Why wait for the mixing phase to enhance your drum sound? This classic technique is so easy, so fast, and can be done for less than $16, even for free in some cases. Some people overlook it, but not you. You’re going to be different. I have a good feeling about you. Check it out and enjoy!
Want a fuller recording that makes mixing a much easier process? One thing to keep in mind then is how much balance your tracks have. Specifically today I’m referring to the balance of both rhythmic and sustaining parts in a recording. This can be achieved in a million different ways, but here are just two examples that might spark your creativity.
Are you a pseudo bass player like me? Then today’s video tip will help a lot. Great bass guitar recordings have little to do with complexity and riffs and way more to do with intentionality. Take a listen to two ways I’ve played the bass lines to this song and discover the two secrets to getting a tighter and punchier bass guitar sound in your recordings.
Looking for that warm, punchy, and fat drum sound? Try this fat mic technique on your next recording. By simply adding an additional mic just over the center of the kick drum shell facing down to the floor, you can capture a more focused and rounder tone to the kit that can be EQ’d and compressed to taste for mixing back in with your other drum mics. Take a look at how I used the fat mic technique in a recent drum session.
The other day I asked the question, “Which comes first? Music or lyrics?” Personally, I’m a music first guy. Even more specifically I’m a vocal melody locked up tight first kind of guy. Today I thought it would helpful to give you a glimpse into my songwriting workflow in hopes that it will inspire and motivate you to go make some more music. Enjoy!
At its core, a great recording is nothing more than a great performance of a great song captured in such a way that nothing distracts you from the song. What gear you use, what room you record in, or what software you use to mix it has nothing to do with it. Today’s post is just another shining example of this simple truth, and I hope it motivates you and encourages you at the same time. YouTube sensation Tyler Ward was stuck in an airport and decided to record a cover using nothing more than his built in iPhone mic and Logic. He then mixed it on $10 headphones on the plane.
Not hearing enough of one piece of the drum kit in your overheads track? Need more hi hat or ride cymbal compared to the snare or kick drum? A little strategic compression can go a long way to giving your overheads more balance so everything sits better in the mix. Check out this example.
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!