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 glitchy sounds as ear candy for texture
Problem: lack of texture or movement in the track
Glitchy sounds can add interesting texture and movement to a track, especially in the context of electronic music. These sounds often work well in the background, adding subtle interest without overpowering the main…
Use reverb to place ear candy in a bigger space
Problem: ear candy sounds too dry or disconnected
Adding reverb to ear candy elements helps them sit more naturally in the mix and gives them a sense of space. This is especially effective for glitchy or textural elements that might otherwise sound too dry or…
Experiment with different reverb settings for ear candy
Problem: ear candy lacks spatial depth
Different reverb settings can dramatically change how ear candy elements are perceived in the mix. It's important to experiment with various reverb types and settings to find the one that best complements the track. This…
Avoid over-processing ear candy to maintain natural feel
Problem: ear candy sounds too robotic or artificial
Over-processing ear candy elements, such as using too much reverb or robotic effects, can make them sound artificial and detract from the organic feel of the track. It's important to find a balance where the ear candy…
Use volume shaping to control the presence of ear candy
Problem: ear candy is too loud or distracting
Controlling the volume of ear candy elements is crucial to ensure they don't overpower the main elements of the track. Using a volume shaper or automation can help manage their presence, allowing them to add texture…
Name and organize your automation and effects for clarity
Problem: cluttered session with unclear labels
The producer renames the ARP filter and the side-chained version to avoid confusion. This is a simple but effective workflow tip that helps keep the session organized and easy to navigate. By labeling automation clips…
Use automation to control side-chained ARP filters for dynamic interest
Problem: static ARP filter lacks movement and interest
Instead of using a static side-chain on the ARP filter, the producer uses automation to control the side-chain manually. This allows for more expressive and dynamic control over the filter's behavior, making the sound…
Randomize side-chained elements for unique sound variation
Problem: predictable or static sound design
Randomizing the on/off pattern of side-chained elements introduces unpredictability and interest to the sound. This technique can make a track feel more dynamic and less repetitive, especially in ambient or mellow…
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…
Group ear candy elements into chunks for better arrangement control
Problem: difficulty arranging ear candy elements
Grouping ear candy elements into small chunks allows for easier manipulation and placement within the arrangement. This technique helps maintain control over the track's flow and ensures that the ear candy doesn't…
Add multiple ear candy tracks for more variation and interest
Problem: lack of variation in ear candy
Introducing multiple ear candy tracks increases the variety and interest in the mix. This technique is especially useful in ambient and melodic genres where subtle layers can enhance the atmosphere. The speaker suggests…
Experiment with ear candy placement to find the right context
Problem: uncertainty about ear candy placement
Trying different placements for ear candy elements helps determine where they fit best in the track. This is a crucial step in the creative process, as it allows the producer to explore how the ear candy interacts with…
Adjust volume and reverb of ear candy elements for better integration
Problem: ear candy elements overpower the mix
Reducing the volume and reverb of ear candy elements ensures they blend well with the rest of the track. This is important to avoid overwhelming the mix, especially in ambient and mellow genres where subtlety is key. The…
Sometimes, less is more — keep the number of sounds minimal
Problem: overloading the mix with too many sounds
The speaker mentions that they may be introducing too many sounds at the beginning of the track but decides to keep only one. This highlights the importance of restraint in sound design and arrangement. Too many elements…
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…
Apply sidechain with a band activated to avoid kick interference
Problem: kick and bass clashing in low-end
Using a sidechain with a specific frequency band activated helps prevent the bass from clashing with the kick. This technique allows the kick to cut through the mix more clearly by muting the bass during the kick's…
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…
Add subtle ear candy to enhance the overall texture
Problem: track lacks depth or texture
Including subtle ear candy, such as high-octave or sharp-sounding bass elements, can add depth and interest to the track. These elements are usually placed in the higher frequency range and are used sparingly to avoid…
Double kicks for more punch and depth
Problem: weak or buried kick
Doubling kicks adds more punch and depth to the low-end, making the kick feel more powerful and present in the mix. This is a common technique in genres like techno and house, where the kick needs to cut through the…
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 syncopated bass notes to maintain energy in breakdowns
Problem: breakdowns lose energy and rhythm
In trance breakdowns, adding syncopated bass notes (like 32nd notes) beneath the lead arpeggio helps maintain the energy and rhythm when the kick and percussion are absent. This technique prevents the track from feeling…
Use lower bass notes in breakdowns to add depth and energy
Problem: breakdowns lack depth and energy
Introducing lower bass notes in breakdowns adds depth and helps maintain the energy when the kick and percussion are not present. These lower notes provide a rhythmic foundation that supports the lead and keeps the track…
Maintain a clean lead melody by muting syncopated elements in the intro
Problem: intro lacks clarity and definition
In the intro, muting syncopated bass elements allows the lead melody to remain clean and clear. This helps establish the track's identity and ensures that the melody is not overshadowed by other rhythmic elements. It's a…
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…
Mute elements halfway through to add energy and pace
Problem: lack of energy or dynamic contrast in a section
By muting certain elements in the middle of a section, you create a dynamic shift that increases the track's energy and momentum. This technique is especially effective in trance, where maintaining and building energy is…
Use slow fades for leads to build tension and energy
Problem: sudden or jarring transitions
Fading in leads slowly allows for a more natural and gradual build-up of energy. This technique is particularly effective in trance, where tension and release are essential to the track's emotional impact. By using slow…
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 1176 blackface compressor with a fixed 4:1 ratio for consistency
Problem: inconsistent compressor settings across sessions
The 1176 blackface compressor is used with a fixed 4:1 ratio and fast release. This setting is used consistently across all sessions unless a special effect is required. The 4:1 ratio provides a balanced compression that…
Use the 1176 blackface compressor on vocals for tight, punchy sound
Problem: vocals lack punch or control
The 1176 blackface compressor is used on vocals with a fast attack and a release of 4, set to a 4:1 ratio. It's used to compress the vocal heavily, keeping it tight and controlled while preserving its natural character.…
Use D-Beaver reverb with 50% wet/dry for a natural, thick reverb sound
Problem: reverb sounds too wet or unnatural
The D-Beaver reverb is used with a 50% wet/dry setting to maintain the dry signal while adding reverb. This approach allows for a thick, natural-sounding reverb without losing the original signal's clarity. The reverb is…
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…