125 videos
@ 0:02
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.
@ 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.
@ 2:09
Mix with the Masters
Reduce noise on the drum bus
Jaycen Joshua employs the Avid Dynamics III gate to manage noise on the drum bus. He sets the gate with a very low threshold, ensuring it remains inactive while the drums are playing, thus preserving the natural sound and dynamics. However, once the drums stop, the gate gradually closes with a one-second release, effectively reducing any noise floor caused by extensive compression and plugins. This technique is an easy way to maintain a clean mix, and can be applied to other instruments or effects returns to prevent unwanted noise from creeping into the mix during silent passages.
@ 6:44
Mix with the Masters
Remove harshness with Notch EQ
Leslie Brathwaite demonstrates how to remove harshness from vocals using the Avid EQ III. He starts by boosting the frequency and narrowing the bell curve to its tightest point, then sweeps across the frequencies to identify the most annoying, harsh sound. Once found, he dips the frequency all the way down to hear what it sounds like without it. From there, he brings the band's gain back up to the point where it reduces the harshness without making the vocals sound hollow, ensuring a balanced and pleasant vocal tone.
@ 9:40
SonicScoop
Add presence with parallel EQ
Instead of a simpler EQ approach, where one would attempt to make a signal more present by either adding high frequencies or cutting low frequencies, Catherine Marks adopts a different method using parallel EQ. She duplicates the dull-sounding drum loop onto a new track, applies EQ there (primarily high-pass filtering), and then blends this modified signal back with the original sound. This technique allows her to brighten the loop, enhance its character and crunchiness, and create space for the body of the live drums, all while preserving some of the warmth from the original loop sound.
@ 5:21
Reverb.com
Add character with aggressive overhead processing
Noam Wallenberg demonstrates the Glyn Johns technique combined with aggressive processing to craft characterful drum overheads. He uses the Schoeps V4 U over the kit and the Shure SM57 from the side of the drums. Both microphones are sculpted with EQ to add body and remove sub frequencies, creating space for the kick drum. Distortion is applied using a Decapitator from Soundtoys and Satin from u-he, adding crunch and smoothing transients, while parallel compression with the Soundtoys Devil-Loc Deluxe enhances weight and sustain. The use of mismatched microphones and varied processing on each side creates a distinctive stereo image, with intentional differences in distortion levels contributing to dynamic panning effects. This approach, inspired by Tchad Blake's mixing style, results in a drum sound that is both vibrant and full of character.
@ 7:10
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.
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.
@ 23:55
SonicScoop
Taming distorted vocals with surgical EQ and compression
Stuart White showcases how to add stylistic distortion to vocals and then tame the resulting harshness using a combination of notch EQ, compression, multi-band compression, de-essing, and tape saturation. He starts by applying distortion to inject energy and vibe into the vocals, but this also introduces harsh frequencies. To address this, White uses the Waves Q10 to surgically notch out problematic frequencies, and the Waves C1 and C4 compressors to control spiky peaks, ensuring smoother transients. De-essing is employed to manage exaggerated sibilance from the distortion, while tape saturation adds warmth and helps the vocals sit well in the mix. By using a slower release on vocal's main compressor, White ensures the vocal blends seamlessly with the track's texture and vibe, achieving a polished yet edgy sound.
@ 17:44
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.
@ 1:52
Mix with the Masters
Sidechain reverb swells for dramatic vocal depth
Catherine Marks demonstrates her 'Swell Reverb' effect on vocals using Valhalla VintageVerb and Avid BF-76 for sidechain compression. By applying a long decay reverb and typically keying it off the snare, kick, or a click track, Marks creates a dynamic swelling effect that adds dramatic depth and interest to the vocal track. Even with the return level kept low and subtle, this technique effectively enhances the vocal dimension without clouding the mix. Initially used with subtlety, it became more pronounced in Manchester Orchestra's album 'Million Masks of God', where vocal reverbs prominently swell and pump in the background, enriching the overall sonic landscape.
@ 23:33
Reverb.com
Breathing life into MIDI drums with pedal effects
St. Vincent breathes life and vibe into MIDI drum patterns by using a creative chain of effects pedals. The Chase Bliss Habit and Hologram Microcosm, which function as both delays and phrase loopers, introduce randomness and chaos, transforming otherwise lifeless drum sounds into vibrant, manipulated, and interesting textures. To enhance the character and aggression of the drums, St. Vincent employs the Walrus Audio Janus for distortion, adding a gritty edge that makes the drums stand out with more personality and intensity.
@ 24:37
Audiopunks
Making drum loops punch with compression and distortion
Stuart White demonstrates the use of compression, distortion, and spring reverb to enhance sampled drum loops, focusing on achieving a cohesive and characterful sound. By applying compression, Stuart brings the loop forward in the mix, adding punch and presence, which is crucial for integrating samples into dense arrangements. He highlights the importance of a fast compressor to manage transients, allowing for seamless layering with programmed kicks.
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
Blending drum mics with parallel processing for character
Tchad Blake explores the creative potential of blending traditional drum mics with heavily processed signals using techniques like delay, compression, and distortion. By experimenting with different mic combinations and processing, Blake demonstrates how to quickly achieve a versatile palette of drum sounds that can adapt to various musical contexts. This approach allows for exciting and dynamic drum recordings, ready to fit seamlessly into a mix without extensive setup time. Blake emphasizes the importance of being prepared to record at a moment's notice, even without full knowledge of the session's specifics. He highlights the flexibility of using different equipment with strong sonic character, such as the SansAmp distortion pedal or the Spectra C610 compressor, to achieve unique textures and tones, ensuring that the drum sound can be tailored to the needs of any project.
@ 2:49
Mix with the Masters
Sidechaining kick and 808: Clean low end, loud mixes
Jaycen Joshua demonstrates the power of sidechain compression and multi-band compression to achieve a clean and loud low-end mix, particularly when working with bass, kick, and 808 elements. By using the Oeksound Soothe plugin, he effectively controls unwanted frequencies and ensures clarity and separation between these low-end components. Joshua emphasizes the importance of identifying the main kick drum and removing unnecessary layers to avoid clutter. He duplicates the kick track, placing it just below the bass, and uses it to trigger the sidechain compression, allowing the bass to dip subtly when the kick hits. This technique not only prevents frequency masking but also gains additional headroom, making the mix louder without sacrificing quality. He also highlights the versatility of sidechain compression across genres, from subtle applications to more pronounced effects in EDM.
@ 9:57
Mix with the Masters
Extend kick sustain for bigger impact
Jaycen Joshua demonstrates how to enhance the impact and power of a kick drum by extending its sustain. While he doesn't specify the tool used, a transient shaping tool would achieve this result quickly and efficiently. He explains that a longer sustain makes the kick sound bigger to the listener, even if the initial hit remains unchanged. This technique is particularly useful when increasing the attack or volume of the kick would negatively affect the mix. By simply lengthening the kick's duration, you can achieve a more powerful sound without increasing volume, providing a practical solution for achieving a bigger kick in your mix.
@ 4:53
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.
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.
Mix with the Masters
Get 808s to cut through with parallel distortion
Jaycen Joshua demonstrates how to make 808s cut through a mix using parallel distortion with the UA Ibanez® TS808 Tube Screamer plugin. In the parallel path, he begins by rolling off unwanted high frequencies using the FabFilter Pro-Q 3, focusing on reducing everything above 129 Hz to clean up the sound. This approach allows him to add his own upper harmonics with the Tube Screamer, resulting in a more musical and pleasing presence without harshness. By emphasizing these upper harmonics, Joshua ensures that the 808s remain audible even on speakers that lack sub-bass response, achieving a balanced and impactful low-end that stands out in the mix.
@ 16:46
SonicScoop
Using the vocal mic as a drum room
Catherine Marks creatively repurposes the vocal mic to capture drum room ambience. By leaving the vocal mic open during drum recording sessions, she harnesses its characteristics to add depth and character to the drum sound. The vocal mic's signal is processed with the same reverb and delay effects intended for vocals, using an Echosex delay pedal and a Holy Grail reverb pedal. This approach creates a spacious quality that she blends with the rest of the drum mix for added dimension. Additionally, Marks employs gating to tighten the sound, allowing for a controlled yet expansive drum ambience.
@ 6:58
Tape Notes Podcast
Playing softer for bigger drum sounds
Jack Antonoff shares his approach to achieving bigger-sounding drums by playing them softly. He explains that playing drums loudly can paradoxically limit their perceived loudness in a mix. By playing softly, the drums can be mixed louder, leveraging a psychoacoustic effect where our brains interpret the sound as being closer and, thus, more impactful. This technique is akin to the sensation of hearing a whisper clearly; when a sound is soft yet prominent, it tricks our perception into feeling as though the source is near. This creates an intimate and powerful presence in the mix, making the drums feel larger and more enveloping without overwhelming other elements.
@ 4:13
Tape Notes Podcast
Bold panning for a wider stereo image
Jack Antonoff, advocates for extreme panning to achieve a wide stereo image, challenging conventional norms. He demonstrates this by hard-panning string parts entirely to the left and right, creating a vast soundscape without relying on reverb or delay. Antonoff also experiments with unconventional panning of low-end elements, such as bass, which are typically centered. By placing one bass track mostly left and another mostly right, he achieves a unique width that defies traditional panning practices. He encourages panning instruments that are usually kept in the center, drawing inspiration from the Beatles' bold panning choices. Antonoff prefers recording multiple takes and panning them across the stereo field rather than only relying on effects to create width.
@ 1:44
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.
@ 0:24
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.
@ 1:02
Soundtoys
Creative vocal recording with Varispeed
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.
@ 1:48
Produce Like A Pro
Combining hard clipping with limiting for clean loudness
Marc Daniel Nelson demonstrates how to achieve clean loudness by combining hard clipping with limiting. He uses the SIR StandardCLIP to distort signal peaks before they reach the FabFilter Pro-L 2 limiter, allowing the limiter to work less aggressively and maintain transparency. By monitoring the limiter's effect on the mix, Nelson identifies areas where distortion occurs and adjusts the clipper to handle these peaks. This multi-stage processing approach helps retain the punch and clarity of transients, particularly in the snare and kick, while achieving higher loudness levels. The limiter breathes more easily, resulting in reduced artifacts. The monitoring of limiting artifacts is a built-in feature of the FabFilter Pro-L 2, but it can also be achieved by listening to the limited and unlimited mix simultaneously, with levels matched for loudness and phase flipped on one of the two.
@ 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.
@ 3:20
Reverb.com
Kick parallel distortion for more character
Noam Wallenberg demonstrates how to add more character to a kick drum recording using parallel distortion with a SansAmp Classic pedal, a technique inspired by Tchad Blake. By running the kick drum signal through the SansAmp, Wallenberg introduces a unique, gritty texture that enhances the overall drum sound. This approach not only adds character to the kick but also creatively incorporates the snare's sound, making it a part of the overall drum texture.
@ 9:26
Reverb.com
Add excitement and character to the drum bus
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.