58 videos
@ 0:39
Universal Audio
Get the snare to cut through with EQ and compression
Yip uses a combination of EQ and compression to help the snare cut through a dense mix. First in the chain is a UAD Neve 1073 EQ to add top-end, upper midrange, and bottom end to achieve a bigger, more present tone. The 1073 is then followed by mild, but colored compression with an UA 1176 (long attack, fast release, 4:1 ratio, 3dB gain reduction) to achieve a more consistent sound. Lastly Yip adds a UAD API 560 EQ to add some more presence and remove some of the muddiness brought out by the compression.
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.
@ 18:25
GGD
Parallel compression for aggressive drum punch
Adam 'Nolly' Getgood shares his approach to parallel drum compression using the Slate FG-Stress plugin directly on the drum bus. He opts for a 20:1 ratio with a high-pass filter in the sidechain, allowing the compressor to focus on the midrange frequencies without the kick drum overly triggering the compression. This setup, inspired by Eric Valentine, uses a slow attack setting of 8 and a fast release of 2.5, achieving a punchy and exciting drum sound with a mix level around 32%. Nolly complements the compression with EQ using the Slate FG-N and Custom Series Equalizer plugins. He applies boosts at 12kHz and 5.5kHz to add presence and aggression, while occasionally enhancing the low end at 60Hz if needed. This EQ strategy, which he previously applied to the entire instrument mix bus, is focused solely on the drums, contributing to a bigger and more defined drum sound. By integrating these techniques, Nolly achieves a drum mix that is both weighty and aggressive, with a presence that stands out in the mix.
@ 0:02
Schwabe Digital
Turn listening preferences into better mix translation
Ryan Schwabe delves into the art of making mixes translate well across different playback systems by focusing on EQ and monitoring techniques. He emphasizes the importance of understanding the differences between studio and consumer playback systems, as well as personal listening preferences, to achieve better translation. To create a neutral studio playback environment, Schwabe suggests using tools like IK Media Arc, Trinoff, and Sonar Works for corrective EQ, alongside proper speaker placement and room treatment. This helps ensure that mixes are not skewed by the acoustics of the studio, allowing for more accurate mixing decisions. Schwabe also highlights the diversity of consumer playback systems, from bass-heavy club setups to bright laptop speakers, and stresses the need for well-balanced mixes that can hold up across various environments. He advises engineers to be aware of their own biases, such as a preference for deep bass, and to adjust their studio setups accordingly to counteract these tendencies. Practical steps include balancing the playback system, tuning it based on personal preferences, and using feedback from trusted clients to refine playback EQ. By controlling the studio environment and compensating for personal biases, engineers can create mixes that translate effectively, despite the unpredictability of consumer systems.
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.
@ 4:07
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.
@ 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.
@ 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.
@ 7:05
Waves
Combine EQ and high-pass filter to achieve a tighter low-end
Tony Maserati's approach to mixing bass often involves a combination of a low-cut filter and a low-end boost. The boost adds weight and presence to the bass, while the low-cut filter is applied to remove excessive sub-bass frequencies. This technique results in a fuller, more controlled bass sound, enhancing the low end while maintaining clarity. In this particular instance, he is boosting at 50-60Hz and filtering at around 20Hz.
@ 2:05
Universal Audio
Bigger, more open mix bus with EQ
Joe Chiccarelli uses the UAD Chandler Limited Curve Bender EQ on the mix bus to achieve a bigger and more open sound. By making subtle adjustments—just one click on the low end and one click on the high end—he enhances the overall mix without overwhelming it. For Chiccarelli, this EQ setting serves as the perfect finishing tool, adding the final polish to the mix and ensuring it sounds expansive and clear.
@ 0:11
Mix with the Masters
Open up the mix bus with analog EQ
Open up the mix bus by passing it through the circuitry of an analog EQ. The harmonic characteristics of the EQ add depth and character to the mix.
@ 30:26
SonicScoop
Add excitement with EQ, parallel compression and limiting
Mick Guzauski enhances his mix bus with a combination of EQ, parallel compression, and limiting to add excitement and punch to pop and funk tracks. He starts with the UAD Millennia NSEQ-2 and Sonnox Oxford EQ to open up the top end and add presence, creating a more exciting and airy mix. Next, Guzauski employs the Elysia Alpha Compressor for parallel compression, blending the compressed signal at a 50% mix to add punch without losing the dynamics of the original track. Finally, he uses the FabFilter Pro-L 2 limiter to take off peaks and increase loudness, ensuring the mix is competitive and matches the client's reference levels.
@ 4:37
Produce Like A Pro
Get presence with multi-band expansion
Marc Daniel Nelson shares a background vocal mixing technique that he discovered by accident, which has since become a staple in his mixing arsenal. This approach involves using the FabFilter Pro-MB as an expander to emphasize the higher frequencies (between 2 kHz and 15 kHz) of the background vocals, thereby enhancing their brightness, punchiness, and presence in a distinct manner. To ensure the background vocals remain supportive and do not overshadow the lead, Nelson incorporates two stages of de-essing and employs a Klanghelm MJUC compressor with a high-pass filter in the sidechain, set to around 400 Hz. This technique creates a sense of space and airiness around the vocals, yielding a polished pop sound that is especially effective for dense arrangements with a high track count.
@ 9:45
Waves
Compress and EQ to fit a synth bass in the track
Tony Maserati relies on EQ, filtering and compression to fit a synth bass into the mix. His goal is to ensure the synth bass complements, rather than competes with, the main bass and other elements in the mix. He puts EQ before compression, carving out frequencies that clash with the main bass and kick, while enhancing frequencies around 50-60Hz. This low-end boost influences the compression action, creating a sidechain-like effect.
@ 0:57
Waves
More weight for 808 and kick
Leslie Brathwaite uses Waves plugins to add more weight and body to 808s and kicks in hip-hop tracks. He starts with the Waves LoAir to enhance the low-end, giving the 808 that essential "oomph" and shaping its thickness. For further tonal shaping, Brathwaite employs the Waves SSL E-Channel EQ to dial in the chest frequencies and refine the low-end. This approach helps the 808 and kick sit well in the mix without overpowering other elements. Additionally, he uses the Waves PuigTec EQ to add more thump to the kick. Brathwaite emphasizes pushing EQ parameters to extremes initially and then dialing back to find the perfect balance, ensuring the changes are perceptible and effective.
@ 15:30
Produce Like A Pro
Create space and separation with widening
Nelson amplifies the presence of the main guitar in the mix by applying two key adjustments to a supporting synth track: widening its stereo image and subtly reducing its low-mid frequencies. These changes carve out a spacious backdrop for the guitar, ensuring it stands out with greater clarity. The widening relocates the synth to the mix's outer edges, enhancing the stereo field, while the EQ cut prevents the synth from masking the guitar's tonal body.
Mix with the Masters
Crispier electronic hi-hats with EQ
Leslie Brathwaite enhances the crispness and presence of electronic hi-hats in a hip-hop mix using the Waves Q10 and UAD Precision EQ. He starts by rolling off the low end with the Q10 EQ to focus on the hi-hat's higher frequencies, ensuring a clean and clear sound. To add extra sparkle, Brathwaite boosts the 27kHz frequency by about 4dB using the UAD Precision EQ, giving the hi-hats a subtle yet noticeable crispness that helps them stand out in the mix.
@ 0:15
Universal Audio
Enhance an 808's low-end with a resonant high-pass filter
MixedbyAli uses the UAD Little Labs Voice Of God, a resonant high-pass filter with a narrow-Q boost around the cut-off frequency, to enhance the low-end and add fullness to 808s and basses.
@ 2:55
Mix with the Masters
Control sibilance with multiple stages of de-essing and EQ
Use multiple stages of de-essing and EQ to control sibilance and make the vocal sound smoother.
@ 4:45
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.
@ 10:32
Universal Audio
Get a tighter, bigger low-end with EQ post-compression
Thorp discusses his approach to refining the mix bus's EQ by adding a bit of low-end around 100 Hz for warmth and size, particularly enhancing the kick and the bass. He also likes to cut a small amount of 250 Hz to clean up low-mid mud. He points out the importance of applying the low-end boost after the compression stage, which in his experience results in a tighter, more controlled bottom end.
@ 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.
Waves
Explosive drum room with compression and EQ
Joe Barresi demonstrates how to create an explosive drum room sound using a combination of EQ and compression with Waves Kramer PIE, Waves Kramer HLS Channel, and ADR Vocal Stresser. He emphasizes the importance of the room mics in adding glue and excitement to the drum mix. When working out-of-the-box, Barresi uses extreme settings on the ADR Vocal Stresser to blow up the room sound. For an in-the-box alternative, he employs the Waves Kramer PIE limiter to control dynamics and the Waves Kramer HLS Channel for tonal shaping, shifting the midrange to focus more on the snare and kick.
@ 2:53
Mix with the Masters
Gain clarity with simple subtractive EQ
Jaycen Joshua demonstrates a simple yet effective approach to achieving clarity and openness in drum mixes using the FabFilter Pro-Q 3 EQ. He focuses on reducing excessive low-end energy in the drums by cutting frequencies around 1100 Hz and below. This prevents the drums from becoming too heavy and allows the upper harmonics to shine through. By removing some of the weight, Joshua achieves the desired separation and openness in the mix, ensuring that each element has its own space and clarity. This method highlights the importance of subtractive EQ to enhance the overall balance and definition of a track.
@ 1:55
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.
@ 8:59
Universal Audio
Add clarity with EQ
To enhance the clarity and excitement of the mix, Thorp adds a subtle EQ boost at 21kHz using the UAD Millennia NSEQ-2. This high-frequency shelf adds air and brightness, making instruments more detailed and lively without introducing harshness. Thorp credits this technique to a mastering engineer's advice, highlighting its effectiveness in finalizing the tonal balance.
@ 6:15
Mix with the Masters
Lift the energy of the lead vocal with a breathy double
Tony Maserati demonstrates how to lift the energy of a lead vocal by adding and bringing out a breathy double using a combination of EQ, compression, and harmonization. He starts by using the Waves Renaissance Equalizer to remove unwanted low-end frequencies, creating a breathy quality in the backing vocal. This helps to add clarity and presence without muddiness. Next, Maserati employs the Avid BF-76 compressor to push the breathy double upfront, ensuring it sits prominently in the mix. This enhances the vocal's energy and makes it more engaging. Finally, he uses the Waves Doubler to widen the vocal, adding a subtle harmonizer effect that enriches the overall sound.
Mix with the Masters
Create separation between snare and hi-hat with EQ
Jaycen Joshua recommends attenuating the 6-8 kHz range with an EQ on the snare to reduce masking with the hi-hat. This approach distinctly separates the snare from the hi-hat, a crucial element in modern pop and electronic music, ensuring its prominent presence in the mix.
@ 0:53
Universal Audio
Emphasize tone and presence with EQ and compression
Will Yip is using the UAD API Vision channel strip to enhance each distorted guitar track in the mix individually. He employs preamp gain for character and presence, should the track lack these qualities. He also applies a gentle high-pass filter around 30-40Hz to reduce muddiness, and adds light compression (1-2dB reduction, 4:1 ratio, medium attack, fast release) for consistency. The main emphasis is on EQ, particularly boosting around 700-800Hz for tone and 7kHz for presence, creating a sound that's musically rich and detailed, avoiding boxiness or harshness.
@ 1:58
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.