Reverbs and delays are great ways to add some space to your mixes.

But are they the only way?

I got this question from one of my loyal VIP members. Mick wrote:

“I am having a hard time of getting my mixes to sound spacious. Is there any chance of you just showing how to create space?…I’m sure others would benefit and my mixes would sound awesome if only I could master it.” Read more »

My buddy Graham Cochrane recently posted an interview he did with Nashville mix engineer Joe Carrell.

’Twas epic.

They started talking about people’s addiction to plugins when Joe said something brilliant:

“Focus your attention on becoming a better artist.”

He’s not talking about playing guitar or singing. He’s talking about being a better MIXING artist. Read more »

Play

In this week’s episode, I talk about a new way I’ve been experimenting with effects sends while mixing. I also answer questions about stuff like:

  • “printing” EQ/compression on tracks
  •  getting rid of choir sibilance
  •  getting rid of static noise
  •  tips for programming MIDI drums
  •  my “gotta have” plugin
  •  dealing with low frequency problems in your room

 

Wanna submit a question for the podcast? Go here: www.askjoegilder.com

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I sang in a friend’s wedding over the weekend.

The wedding took place in an absolutely gorgeous church here in Nashville. The sanctuary looked like a massive, upside-down boat. (You know what I’m talking about. Pointy ceiling. Giant wooden beams.)

Anyway, I was talking with the sound guy before the wedding, and he was telling me that this particular church sanctuary is actually quieter (and has better acoustics) than the fancy Schermerhorn Symphony Center in downtown Nashville.

The place sounds amazing.

The groom’s sisters sang a duet without microphones, and from the back of the sanctuary, at the top of the balcony, I could still hear them perfectly.

I played piano (hello fancy Steinway!) for my song, and I sang with two other female singers.

We had microphones, since the song was pretty quiet and intimate.

When I started singing, I noticed something. First of all, the sound of my voice echoing around that massive building was really cool. (I felt so…powerful.)

But another thought came to mind, too. Read more »

Do you know how lucky we are?

Had we been born a mere 50 years earlier, we wouldn’t have access to nearly the amount of opportunities we have today.

Specifically, the proliferation of the world wide interwebs allows normal, average Joe’s like you and me to connect and collaborate with musicians all over the world.

Don’t believe me? Over the last few years I’ve collaborated with people from places like Finland, England, Nigeria, France, and all over the US. All without leaving Nashville.

You may think that collaborating with other musicians isn’t something you’ll be able to do, or something you can do easily.

Let me see if I can dispel a few myths for ya. Read more »

Subscriber Tom Parker forwarded this to me. Thought you might find it interesting, too.

I’m not sure what website it’s from, but it’s a quote from a film sound designer named John Sisti.

Here it is:

“Is the over-engineering of music costing us our audience? Do we get in front of the artist rather than present them?

Why do so many young people listen to music that was recorded twenty or forty years before they were born?

With the tools available today, we have so much control over the sound that will be heard in the end product. Products like Melodyne, Autotune, and others we can ‘fix’ even the smallest details within a performance. With sound being able to trigger a response on a millisecond level are we destroying the very elements that connect our artists to their listeners?

Shouldn’t the priority be the expression within the performance rather than a rigid standard of perfection in the sound?”

One of the areas I struggle with as both a musician and an engineer is this very concept of capturing and preserving the performance itself. Read more »