20 videos
@ 0:59
Mix with the Masters
Take away a note to make the chorus pop
Tchad Blake shares a clever trick to make the chorus pop by removing a note from the bassline just before the chorus. This technique creates a moment of emptiness that makes the following section feel more impactful and dynamic. By strategically taking away a note, Blake ensures the chorus stands out, adding excitement and emphasis to the song's structure.
@ 9:41
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.
@ 5:14
Reverb.com
Miking a snare from the side to push the midrange
Noam Wallenberg introduces a unique miking technique to achieve a throatier, more mid-range focused snare sound by placing a Shure SM57 on the side of the snare drum. This method bypasses the usual brittle high frequencies captured by traditional under-snare miking, instead highlighting the "throaty" midrange frequencies between 600-1.5kHz. However, be mindful that this placement also picks up a wider array of sounds, including bleed from the hi-hats and kick drum.
@ 2:57
Reverb.com
More sustain with a kick resonator
Noam Wallenberg demonstrates a creative miking technique to achieve more sustain and a bigger sound from a kick drum using a kick resonator setup. By placing two kick drums in sequence, the first with no front head and the second with both heads closed, Wallenberg captures the attack with an AKG D112 microphone and the body with a Bock iFet microphone. This combination allows for a controlled, punchy attack from the first drum and a resonant, sustained low-end from the second. This approach is particularly effective for sparse arrangements where the kick needs to leave a lasting impact, providing both clarity and depth without sacrificing control.
@ 6:14
Mix with the Masters
Focus on emotion and mood over technical perfection
Nick Launay shares his idea about what's important for a good production and mix: the mood and the feeling of the track and the performance. He will select and use specific mixing processors like reverbs or delays specifically with the intention to augment the emotional idea of the track. He also stresses, that in his opinion, the performance with the best emotion and mood should be preferred over the one that might be more accurate from a technical perspective. Nick Launay's approach to production and mixing is deeply rooted in capturing and enhancing the mood and emotional essence of a song. He particularly emphasizes this for his work with Black Rebel Motorcycle Club, underscoring that mood is often the most vital aspect of record-making. This involves not only understanding the mood intended by the songwriter but also exaggerating it through strategic choices in overdubs, reverbs, and other tonal elements to evoke different feelings. Launay stresses the significance of selecting takes based on the mood and feeling they convey, often favoring those over technically perfect performances. He observes that takes with slight imperfections or tempo variations can sometimes enhance a track's emotional impact. Some of the most impactful recordings that he has made are those with inaccuracies and mistakes, because they add to a record's charm. Launay's advice to record makers, particularly those working with rock bands, is to prioritize capturing the mood, feeling, and character of the musicians and their chemistry. This focus on emotional authenticity over technical perfection is what he believes makes music truly move people.
@ 17:16
Universal Audio
Apply limiting to create a louder pre-master for the client
Thorp discusses his approach to using limiting on the mix bus to achieve a louder pre-master, tailored for client presentations. This step is essential for providing clients with a representation of what the final mastered track could sound like, factoring in the loudness typically achieved in the mastering stage. Thorp emphasizes the importance of using limiting judiciously, aiming for a balance that enhances the track's perceived loudness and impact without sacrificing dynamic range unnecessarily.
@ 1:55
Mix with the Masters
Low-end separation with amp simulation and EQ
Tchad Blake demonstrates how to achieve better low-end separation using amp simulation and EQ on bass and kick tracks. He uses the UAD SVT-VR amp simulation to give the bass a mid-range punch, while employing the Sonnox Oxford EQ to roll off the low end, ensuring the kick drum handles the sub frequencies. Blake explains his preference for having the kick drum dominate the low end, while the bass sits slightly above in the frequency spectrum. This approach can vary by genre, but it often results in a clearer, more defined low-end separation. By treating the bass as if it were coming through a guitar amp, Blake adds character and avoids frequency masking.
@ 4:06
Mix with the Masters
De-ess backing vocals to place them behind the lead vocal
Tony Maserati uses the Waves DeEsser to manage sibilance in backing vocals for better separation and to ensure they sit well behind the lead vocal. By reducing the sibilance in the doubles, Maserati ensures that the lead vocal remains clear and prominent in the center of the mix, even when the backing vocals are panned to the sides. This technique helps maintain a clean and focused lead vocal, preventing it from being overshadowed by the backing vocals, which can otherwise create a cluttered sound. Maserati emphasizes that the ear doesn't need multiple sibilant sounds, and by controlling these, the mix achieves a more polished and defined sound.
@ 6:15
Mix with the Masters
Lift the energy of the lead vocal with a breathy double
Tony Maserati demonstrates how to lift the energy of a lead vocal by adding and bringing out a breathy double using a combination of EQ, compression, and harmonization. He starts by using the Waves Renaissance Equalizer to remove unwanted low-end frequencies, creating a breathy quality in the backing vocal. This helps to add clarity and presence without muddiness. Next, Maserati employs the Avid BF-76 compressor to push the breathy double upfront, ensuring it sits prominently in the mix. This enhances the vocal's energy and makes it more engaging. Finally, he uses the Waves Doubler to widen the vocal, adding a subtle harmonizer effect that enriches the overall sound.
@ 4:32
Mix with the Masters
Manipulate phase to make the bass cut through
Nick Launay illustrates how he enhances the presence of a bass recording through phase alignment. He achieves this by applying varying amounts of sample delay between the direct input (DI) and the microphone signal, specifically in the verse and chorus sections. This approach modifies the phase interactions, which in turn affects the EQ characteristics of the combined bass signal. It allows him to precisely tailor the bass's impact, ensuring it has a consistent presence and cuts through effectively in each part of the mix.
@ 12:48
Universal Audio
Add cohesion with tape saturation
Thorp shares his use of the UAD ATR-102 plugin for adding tape saturation to his mixes, appreciating its ability to subtly enhance the warmth, depth, and cohesiveness of the sound. He contrasts different tape formulas and speeds for their impact on different mixes and genres. For this song he picked the GP9 1/2" tape, which is his all-around go-to, at 30ips speed.
@ 1:08
Mix with the Masters
Beef up kick and snare with parallel distortion and compression
Nick Launay demonstrates his approach to parallel processing on kick and snare drums. For the kick, he uses parallel distortion via a Sansamp PSA-1, adding weight and thickness to the sound. To prevent muddiness, he gates the kick in the parallel chain before applying distortion. Additionally, he fine-tunes this distorted signal with EQ adjustments, such as enhancing the low-end, cutting the high-end, or reducing mid-range muddiness. For the snare, Launay applies a similar concept but with aggressive compression using an analog Distressor instead of distortion. He also gates and EQs the parallel snare signal, ensuring it enhances the drum's weight and sustain without introducing unwanted artifacts, like excessive hi-hat or cymbal bleed.
@ 5:53
Universal Audio
Use gentle compression to add cohesion
Thorp explains his approach to two-bus compression, emphasizing gentle, minimal compression to lightly squeeze the mix. He uses a medium fast attack and release, aiming for barely a dB of compression, to retain dynamics while achieving a cohesive sound. His preference for UAD plugins like Shadow Hills and API 2500 for mixbus compression is noted for their effectiveness in different scenarios.
@ 19:58
Universal Audio
Create an interesting, dynamic ambience with a gated room
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.
@ 8:59
Universal Audio
Add clarity with EQ
To enhance the clarity and excitement of the mix, Thorp adds a subtle EQ boost at 21kHz using the UAD Millennia NSEQ-2. This high-frequency shelf adds air and brightness, making instruments more detailed and lively without introducing harshness. Thorp credits this technique to a mastering engineer's advice, highlighting its effectiveness in finalizing the tonal balance.
@ 7:25
Universal Audio
Use dual mono compression for a wider stereo image
Thorp discusses the benefit of running his mix bus compressor in dual mono mode instead of stereo link mode. This technique allows independent compression of the left and right channels, enhancing stereo imaging by preventing one side's dynamics from affecting the other. However, he cautions about the need for precise setting matching to avoid imbalances.
@ 4:16
Universal Audio
Pick ITB over OTB for practicality and consistency
Darrell Thorp discusses his decision to mix entirely "in the box" rather than using a traditional console, influenced by the band's satisfaction with his rough mixes. Despite initially attempting to mix on a console, Thorp found that mixing digitally aligned better with the desired sound and practicality, highlighting the acceptance of digital mixing environments in professional music production.
@ 10:32
Universal Audio
Get a tighter, bigger low-end with EQ post-compression
Thorp discusses his approach to refining the mix bus's EQ by adding a bit of low-end around 100 Hz for warmth and size, particularly enhancing the kick and the bass. He also likes to cut a small amount of 250 Hz to clean up low-mid mud. He points out the importance of applying the low-end boost after the compression stage, which in his experience results in a tighter, more controlled bottom end.
@ 10:01
Sound On Sound
Spice up drums recordings with parallel processing
Vance Powell demonstrates how to enhance drum recordings using parallel tracks with analog effects, creating a deeper and more characterful sound. He employs an old Ampex mic under the snare, routed through effects pedals for distortion and analog delay, achieving a triplet echo reminiscent of "When the Levee Breaks." This track, dubbed "Sprinkle to Taste," adds a unique texture to the drum mix. Additionally, Powell uses a "distorted kit" track, blending the entire drum kit through a distortion box, and a "mono kit" track, which compresses the kick, snare, and toms via an 1176 compressor, excluding cymbals. These elements are recorded directly into Pro Tools, avoiding excessive plugin use, and are layered with the original drum tracks to create a rich, dynamic sound.
@ 32:16
Sound On Sound
Quick mix cohesion: Parallel compression on busses
Vance Powell shares his approach to parallel compression, a crucial element in his mixing workflow. He highlights the importance of setting up a gain structure that allows for efficient integration of parallel compression while maintaining the overall gain staging of the mix. Powell uses various busses to apply parallel compression to specific instruments, such as drums, vocals, and electric guitars. For drums, he employs a combination of the Neve 33609 and Empirical Labs Fatso, achieving a dynamic and tonally rich sound by blending compressed signals back into the mix. He also applies parallel compression to guitars and keyboards using a second Neve 33609 compressor, and to vocals with a GML 8900 compressor, ensuring each element benefits from tailored compression settings. Powell emphasizes the flexibility of his setup, allowing him to adjust or bypass compression based on the source material's needs.