Posted by: mtstudios
March 10, 2014 |
Stereo bass synths can be hard to fit in a mix because IMHO low end sounds focused and better in the center. So I will take a bass synth and duplicate it two more times to two new tracks. Eq them individually, for example; one at the lower end of the frequency spectrum (20Hz to 100hz), one at the mid (100hz to 500hz) and one at the higher frequencies (500hz on up). I will center the low end synth and spread the mid and high to left and right and adjust levels. Now the weight is centered and the sides can breath.
Posted by: mtstudios
September 5, 2013 |
Although my favorite micing technique requires a Royer 121 and a Shue SM57, not everyone has or can afford a Royer 121. An inexpensive alternative is to use two Shure SM57's. Locate the dust cap on speaker, point both 57's at the outside edge where dust cap meets cone. First 57 should be straight on while second 57 should be at a 45° angle, each equal distance and about 6" away from speaker. I usually blend the two with straight 57 on the louder side. Straight 57 gets you the bite while angled 57 giving you warmth and thickness.
This is a fairly common practice and a widely known trick. To excite a lifeless or dull vocal, you can duplicate the vocal on a new audio track and nudge it behind about 300-400 samples. Insert a low pass filter at 5k. Add a compressor at 10:1 or more , EXTREME! Stick a Desser at the end of chain to clean up. Mix that right behind your source vocal.
We have all probably run into this problem with mixing dialog. The background noise between dialog needs to be cleaned up and we proceed to do so. The dilemma is now it doesn't sound natural, so we look for clean room background noise and loop it, but it is obvious we looped the same piece. One easy remedy is to reverse every other one and cross-fade liberally.
I am not going to take credit for this one, because I read it in an interview with Tchad Blake.
In Pro Tools duplicate your kick drum track, insert the San Amp plug-in and adjust until you get a thick round low end with some distortion. Now include your clean source track and REVERSE THE PHASE on your Sans Amp track. Continue adjusting Sans Amp Plug-in (especially buzz and low knobs and take down highs) until you hear it sound like it is an octave below. I was skeptical, but works great for a thick kick.
This is a problem solver when gating snares. Typically snare gets clipped at its front when gating, so here is the trick. Put a gate on your snare track and enable the sidechain. Duplicate your snare track to a new audio track, pull down volume all the way and move it slightly earlier with a pre send sent to sidechain on original snare track. Gate will now be triggered ahead which will rectify clipping problem.
When tracking drums I always have trouble with hearing drummer talk, so I set up a talk back mic for him to communicate to me from drum room to control room. The problem exists when I start tracking the song, the talk back mic is also picking up the drums. Yuck, annoying! What to do? Here is the trick; I put a 1k tone on an Audio Track and create an Aux Track with the input of talk back mic. I insert a compressor on Aux track and set it hard. I then side chain that 1k tone into the compressor. Voila! When I initiate play on DAW talk back mic cuts.