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Questions covered this week:
- Is EQ a must in mixing?
- What are the different automation modes and how to they work?
- What is the benefit of parallel compression?
- What is the benefit of using a 1-band EQ?
- What does “warm” really mean?
Mixing is fun.
It’s one of my favorite parts of the whole recording process.
There’s nothing quite like sitting down at your desk with a fresh cup of coffee and a blank session in front of you.
You hit that magic triangle (Play button) and listen to the raw tracks. Then you begin sculpting the sound.
Setting levels. EQ. Compression. Reverb. Delay.
So far, so good.
But it gets even better. (more…)
My wife and I are really good at watching TV shows on Netflix that were REALLY popular five years ago.
This time around it’s Fringe.
[Teensy-tiny claim to fame — While I worked in sales at Sweetwater, I actually had an email exchange with J.J. Abrams, the creator of Fringe, Lost, etc. He didn’t buy anything…]
Okay. Fringe. The basic premise is that all these crazy, inexplicable things are happening, things that traditional science can’t explain. So the FBI turns to what they call “fringe science,” the study of weird things. 🙂 (more…)
During the recording workshop last weekend, I learned two cool new things.
One has to do with mixing drums.
The other has to do with my mindset when it comes to mixing.
I explain both in today’s video. Watch it here:
Today I asked my Facebook fans what they wanted me to write about. Luca asked about how to get a big bass sound in the mix, using parallel compression, etc. Great question, Luca.
If you were to keep track of how much time you spend dealing with the low end in a mix, particularly bass and kick drum, verses everything else, I bet you’d be surprised. A huge, punchy, tight bass sound can make or break a mix. Once you’ve got the low frequencies playing nicely together, the rest becomes much easier to put in its place.
But how do you get that big sound, especially out of the bass track? (more…)
Yesterday, I posted a little ear training exercise. Most folks guessed the compression was the main difference between the two clips, but JP nailed it by guessing parallel compression.
You may remember a few articles and videos I posted last summer on parallel processing — Parallel Processing: Bass, Parallel Processing: Drums.
To review, parallel processing is simply processing two copies of the same signal in different ways in order to produce tonal results that would be otherwise impossible with only one copy of the signal.