You may have heard many varying descriptions of the difference between track compression and bus compression, usually including vaguely-defined, mysterious terms like “punch” and “glue” which don’t really help us understand anything.
Well, i have a kinda dorky yet effective way to think of the difference between track and bus (aka buss) compression for you. Continue reading →
With the modern era of digital capabilities to re-tune recorded material, almost all music you hear nowadays has “perfect” tuning on all of the instruments and vocals. But what does this mean, exactly?
Generally, this tuning is based on equal temperament. But is equal temperament the most “perfect” tuning for absolutely all musical situations? I say… nope.
This week we’ll be sharing with you an Ableton Live set used for impulse response creation. Requires: Ableton Live 9 or 10, MaxForLive, MaxForLiveEssentials pack.
It allows you to quickly capture IRs from effects (software or hardware) by dropping them onto a track and pressing a couple of keyboard shortcuts. Using the template skips the setup time, avoids having to fiddle around with routing, and prevents accidentally sending bursts of audio through your system, with the option to listen to the process if curious. Continue reading →
So you’re working on a song and you’ve found a frequency which you want to adjust. Let’s say you want to nudge down 4.4k a little bit to reduce a bit of harshness. Now you ask yourself: what type of EQ should be used?
As time passes by, there becomes more and more dynamic EQ plugins available. Besides, in Ableton, Bitwig, and other DAWs, it’s easy to make any automatable EQ plugin act as dynamic by the use of envelope followers. On the other hand, when using a dynamic EQ plugin, there may be times when you want to use the bands as typical, with no reactivity. So, we have a pretty much open choice of whether to use a static or dynamic EQ on a track we’re working on. So what to do?
Brand new plugins… promotional sales on plugins… they are SO tempting. But do you really need that new compressor plugin that just dropped?
In order to assess which plugin types are lacking in your toolbox, i recommend making a spreadsheet of all the plugins you own by category. You might discover, as i did, that you have such a vast variety of compressor options to choose from, it’s likely that you won’t benefit a whole lot from purchasing any more of them. You also might discover, like me, that you’re somewhat lacking in gate plugins, and could indeed benefit from picking up a few new models. Etc… Continue reading →
For this tutorial we’re going to posit an example scenario: a way to achieve the common practice of narrowing the bass content of a stereo track by scooping out the S channel’s low end—but this time, using analog gear instead of plugins. But what if we don’t have any M/S gear? Not to worry.