Hello All,
This is my first post to these forums, but I’ve been lurking for a while. You guys have posted some great information for both seasoned vets and budding novices. I think anyone who takes the time to enhance his or her craft should visit on a regular basis.
Now I know this is the Mixing Forum, but I would like to hear about engineering/producing tricks that we’ve all discovered over the years for both tracking and mixing (i.e. sidechaining, ducking, weird mic techniques, cardboard tubes and anything wacky).
Having read most of the post on the forum, I’m sure to learn a new trick or two from the craftsman onboard.
Thanks a lot,
MDog
“Never back-up further than you have to” - Weylinn Daago
Topic Tags
Comments
Mixerman, From that post, I get the sneaking suspicion that you
Mixerman,
From that post, I get the sneaking suspicion that you mix a lot of hip hop, or no?
I like to put my Korg ES•1 (a sampling groovebox, fyi) through a mic pre, cranked just to the clip point, and then into a compressor with some mild settings, and then into the DAW with more plug-in compression on the insert stage. Phattens the fucker up nicely.
Recently, I recorded a blistering rhythm guitar, soaked in distortion and jet-flange. It sounded kinda empty, so I doubled the part with a Spanish classical guitar, clean, and mixed it in slowly until it was lush. You cannot really hear the Spanish guitar in the mix, it is blended so subtly, but you would notice if I took it out. Trix.
E :)
Heres a trick I used recently to good effect. In Dance music yo
Heres a trick I used recently to good effect.
In Dance music you normally dont want much (or any) reverb on the kicks coz it just muddies things up. Yet, this particular track had a "too dry" sound, AND it didnt really groove right, drums were lacking that sucking groovy punch, y'know.
I played with some reverb, but it sounded tacky, even at really short times.
So when I was adding one of my trademark effects (at a break, flip the break, add reverb, flip back) all hell flew into me so I flipped the ENTIRE drumtrack... added a very very short reverb to it, and flipped back... so every drumhit had a slight "preVerb" to it.
Et voila!
Worked purrfectly. It subtle so you dont really "Hear" it, but take it away and the drumtrack falls on it's face.
The track in question is [[url=http://[/URL]="http://artists.mp3s…"]here[/]="http://artists.mp3s…"]here[/], for the curious minded. ;)
/Z
OK, I'll give a trick. Many times I get productions that use a
OK, I'll give a trick.
Many times I get productions that use a loop or 2 rather than drums. I find in most cases I'm trying to get some big bottom out of the loop, but it loses it's punch. So I run the loop through a dbx compressor, (I use 165a's, just make sure its a fast compressor) and add it in with the EQ'ed bottom end loop. When I do this, I'm not timid with the compressor. In fact I often times max out the input and set a high ratio. If there's too much distortion, I'll back off the input, but you get the picture.
This isn't much different than doing a subgroup compression an drums and adding it in. It's very effective in gaining control of the loop, and not having it control you.
Mixerman