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.
Puremix
Record snare with distorted delay for character and depth
Vance Powell employs a unique technique to add character and depth to the snare by using a dedicated mic, which he calls the "Sprinkle to taste" mic, placed under the snare as an effects mic. This mic is routed through a chain of guitar pedals, including the Pigtronix Polysaturator for distortion and a custom analog delay pedal, which together create a reverb-like sustain. The delay and distortion enhance the snare's sustain, giving it a deeper, more textured sound. Powell uses a gate on his console to eliminate noise when the snare isn't being played, ensuring a clean and focused effect. By experimenting with phase alignment, Powell further refines the snare's sound, ultimately deciding that the out-of-phase setting provides a more desirable tonal quality. This creative approach results in a snare sound that stands out with added character and depth.
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.
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.
Tape Notes Podcast
Using tape modulation for more organic, less static synths
Bonobo employs the TB Reelbus plugin to introduce tape modulation and saturation, aiming to create a more organic and less static feel in his mixes. While the plugin adds width and subtle saturation, it is primarily used for its tape wobble effect, which Bonobo uses to infuse life and excitement into synth sounds. This modulation enhances the overall texture, making the music feel more vibrant and engaging.
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.
Puremix
Add energy and glue with tape saturation
Darrell Thorp explains his use of tape saturation on the mix bus to enhance the track's energy and cohesiveness. He specifically uses the UAD Ampex ATR-102 emulation, favoring the GP9 tape type, +6 biasing, and 1/2" tape width. Thorp contrasts 15ips and 30ips tape speeds, opting for 30ips on this track for its tighter response and better handling of transients, as opposed to 15ips which adds warmth and low-end, already sufficient in this mix.
Universal Audio
Glue a mix together with tape
Vance Powell uses the UAD Ampex® ATR-102 tape saturation to glue a rock mix together on the mix bus. He prefers using the 250 tape formula, running at 15 inches per second with CCIR calibration on half-inch tape, which he finds essential for achieving a classic rock sound. Powell highlights that while the effect is subtle, it adds the perfect amount of sparkle and energy to the low end, enhancing the overall cohesiveness and warmth of the mix.
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.
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.
SonicScoop
Add excitement with parallel distortion
Catherine Marks uses distortion to add character and excitement to the overall drum mix. First off, there is a Soundtoys Decapitator (in the Neve setting with brightened tone) on the drum bus, giving the drums more character and presence. To this, she adds further distortion on a parallel bus with the Little Radiator, which is kept quite low in level, but yields additional excitement.
SonicScoop
Add excitement with parallel tube distortion
Mick Guzauski enhances a stereo Jupiter-8 synth bass with parallel tube distortion using an Altec 1567a. The distortion adds excitement and character. He employs the Brainworx bx_digital to apply a high-pass filter and uses the Mono Maker feature to ensure frequencies below 90Hz are mono. This is very important, as in his experience, monoing the bass frequencies provides more punch and clarity in the low end of the mix. Additionally, Guzauski lightly compresses the bass with a Universal Audio 1176 to maintain consistent dynamics.
Universal Audio
Add punch and vibe with compression and distortion
Will Yip uses a UAD Distressor for compression followed by a UAD Culture Vulture for distortion on the drum bus. He employs a slow attack and quick release on the Distressor to add energy without squashing dynamics, targeting 6-7 dB reduction. The Culture Vulture adds character and glue. Together, both processors create an energetic, lively drum sound that stands out clearly yet sits nicely in the mix.
Tape Notes Podcast
Pitching and saturating reverbs for interesting spaces
Bonobo delves into creative reverb processing by utilizing return channels in Ableton Live, incorporating tools like Soundtoys Decapitator for distortion and Little AlterBoy for pitch shifting. He pitches the reverb return above the root note, often using settings like nine or five semitones, to create a shimmery, harmonizing effect that adds depth and interest to the mix. His technique also involves sidechain compression, allowing the reverb to duck in response to the input source, adding dynamic movement to the sound. Bonobo manipulates parameters such as drive, pitch shift, and reverb decay to craft complex audio effects, utilizing Ableton Live's instrument macros for efficient control. This approach results in a rich, musical texture that enhances the overall sonic landscape.
Streaky
Get the bass to cut through with parallel saturation
Streaky demonstrates how to make a bass cut through on smaller speakers using parallel compression and saturation with FabFilter Saturn. He sends the bass to a parallel bus, applying an SSL compressor with a 4:1 ratio, slow attack, and fast release to maintain transient clarity while achieving a fat, compressed sound. Next, he uses FabFilter Saturn to add saturation, focusing on the higher frequencies above 140 Hz. This technique enhances the bass's presence by introducing harmonics without altering the low-end character. By blending this processed signal back into the mix, the bass maintains its power on club systems while ensuring clarity and presence on smaller speakers. This approach effectively balances the bass's impact across different playback systems.
Produce Like A Pro
Add fullness with colored EQ
Marc Daniel Nelson utilizes a unique, hidden characteristic of the Helios Type 69 EQ to add fullness to the main guitar. The trick involves setting the low-frequency band to 60Hz, but without adding any boost to the band's gain control. This way the EQ circuit subtly shapes and colors the sound, enhancing its richness and thickness without introducing muddiness. The original inspiration for this technique came from Andrew Sheps.
Mix with the Masters
Add color with bus compression
Jaycen Joshua uses the UAD Shadow Hills Mastering Compressor to add color and excitement to his drum bus. He focuses on the compressor's ability to enhance the drums with harmonic saturation rather than heavy compression, keeping gain reduction minimal at a maximum of 1 dB. By "kissing" the compressor, Joshua achieves a rich, vibrant drum sound that maintains its dynamics while benefiting from the subtle coloration and character the Shadow Hills unit provides. This approach ensures the drums remain lively and engaging within the mix.
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.
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.
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.
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.
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.
Puremix
Use parallel distortion to add presence and interest
Powell's „buzz“ parallel bus is an overdriven Neve 1073 preamp for distortion. The EQ section is engaged but flat, except for the low-cut filter, which is set to 60Hz. The "buzz" bus runs parallel to two compression paths and adds harmonics and presence to the vocal. It makes it sound more interesting and characterful. The „buzz“ bus is usually lower in level than the other two paths, but ultimately its level is song-dependent.
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.
Sam Evian
Add grit with parallel compression and distortion
Sam Owens adds grit and character to the vocal by using parallel compression and parallel distortion.
Avid
Add character with parallel distortion and compression
Tchad Blake employs the SoundToys Devil-Loc, known for its intensely aggressive compression and distinctive distortion characteristics, to impart a gritty, character-rich, lo-fi-like quality to the vocal. Crucially, he applies this effect in parallel, blending it with the dry signal. This ensures that while the vocal acquires a unique texture, it doesn't get overwhelmed by the extremity of the effect.
Avid
Add mid-range punch to a kick with parallel distortion
Tchad Blake employs the SansAmp distortion plugin to infuse the kick drum with additional grit, character, and mid-range presence. He implements this effect in parallel, allowing him to preserve the original sound and dynamics of the drum while gaining more control over the distortion's setup and manipulation. Blake often experiments with filtering and inverting the polarity on the distorted parallel track. Adjusting these parameters results in varying degrees of comb filtering when blended with the original track, thus shaping the sound in distinct ways. His method typically revolves around experimenting with the settings to discover a balance that best complements the song.
SonicScoop
Wider, more energetic bass with harmonizing and parallel distortion
Sylvia Massy utilizes the JJP Bass plugin to enhance the bass, focusing on two key features: the 'width' control, which is a harmonizer adding stereo width and bigness to a mono bass signal, and the 'edge' control, which introduces parallel distortion for added character and energy. These techniques collectively expand the bass's presence and texture in the mix, and are especially effective if the mix has enough room in the lower mid and bass region to fill out.
Eric Valentine
Thicker kick tone with parallel distortion
Eric Valentine demonstrates how to achieve a thicker and grittier kick drum tone using parallel distortion with the Avid SansAmp PSA-1. By duplicating the front kick mic track and applying heavy distortion, Valentine enhances the density and thickness of the kick sound. He emphasizes the importance of playing with the timing and phasing to ensure the distorted signal blends well with the original kick track, resulting in a more powerful and cohesive low-end.