Tape Notes Podcast
Small variations, big impact: Four Tet's drum sequencing
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.
Tape Notes Podcast
Humanize MIDI patterns with random velocity and octave jumps
Four Tet shares his technique for humanizing MIDI patterns by introducing randomization in velocity and pitch. By varying the velocity of MIDI notes by 15%, he creates a more dynamic and less static synth sound, making each note feel more human and expressive. Additionally, he adds a 15% chance for notes to jump an octave up or down, introducing unexpected "sparkles and twinkles" that keep the pattern fresh and engaging. This approach causes every playback of the track to be unique, offering subtle variations that make live performances and recordings distinct each time.
Tape Notes Podcast
Automating formant shifts for emotional vocal movement
Guy Lawrence of Disclosure uses Soundtoys Little AlterBoy to automate vocal formant shifting, adding emotional depth and movement to the track. By adjusting the formants, he aligns the vocal tone with the song's lyrical content, raising the pitch during hopeful moments and lowering it during more somber sections. This technique enhances the emotional storytelling of the song in a unique, creative way.
Mix with the Masters
Building tension with subtle tempo automation
Daniel Nigro, working with Olivia Rodrigo, uses tempo automation in Pro Tools to enhance the drama and groove of a piano-driven track. The song starts at 135 BPM, drops 1 BPM for the chorus to deepen the groove, and ends at 136 BPM to create a smooth transition. The recording process involved experimenting with different pianos, ultimately settling on a Steinway at Sunset Sound Studios. Post-recording, Olivia wanted the piano slowed further, requiring Nigro to manually edit transients and extending the notes to maintain a natural sound without artifacts. The piano was captured using C12A microphones for the main sound and an M49 for the low end. Nigro chose to avoid compression, allowing the piano's dynamics to naturally build tension and drama throughout the track.
Mix with the Masters
Automating EQ for better separation between lead and backing vocals
Joe LaPorta shares a technique for achieving more clarity and better separation between lead and backing vocals using EQ automation. The song begins with a vocal loop that sets the foundation, and as the main verses start, he suggests subtly reducing the high mids and highs of the loop. This allows the lead rap vocal to shine through without the loop competing for attention, maintaining the track's rhythmic momentum. The automation ensures the vocal loop remains important and memorable, contributing to the song's overall feel while stepping back to give the lead vocals the spotlight. This approach highlights the importance of frequency management and dynamic balance in creating a polished mix.
Mix with the Masters
Building intensity: From dry to slap delay vocals
Ben Baptie uses effects automation to build intensity in a vocal track by transitioning from a completely dry sound to incorporating a slap delay. Starting with no reverb or effects, the dry vocal allows the song to begin with a raw, intimate feel. As the song progresses, Baptie introduces slap delay to create a secondary rhythm, enhancing the vocal's interaction with tightly picked guitar parts. This technique not only adds depth but also creates syncopation between the vocals and instruments, enhancing the song's rhythmic cohesion and dynamic feel. By carefully timing the introduction of effects, Baptie ensures that each verse feels more intense and engaging, even if the musical elements remain similar.
James Hype
Building tension with effects automation
James Hype demonstrates how to build intensity in a track using the "Festival Gap Technique," which involves subtle structural changes and effects automation. By introducing a gap before the second drop, he creates anticipation and excitement, making the audience expect the drop, only to delay it momentarily. This technique heightens the impact when the drop finally hits, enhancing the overall energy of the track. Additionally, Hype incorporates more effects, such as white noise, in the second drop to make it feel like an improved version of the first, maintaining familiarity while increasing excitement. This approach keeps the track engaging and dynamic, perfect for festival and club settings.
Tape Notes Podcast
Building tension with effects automation on the mix bus
Jack Antonoff demonstrates how to create excitement and build tension using delay and modulation effects automation directly on the mix bus. He employs Soundtoys EchoBoy for delay and Soundtoys Tremolator for tremolo, showcasing how these effects can transform a section to feel entirely different. By applying these effects to the master, Antonoff can quickly shift the sonic landscape without getting into the minutiae of individual tracks. This approach allows for dramatic changes, such as making a bridge feel distinct or adding a pulsing movement to a section, enhancing the overall dynamics and interest of the track.
Produce Like A Pro
Enhance character with reverb
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.
Puremix
Feed delay into reverb to create a spacious, ethereal vocal effect
To create a spacious, long, ethereal vocal effect, Darrell Thorp employs a technique he calls the "Delay Verb". It involves using a stereo aux return with both a delay and a reverb, fed by a single send. He favors the Massey TD5 delay for its authentic tape-like quality and the Avid D-Verb for its lo-fi character and spacious sound. The TD5 delay is set to about 40% wet, so it sends both the dry signal and the delayed signal into the D-Verb. The reverb is set to 100% wet. The delay's mix and feedback controls can be used to effectively adjust the length of the tail. Thorp points out that the effect, despite its length, does not take up too much space in the mix, so it doesn't necessarily require additional filtering or EQ. He also automates the send, so it only activates during specific song sections. This enhances the song's dynamics and interest. The same vocal effect technique was applied on Beck's "Morning Phase" Album.
Mix with the Masters
Different ways to create impact with the chorus
Michael Brauer shares various techniques to enhance the impact of a chorus using panning, volume automation, effects automation, and EQ. He discusses the importance of creating width by making the chorus wider and the verse tighter. Adding low and high frequencies can extend the chorus' frequency response, making it sound bigger. Adding reverb and other effects can provide additional depth. Brauer emphasizes that while the arrangement should ideally create impact on its own, these mixing techniques can significantly enhance transitions and the mix's dramaturgy. Additionally, he explains how volume automation, such as lowering the master fader during verses and raising it during choruses or bridges, can have a dramatic impact. This approach can be particularly useful when the arrangement lacks certain elements to naturally build intensity. Brauer highlights the mixer’s role in using creative processing to elevate a track, ensuring that each section of the song delivers the desired emotional and sonic impact.
Mix with the Masters
Add depth and lift the chorus with ping pong delay
Scheps employs a ping-pong delay technique to impart depth and size, which helps elevate the chorus above the verse.
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.
Mix with the Masters
Automate level and low-end to lift the chorus
Michael Brauer demonstrates a technique for amplifying the impact of a chorus. He does this by making the preceding section 'smaller' - reducing the drum levels and cutting low-end frequencies. This creates a contrast so that when the chorus arrives, its increased level and added low-end frequencies make it sound significantly larger and more impactful. This approach effectively heightens the song's dynamics, making the chorus stand out.
SonicScoop
Lift the chorus with volume automation
Mick Guzauski demonstrates how to lift the chorus in a mix using volume automation on the mix bus. By slightly increasing the volume—about 1 to 1.5 dB—just before and during the chorus, he creates a subtle yet effective dynamic lift that enhances the impact of the section. This approach is a simple yet powerful way to add excitement and emphasis to key moments in a song, ensuring the chorus captures the listener's attention.
Tape Notes Podcast
Creating more interesting drum sounds with automation
FKJ employs a modular synth setup to craft dynamic and evolving drum sounds through real-time automation. By continuously adjusting the settings of the percussion module, he introduces variation and intensity to the rhythm, making the drum sequences more interesting and less static. The modular system enables FKJ to alter elements like snare decay in real-time, adding a lively and creative dimension to the electronic drum sounds. This hands-on approach not only enhances the track's dynamics but also makes the process more enjoyable and engaging for the artist. These real-time manipulations are recorded as audio tracks in the DAW, allowing for further editing and comping, similar to traditional instrument takes. This method provides flexibility and creative control, resulting in a more vibrant and expressive drum sound.
Tape Notes Podcast
Creating space with creative volume automation
Jack Antonoff, known for his work with Bleachers, demonstrates creative volume automation on instrument busses. By treating automation like an instrument, he adds excitement and interest to the mix. Antonoff emphasizes the importance of spending time on detailed automation, particularly with processed tracks or groups of tracks. By creatively automating levels and panning, he thins out the space an element occupies, giving it a unique supportive role in the arrangement. This technique not only enhances individual elements but also creates space in the overall production, allowing each component to shine without overcrowding the mix.
Mix with the Masters
Automate the vocal level before hitting compression
Chris Lord-Alge emphasizes the importance of automating vocal levels before applying compression to achieve a more consistent and polished sound. He prefers to manually even out the peaks and valleys in the vocal track, making it easier for the compressor to work effectively without distorting the sound. This preparation allows him to use his preferred Urei 1176 Bluestripe compressor, either as hardware or a plug-in, in a way that is less concerned with leveling the dynamics and more centered on enhancing the vocal tone. Additionally, Lord-Alge highlights the need to pre-EQ the vocal, rolling off some bottom end and adding top end before compression. He also addresses the issue of loud breaths by manually reducing their volume to prevent them from being overly amplified by the compressor. This meticulous preparation ensures a smoother vocal performance running into the compression, giving more creative freedom in how the compression is used.
SonicScoop
Using groups and VCAs for efficient automation
Mick Guzauski demonstrates the use of VCA groups and subgroups for efficient automation in large mixing sessions. By organizing instruments into logical VCA groups, such as bass and drums, Guzauski can manage over a hundred tracks on a 32-fader surface, ensuring everything is accessible and streamlined. He further refines this workflow by sending these groups to individual stereo aux subgroups, enabling bus processing with efficient level rides and dynamic moves before hitting the final bus processing. Guzauski's approach to automation and session organization is a simple and efficient way to manage complex mixes, making it easier to maintain control and mix intuitively.