Use parametric EQ to clean up unnecessary low frequencies
Problem: muddy low end from unwanted frequencies
Adding a parametric EQ to a sound can help remove unnecessary low frequencies that might muddy the mix. This is especially useful when working with arpeggiated or plucky sounds that may contain unwanted low-end content.…
Use randomized side-chained elements with filters for more depth
Problem: lack of depth or cohesion in randomized elements
Pairing randomized side-chained elements with filters enhances the depth and character of the sound. The filter can shape the frequency content of the randomized element, making it more cohesive with the rest of the…
Use the visual spectrum display to monitor frequency distribution
Problem: difficulty in visualizing frequency content
Rumble includes a visual spectrum display that shows how your sound is distributed across the frequency range. This is a powerful tool for ensuring that your bass and other elements are not clashing in the mix and that…
Use two filters in parallel or serial for complex filtering
Problem: limited filter options
Rumble allows you to use two filters at the same time, either in parallel or serial. This gives you more control over the frequency response of your sound and allows for more complex filtering techniques, such as…
Use a low-cut EQ on the bass to shape its frequency range
Problem: muddy or undefined bass
Applying a low-cut EQ to the bass helps define its frequency range and prevents it from clashing with the kick. This is a common practice in techno and other electronic genres where the bass and kick often share similar…
Use a log card to shape the bass tone
Problem: bass is too harsh or muddying the mix
Applying a log card (likely a low-pass filter or EQ shelf) helps shape the bass tone by controlling the frequency content. This is useful for ensuring the bass sits well in the mix and doesn't clash with other…
Ensure all elements respect each other's space
Problem: clashing or overlapping elements
Every element in the track should be placed with consideration for how it interacts with other elements. This is crucial for achieving a clean and balanced mix. When elements are allowed to occupy their own frequency and…
Use delay on the mid band to add space without affecting low frequencies
Problem: delay causing muddiness in low end
Applying delay only to the mid band of a sound can add depth and space without introducing muddiness from low frequencies. This technique is effective because it avoids the risk of low-end frequencies clashing with other…
Use side-chained volume shaping to enhance lead clarity
Problem: lead gets lost in the mix
Applying side-chained volume shaping to the lead helps it cut through the mix by ducking it slightly when other elements (like bass or percussion) are present. This technique ensures the lead remains audible without…
Use filter automation to control the energy of a section
Problem: sudden or uncontrolled energy shifts
Automating a filter to open gradually allows for a controlled and smooth transition into a section. This technique is especially useful in trance and uplifting tracks, where the energy needs to be carefully managed. By…
Use SSL 4K channel strip as a go-to tool for all sessions
Problem: lack of consistent processing across tracks
The SSL 4K channel strip is used on all tracks and buses in the session. It's a versatile tool that provides a familiar SSL sound with EQ and compression. It's used on individual channels and buses, making it a staple in…
Use SSL 4K channel strip on drum buses for shaping and compression
Problem: drums lack punch and clarity
The SSL 4K channel strip is used on all drum buses, including snare, kick, and sub kick. It provides a familiar SSL sound with a compressor and EQ that can be used to shape the tone and dynamics of the drums. The…
Add top end to snare drum with EQ boosts at 5K and 8K
Problem: snare lacks presence and clarity
To enhance the presence and clarity of the snare, a boost of 2.7 dB at 5K and 3 dB at 8K is applied. This adds high-frequency detail and helps the snare cut through the mix. The EQ is used in conjunction with the SSL 4K…
Use the Mix Head plugin on the mix bus for digital tape saturation
Problem: mix lacks warmth and cohesion
The Mix Head plugin acts as a digital tape saturation processor, smoothing out the edges of the mix and adding warmth. It's used on the mix bus after analog gear like the DW Fern and SSL Bus Plus. The plugin is set to 30…
Use the Mix Head plugin as a digital tape saturation processor on the mix bus
Problem: mix lacks cohesion and warmth
The Mix Head plugin is used as a digital tape saturation processor on the mix bus, providing a smooth and warm sound. It's used after analog gear like the DW Fern and SSL Bus Plus, and it's set to 30 IPS for a hi-fi…
Use the Mix Head plugin with a little input gain and drive for subtle saturation
Problem: mix lacks subtle saturation
The Mix Head plugin is used with a little input gain and drive to add subtle saturation to the mix. This helps enhance the overall sound without introducing harshness. The plugin is set to 30 IPS for a hi-fi sound, and…
Use a 30 IPS tape speed setting on the Mix Head for a hi-fi sound
Problem: mix lacks clarity and warmth
Setting the Mix Head plugin to 30 IPS tape speed provides a hi-fi, smooth sound that enhances the overall mix. This setting is preferred over 15 IPS, which adds more bottom end but lacks the clarity of 30 IPS. The 30 IPS…
Use the Pole Tech EQ on the mix bus for subtle frequency shaping
Problem: mix lacks subtle frequency balance
The Pole Tech EQ is used on the mix bus for subtle frequency shaping, even when no major adjustments are made. It adds a subtle 60Hz bump to enhance the low end without overdoing it. The plugin is preferred over the…
Insert the Pole Tech EQ on the mix bus even without making major adjustments
Problem: mix lacks subtle enhancement
The Pole Tech EQ is inserted on the mix bus even when no major adjustments are made, as it subtly enhances the mix. It's preferred over the vintage hardware version due to its consistency in stereo. This technique is…
Use the Pole Tech EQ for its 2B effect on the mix bus
Problem: mix lacks subtle 2B effect
The Pole Tech EQ is used on the mix bus for its 2B effect, which enhances the overall sound of the mix. It's preferred over the vintage hardware version because it's more consistent in stereo. This technique is used in…
Use the 'Delta' button in Dangan to hear the difference between the original and processed signal
Problem: uncertainty about the impact of processing
The 'Delta' button in Dangan allows you to toggle between the original and processed signal, making it easier to hear the exact changes being made. This is a useful feature for producers who want to ensure that their…
Use the 'Maximum Cuts' feature in Dangan to limit the depth of frequency cuts
Problem: over-processing or unnatural-sounding results
The 'Maximum Cuts' feature in Dangan allows you to set a limit on how deep the plugin can cut frequencies. This is useful when you want to avoid over-processing and maintain the natural character of the sound. It gives…
Use Dangan's 'Natural' mode for more human-sounding vocal resonance cuts
Problem: harsh or sibilant vocals
The 'Natural' mode in Dangan is designed to mimic how the human ear perceives sound, making it ideal for vocal processing. It avoids overly aggressive cuts and instead focuses on smoothing out harsh resonances in a way…
Use Dangan's 'Smart' mode to automatically detect and cut vocal resonances
Problem: inconsistent vocal resonance detection
The 'Smart' mode in Dangan automatically detects resonances in the vocal signal, regardless of the volume or dynamics. This is particularly useful when dealing with signals that have varying levels or volume automation,…
Use Dangan's 'Perceptual' mode to target the most irritating frequencies in the human hearing range
Problem: over-processing or under-processing of vocal resonances
The 'Perceptual' mode in Dangan is based on the Fletcher-Munson curve, which represents how human hearing sensitivity changes with frequency and volume. This mode focuses on cutting the frequencies that are most…
Use Dangan's 'Intense' mode for aggressive, surgical vocal resonance cuts
Problem: extremely harsh or sibilant vocals
The 'Intense' mode in Dangan is designed for extreme resonance cutting, making it ideal for situations where you need to drastically reduce harsh frequencies. This mode is best used for real-time processing, such as…
Use the 'Marty' mode in Dangan to increase precision in the low-end frequency range
Problem: imprecise low-end frequency cutting
The 'Marty' mode in Dangan adjusts the size of the frequency 'beans' in the spectrum display, making it easier to target and cut problematic low-end frequencies. This is especially useful when working with bass-heavy…
Use multi-band sidechain to open space for vocals
Problem: vocals masked by synths, lack of clarity
When vocals are masked by synths, using a multi-band sidechain allows the plugin to duck the main frequencies of the synths in response to the vocal. This creates space for the vocal to cut through without completely…
Use linear phase mode for transparent filtering
Problem: ringing from linear phase filters
For producers who prioritize linear phase filtering, Degan offers this option. However, it's important to note that linear phase filters can introduce some ringing, especially when used with very steep or aggressive…
Choose a bass octave based on frequency strength
Problem: bass doesn't sit well in the mix
To find the best octave for your bass, use an equalizer to identify the strongest frequency range in your track. If the strongest frequencies are between 40 and 80 Hz, that's a good range for your bass octave. This…
Adjust the EQ on the kick to make it lock in with the bass
Problem: kick and bass don't lock in frequency-wise
After balancing the volume of the kick and bass, use EQ to make small adjustments to the kick's frequency spectrum. This helps the kick and bass complement each other in the frequency domain, ensuring they don't mask…
Test the kick by adjusting its EQ across the entire frequency spectrum
Problem: kick doesn't sit well in the mix
To fully understand the kick's sound, adjust its EQ across all frequency ranges. This helps the producer identify how the kick interacts with other elements in the mix and allows for precise tuning. This technique is…
Listen to everything below 100Hz on the master bus to check the kick's presence
Problem: kick is too quiet or muffled in the sub-bass range
Using an EQ on the master bus to listen to everything below 100Hz helps assess the kick's presence in the sub-bass range. This technique ensures the kick is audible and has a clear dynamic, which is essential for…
Balance kick and bass fundamentals for a cohesive low end
Problem: muddy or weak low end, kick and bass not working together
The relationship between the kick and bass is crucial for a clear and punchy low end. If the kick feels too quiet or buried, it may be due to the bass overpowering the low frequencies. Conversely, if the kick is too loud…
Avoid over-reliance on plugins for low-end issues
Problem: overusing plugins for low-end issues
Many producers reach for complex plugins to fix low-end problems, but the solution often lies in simple level adjustments and frequency balancing. The key is to focus on the fundamental frequencies of the kick and bass…
Focus on fundamental frequency balance for glueing kick and bass
Problem: kick and bass not working together
The glue between the kick and bass comes from their fundamental frequencies being in harmony. This doesn't require any complex processing — just careful listening and level adjustments. By ensuring that the kick and bass…
Use a high-pass filter on the mix bus to enhance rhythmic pumping
Problem: kick is buried, mix lacks rhythmic pumping
Applying a high-pass filter (e.g., at 150Hz or 200Hz) on the mix bus can make the kick more noticeable and enhance the rhythmic pumping effect. This is especially useful in tracks where the kick needs to cut through the…
Use a high-pass filter to allow the kick to pass through without ducking
Problem: kick is muffled, needs more presence
Setting a high-pass filter at 120Hz or 200Hz on the mix bus allows the kick to pass through without needing to be ducked by other elements. This helps maintain the low-end presence while avoiding muddiness. This is…
Use shelf filters to cut just above the low-end for clarity
Problem: low end is muddy, lacks clarity
Using a shelf filter to cut just above the low-end (e.g., 80Hz or 100Hz) can help remove muddiness while preserving the low-end presence. This technique allows the producer to clean up the low frequencies without…
Mistake: Over-relying on EQ to fix sibilance instead of using the right mic
Problem: over-processing vocals with EQ
A common mistake is to rely heavily on EQ or de-essing plugins to fix sibilance in vocal recordings, rather than using a microphone that naturally tames sibilance. This can lead to an unnatural or overly processed sound.…
Use a lo-fi cut and high shaft to blend pads into the mix
Problem: pads too prominent or muddying the mix
Applying a lo-fi cut (likely a low-pass filter) and a high shaft (possibly a high-pass filter or EQ adjustment) helps blend pads into the mix without making them too prominent. This technique ensures the pads sit nicely…
Separate guitars from vocals using a filter and automation
Problem: guitars and vocals competing in the same frequency range
Using a filter to reduce the frequency range of guitars when vocals are present helps prevent frequency masking and ensures both elements can coexist in the mix. This is particularly useful in bounce trance where guitars…
Use a multi-band sidechain to separate clashing frequencies between vocals and guitars
Problem: vocals and guitars competing in the same frequency range
Routing the vocal track to a multi-band sidechain on the guitar track allows the guitar to duck in the frequency ranges where the vocals are present. This ensures that the vocals remain clear and prominent in the mix…
Use a stock multi-band sidechain plugin for effective frequency separation
Problem: lack of precise frequency separation tools
Even stock plugins can be powerful tools for frequency separation. Using a multi-band sidechain plugin allows for precise control over which frequency ranges are affected by the sidechain, making it a valuable tool in…
Use a mid-sweep transition for smooth bridge-to-drop transitions
Problem: jarring transitions between sections
A mid-sweep transition involves gradually sweeping the mid-range frequencies to create a smooth and dynamic transition between sections. This is a common technique in bounce trance for creating a sense of movement and…
Use short snare samples at 300Hz for arky texture
Problem: lack of rhythmic punch in breakdowns
Using short snare samples around 300Hz adds an arky (aggressive, punchy) texture to the track. This frequency range is ideal for snare rolls as it sits well in the mid-range without clashing with other elements. The…
Cut low and high frequencies on delay to shape the sound
Problem: delay is too muddy or harsh in the mix
Cutting the low and high frequencies on the delay helps it sit better in the mix by reducing muddiness and harshness. This allows the delay to complement the main sound without clashing with other elements. It's a common…
Boost around 5kHz and cut around 500Hz to add presence and clarity
Problem: element lacks presence and clarity in the mix
Boosting around 5kHz and cutting around 500Hz can add presence and clarity to the sound. This helps the element cut through the mix and stand out more, which is especially useful in tech trance for creating a more…