Mix with the Masters
Shaping kicks with parallel distortion
Tchad Blake demonstrates how to shape kick drums using the Avid SansAmp PSA-1 plugin for parallel distortion. By experimenting with the SansAmp, he adds grit and a throatier quality to the kick, enhancing its presence in the mix. He emphasizes the importance of playing with the plugin's settings, flipping phase, and low-pass filtering, to achieve the desired effect without losing the kick's essential character. Blake prefers a kick sound with more mid-range growl rather than a high-end "ticky" sound, showcasing his approach to creating a unique and powerful drum tone.
Elysia
Adding grit to drums with the "Wurst" mic
Moses Schneider demonstrates how to add character and texture to drum recordings using a unique approach with the "Wurst" technique. He employs saturation through distortion pedals and strategically places microphones, such as the SM57 and a custom-built Periscope mic with an inbuilt limiter, to capture a larger-than-life drum sound. The key is positioning the mic equidistant from the snare and kick beater for optimal tone. Schneider further enhances the drum sound by gating and over-compressing with an 1176 compressor, creating a dynamic and textured drum mix. The Periscope mic's inherent distortion and side-chained gating to the snare add a distinct character, making the drums stand out in the mix.
Splice
Glueing hi-hats to the beat with sidechain distortion
Vaughn Oliver explores the use of the Zef Parisoto FLVTTER plugin to apply sidechain distortion to hi-hats, creating a more coherent and glued-together sound. By setting the sidechain input to a low-end signal like a kick or 808, the plugin distorts the high-end elements, such as hi-hats, based on the low-end input. This technique not only adds a unique character but also subtly dips the volume, enhancing the cohesion between the elements. Oliver highlights the versatility of the FLVTTER plugin, noting its ability to emulate the sound of slamming elements into a master clipper, akin to techniques used in FL.
JHS Pedals
How op-amp distortion pedals work
Operational amplifiers allowed for the creation of distortion pedals in the early 70s by starting with a clean boost circuit. Unlike the fuzz pedals of the 60s that overloaded transistors, these distortion pedals used op-amps to amplify the guitar signal cleanly before passing it through diodes. These diodes then clip the loud, clean signal, allowing for unique sound customization and creating the distinct distortion that became a staple in music. This approach offers more control and versatility in shaping the distortion compared to the earlier fuzz pedals.
Science Of Loud
How diode clipping shapes op-amp distortion tone
The MXR Distortion Plus utilizes a 741 op-amp to achieve its signature distortion sound, with the guitar signal entering through the non-inverting input. The op-amp's differential amplifier compares the two inputs and amplifies the difference, with gain controlled by resistor values in a feedback network. This setup allows for a gain range from a subtle 6 dB boost to a massive 46 dB increase, depending on the resistance. However, the true magic of distortion comes from the germanium diodes, which clip the signal by only allowing voltages above 0.3 volts to pass, creating a distorted output. This combination of op-amp gain staging and diode clipping offers a more refined and controllable distortion compared to the raw fuzz pedals of the 1960s, allowing for a range of tones from a gentle sparkle to a full-on fuzz. The MXR Distortion Plus exemplifies this elegant approach to achieving amplifier-like distortion.
JHS Pedals
The 5 essential styles of overdrive pedals
Explore the diverse world of overdrive pedals with a deep dive into five essential styles, each offering unique tonal characteristics. The journey begins with soft clipping overdrives, featuring the iconic Tube Screamer known for its mid-frequency boost, and the Blues Breaker style, celebrated for its transparency and natural sound. Next, delve into hard clipping overdrives, where the DOD Preamp 250 and MXR Distortion Plus set the stage for a more aggressive, clipped sound. The Klon Centaur, a modern favorite, stands out with its unique gain structure and clean signal blend, offering a distinct EQ profile. Finally, discover transistor-based pedals like the Blues Driver, which mimic the cascading saturation of tube amps. These pedals provide a natural, touch-responsive overdrive, perfect for players seeking dynamic control.
Audiopunks
Using character mics while tracking to inspire drummers
Tchad Blake shares insights into using effects like distortion and compression while tracking drums to inspire drummers and enhance their performance. By sending processed sounds back to the musicians, such as a Spectrasonics 610 compressor or delay on the snare, drummers can react to the altered textures and rhythms, leading to more dynamic and expressive playing. Blake emphasizes the importance of creating characterful sounds and textures, which can transform the way musicians interact with their instruments. This approach encourages drummers to play differently, adding a unique groove and feel to the music. The use of contrasting hi-fi and lo-fi elements can infuse a track with depth and character, reducing the need for excessive overdubs. Incorporating these techniques into the recording process not only enhances the creative atmosphere in the studio but also results in more authentic and engaging music. By creatively placing mics and using effects, engineers can create a rich sonic landscape that inspires musicians to explore new musical expressions.
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.
Produce Like A Pro
Taming acoustic guitar to sound like on tape
Marc Daniel Nelson demonstrates how to achieve a tape-like sound on acoustic guitar using a chain of plugins. He starts with Softube Tape for subtle tape saturation, which adds warmth and glue without being overly aggressive. Next, Nelson uses FabFilter Pro-Q 3 for dynamic EQ, targeting the low-end boominess around 280Hz and taming harsh high frequencies. This step ensures the guitar sounds fuller and less muddy, enhancing its presence in the mix. Compression is applied with the Klanghelm MJUC, adding color and slightly tightening the sound without compromising its natural dynamics. Nelson then employs Waves Trans-X for transient shaping, smoothing out harsh transients to make the guitar sit well in the mix and not interfere with the vocal. Finally, a touch of Waves Abbey Road Reverb Plates adds depth and warmth, creating a more natural and inviting acoustic guitar sound. Nelson emphasizes the importance of using these techniques in a subtle way to maintain the instrument's dynamic integrity.
Audiopunks
Compression before distortion for aggressive vocals
Stuart White shares his approach to achieving consistent and aggressive vocal distortion by first applying compression to control peaks before adding distortion. By compressing the vocals heavily, he ensures an even saturation, as distortion is level-dependent and can become harsh if not managed properly. This technique allows the vocals to maintain clarity and avoid harshness, even at high volumes, making them sound creamy and pleasant without causing listener fatigue. White emphasizes the importance of this method in creating a mix that can be played loudly on any system without discomfort, as demonstrated in his work on the track "Don't Hurt Yourself" from Beyoncé's album "Lemonade."
Produce Like A Pro
Adding character with mono overhead and poke mic
Darrell Thorp demonstrates how to add character and depth to drum recordings using a mono overhead and a "poke" mic. By employing the Coles 4038 as a mono overhead, he captures a fuller drum sound, enhancing the snare's presence and overall kit depth. Thorp uses the UREI 1176LN for compression and the Pultec EQP-1A for EQ, boosting at 10kHz and 100Hz to add thickness and brightness. For added character, Thorp introduces distortion to the mono overhead using the Overstayer Saturator NT-02A, creating a trashy yet controlled sound. He also utilizes a Sennheiser MD 441-U as a "poke" mic, positioned to capture the kick and snare, and processes it with a DBX 160VU for punchiness. Aggressive EQ boosts at 7kHz and 50Hz further enhance the mic's impact, providing an aggressive knock that cuts through the mix. Thorp emphasizes the importance of phase coherence, ensuring it is as good as possible during recording. He suggests using Auto Align by Sound Radix during mixing to align these special mics with the rest of the kit. He encourages engineers to embrace aggressive EQ during recording, as it can significantly enhance the character and depth of the drum sound.
GGD
Using Saturn's dynamics to tame cymbal bleed
Adam 'Nolly' Getgood demonstrates using FabFilter Saturn's dynamics to effectively reduce cymbal bleed on snare tracks. Inspired by Eric Valentine's approach to high-frequency saturation, Nolly applies Saturn's multi-band expansion to gate high frequencies above 1K, significantly minimizing cymbal bleed while maintaining the snare's attack and presence. During a live recording session, Nolly discovered that Saturn's dynamics knob could intelligently manage bleed without introducing latency or compromising the snare's character. He provides an A/B comparison to showcase the dramatic difference, highlighting how this technique enhances the snare's clarity in a mix. Nolly also explores Saturn's potential as a multiband channel strip, using it to adjust the snare's tonal balance during tracking sessions. By setting the crossover at 1K and fine-tuning the dynamics, he achieves a natural, present snare sound with reduced bleed, demonstrating Saturn's versatility in both mixing and tracking scenarios.
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.
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.
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.
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Mix with the Masters
Add character to a banjo with compression and saturation
Shawn Everett demonstrates how to add character to a banjo using compression and saturation. He starts by heavily compressing the banjo with a UAD LA-2A, which he associates with the instrument's typical sound, making it more consistent and controlled. To further enhance the banjo's character, Everett applies the Soundtoys Decapitator for distortion, adding warmth and grit. He also removes some low-end frequencies to ensure clarity and balance in the mix. This combination of compression and saturation results in a banjo sound that is both lively and distinct, fitting well within country and pop genres.