The problem with our ears is that they adapt; they get used to whatever they are hearing. One solution to “wake” them up is to periodically flip back and forth between two very different mix volumes. You want a standard volume (which ideally is relatively low) and then a super low volume. If you have a dim switch on your interface, you’re set. If not, watch this video.
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!
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.
Do you know what sample rate and bit depth you should be recording at? Does it really matter? What do each of those settings mean and what affect do they have on your audio when recording and mixing? Today’s video will help clear things up for you…
The team over at Slate Digital has done it again. The Virtual Buss Compressors (VBC) plugin is here and it’s amazing. There’s a reason why I own every one of Steven’s plugins: they add something unique and magical to my mixes, and the VBC is no exception. I literally demoed this for 5 minutes on a mix for a client and I knew instantly that this was doing something special to my tracks. You have to hear it to believe it, so I’ve put together a little review for you. Enjoy!
Here’s a question: why in the world would anyone ever need more compressors if their stock DAW compressor works and sounds great? The answer? You don’t. That being said, what’s great about these Waves CLA emulations of classic compressors such as the LA-2A, 1176, and LA-3A is the sonic characteristic and vibe they bring to your tracks. They are more than just compressors, they are tone machines. Here’s a little review for your opinion seeking pleasure…
As complex as the mixing process can be, in reality it can easily be broken down into a handful of concrete steps. In Part 1 and Part 2 of The Beginner’s Guide To Mixing we looked at how to setup your mix and what the core of the mixing process looks like. In today’s final steps we will look at how to finish that final 10% of your mix and wind up with something that sounds great, not just good.
Step #7 – Sweetening
If the last three steps were what gave your mix it’s sound, this step is what gives that sound pop. A great mix isn’t purely a sonically clear and punchy mix. It also has to create impact and take the listener on a journey. Every moment of the song must be interesting and engaging to the audience. Otherwise, in a world of endless choice at our fingertips, the listener will get bored and move on to something else.
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Compression is one of the coolest tools you can use in mastering to help bring punch and energy to your mix. Last week we looked at using an EQ to balance out the mix a bit more, and today I want to enhance that track even more with a touch of compression.
Confused about the mastering process? Wonder what plugins you really need to start mastering your mixes to perfection? Have no fear. Today I’m introducing one of three simple videos on how to master your tracks in any DAW with stock plugins. We’ll cover the big three in mastering: EQ, compression, and limiting. Today I want to start with the power of EQ.
Last week I recorded a band with one microphone and then mixed the song with the free Avid Pro Tools express software. Today I want to show you the behind the scenes look at how that mix came together. Why? Well, for one a lot of you were asking me to do this, so I obliged. Secondly, I think it shows just how much you can accomplish with even a “limited” piece of software. Mixing concepts, tactics, and approaches are applicable in just about any studio or DAW environment. Enjoy!