To edit out breaths or not to edit out breaths, that is the question. Actually, the way I prefer to work is a hybrid approach. By trimming and ramping up certain breaths while leaving in other breaths entirely I get a controlled, yet natural vocal performance that holds up well even under heavy compression.
That’s a simple statement, but it implies a lot. Let’s dive into it. Emotion is defined as “a natural instinctive state of mind deriving from one’s circumstances, mood, or relationships with others.” There’s a few things to note from this definition.
1). Emotion exists within the mind of the recipient — not inherently in the thing causing an emotion.
2). Nevertheless, emotions are “derived” from one’s circumstances — or in our case, music.
Putting these together, for our sake, emotion is defined as “how a listener feels when they hear your track.”
Now I want to pose a simple question to you. How important do you think it is that a listener finds your music emotional?
When you near the end of a mix, sometimes you feel that it’s missing something and you can’t quite put your finger on it. Today I want to show you my favorite little mix buss EQ trick that I use on just about every mix as it nears completion. In one simple move it cleans up the mix while also pushing vocals and snare drums just up a bit more to the listener. Enjoy!
A great drum mix doesn’t just sound good, it feels good as well. And sometimes with sampled drums you get a nice clean sound, but it lacks the punch and impact you’re looking for. In today’s tutorial I show a quick and easy way to instantly bring out more power from your kicks and snares. Enjoy!
Looking for a great all around go-to studio microphone? Then put the Rode NT1a (or newly updated NT1) on your list. In the wake of last week’s article on affordable microphones vs expensive microphones I thought I would share one of my all time favorite affordable mics. For around $200 US, you really can’t go wrong with having one of these in your mic locker. Check out the review and sound sample at the end.
If you’ve listened to just about any Soundgarden album over the past 20 years you’ve heard this effect. The creepy vocal swells up moments before the vocalist blasts into a new line. It sounds cool, because it is cool. You’ll likely recognize it when you hear it. Here’s how to do it.
Logic Pro X might be one of the best home studio bargains around. I’m admittedly a Pro Tools guy (have been for over a decade now), but as someone who helps people get their home studios going, I’d be a jerk to not show what Apple’s latest version of their flagship DAW can do, and for such little money. Check it out.
If you’re like me, you rarely get to record your drums in a nice big studio space. Perhaps your tracking space is a bedroom, basement or living room. Maybe you’ve tried using room mics or a mono room mic to capture some energy and ambience naturally, but in the mix it just doesn’t sound great. Here’s a nifty little trick to take that lackluster room mic (or pair of room mics) and turn them into a more studio ready sound.
Struggling with a small and mediocre mix? Want it to sound bigger, wider, and larger than life? It’s time break it out of the confines of the mix box. In Part 1 of this little series we looked how to get more depth and width in your mix. Today I want to take things even further and show you how to get more top and bottom separation. The transformation at the end is powerful!
Do your mixes sound like small and underwhelming? Do pro mixes sound much more open and larger than life than yours? It might be that you’re crowding the mix box with too many tracks, but also might be that you’re not using these simple mix moves to open them up to their full potential. In this two part video series I want to show you how to get more depth, width, and height out of your mixes and free them from the mix box’s confines.