Use touchscreens and trackpads on the console for digital control of analog EQ and dynamics
Problem: manual adjustment of analog gear
The Neve Genesis console allows for digital control of analog EQ and dynamics sections through a touchscreen and trackpad. This means that even though the console is analog, its parameters can be adjusted and recalled…
Use the Neve Genesis console's per-channel select button for individual channel control
Problem: inability to adjust individual channels
To adjust individual channels on the Neve Genesis console, Marc Urselli uses the yellow select button to access each channel's parameters. This allows for precise control over each channel's EQ and dynamics, even though…
Match the dynamics of your bass with the rest of the track
Problem: inconsistent dynamics between layers
When selecting sounds, ensure that their dynamics match the rest of the track. For example, if your bass is plucky, it should be layered with plucky leads. Alternatively, if you want contrast, you can layer it with…
Automate master bus levels to enhance dynamic contrast between sections
Problem: flat or unengaging master bus
The speaker routinely automates master bus levels, making subtle adjustments (e.g., +1dB on choruses) or drastic ones (e.g., -5dB on transitions). This technique ensures each section 'shines' while maintaining cohesion,…
Adjust velocity for dynamic basslines
Problem: flat, monotonous bass
Randomizing MIDI note velocities in the piano roll adds natural variation to basslines. Lower velocities on off-beats and higher on downbeats creates a sense of movement and energy. This technique prevents bass from…
Use limiters on individual tracks for transparent dynamic control
Problem: over-compression artifacts on individual tracks
Limiters can be applied to individual channels (e.g., guitars) as an alternative to heavy compression. They act faster and more transparently, preserving the original tone while taming peaks. This is useful for…
Use automation to shape the dynamics of the track before adding vocals
Problem: unbalanced dynamics before adding vocals
The speaker uses automation to shape the dynamics of the track before adding vocals, ensuring that the mix is balanced and ready for the vocal elements. This is a crucial step in the mixing process, as it allows for…
Use gain automation to level out dynamic inconsistencies
Problem: dynamic inconsistencies in live recordings
Inconsistent loudness in live recordings (e.g., quieter and louder sections of a bass line) can be corrected with gain automation. This allows manual adjustment of volume levels over time, ensuring evenness without…
Compare your mix against reference tracks using Scepter's dynamic band-by-band analysis
Scepter allows side-by-side comparison of your mix with a reference track, showing differences in dynamics, frequency balance, and phase alignment. This feature helps ensure your mix competes with professional recordings…
Analyze headroom and frequency allocation using Scepter's energy breakdown view
Scepter's energy breakdown view shows how headroom is distributed across frequencies, helping producers identify which bands are 'eating' headroom or causing clipping. This is crucial for ensuring dynamic range and…
Use reference tracks for real-time frequency comparison
Problem: Identifying frequency imbalances without manual gain matching
The plugin allows you to compare your track's frequency response against a reference track or side chain signal in real time. The volume is automatically matched to your track's level, eliminating the need for manual…
Analyze dynamic differences with differential view
Problem: Identifying tonal discrepancies in compressed tracks
The 'differential view' highlights frequency differences between your signal and a side chain reference. This shows which frequencies are more prominent in one signal compared to the other, helping identify…
Use Sonox suppressor to control kick click
Problem: overly aggressive kick transients
The Sonox suppressor is used to tame the click of the kick drum by reducing transient aggression. This avoids making the kick sound too 'punchy' or harsh, maintaining a natural dynamic feel. The technique is particularly…
Use Reaper tone gate trick for kick low-end
Problem: weak kick low-end
A tone generator is routed through a gate triggered by the kick's envelope. This adds low-frequency weight to the kick without overloading the mix. The technique uses Reaper's stock plugins to create a subtle, dynamic…
Use DBX160 compressor for kick attack shaping
Problem: uncontrolled kick transients
The DBX160 compressor is used to control the kick's attack by adjusting the threshold and attack/release settings. This allows precise shaping of the kick's transient without over-compressing the body. The technique is…
Split snare signal for side chain gate
Problem: snare masking in dense mixes
Using a side chain splitter in Reaper to route the snare signal to a gate allows for dynamic control of the snare's presence in the mix. This technique ensures the snare doesn't clash with other elements, particularly in…
Use empty space between verse and drop
Problem: lack of dynamic contrast between sections
Leaving two bars of silence between sections builds anticipation and creates a dramatic contrast. This structural choice enhances the impact of the drop by allowing the listener to 'reset' before the next section. It's a…
Use velocity automation for dynamic variation
Problem: hats lack energy
Apply velocity automation to hats to create natural volume fluctuations. This prevents flat, lifeless hats and adds energy. The technique works best when combined with timing variations. It's a simple fix that…
Fix kick/bass conflict by defining spatial ownership, not just EQ
Problem: kick/bass frequency masking
When kick and bass fight, the solution isn't just EQ cuts. Instead, determine which element should occupy the space (e.g., kick's transient, bass's body) and use dynamic processing (sidechain, compression) to let one…
Design intros with gradual build-ups
Problem: Flat intro energy
The intro starts with a closed bass that opens gradually, creating tension and release. This technique is paired with atmospheric elements and crashes to enhance the build.
Use velocity ramps for dynamic snare transitions
Problem: Flat or abrupt snare transitions
The producer adjusts snare velocity to create a 'ramp' effect, fading in the snare gradually. This technique enhances the groove in trance breakdowns by avoiding abrupt dynamic changes. It requires precise MIDI velocity…
Layer crashes and reverse crashes for dramatic breakdowns
Problem: Underdeveloped breakdowns
The producer adds both forward and reverse crashes to enhance the dramatic impact of trance breakdowns. This technique creates tension and release, a hallmark of trance production. It requires careful timing and volume…
Add dynamics through volume variation in vocal chops
Problem: static vocal chops lacking expression
Varying the volume of individual notes in vocal chops adds human-like dynamics. This technique prevents the element from sounding flat and enhances its musicality. The speaker demonstrates this by making some notes…
Apply light clipping to control top-end brightness and add saturation
Problem: overly bright or sterile top-end
Using a clipping plugin to gently shave the top end adds controlled dynamics and harmonic saturation. This technique prevents harshness while maintaining clarity, making the sound 'gnarlier' without losing definition.…
Use velocity curves to shape natural dynamics
Problem: lifeless or overly dynamic lead
Mapping velocity to filter cutoff and amplitude creates a more organic response to playing. This mimics the behavior of acoustic instruments and avoids the robotic feel of unmodulated synths. The curve should be adjusted…
Avoid over-sustaining tension elements
Problem: over-sustained tension elements
Sustaining tension elements (like strings) for too long can fatigue the listener. Shortening sustain or releasing early creates dynamic contrast. This aligns with the speaker's adjustment to 'calm down' the string's…
Use envelope modulation on filter cutoff for release control
Problem: uncontrolled bass decay
Applying an envelope with release to the filter cutoff allows precise control over how the bass decays. This technique ensures the bass maintains rhythmic integrity while maintaining harmonic presence during filter…
Automate filter cutoff to create dynamic bass phrases
Problem: static, unengaging basslines
Automating the MGLO 24 filter's cutoff to open and close during phrases adds movement and interest to the bass. This technique is particularly effective in Tech House for creating tension and release. The creator adjusts…
Use gradual bass entrance for dramatic effect
Problem: jarring transitions
The bass is introduced slowly rather than abruptly, creating a sense of anticipation. This technique involves automating the volume and filter cutoff of the bass to gradually reveal it over time, enhancing the emotional…
Use a compressor on the bass to control dynamics and enhance punch
Problem: uneven or inconsistent bass levels
Compressing the bass with a fast attack and medium release ensures consistent levels while preserving the transient's punch. This is essential in trance for maintaining clarity in dense arrangements. The ratio is kept…
Apply subtle sidechain to hi-hat layers
Problem: Avoiding muddiness in hi-hat layers
Using sidechain compression on hi-hat layers creates rhythmic breathing and prevents frequency masking. The speaker emphasizes moderation to maintain natural dynamics while ensuring the hi-hats sit well in the mix.
Automate main output levels for dynamic intensity
Problem: drops lack intensity or feel flat
The speaker automates the main output to lower the level of breaks by 2dB and reduces the master by 1dB during build-ups. This creates a dynamic contrast, making the drop feel more impactful. The technique uses…
Sidechain rides track with a limiter to let synths/kick pop through
Problem: synths/kick get masked by rides track
Applying a limiter with a low ratio to the rides track (or other elements) allows the kick and synths to momentarily cut through during rhythmic peaks. This technique adds dynamic contrast in Future House, ensuring key…
Use chords at key drop moments for dynamic contrast
Problem: drop lacks dynamic movement
Strategically placing chords during the drop's climax creates tension and release, a hallmark of Future House dynamics. This technique focuses energy on critical moments, making the drop feel more impactful.
Use selective sub bass activation for rhythmic dynamics
Problem: monotonous basslines
The sub bass layer is only played on specific notes rather than continuously. This creates rhythmic variation by cutting the sub bass on certain beats, adding tension and release to the bassline. The technique avoids…
Lower Auto Master's limiter threshold by 1-2dB to reduce pumping
Problem: audible pumping and loss of dynamics
Auto Master's limiter is often set too aggressively, causing audible pumping artifacts. Lowering the threshold by 1-2dB allows the limiter to act more subtly, preserving dynamic range while maintaining loudness. This…
Automate reverb for dynamic energy control
Problem: flat spatial dynamics
Automate reverb parameters on pads to create dramatic shifts in spatial depth. This technique helps control the emotional arc of the track by expanding reverb during high-energy sections.
Use selective volume boosts to add interest without overdoing it
Problem: mix feels too busy or overprocessed
Applying volume boosts to only a few elements rather than all of them helps maintain balance and prevents the mix from becoming cluttered. This approach allows the producer to highlight specific moments in the track…
Use subtle compression instead of heavy compression
Problem: over-compression leading to lifeless tracks
Over-compressing can 'crush' the dynamics of a track, making it lifeless. The speaker advises using compression in more subtle ways to preserve the natural feel and groove of the music. This is especially important in…
Create contrast in the intro with softer kick and bass versions
Problem: intro feels too powerful, lacks build-up
Using a softer kick and bass in the intro prevents it from overshadowing the main drop. This creates dynamic contrast and builds anticipation, a common technique in pop and EDM structures.
Use automation to balance levels and create dynamic movement
Problem: static mix, lack of dynamic movement
Automation isn't just about setting levels and forgetting them — it's about shaping the ebb and flow of the mix. By adjusting levels, reverb, or other parameters over time, you can guide the listener's attention and make…
Avoid making break bass as loud as the drop for contrast
Problem: Loss of energy contrast in transitions
Maintaining dynamic contrast between break and drop is crucial for tension/release. This mistake is common among producers who overemphasize break elements. Lowering break bass volume ensures the drop retains impact.
Add a side chain to enhance dynamics and clarity
Problem: elements clashing in the mix
Adding a side chain can help control the dynamics of a track, ensuring that certain elements don't mask others. This is especially useful in trance where clarity and separation are essential for a polished and…
Mastering smooths out volume differences between elements
Problem: mix feels flat compared to references
Mastering engineers reduce dynamic range between elements (e.g., kick vs. snare) to make the track sound cohesive. This flattens the mix's natural dynamics, which is why your mix might feel 'lifeless' compared to a…
Mistake: Not comparing dynamics between your track and the reference
Problem: inconsistent dynamics
Failing to analyze dynamic differences between your track and the reference can lead to a mix that feels overly compressed or lacking in impact. This is especially critical in genres like house and trance, where dynamic…
Cut low end for a bar to add dynamics
Problem: Monotonous low-end energy
Temporarily removing low frequencies (e.g., using a high-pass filter or volume automation) during transitions or breaks creates contrast and keeps the track engaging. This technique is common in DJ sets to maintain…
Incorporate ad-libs for dynamic variation
Problem: static or lifeless atmospheres
Adding ad-libs (e.g., vocal 'ah's or 'yeah's) on top of an atmosphere introduces human elements and prevents the track from feeling static. The speaker uses this to 'add some movement' and keep the listener engaged. This…
Contrast in loudness makes things sound louder
Problem: flat, lifeless mix
The speaker explains that if everything is loud all the time, nothing actually sounds loud. Instead, using contrast in loudness (dynamics) makes the overall mix feel louder and more impactful. This is a key principle in…