GGD
Using Saturn's dynamics to tame cymbal bleed
Adam 'Nolly' Getgood demonstrates using FabFilter Saturn's dynamics to effectively reduce cymbal bleed on snare tracks. Inspired by Eric Valentine's approach to high-frequency saturation, Nolly applies Saturn's multi-band expansion to gate high frequencies above 1K, significantly minimizing cymbal bleed while maintaining the snare's attack and presence. During a live recording session, Nolly discovered that Saturn's dynamics knob could intelligently manage bleed without introducing latency or compromising the snare's character. He provides an A/B comparison to showcase the dramatic difference, highlighting how this technique enhances the snare's clarity in a mix. Nolly also explores Saturn's potential as a multiband channel strip, using it to adjust the snare's tonal balance during tracking sessions. By setting the crossover at 1K and fine-tuning the dynamics, he achieves a natural, present snare sound with reduced bleed, demonstrating Saturn's versatility in both mixing and tracking scenarios.
URM Academy
Low-end clarity through kick-bass sidechaining
Will Carson demonstrates his approach to using sidechain compression in the low-end, drawing inspiration from Jason Joshua, to craft a powerful, punchy low-end while maximizing headroom and loudness. By applying the Oeksound Soothe plugin on the bass bus and all low-end elements like 808s, Carson ensures the kick drum cuts through the mix. This technique ducks the bass whenever the kick hits, allowing the sub frequencies of the kick to dominate without overwhelming the mix, thus preventing muddiness. This method is essential for achieving a punchy, clear low-end that feels substantial without actually increasing the low-end content, optimizing headroom and overall loudness in the mix.
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.
Tape Notes Podcast
Automating formant shifts for emotional vocal movement
Guy Lawrence of Disclosure uses Soundtoys Little AlterBoy to automate vocal formant shifting, adding emotional depth and movement to the track. By adjusting the formants, he aligns the vocal tone with the song's lyrical content, raising the pitch during hopeful moments and lowering it during more somber sections. This technique enhances the emotional storytelling of the song in a unique, creative way.
Tape Notes Podcast
Layering kicks: From synthetic to organic drums
Guy Lawrence from Disclosure shares his approach to creating dynamic kick drum sounds by layering synthetic and acoustic elements. He uses the Credland BigKick plugin to synthesize the low-end, achieving anything from deep 808 booms to punchy 909-style kicks. By layering these synthesized kicks with acoustic kick samples or loops, Lawrence adds a more natural and organic feel to the electronic drums. This technique involves combining different layers, such as a knock, a pedal hit, and room noise, to create a fuller, more human-sounding groove. Lawrence emphasizes the importance of restraint in layering, especially in busy tracks, to maintain clarity and drive. This method allows the kick to sit well in the mix, providing a solid foundation without overwhelming other elements.
GGD
Tune each chord for clearer distorted guitars
For achieving more clarity in distorted guitar recordings, consider tuning each chord individually. This technique can significantly enhance the polish of a modern production but comes at the expense of the organic flow of playing a guitar part. By adjusting the tuning of each string for every chord position, you can eliminate the muddled sound caused by imperfect intonation, especially when playing chords up the neck. This method ensures that each chord is perfectly in tune, resulting in a clearer and more powerful sound. While this approach might not suit grungy or hardcore styles, it is highly beneficial for those aiming for a hi-fi, polished sound. To strike a balance between performance and perfection, you can apply this technique selectively to certain chords, maintaining some of the natural feel while still enhancing clarity where it matters most.
GGD
Tune distorted guitars based on playing style
This video promotes the idea that when tuning a distorted guitar, it's crucial to consider the playing style, as the tuning can differ based on whether the part emphasizes attack or sustain. Typically, the transient or pick attack tends to be sharper than the sustained note. For fast, attack-heavy sections, tune to the transient to prevent sharpness during recording. Conversely, for sustained notes, tune to the sustained pitch for accuracy. This method results in a more unified and cohesive sound. The difference, though subtle, becomes stark when compared to a perfectly tuned MIDI bass, highlighting the importance of this technique for achieving clarity and cohesion in your mix.
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.
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.
Streaky
Widen the vocal to lift up the chorus
Streaky demonstrates how to use the UA UAD Studio D Chorus to widen a vocal, enhancing its perceived size and impact, particularly during the transition from verse to chorus. What is special here is how he ensures the effect is applied only to the stereo sides, leaving the center vocal clean. This technique helps the track's chorus lift and expand without overwhelming the listener with an obvious chorus effect on the vocal. To achieve this, Streaky employs the FabFilter Pro-Q 3 to apply a brick wall EQ, isolating the mid frequencies and allowing only the side signal of the chorus effect to be heard. This approach maintains the vocal's clarity while adding a subtle yet effective stereo expansion.
Streaky
Get the bass to cut through with parallel saturation
Streaky demonstrates how to make a bass cut through on smaller speakers using parallel compression and saturation with FabFilter Saturn. He sends the bass to a parallel bus, applying an SSL compressor with a 4:1 ratio, slow attack, and fast release to maintain transient clarity while achieving a fat, compressed sound. Next, he uses FabFilter Saturn to add saturation, focusing on the higher frequencies above 140 Hz. This technique enhances the bass's presence by introducing harmonics without altering the low-end character. By blending this processed signal back into the mix, the bass maintains its power on club systems while ensuring clarity and presence on smaller speakers. This approach effectively balances the bass's impact across different playback systems.