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."
Mix with the Masters
Building a huge string section from 5 players
Malay demonstrates how to create the sound of a large string section using only five players by employing layering techniques. He records multiple takes with a small group of string players, moving microphones and players around the room to capture different perspectives and avoid phasing issues. This approach allows him to build a rich, orchestral sound without the need for a full orchestra, making it a cost-effective solution for projects with limited budgets. By stacking these takes and adding harmonies or different octaves, Malay achieves a full, lush string arrangement. He then uses automation to create a dynamic mix that mimics the feel of a live orchestra, enhancing the illusion of a larger ensemble.
DJ Mag
Creating vocal pads from chopped harmonies
Jordan Rakei demonstrates how to transform chopped vocal harmonies into lush vocal pads using a combination of sound design and signal processing techniques. He begins by singing and chopping different harmonies, then layers and loops them to create a textured pad. To enhance the pad's texture, Rakei applies delay and reverb, rolling off the low frequencies to prevent muddiness and ensure clarity alongside the main instruments like the Rhodes. He uses a digital delay for an old-school vibe and adds reverb to create a lush, expansive sound. Finally, Rakei employs sidechain compression, subtly ducking the pad with the kick drum to carve out space in the mix. This technique ensures the vocal pad integrates smoothly, adding depth and texture without overwhelming the track.
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.
DJ Mag
Double-tracking shakers with vari-speed
Jordan Rakei enhances his track's natural feel by adding double-tracked shakers using vari-speed recording. He records the second shaker at a faster tempo, creating a distinct texture and feel. By returning the recording to its original tempo, the vari-speed technique transforms the audio, resulting in a unique pitch and rhythm. This approach adds a more interesting and wider sound stage when the shakers are panned left and right. Rakei further refines the groove by using Logic's delay function to offset the shakers slightly behind the beat.
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.
Mix with the Masters
Bring guitars and samples upfront with compression
Similar to her technique with the drum bus, Marcella Araica buses all guitars and samples together, employing the Neve 33609 compressor to enhance presence, thus bringing these elements more forward in the mix. She carefully avoids overcompression by maintaining a low compression ratio, aiming for a maximum of 3-5dB of gain reduction. The release is set to the 'a1' auto mode, ensuring a smooth and adaptive response to the signal.
Mix with the Masters
Bring programmed drums upfront with compression
Marcella Araica buses all her drum tracks together and uses a Neve 33609 compressor to add punch and presence, bringing the drums more forward in the mix. She maintains a low ratio to preserve transients, aiming for a moderate 3-5dB of gain reduction. The attack is set fast, which, on this compressor, still allows for the transient to come through. The release is on the "a1" auto setting, ensuring a smooth response. The goal is not to squash but to subtly enhance the drum bus.
SonicScoop
Lift the chorus with volume automation
Mick Guzauski demonstrates how to lift the chorus in a mix using volume automation on the mix bus. By slightly increasing the volume—about 1 to 1.5 dB—just before and during the chorus, he creates a subtle yet effective dynamic lift that enhances the impact of the section. This approach is a simple yet powerful way to add excitement and emphasis to key moments in a song, ensuring the chorus captures the listener's attention.
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.
SonicScoop
Give a tambourine length and depth with reverb
Mick Guzauski uses the FabFilter Pro-R 2 reverb to add length and depth to a tambourine. By adjusting the EQ and decay time of the reverb, he enhances the sustain and high-end presence of the tambourine, making it more prominent and immersive in the mix. Guzauski follows up with a touch of compression to further refine the tambourine's texture, ensuring it sits perfectly within the overall track.
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.
SonicScoop
Using groups and VCAs for efficient automation
Mick Guzauski demonstrates the use of VCA groups and subgroups for efficient automation in large mixing sessions. By organizing instruments into logical VCA groups, such as bass and drums, Guzauski can manage over a hundred tracks on a 32-fader surface, ensuring everything is accessible and streamlined. He further refines this workflow by sending these groups to individual stereo aux subgroups, enabling bus processing with efficient level rides and dynamic moves before hitting the final bus processing. Guzauski's approach to automation and session organization is a simple and efficient way to manage complex mixes, making it easier to maintain control and mix intuitively.
SonicScoop
Tuck in a hihat with sidechain compression
Mick Guzauski demonstrates how to use sidechain compression with the Avid BF-76 to make a hi-hat sit well in a busy mix. By routing the bass drum sample into the sidechain input of the hi-hat's compressor, he creates more movement and ensures the hi-hat tucks in nicely with the rest of the elements. This method also adds rhythmic interest without overpowering other instruments.
Manley Vari Mu on the mix bus
Tom Elmhirst uses the Manley Vari Mu compressor on the mix bus to add warmth and cohesion to his mixes. He emphasizes the importance of attack and release settings, typically opting for a medium to fast release to maintain transient clarity, especially in contemporary, drum-heavy music. He advises against relying solely on the meters, suggesting that listening is key to understanding the compressor's effect. The Manley Vari Mu has been a staple in his workflow for two decades.