I’m just going to come out and say this: you can get some crazy sounds by experimenting with stacking different effects and plugins. There’s a right and a wrong way to do this though, and that’s what I’m going to be going over today in this post. First things first, make sure you’re sending your effects to a different buss. You might be saying to yourself, “Nah that’s garbage, I have nice control with my
Ohhh boy. The ever pervasive problem of “Man, my bass sounds great in the car, but I can’t even hear it on my phone!” I’ll tell you why, and it’s a really simple, obvious reason. Your phone, having as small speakers as it does, can only create a low frequency of about 100-120hz, and, depending on which model phone you have, is probably only one speaker, meaning you’re listening in mono. So what does this
Everyone loves feeling the kick and bass on a loud speaker system, but let’s give some love to snares and high hats, huh? Think of that Michael Jackson snare in Billie Jean, or Beat It. Think how much character resides in those snares. I’m going to teach you how to process great sounding snares, and how to get them to sit well with your hi-hats. The first thing you should think about when producing a
In this age of loud and compressed music, sometimes the basics get lost. One of the first things that really opened my eyes to mixing was the idea of panning and stereo placement. By panning certain sounds, an engineer has the ability to create space, depth, width, and when automated, some seriously awesome effects, so let’s get into it! First things first. Kick, bass and snare sit mono. Just… obey it, ok? Yes you can
I myself have been guilty of listening to Cardi B and Migos tracks on repeat, and I believe I’ve found one of the secrets as to why her tracks can be left on repeat. It’s not so much the mixes, which are always on point, and are some of the best I’ve come across as far as clear, loud, creative mixes, but rather the arrangement of the tracks themselves. As a case study of sorts,