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…
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…
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…
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…
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…
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…
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…
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…
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.…
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 Flex for full track creation
Problem: limited sound design options, reliance on external plugins
Flex is a powerful tool for creating full tracks, especially in bounce trance. It allows for precise control over modulation and sound design, making it easier to craft complex and evolving sounds. This technique is…
Choose sounds that naturally fit the track without heavy processing
Problem: over-processing due to poor sound selection
Selecting the right sound from the start can save time and effort in the mixing and processing stages. The example shows how a synth can be used as a background element without needing heavy effects or saturation. This…
Avoid over-processing background elements
Problem: over-processing background elements
Background elements should be kept simple and unprocessed to maintain clarity and avoid unnecessary complexity. The example shows how a synth can be used as a background tone without saturation or heavy effects,…
Check emotional connection to the track before finishing
Problem: losing motivation or connection to the track
Before finishing a track, ensure you're still emotionally connected to the original intention behind the music. If you've lost that connection, it's harder to finish the track with the same energy and focus. This is…
Use the 'form follows function' mental model for track length
Problem: track feels too long or unfocused
The length of a track should be determined by the emotional and structural needs of the music, not by external factors like streaming platform preferences. This approach ensures the track's emotional essence is clear and…
Check if your mix supports the intended emotion
Problem: mix lacks emotional intent
A mix should not just be technically clean but should also support the emotional intent of the track. This means that a relentless, driving track might intentionally have some grit or saturation rather than being overly…
Test your mix in busy sections to ensure it works globally
Problem: mix doesn't translate well across the track
If a mix works well in the busiest parts of a track, it's likely to work in other sections as well. This is a useful technique for quickly verifying that your mix is balanced and that no elements are getting lost in the…
Focus on groups rather than individual elements in later stages
Problem: mixing gets bogged down in details
In later stages of production, it's often more effective to focus on groups of elements (like the drum group) rather than individual sounds. This helps avoid getting lost in the details and allows for more cohesive…
Make mixing decisions based on the emotional purpose, not just technical perfection
Problem: mixing by technical metrics only
The speaker emphasizes that mixing should serve the emotional and artistic intent of the track rather than just focusing on technical metrics or analyzer readings. This is a mindset tip that encourages producers to think…
Use daylight in the studio for better workflow and mood
Problem: poor lighting affecting mood and workflow
Daylight in the control and live rooms improves the overall mood and workflow of the studio. It's rare in New York City, but having natural light makes the space more inviting and can help with focus and creativity. This…
Use a variety of classic guitars for flexibility in recording sessions
Problem: lack of tonal variety in recordings
Having a collection of classic guitars like the Stratocaster, Telecaster, and Les Paul provides a wide range of tonal options for different musical styles and recording situations. These guitars are essential in a…
Store less-used microphones in storage for space efficiency
Problem: microphone clutter and inefficiency
With a large collection of microphones (over 300), it's practical to store the less-used ones in storage rather than keeping them all on display. This allows for better organization and ensures that only the best and…
Focus on one section at a time when experimenting with the melody
Problem: melody feels stale or uninteresting
Working on a single section of the melody at a time allows for more focused experimentation and prevents the track from feeling overwhelming. This approach helps identify what works and what doesn't before expanding to…
Test the melody in the context of the full track to ensure it fits
Problem: melody doesn't fit well with the rest of the track
Testing the melody in the context of the full track helps ensure it fits well with the rest of the elements. This is crucial for maintaining balance and cohesion in the mix. It's a common practice in trance and melodic…
Don't be afraid to try multiple settings and experiment
Problem: creative block, lack of inspiration
Trying a variety of settings and experimenting with different tools is essential for finding the right sound. This approach allows for creative exploration and can lead to unexpected and inspiring results. It's a mindset…
Embrace uncertainty in the creative process
Problem: creative block, overthinking the process
The producer acknowledges that they don't know where the melody is going, but they're still experimenting. This mindset allows for exploration and discovery without the pressure of having a clear plan. It's a common…
Iterate through ideas without overcommitting
Problem: stuck with an idea that doesn't work
The producer is open to changing or even removing sections of the melody if they don't work. This approach encourages flexibility and experimentation, allowing for the refinement of ideas without being locked into a…
Work on the arrangement incrementally and revisit it later
Problem: overworking the arrangement in one session
It's important to not overwork the arrangement in one session. By making small changes and revisiting the track later, the producer can maintain a fresh perspective and make more objective decisions. This approach helps…
Take breaks and revisit your mix with fresh ears
Problem: mixing fatigue or missing subtle issues
Taking breaks during the mixing process allows you to hear your work with fresh ears, which can help identify issues you might have missed. This is a common practice among professional engineers to ensure the mix is…
Prioritize oscillator settings before effects
Problem: effects don't complement the base sound
It's recommended to dial in the oscillator settings first before moving on to effects. This ensures that the foundation of the sound is well-established before adding any processing. This workflow helps maintain control…
Experiment with effects order for different textures
Problem: effects don't create desired texture
The order of effects can drastically change the texture of a sound. For example, placing a compressor after distortion can bring out more character in the distorted signal. Experimenting with the order of effects allows…
Balance effects based on context and taste
Problem: effects clutter or muddle the sound
After applying effects, it's important to listen in context and adjust or remove any effects that don't contribute positively to the sound. This ensures that the final sound is cohesive and well-balanced. It's a crucial…
Experiment with different variations of the same preset
Problem: bass lacks uniqueness or character
Creating multiple variations of the same bass preset can help find the most unique and effective sound for a track. This approach encourages experimentation and helps producers discover new sonic possibilities. It's a…
Use example bands to guide the band's sound, but be careful not to push too hard
Problem: band resistance to producer's suggestions
Citing similar bands can help a band understand the direction they might want to take. However, this approach can backfire if the band feels it's being forced into a specific style. Cameron Webb shares an example where…
Listen first to understand the band's vision and sound
Problem: lack of clear direction from the band
Before making any changes, a producer should listen to the band's existing material and understand their goals. This helps the producer guide the band in a way that aligns with their artistic vision. Cameron Webb…
Trust the producer's vision and expertise, but allow the band to lead the creative direction
Problem: lack of trust between band and producer
A successful collaboration between a band and producer requires mutual trust. The producer should have a clear vision, but the band should be the ones driving the creative direction. Cameron Webb explains that the band…
Be sensitive to the band's preferences and avoid being overly pushy
Problem: band resistance to producer's input
While it's important to guide a band toward a great sound, a producer must be careful not to push too hard or offend the band. Cameron Webb shares an example where he had to be careful not to alienate a band member by…
The arousal valance model: emotions can be categorized into valance (pleasant/unpleasant) and arousal (high/low energy)
Problem: lack of emotional clarity in mixing decisions
This psychological model helps categorize emotions into four quadrants: high/low valance (pleasant/unpleasant) and high/low arousal (energy). Applying this to mixing allows producers to make intentional decisions that…
Focus on emotional intelligence when making mixing decisions
Problem: mixing decisions lack emotional purpose
Understanding the emotions a piece of music evokes is crucial for effective mixing. This requires self-awareness and the ability to identify how different elements of a track influence the listener's emotional state.…
Use EQ to influence the valance of a track by adjusting brightness
Problem: track lacks emotional clarity or desired mood
Brighter frequencies are associated with positive, pleasant emotions, while darker frequencies evoke sadness or introspection. By adjusting the high-end with an EQ shelf, producers can subtly shift the emotional tone of…