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.
URM Academy
Using Trackspacer for punchier drums
Joey Sturgis demonstrates using Wavesfactory Trackspacer to achieve punchier drums by enhancing the kick and snare's presence in a mix. Inspired by the key spikes technique, Sturgis creates "Track Spacer Blips" by sending ultra-short, one-millisecond bursts of the kick and snare to a sidechain input on Trackspacer. This setup allows the plugin to duck the rest of the mix momentarily, giving the kick and snare a clear, focused moment to shine. By setting the Trackspacer's attack and release to the fastest possible settings and adjusting the effect to around 4-5%, Sturgis ensures the effect remains subtle yet impactful, especially on small speakers. This technique prevents frequency masking, allowing the kick and snare to cut through the mix without overpowering it, resulting in a competitive drum sound.
URM Academy
Making kicks punchy with sidechain compression
Dan Braunstein demonstrates how to achieve a punchy kick and better separation in a mix using sidechain compression with the FabFilter Pro-C 2 on bass. By sending the kick signal to the compressor's sidechain input, Braunstein ensures that the bass ducks out of the way, allowing the kick to cut through the mix with clarity and impact. He starts with extreme settings and dials them back to achieve 3-6 dB of gain reduction. This technique enhances the mix's overall movement and clarity, making the kick more prominent without overwhelming other elements. Braunstein also uses the FabFilter Pro-Q 3 to EQ the kick and bass, deciding whether the bass should occupy the sub frequencies and the kick the low mids, or vice versa. He ultimately prefers the kick to dominate the low end, giving the bass more harmonic presence. This strategic frequency separation reduces muddiness and enhances the mix's overall balance.
URM Academy
Sidechaining for a bigger snare room
In this session, Dan Braunstein focuses on using sidechain compression to enhance the snare room sound in a mix. He demonstrates how adjusting the attack and release settings on the sidechained compressor allows the snare's decay to shine through. The key is going for a longer attack time, so that the ducking makes room for the snare's decay rather than the initial snap. Dan sets up the sidechain to duck bass and guitars when the snare hits, allowing the room sound to pop through. Dan suggests sourcing the sidechain signal from the most direct snare track rather than the entire snare group, ensuring that the room's ambiance is effectively highlighted without overwhelming the mix. This approach is part of his broader strategy to make drums punch through the mix with clarity and presence.
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.