10 videos
Mix with the Masters
Gain automation for consistency and loudness
Randy Merrill demonstrates the use of gain automation on the master track to achieve a more consistent vocal presence and overall loudness throughout a song. By carefully adjusting the gain, he ensures that quieter sections are brought up without losing the natural dynamics and nuances of the performance. This technique reduces the dynamic range, allowing for a more controlled and natural increase in loudness, which in turn places less strain on the final limiter. It's important to not overdo this process to retain the song's dynamic arc and emotional impact. Additionally, Merrill highlights the use of different EQ and limiting plugins for various sections of the song, adapting the processing chain to suit the evolving dynamics and tonal balance. This approach helps achieve a polished and cohesive final mix.
@ 0:20
Mix with the Masters
Playing with compression like an instrument
Jack Antonoff discusses his creative approach to using compression as an instrument, emphasizing its role in shaping space and dynamics within a mix. He describes how he interacts with compression in real-time, feeling its impact as he plays, which allows him to manipulate the high end and create a sense of glue in the mix. Antonoff likens compression to other effects like reverb or distortion, highlighting its potential for expressive use rather than just a corrective tool. By treating compression as an integral part of the performance, Antonoff avoids the static nature of post-processing, preferring to capture the dynamic interplay with compression when recording.
@ 4:13
Tape Notes Podcast
Bold panning for a wider stereo image
Jack Antonoff, advocates for extreme panning to achieve a wide stereo image, challenging conventional norms. He demonstrates this by hard-panning string parts entirely to the left and right, creating a vast soundscape without relying on reverb or delay. Antonoff also experiments with unconventional panning of low-end elements, such as bass, which are typically centered. By placing one bass track mostly left and another mostly right, he achieves a unique width that defies traditional panning practices. He encourages panning instruments that are usually kept in the center, drawing inspiration from the Beatles' bold panning choices. Antonoff prefers recording multiple takes and panning them across the stereo field rather than only relying on effects to create width.
@ 6:58
Tape Notes Podcast
Playing softer for bigger drum sounds
Jack Antonoff shares his approach to achieving bigger-sounding drums by playing them softly. He explains that playing drums loudly can paradoxically limit their perceived loudness in a mix. By playing softly, the drums can be mixed louder, leveraging a psychoacoustic effect where our brains interpret the sound as being closer and, thus, more impactful. This technique is akin to the sensation of hearing a whisper clearly; when a sound is soft yet prominent, it tricks our perception into feeling as though the source is near. This creates an intimate and powerful presence in the mix, making the drums feel larger and more enveloping without overwhelming other elements.
@ 1:44
Tape Notes Podcast
Building tension with effects automation on the mix bus
Jack Antonoff demonstrates how to create excitement and build tension using delay and modulation effects automation directly on the mix bus. He employs Soundtoys EchoBoy for delay and Soundtoys Tremolator for tremolo, showcasing how these effects can transform a section to feel entirely different. By applying these effects to the master, Antonoff can quickly shift the sonic landscape without getting into the minutiae of individual tracks. This approach allows for dramatic changes, such as making a bridge feel distinct or adding a pulsing movement to a section, enhancing the overall dynamics and interest of the track.
@ 0:24
Tape Notes Podcast
Creating space with creative volume automation
Jack Antonoff, known for his work with Bleachers, demonstrates creative volume automation on instrument busses. By treating automation like an instrument, he adds excitement and interest to the mix. Antonoff emphasizes the importance of spending time on detailed automation, particularly with processed tracks or groups of tracks. By creatively automating levels and panning, he thins out the space an element occupies, giving it a unique supportive role in the arrangement. This technique not only enhances individual elements but also creates space in the overall production, allowing each component to shine without overcrowding the mix.
@ 3:13
Produce Like A Pro
Smooth out a vocal with dynamic EQ and de-essing
Marc Daniel Nelson demonstrates how to smooth out a vocal using dynamic EQ and de-essing, focusing on reducing sibilance and unwanted frequencies. He starts with the Waves DeEsser to tame the harsh sibilance around 5-10kHz, followed by the FabFilter Pro-Q 3 for dynamic EQ to address additional sibilance and honkiness around 500Hz and 100-250Hz. Nelson emphasizes the importance of careful de-essing to avoid making the singer sound unnatural, and uses a wider bell curve on the EQ to subtly reduce low-mid muddiness. By addressing these issues before applying compression and further EQ, Nelson ensures a clean, balanced vocal that integrates smoothly into the mix.
@ 4:35
Mix with the Masters
Keep the vocal upfront with compression
Tony Maserati employs compression with the Waves R-Compressor to ensure the vocals remain prominent and forward in the mix. His settings are typical for this kind of application: a slow attack, allowing vocal transients to pass through for clarity, paired with a fast release and a 4:1 ratio.
@ 3:54
Mix with the Masters
Smoothen the attacks with dynamic EQ
Tony Maserati employs dynamic EQ in the upper midrange (1kHz, 3kHz) to smooth the attacks of the vocal. Making the cuts dynamic instead of static helps preserve presence and energy while at the same time getting a softer sound that sits better in the track.
@ 0:02
Mix with the Masters
Increase intelligibility with parallel compression
Tony Maserati employs parallel compression to enhance the vocal's intelligibility. He uses slow attack and fast release settings with a 12:1 ratio, aiming for 4-7dB of gain reduction. Additionally, he applies De-essing to prevent the parallel from becoming too aggressive, and cuts some lower mids and lows for clarity. He also automates the level of the parallel path during different sections to maintain vocal clarity throughout the song.