Most of the time there is an obvious choice. Need more mid-range? Grab an EQ and boost the midrange. Need more control of the source? Volume automation or compression. Easy. 7 Obscure Mixing Techniques Used by the Pros
The hallmark of a great recording/mix for me is one where the music all lives within a tangible, dimensional world. The exception being songs that call for a two-dimensional or more lo-fi approach. In general, a recording that has width, height, and depth creates for a compelling sound. How to Create Width, Height and Depth in a Mix
How to Create Width, Height and Depth in a Mix
Effects: All You Need To Know... And A Little Bit More Technique : Effects / Processing Whether you're a beginner or a seasoned pro, there's always something to learn about adding colour to your mix. Paul White The world of audio effects is one that can be confusing even for experienced engineers. Especially in modern computer-based recording systems, there's a bewildering array of options, and to add to the confusion, some effects are widely referred to by more than one name. In this article, I'll take you through the most common effects, explaining how they work and where you might want to use them in your music.
Stumble! Veteran engineer of Universal Mastering Studios West, Pete Doell Most recording musicians, engineers and producers are well aware what a difference mastering can make to our mixes. And as we’ve discussed in previous columns (such as Audio Mastering Basics: Taking Your Music That Extra Step), mastering is an art form in itself, and is best placed in the hands of a specialist. But even expert mastering engineers can only accomplish so much, and it’s largely dependent on the raw materials they’re given to work with.
This article contains information originally sourced at EQ Frequencies and is used with permission from Songstuff.com. General: 20 Hz and below - impossible to detect, remove as it only adds unnecessary energy to the total sound, thereby most probably holding down the overall volume of the track 60 Hz and below - sub bass (feel only) 80(-100) Hz - feel AND hear bass 100-120 Hz - the "club sound system punch" resides here 200 Hz and below - bottom 250 Hz - notch filter here can add thump to a kick drum 150-400 Hz - boxiness 200 Hz-1.5 KHz - punch, fatness, impact 800 Hz-4 KHz - edge, clarity, harshness, defines timbre 4500 Hz - exteremly tiring to the ears, add a slight notch here 5-7 KHz - de-essing is done here 4-9 KHz - brightness, presence, definition, sibilance, high frequency distortion 6-15 KHz - air and presence 9-15 KHz - adding will give sparkle, shimmer, bring out details - cutting will smooth out harshness and darken the mix
How To Create Electro... Lead? Bass? To be honest, I’m not sure what this sound is specifically… Some may call it bass, some may say it’s more like a lead, but it’s definitely something you can hear in many Electro House tracks. I got the inspiration for this while listening some sample cd’s and after experimenting with FL Studio this is what I came up with: Is this something in a style of Mode Selektor, Daft Punk, etc? You tell me. I can’t say exactly as I haven’t listened to these guys so much Anyway, if you’re interested to replicate the sound, here’s how you do it, step-by-step:
A few Homerecording.com regulars debate the merits of dithering. The conversation could easily have devolved into a flame war, but the participants kept it civil, and offered some great food for thought. Some engineers even argue over which type of dither is best, claiming this algorithm is more airy sounding that that one, and so forth. But just because everyone believes this, does that make it true? That quote comes from Ethan Winer’s great summary of his position on the matter – he’s squarely in the “dithering is usually not needed” camp. I tend to agree with Ethan. Home recording and project studio blog - Hometracked
Electronic Music Tutorial (How to write beats) This is part 1 of a 10 hour long high definition tutorial video series on how to write electronic music, from scratch! All aspects are covered…. basic and advanced synthesis… sampling… progression… mixing… everything is explained in depth as I construct a tune while you watch. I talk to you like your sitting next to me, thinking out loud, cracking jokes and moving at the right pace, rather than focusing on boring shit. My goal is to get you producing good music as fast as possible. I’ve been performing electronic music around the world for years, and have much experience in production and the electronic music industry, I’m not just some guy who knows how to use a computer. The rest of this series is available to special members of my personal website, you can check it out here.
also, keep in mind that not everyone needs an audio interface. if you are only recording one track at a time or are recording more than one track but are fine with mixing it as you record you can use a much cheaper and oodles simpler analog mixing board/mixer. i struggled for over a year with a USB audio interface box i bought for home recording and it was ALWAYS a hassle - either really high latency, dropped sections, or it would take 15-20 minutes of fiddling with system prefs and settings in software to get it to work right. i finally went to my local music store and picked up a behringer analog mixer for $49 which has 8-Inputs (2 mic, 2 stereo, 1 stereo tape/CD), builtin EQ, effects send/receive, and the mic jacks have phantom power and the line inputs work great for electric instruments, a headphone out and I use an RCA-to-mini-1/8th-stereo plug to connect directly into the mic jack on my mac mini. It's simple, always works, and has real knobs and buttons.
Hands up who likes analogue synthesisers?! Of course you do; there’s dozen of models out there and the best thing is, they’re all different. That might seem strange at first glance because when you examine them, most models appear to be basically the same. My Roland SH101 has one oscillator, one filter, one envelope generator and plays only one note at a time.
RX3 is the latest version of the magic audio repair software from iZotope. I’ve had a few weeks to play with RX3 standard and I’m pretty impressed with the new features. RX is a suite of audio repair tools made by iZotope, who also make several popular plugins such as Ozone 5, Nectar, Alloy, Trash, and Stutter Edit. RX is a standalone application as well as a set of plugins you can use in any daw. When you load a file in RX you can view the spectrograph or the waveform or a mix of the two. Editing within RX is a bit like editing images. Guitar Amp Miking
One of the things I love most about recording music is that there are no rules. One guy decides to use a cardboard box as his kick drum sound…and it sounds awesome. Another guy decides to sample in the sound of a screaming cat and blend it with the cymbals. (Okay, I’ve never seen that, but I bet it’s awesome.) EQ Drums
AATranslator - Translate projects from one DAW or NLE to another AATranslator was originally developed to take advantage of Adobe Audition's excellent editing capability where the result was to be mixed in a ProTools equipped facility. Since then we have continually improved AATranslator to the point where it now converts more formats (including PTF, OMF & AAF) than any other session conversion program. So if you have either a commercial or practical reason that makes it necessary to move a session from one DAW to another then AATranslator is probably your best solution. Audio Conversion
Mysteries Of Metering Technique : Theory + Technical All mechanical meters are VU meters, all bargraph meters read peak levels -- and both types will give the same reading if you feed in a test tone. Reasonable enough assumptions, but wrong on all counts, as PAUL WHITE explains. The really wonderful thing about standards is that there are so many of them, and nowhere is this more evident than when you look at metering. This article examines the complicated issue of metering standards, but those unfamiliar with the general terminology of metering (eg. dBu, dbv, and the conventions of 'plus 4' and 'minus 10' operation) are advised to check out my article from SOS February 1994, 'dBs Explained', which should clarify many of the terms used here.
Understanding Sends, Auxes And Buses « Audio Geek Zine Let’s talk about using sends to control effects, parallel processing and some of the other benefits of sends. First we need to understand a few concepts. Buses, auxes and sends.
How to setup your device to control your DAW (Enigma SETUP FILES & More)