Mix with the Masters
Sidechaining kick and 808: Clean low end, loud mixes
Jaycen Joshua demonstrates the power of sidechain compression and multi-band compression to achieve a clean and loud low-end mix, particularly when working with bass, kick, and 808 elements. By using the Oeksound Soothe plugin, he effectively controls unwanted frequencies and ensures clarity and separation between these low-end components. Joshua emphasizes the importance of identifying the main kick drum and removing unnecessary layers to avoid clutter. He duplicates the kick track, placing it just below the bass, and uses it to trigger the sidechain compression, allowing the bass to dip subtly when the kick hits. This technique not only prevents frequency masking but also gains additional headroom, making the mix louder without sacrificing quality. He also highlights the versatility of sidechain compression across genres, from subtle applications to more pronounced effects in EDM.
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.
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.
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.
Universal Audio
Add punch and character with parallel compression
Joe Chiccarelli adds punch and character to hip-hop drums using parallel compression and EQ. He starts with the UAD Neve 33609 compressor, set to a 3:1 ratio and fast release, to enhance the size, punch, and depth of the drum sound. Following compression, Chiccarelli uses the UAD API 550A EQ to further shape the parallel bus. He boosts 9 dB at 100 Hz for a powerful low end and adds presence by pushing frequencies at 800 Hz and 5 kHz. This parallel processing technique results in a drum sound that is both punchy and characterful, standing out clearly in the mix.
Mix with the Masters
Match and improve pre-mixed vocals
Rather then re-doing the vocal effects processing from the artist's production session, MSM uses printed the vocal effects and builds his mix on top of it.
Mix with the Masters
Balance sibilance between multiple vocals
MsM uses Wavesfactory Trackspacer to balance sibilance between multiple vocals. This helps him to achieve a better vocal placement and less masking between the main and the backing vocals in the track.
Universal Audio
Bigger low-end with sidechain filtering
Joe Chiccarelli uses the UAD Shadow Hills Mastering Compressor on the mix bus to achieve a bigger and more natural low-end for a hip-hop track. He employs a fast release and slow attack with a 3:1 ratio, applying just 1-2 dB of compression to glue the mix together without making it sound overly processed. Chiccarelli opts for the nickel transformer setting to add sparkle and life to the mix. A key feature he highlights is the sidechain filter, which prevents the low-end from triggering too much compression, avoiding unwanted pumping and breathing effects. This technique ensures the low-end remains powerful and natural.
Mix with the Masters
Being efficient and productive
Leslie Brathwaite emphasizes the importance of efficiency in the mixing process, especially in the fast-paced world of modern music production. He highlights that knowing what to spend time on and what not to is crucial for a successful career. He illustrates this by accepting and working with the choices made by the artist or producer, such as using a compressor that isn't his preference, to save time and maintain the workflow's momentum. This approach ensures productivity and keeps the mix moving forward without unnecessary delays. Brathwaite also stresses the need to adapt to new technologies and methods to stay relevant. By condensing and refining his process, he can meet the demands of today's industry and maintain a competitive edge.
Universal Audio
Add presence and remove muddiness to push the vocal upfront
MixedByAli adds presence with the UAD SSL 4000E Channel Strip to push the lead vocal upfront. This is achieved by boosting 8kHz with the high band and dipping 300Hz with the low-mid band. The high boost uses a bell curve instead of a shelf for a more focused and pronounced effect. Cutting the lower mids gives the impression of a brighter sound by unmasking the higher frequency components. To prevent the vocal from becoming too thin, a low-shelf boost around 350Hz is added.
Universal Audio
Add tone and sustain with parallel compression
Joe Chiccarelli demonstrates how to add tone and sustain to hip-hop drums using parallel compression and EQ. On the parallel bus, he employs the UAD Chandler Limited Zener Limiter to extend the sustain and impart a classic 70s tone, followed by the UAD Chandler Limited Curve Bender EQ to enhance the kick drum's knock and bring out the hi-hats. By blending the parallel path with the original drums, Chiccarelli achieves a bigger, more defined drum mix that better projects through the overall track.
Mix with the Masters
Widen the snare to tame it and create space for the vocal
Joshua adds a stereo enhancer to the snare bus to tame the snare sound and create space for the vocal. The enhancer moves the snare out of the center and makes it wider. The low frequencies are kept mono to avoid going too extreme with the effect.
Waves
Rolling off low-end for separation and clarity
Leslie Brathwaite uses the Waves Renaissance Equalizer and Waves Q10 to roll off low-end frequencies on keys, achieving less muddiness, better separation, and more clarity. By cutting frequencies around the 70Hz range, he ensures that the low-end elements like 808s and kicks remain distinct and punchy, while the keys and other midrange instruments maintain their musical integrity without overwhelming the mix. Brathwaite highlights the importance of a bright and light feel in Pharrell's mixes, achieved by managing low-end frequencies across multiple tracks. This approach keeps the mix clean and vibrant, aligning with the desired sonic aesthetic of happy chords and bright vibes.
Mix with the Masters
Developing a common language with the client
Leslie Brathwaite highlights the importance of developing a common language with clients to efficiently address feedback and revisions. When Craig Kallman, head of Atlantic Records, requested the piano to sound more aggressive and in-your-face, Brathwaite knew exactly what he meant by "bite" and quickly made the necessary adjustments. Using the Waves SSL E-Channel EQ, Brathwaite boosted the high frequencies to add more attack and high-end, making the piano cut through the mix better. This understanding of Kallman's terminology allowed Brathwaite to meet his expectations in one try, avoiding a drawn-out revision process. By respecting the artist's vision and effectively communicating with clients, Brathwaite ensures that feedback is addressed swiftly and accurately, leading to a more efficient and satisfying mixing experience for everyone involved.
Waves
Adding subharmonics for bigger, punchier keys
Leslie Brathwaite uses the Waves Renaissance Equalizer and Waves LoAir to add subharmonics and enhance the low-end of Rhodes in a hip-hop track. He balances enhancing the low-end with the LoAir plugin while controlling it with a high-pass filter in the Renaissance EQ. This ensures that the meaty lower notes of the Rhodes are felt and heard, while maintaining brightness and presence in the overall sound. Brathwaite emphasizes the importance of experimenting with both plugins to find the right balance, often bypassing one or the other to assess their individual contributions to the mix.
Universal Audio
Get the vocal to sit well with smooth compression
Within the SSL 4000E Channel Strip, MixedbyAli applies compression after EQ to ensure the vocal sits prominently in the mix without overpowering it. It is important to him to avoid overcompressing and losing transients, so he opts for a low ratio (2:1 or 3:1) and sets the threshold to engage only during the loudest parts. Once the ratio and threshold are set, he fine-tunes the release time to a medium setting for a smooth and coherent result.
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.
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.
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.
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.
Mix with the Masters
Remove harshness with Notch EQ
Leslie Brathwaite demonstrates how to remove harshness from vocals using the Avid EQ III. He starts by boosting the frequency and narrowing the bell curve to its tightest point, then sweeps across the frequencies to identify the most annoying, harsh sound. Once found, he dips the frequency all the way down to hear what it sounds like without it. From there, he brings the band's gain back up to the point where it reduces the harshness without making the vocals sound hollow, ensuring a balanced and pleasant vocal tone.