19 videos
@ 6:06
Tape Notes Podcast
Layering synths for clearer bass
Four Tet enhances bass clarity by layering additional sounds on top of the primary synth line using Spectrasonics Omnisphere. He subtly layers a bell sound over the bass line, which, while not overtly audible, prevents the bass from being buried in the mix. This layering technique adds depth and ensures the bass remains prominent and defined, contributing to a clearer overall sound.
@ 0:36
Tape Notes Podcast
Layer live violin over MIDI strings for organic depth
Bonobo demonstrates how to create a fuller, more organic string ensemble sound by layering live violin over MIDI strings. By recording a single live violin in multiple takes, and layering these live takes over MIDI strings, Bonobo achieves a natural and deep ensemble effect. The MIDI strings provide the foundational weight, while the live violin lines add authenticity and depth. In Bonobo's "Black Sands," this technique is employed by using Mellotron pads as the MIDI foundation, with live violin layers on top. This approach enhances the sense of a live performance, enriching the texture and creating a more immersive sound.
Mix with the Masters
Building tension with subtle tempo automation
Daniel Nigro, working with Olivia Rodrigo, uses tempo automation in Pro Tools to enhance the drama and groove of a piano-driven track. The song starts at 135 BPM, drops 1 BPM for the chorus to deepen the groove, and ends at 136 BPM to create a smooth transition. The recording process involved experimenting with different pianos, ultimately settling on a Steinway at Sunset Sound Studios. Post-recording, Olivia wanted the piano slowed further, requiring Nigro to manually edit transients and extending the notes to maintain a natural sound without artifacts. The piano was captured using C12A microphones for the main sound and an M49 for the low end. Nigro chose to avoid compression, allowing the piano's dynamics to naturally build tension and drama throughout the track.
@ 2:02
Tape Notes Podcast
Adding depth to a stereo piano with a mono plate reverb
FKJ enhances the depth of a stereo piano by using a mono plate reverb to fill the center of the mix. By running the wide, stereo piano through a vintage EMT 140 Plate Reverb and panning the effect to the center, FKJ creates a blend that adds richness and focus to the track. This technique ensures the piano remains expansive while the reverb provides a distinct presence in the middle, balancing the stereo field and adding captivating depth to the mix.
@ 1:22
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.
@ 0:30
Tape Notes Podcast
Using sequenced low-pass gates to create rhythmic chord patterns
Bonobo explains how to use the Make Noise LxD low-pass gate to create dynamic, rhythmic chord patterns with a Rhodes electric piano. By sequencing the low-pass gate, Bonobo introduces movement and interest to the sound, allowing the decaying notes to interact with the sequence in real-time. This technique maintains a structured rhythm while enabling a loose, chord-oriented focus during performance. The setup involves playing the Rhodes through the modular low-pass gate, which is triggered (or sidechained) by a programmed sequence. The nature of the low-pass gate creates unique and unforeseeable interactions with the dynamics of the playing and the envelope of the chords, enhancing the musical experience with evolving textures.
@ 8:42
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.
@ 3:41
Tape Notes Podcast
Layer bass sounds for bigger low end
Four Tet demonstrates how to create a distinctive dubstep-influenced bassline using two layers in Spectrasonics Omnisphere. By combining a wobbly bass preset, "Swaggering Around," with a low sine wave for added sub-bass, he enhances the bass's depth and weight, showcasing the power of layering different sounds.
@ 6:42
Tape Notes Podcast
Humanize MIDI patterns with random velocity and octave jumps
Four Tet shares his technique for humanizing MIDI patterns by introducing randomization in velocity and pitch. By varying the velocity of MIDI notes by 15%, he creates a more dynamic and less static synth sound, making each note feel more human and expressive. Additionally, he adds a 15% chance for notes to jump an octave up or down, introducing unexpected "sparkles and twinkles" that keep the pattern fresh and engaging. This approach causes every playback of the track to be unique, offering subtle variations that make live performances and recordings distinct each time.
@ 2:52
Tape Notes Podcast
Synth layering for memorable melodies
Four Tet showcases the art of layering by using the same melody across three synth instruments, enhancing both the arrangement and the track's tension. Starting with a subtle sound, he introduces the melody, allowing it to become familiar to the listener. As additional layers are added with more prominent instruments, the arrangement builds tension and anticipation, creating a dynamic progression throughout the track. This layering technique not only enriches the overall texture but also adds complexity to the sound itself. By combining different timbres, the melody gains depth and intricacy, making it more engaging and memorable.
@ 0:08
James Hype
Synth power: Rhythmic linking for seamless impact
James Hype shares a technique to seamlessly integrate aggressive synths into a track by mimicking existing rhythms within the composition. By aligning the rhythm of the synth with other elements, such as the bass or percussion, the synth's entrance feels more natural and expected, reducing the shock factor for listeners. This approach ensures that even bold, extreme sounds blend cohesively with the rest of the track, making the overall production more coherent and engaging.
@ 7:21
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.
@ 2:35
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.
@ 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.
@ 16:38
Produce Like A Pro
Enhance character with reverb
As an example of how specific reverbs can enhance the character of a sound, Marc Daniel Nelson uses the UAD Lexicon 224 reverb to imbue synthesizer parts with depth and emotion. This choice is driven by the Lexicon 224's historic synergy with synthesizers, famously used by Vangelis to create iconic sounds. Nelson illustrates how the right reverb choice can instantly convey a specific vibe or era, in this case, evoking a 'Blade Runner'-esque atmosphere.
@ 6:11
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.
@ 24:25
Sam Evian
Create an interesting ambience with a compressed mono reverb
Owens amplifies the atmosphere of the synth solo with a heavily compressed mono reverb, created using the Boss RV-6 guitar pedal. This technique yields a compelling reverb ambience that introduces depth and expansiveness. Skillfully avoiding any cheesy or overly prominent effects, Owens ensures the reverb enhances the synth's texture without loosing clarity or impact.
@ 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.
@ 6:08
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.