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…
Use presets as a starting point but customize them for better results
Problem: over-reliance on presets without customization
The producer mentions using presets in Shaperbox but admits they are not always familiar with how to tweak them. This highlights the importance of using presets as a foundation but customizing them to better suit the…
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…
Trust your ears and keep the melody as the focal point
Problem: uncertainty about arrangement choices
The speaker expresses uncertainty about whether a section works with the melody but ultimately decides to keep it because they like the melody. This shows the importance of prioritizing the melody and trusting your…
Don't be afraid to leave sections unresolved or incomplete
Problem: perfectionism or overthinking during production
The speaker admits they're not entirely sold on a section of the track but decides to leave it as is. This shows that it's okay to not have everything perfect and that sometimes, leaving things open can lead to better…
Use automation creatively on ARP synths for ear candy
Problem: static or boring synth sounds
The speaker mentions using automation on an ARP synth to create interesting, dynamic changes in the sound. This technique adds movement and variation, making the track more engaging. It's a simple but effective way to…
Ear candy is about experimentation and adding small, creative elements
Problem: lack of creativity or inspiration in production
The speaker emphasizes that ear candy doesn't come from a formula but from trying new ideas and seeing what works. This approach encourages producers to think outside the box and add unique, subtle elements that enhance…
Use velocity smatter for dynamic variation
Problem: lifeless or static patterns
Applying velocity smatter to MIDI notes introduces subtle dynamic variation, making the performance feel more natural and expressive. This is especially useful in genres like techno and house, where subtle changes in…
Automate the color or length of a sound for dynamic variation
Problem: static, lifeless sounds
Automating parameters like color or length can add movement and interest to a static sound. This technique allows for subtle changes over time, making the sound more engaging and dynamic. It's especially useful in genres…
Use automation to shape the length and color of a sound over time
Problem: static, lifeless sounds
Automation is a powerful tool for shaping the evolution of a sound. By adjusting parameters like length and color over time, producers can create dynamic and expressive sounds that add movement and interest to a track.…
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 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…
Think of compression in four quadrants based on attack and release settings
Problem: overwhelmed by compressor controls
Compression can be conceptualized using four main quadrants defined by attack and release settings. This model helps producers make more informed decisions about how compression affects the sound. Fast attack and fast…
Avoid using fast attack and fast release unless managing transients or limiting
Problem: unnatural compression sound
Unless you're specifically managing transients or using a compressor as a limiter, fast attack and fast release settings are generally not necessary. This can lead to an overly aggressive or unnatural sound. It's better…
Simplify your mental model of compression by using different tools for different tasks
Problem: overcomplicating compression settings
Rather than trying to use a single compressor for all tasks, it can be more effective to use different tools for different purposes. For example, a limiter or clipper can be used for managing transients, while a…
Use starting points as a guide, not strict rules, when compressing
Problem: rigid approach to compression leads to over-processing
Compression settings should be treated as starting points rather than strict rules. This allows for flexibility and experimentation, as different sounds and genres may require different approaches. It's important to have…
Master within the same project for better control and consistency
Problem: mix and master feel disconnected
Mastering within the same project allows for better control and consistency because you can factor in the final mastering stage early on during mixing. This approach helps you make more informed decisions about the mix,…
Avoid adding mix bus compression after the mix is complete
Problem: mix bus compression changes the balance of the mix
Adding mix bus compression after the mix is complete can drastically change the balance and feel of the mix. It's better to factor in mix bus compression early on during the mixing process so that you can make…
Use automation for lead vocals in pop to maintain a natural sound
Problem: over-compressing lead vocals
In pop or hit pop mixes, automation is often used to manage the dynamics of lead vocals for a more natural and transparent sound. This is different from rock, where heavy compression is expected. Automation allows for…
Simplify compression settings when mixing
Problem: overcomplicating compression settings
As a producer gains experience, it's common to find that many compression settings have subtle or negligible effects on the overall sound. This can lead to overcomplication. A good approach is to simplify by using fast…
Use the MU-1 microphone for piano overheads to capture a rich, detailed sound
Problem: inadequate piano overheads, lack of tonal balance
The MU-1 combines a large-diaphragm condenser and a ribbon element, allowing it to capture both the detailed high-end and the warm, smooth midrange of a piano. This dual-capsule design provides a more complete and…
Listen to the microphone in context with other elements of the recording
Problem: evaluating microphone in isolation, not in context
When evaluating a microphone's sound, it's important to listen to it in the context of the full recording. The speaker demonstrates this by using the MU-1 on a piano and listening to it with other instruments and…
Avoid adding EQ or compression during initial microphone testing
Problem: over-processing during initial microphone evaluation
When evaluating a microphone's sound, it's important to listen to it without any processing to get an accurate sense of its natural characteristics. The speaker demonstrates this by using only panning and no EQ or…
Use multiple microphone capsules to capture a more complete sound
Problem: incomplete sound capture, lack of detail
Using multiple microphone capsules, such as the four MU-1 capsules used on the piano, can help capture a more complete and detailed sound. Each capsule can capture different aspects of the sound, such as the high-end…
Avoid over-processing by using the right microphone for the job
Problem: over-reliance on plugins for sound shaping
Using the right microphone for the source material can reduce the need for heavy processing. For example, using a ribbon mic on vocals can naturally tame sibilance, while a condenser mic can capture more detail and…
Ribbon mics can enhance the natural sound of wind and brass instruments
Problem: overly bright or unnatural instrument recordings
Ribbon mics are preferred by many wind and brass players because they provide a darker, more natural representation of the instrument. This is due to the ribbon's ability to capture the sound as if it's coming from…
Use ribbon mics for a more authentic saxophone sound
Problem: overly bright saxophone recordings
Saxophonists often prefer ribbon mics because they provide a darker, more natural sound that represents how the instrument is heard in a room. This helps the player feel more comfortable and in control of their tone, as…
Use a hybrid ribbon and condenser microphone to avoid phase cancellation issues
Problem: phase cancellation between multiple mics
Using two large-diaphragm condensers or a ribbon and condenser microphone can lead to phase cancellation if they are not positioned correctly. This occurs when the sound arrives at slightly different times due to the…
Avoid using multiple large mics without careful positioning
Problem: phase cancellation between multiple mics
When using two large mics, such as the RCA KU3A and a condenser, it's crucial to place them as close as possible to each other to avoid phase cancellation. This is a common issue in recording setups where mics are not…
Use a single stand for hybrid microphone setups to simplify recording
Problem: complex setup with multiple mics and stands
Using a single stand for a hybrid microphone like the JZ Mic MU-1 simplifies the recording process and eliminates the need to adjust multiple stands for phase alignment. This is especially useful when the performer moves…
Use multitracks to experiment with microphone setups and mixing
Problem: limited ability to experiment with microphone setups
Providing multitracks allows producers and engineers to experiment with different microphone setups and mixing techniques. This is especially useful for evaluating the performance of a hybrid microphone like the JZ Mic…
Avoid over-processing during initial recording sessions
Problem: over-processing during recording
The multitracks provided in the video are raw and unprocessed, with no EQ, compression, or high-pass filters applied. This allows users to make their own decisions about how to shape the sound during mixing. It's a best…
Study and select sounds in advance to streamline the production process
Problem: production process is slow or inefficient
Taking the time to study and select sounds in advance can streamline the production process and help avoid unnecessary experimentation during the session. This technique is especially useful for producers who want to…
Use different velocities for varied sound
Problem: monotonous or lifeless MIDI performance
Using different velocity values on MIDI notes can produce a more dynamic and expressive performance. Higher velocities can make notes sound brighter or more aggressive, while lower velocities can add subtlety and nuance.…
Humanize MIDI with a randomizer tool
Problem: stiff or lifeless MIDI performance
Using a randomizer tool like Alt-R can add subtle variations to MIDI notes, making the performance feel more natural and less robotic. This is especially useful for adding groove and character to repetitive patterns or…
Use velocity to differentiate between high and low notes
Problem: lack of dynamic contrast in melody
Assigning higher velocities to upper notes and lower velocities to lower notes can help create a more dynamic and spatially interesting performance. This technique is used in the video to make the higher notes sound more…
Root multiple backing vocals into the same channel for cohesive processing
Problem: inconsistent vocal processing across multiple tracks
By grouping all backing vocals into a single channel, you can apply consistent processing like EQ, compression, or reverb across all vocals at once. This ensures a unified sound and simplifies workflow, especially when…
Use a single vocal patch across multiple vocal tracks for consistency
Problem: inconsistent vocal tone across tracks
Creating a vocal patch and applying it to multiple vocal tracks ensures a uniform tone and processing across all vocals. This is especially useful in trance and bounce trance where vocal presence and clarity are crucial.…
Use automation to shape the delay of vocal tracks
Problem: static vocal delay that lacks movement
Automating the delay of vocal tracks allows for dynamic control over the timing and spatial placement of the vocals. This can help create a sense of movement and depth in the mix, especially in trance and bounce trance…
Add fade-ins to vocal chops for smoother transitions
Problem: harsh vocal chops that disrupt the flow
Applying fade-ins to vocal chops helps them blend more naturally into the track, reducing harshness and improving the flow of the mix. This is especially useful in bounce trance where vocal chops are often used for…
Copy and reuse vocal processing across multiple tracks for consistency
Problem: inconsistent vocal processing across tracks
Copying a vocal processing setup to other vocal tracks ensures a consistent sound across all vocals. This is especially useful in bounce trance where vocal layers are often used to create a rich and cohesive vocal…
Use fake drops and automation to build tension
Problem: lack of tension, predictable drops
Creating a 'fake drop' with automation helps build anticipation and tension before the real drop. This technique is useful in trance and bounce trance to keep the listener engaged and create a sense of release when the…
Tease melodies with open cut-off and fade-ins for smooth transitions
Problem: jarring melody entrances, abrupt transitions
Using open cut-off and fade-ins when introducing a melody helps it blend smoothly into the track. This technique is useful for creating seamless transitions and ensuring that the melody doesn't feel jarring or abrupt.…
Automate side chain to control when it's active
Problem: side chain active when not needed, unnecessary processing
Automating the side chain allows you to control when it's active, such as only during kick hits. This helps maintain clarity and prevents unnecessary processing during sections where it's not needed. This is a useful…
Use wash-out effects with automation for atmospheric texture
Problem: lack of atmospheric depth
Applying wash-out effects with automation adds atmospheric texture and depth to the track. This technique is particularly useful in bounce trance and funk tribu styles to create a sense of space and movement. The speaker…
Use automation to shape wash-out patches
Problem: static wash-out patches, lack of movement
Automation allows for dynamic control over the wash-out patch, giving it a more organic and evolving character. By automating parameters like filter cutoff or modulation depth, the sound can transition smoothly from one…