experimentation. The arrangement is divided into four distinct tracks: main sequence, melody, bass, and stereo effects. This setup provides Alessandro with the ability to creatively manipulate pitch bends and audio placement, enhancing the overall movement and interest of the sound. He also shares his transition from the Opie one to the OPC, praising their sampling capabilities and integration into his workflow. The use of a UA Ibanez® TS808 Tube Screamer plugin adds drive and character, further enriching the sonic texture.

3m 43s

HAND

Tempo manipulation basics - DIY tape delay

HAND delves into the basics of tempo manipulation using tape loops, focusing on adding character and movement to electronic drum rhythms. Utilizing the Uher Report 4000, HAND demonstrates how tape looping and delay can create more interesting and dynamic soundscapes. The segment includes an analysis of signal records and monitor output, particularly examining speed stacks and delays. The discussion highlights the practical aspects of delayed releases and tempo adjustments in music production, emphasizing the intersection of music quality and physics. For a deeper understanding, viewers are encouraged to watch the video for further insights.

3m 41s

Randall Taylor

Creating analog tape loops with cassettes

Learn how to create analog tape loops using cassette tapes with this hands-on guide. The process involves recording your desired material onto a cassette, disassembling it, cutting the tape, and reassembling it to play as a continuous loop. You'll need basic tools like scissors, a Phillips head screwdriver, and clear tape. Cut the tape to your desired loop length—here 8 5/8 inches (21.9 cm) create a 5-second loop. Ensure you cut at a 90-degree angle to create a seamless crossfade between the start and end of the loop, and maintain the right tension for smooth playback. This technique allows you to explore the unique sound characteristics of tape looping, offering an easy and affordable way to experiment with analog recording techniques. Dive into the world of analog sound and discover new textures for your music without breaking the bank.

2m 3s

Mix with the Masters

Using two compressors in series on the vocal

Tom Elmhirst demonstrates using two compressors in series on rock vocals, employing a UREI 1176LN for fast, aggressive compression and a Tube-Tech CL 1B for slower, more controlled dynamics. This combination allows for maximum flexibility and control over the vocal's presence in the mix. The signal path includes a Neve 1081, which provides subtractive EQ and occasional high-end boosts, with low-end filtering at 47 Hz. The UREI 1176LN compresses quickly, achieving about 3 dB of gain reduction, while the Tube-Tech CL 1B offers a slower release, akin to a Fairchild 670 on a slower 3 release setting.

2m 40s

Mix with the Masters

Parallel distortion: Making vocals cut like The Strokes

Ben Baptie employs parallel processing to give The Strokes' vocals more character and aggression, making them cut through the mix. He duplicates Julian's clean vocal track in Pro Tools, applying Isotope Trash for distortion and thinning out the sound to emphasize the mid-range. Baptie uses a Waves C6 and a FabFilter Pro-Q to control the low end, followed by an 1176 compressor to manage dynamics. This processing occurs in the box, before the hardware main vocal chain, ensuring the vocal retains its dynamic quality while adding a distinct edge. Baptie creates a parallel 'mult' with plugins like the SansAmp and L1 limiter to further drive and limit the vocal. This approach crafts a middle ground that enhances the vocal's presence and clarity, resulting in a signature sound that is both aggressive and clear. To ensure accurate phase alignment, Baptie instantiates the same plugins on the original track but bypasses them. This serves as a safety measure against possible inaccuracies in the DAW's automatic delay compensation, maintaining the integrity of the combined vocal sound.

2m 23s

Reverb.com

Tight, punchy low-end with multi-band expansion

Noam Wallenberg demonstrates how to achieve a tight and punchy low-end using the Waves C6 plugin as a multi-band expander on the drum bus. By focusing on two frequency bands—below 100 Hz and between 100 to 300 Hz—he effectively controls the low-end dynamics of the drums. Initially, he is reducing the gain on these low-end frequencies with the bands make-up gain. This sets the stage for controlled expansion, allowing the kick drum to dynamically enhance the low-end only when it hits. This technique provides precise control over the low-end, enabling the engineer to adjust attack and release times for each frequency band. This ensures that the low-end is impactful yet controlled, preventing it from overwhelming the mix while adding a punchy presence to the kick drum.

46s

Mix with the Masters

Using master volume automation to enhance song dynamics

Reuben Cohen emphasizes the importance of volume automation during mastering to enhance a song's dynamics and musicality. By manually adjusting bus levels, particularly from verse or bridge to chorus, Cohen builds tension and lifts the chorus, creating a more engaging listening experience. These subtle volume rides are designed to be imperceptible to the listener, yet they significantly contribute to the song's emotional impact. Cohen also integrates EQ adjustments into the process, ensuring that all elements work cohesively to maintain the song's dynamic flow and overall impact.

4m 30s

Mix with the Masters

Gain automation for consistency and loudness

Randy Merrill demonstrates the use of gain automation on the master track to achieve a more consistent vocal presence and overall loudness throughout a song. By carefully adjusting the gain, he ensures that quieter sections are brought up without losing the natural dynamics and nuances of the performance. This technique reduces the dynamic range, allowing for a more controlled and natural increase in loudness, which in turn places less strain on the final limiter. It's important to not overdo this process to retain the song's dynamic arc and emotional impact. Additionally, Merrill highlights the use of different EQ and limiting plugins for various sections of the song, adapting the processing chain to suit the evolving dynamics and tonal balance. This approach helps achieve a polished and cohesive final mix.

3m 21s

Mix with the Masters

Choosing and automating the limiter

Chris Gehringer demonstrates the use of Izotope Ozone 11's dynamic limiter to achieve a cleaner and more balanced master for Dua Lipa's track. He emphasizes the importance of selecting the right limiter settings to enhance the song's character and movement. Gehringer uses EQ to subtly boost the bass, complementing the limiter's inherent color and character. He explains that limiters can alter the frequency balance, so EQ adjustments need to reflect the limiter choice, and vice versa. To address specific sections where distortion or artifacts occur, Gehringer advocates for automating limiter settings. By adjusting Ozone's parameters like the transient setting and character speed, he ensures the song maintains its integrity and vibrancy throughout, highlighting the significance of tailoring limiter settings to different parts of the track for optimal results.