New track, forthcoming on Intricate Records and is available for pre-order on Beatport
Some quick fire tips for mixing your bass lines.
Quick post today on grouping your drums together.
You have probably watched plenty of videos about grouping drums. The fact of it is this: grouping drums allows you to then process all the individual drum sounds as one whole sound.
When making a dance track, of course you want it to sound great when in stereo, however; you want to make sure it also sounds good in mono.
Now I have heard many engineers state that ‘MONO IS DEAD!’ which is pretty true but you have to keep in mind that mono is great for checking that your mix is in phase and is beneficial when balancing levels. You may also want to consider that some club systems may still sum certain frequencies to mono, so if your track is out of phase then when it is played back in mono, sounds which are not in phase will tend to disappear.
Some quick tips about using EQ in a mix. Read more below.
Since I am on here I thought I would post up an educational post - my last two posts have been plugging my own music so here is some knowledge bombs.
· Rule number 1; Do not be compression a whore. Don’t just stack compressors on your track for the sake of stacking compressors. Does your kick really need more compression? Do you know why you are adding that third compressor to your bass line?
· Compression is good, but dynamics are also good. Retain some dynamics! So do not completely squash the hell out of your track, unless of course that is the practice. Seems to me these days a lot of dubstep for example, or ‘EDM’ (hate that term), are completely squashed with absolutely no dynamic range. Kicks the shit out of your ears in a short space of time. You want some sort of depth to your track and not just a huge wall of sound. ‘But but but I like that wall of sound!!!’…… That is fine. Disregard what I just said and completely squash your track, it is your music, do whatever the fuck you want :)
· Keep in mind a lot of good quality kick sample packs out there are ALREADY PROCESSED. Don’t just throw a compressor on your kick if it has already been done, you are eating up CPU and you are not achieving anything. A lot of the time people put on a compressor, hear it is louder and think….oh yeah that is great. NO! Just use your volume fader. Louder is not always better. If you are going to compress your kick then allow a slower attack time, somewhere between 5ms and 10ms is usually a good place to look. This allows for the transient of the kick to pass through the compressor without being squashed and will retain the punch.
· Use Parallel compression to get a good balance between your dry signal and compressed signal. You can get great results without overdoing the compression. Great for your drum buss or even bass. A great tip though is for vocals. Compress one vocal channel heavily and automate between the dry and compressed signals, listen how the vocal really breathes. With regards to drums, I often blend a dry signal and compressed signal together.
· Before you start laying down compressors it is a good idea to understand how it is going to make your mix better. If it isn’t ENHANCING your mix, do you really need it?
· You can get some results by using inbuilt compressors on VST’s. For me I like to turn these off and compress on my inserts. Find what works for you.
· Do not have a huge collection of compressors if you are not entirely sure how they work. This will only confuse you. Instead just use two or three and learn them well.
· DO NOT KILL TRANSIENTS. Be very careful when it comes to attack times. Having the wrong attack time can completely kill the transients of sounds. I mentioned this before with regard to the kick drum. Make sure your attack times are long enough to enable the most important transients pass through unaffected. This is especially true for short sounds such as drums. You can be a bit more lenient with times on synths.
· Serial compression used subtly can allow for a more transparent sound.
· You can easily be fooled into thinking louder is better. When more often than not, it isn’t. Just because your compressor is making the sound louder does not mean it is making it better, come on guys you have volume faders for volume.
· Consider using transient enhancers to aid in boosting transients after compression.
· Don’t be afraid to use presets in your compression plug-ins. Very talented guys developed the presets. If you want to be one of these guys who refuse to use presets then just use them as a starting point and change them slightly to fit your needs.
· Be careful on ratio settings, this is essentially how severe the compression will be. I like to use low ratio on things like drums, e.g. 2:1. In honesty I rarely find myself going over 4:1 on anything. I prefer subtle changes.
· EQ’s change the way compressors work on the sound. Compressors generally react to the loudest part of the signal irrespective of the frequency. So if you use an EQ before your compressor and do some boosting or cutting, you will effectively alter how the compressor’s threshold reacts at different frequency points. This in turn makes the compressor less responsive to that frequency. For me I like to compress my sound before I EQ it, but a lot of people do it the other way around. There is no right or wrong. Remember the end result is all about how something sounds, not how that sound was achieved. We listen to music with our ears not our eyes. Eqing after compression means you are simply changing the tonality of a compressed signal and you aren’t changing how the compressor is working on the signal.
· Use side-chain compression for the desired 'sucking' effect. This is not limited to side-chaining everything to the kick. Try side-chaining instruments to drum loops, or side-chaining percussion lines to other top lines. Or side-chaining your lead synth to your vocal. Get creative. Side-chaining to the kick is essential in creating space for the kick but experiment with the other elements.
· Try using a small ‘trigger’ for your side-chain compressor. What I used to do when I used a compressor as a side-chain is this: Create a duplicate of my kick but fade out the tail of the waveform so I was left with a really short click sound. Obviously mute this so it is just a trigger for your compressor (ghost kick). Doing this means that the attack of your side-chain trigger is identical to the kick drum of your track, therefore; whatever sound you want to duck will duck in unison with your kick drum. It will be triggered exactly when the kick hits. Fading out the rest of the kick means that the trigger will only be short so your ducking sound will not be kept compressed for the full length of your original kick drum. Doing this gives you room to work with the parameters on your compressor to really craft the side-chain. If you don’t shape or shorten the ghost kick waveform then your trigger for the side-chain will be too long and all you will get is a sustained compressed sound which then suddenly whooshes up toward the end of the kick drum. Experiment with different triggers, I know some producers who use a small little ‘click’ or percussion sound as their side-chain trigger.
· Put effort and time into experimenting with compression. Experimentation is always great.
· Although it isn’t essential to sell records, try to understand WHY you are doing something with a compressor.
· Consider using multiple compressors to drop db. Using one compressor to have a large amount of gain reduction can give un-wanted results. I like to use subtle compression and only get a few dB of gain reduction. If you really do need more then implement serial compression or parallel compression. This is the reason some guys stack numerous compression on their master buss, because they don’t want one compressor doing all the work. Gentle compression over numerous plug-ins and at different stages is generally better than using one to smash it.
· Your mastering engineer (or you if you do it yourself) will appreciate a compressor NOT being on the master chain at mixing stage.
· Please be aware that compressors bring up low level NOISE just as easily as they bring up low level signals.
· Another good plug-in to use with compression is the Oxford Dynamics plug-in. I really like how you can utilize a compressor and a limiter all in one plug-in. This is really handy for things like synth lines when you are opening the filter cut-off and the sound can get louder. Use the compressor and limiter together to tame the peaks and reduce the dynamic range and help minimize fluctuation in volume.
Well there is a few things to consider when reaching for your compressors.
Chow for now.
New Remix out on Axon Recordings. Early doors progressive house sort of stuff. Early support from Solarstone on his radio show.
For now it is exclusive to Beatport: https://www.beatport.com/track/neutro-midge-remix/9472074
Brand new remix released on Axon Recordings.
Beatport Link: https://www.beatport.com/release/waiting-for-you-remixes/2040476
Arguably the least understood concept in the world of producing music, especially when it comes to dance music. Producers (including me many years ago) just slapping up compressors for the sake of it. To be honest, some elements of compression are hard to grasp but seriously why stress yourself with the ins and outs of the science behind compression. Perhaps you should take time to learn the workings of a compressor, I am not suggesting you don’t, however; we want to focus on what is important and that is making music.
Please do not be one of these compression whores who lay down compressors on every channel for the sake of compressing. Try to understand when something needs compressing and when it does not. What is compression? In short -Compression is simply lessening the dynamic range, or reducing the range between the quietest and loudest part of the signal. Try to figure out what sounds need compression and why.
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