5 videos
@ 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.
@ 0:22
Streaky
Widen the vocal to lift up the chorus
Streaky demonstrates how to use the UA UAD Studio D Chorus to widen a vocal, enhancing its perceived size and impact, particularly during the transition from verse to chorus. What is special here is how he ensures the effect is applied only to the stereo sides, leaving the center vocal clean. This technique helps the track's chorus lift and expand without overwhelming the listener with an obvious chorus effect on the vocal. To achieve this, Streaky employs the FabFilter Pro-Q 3 to apply a brick wall EQ, isolating the mid frequencies and allowing only the side signal of the chorus effect to be heard. This approach maintains the vocal's clarity while adding a subtle yet effective stereo expansion.
Mix with the Masters
Add width and size with short delay and chorus
Tom Elmhirst enhances the width and size of jazz and pop vocals using a combination of short delay and chorus effects. He employs the UAD Brigade Chorus to add warmth and width, creating a "cotton wall" feeling around the vocal without overwhelming it. Additionally, Elmhirst uses the Valhalla DSP Delay set to a slap delay with no feedback, providing depth and a sense of space while maintaining clarity and intimacy in the vocal performance. This approach ensures the vocals sound bigger and more engaging, fitting seamlessly into the mix.
@ 15:14
Sam Evian
Get a tight, defined low-end with compression and EQ
Owens uses the UAD LA-2A compressor to balance the bass guitar's dynamics, engaging the "Emphasis" control to introduce a high-pass filter in the compressor's sidechain circuit. This technique selectively reduces sensitivity to lower frequencies, concentrating compression on the midrange to smooth out the instrument's tonal imbalances. Following compression, Owens applies the FabFilter Pro-Q 3 for more presence and refined low-end clarity. He is rolling off frequencies below 70Hz to ensure the kick drum's low-end remains distinct. Owens emphasizes the strategic importance of deciding on a clear hierarchy in the low-end frequencies between the kick and bass, often preferring to prioritize one over the other to minimize frequency masking. He illustrates this concept with the Beatles' "Taxman," noting how the song achieves a clear low-end by featuring a pronounced bass guitar while keeping the kick drum thin and punchy, demonstrating effective frequency separation and minimal masking when both elements are combined. Lastly, Owens adds a bit of stereo chorus to give the bass a fuller and slightly wider sound.
@ 22:48
Sam Evian
Combine analog delay and chorus to add depth and character
Owens combines multiple effects to get a more interesting, complex and spacious vocal effect. On one hand, there is a mono slap delay that is fed through a stereo chorus. The delay-chorus combination produces a short and interesting ambience. Both the slap and the chorus are analog guitar pedals, printed back into the session. Their limited frequency response and harmonic distortion gives the effect a distinctive character.