USING PUSH TO STEP SEQUENCE BASSLINES AND LEADS

After folks spend some time step sequencing drums with Push, they usually do a little chicken dancing and fist pumping. Once they get that out of their systems, however, a troubling question arises: “how do I do this with melodic parts?” The answer, strictly speaking, is: you can’t. However, the better answer is: with science!  […]

Welcome to Hobo Technologies!

Look out people, here it comes. Like a steam engine pulling cars full of circuit bent robots and their secret hobo masters, it’s racing towards you with news from the Large Hobo Collider, and the undiscovered novels of Utah Phillips K. Dick. Like a backwoods hoe-down emitting inexplicable bursts of light and invisible waves of […]

LISTEN TO THE STEREO STUFF

As I’ve mentioned in prior tips, the Utility device can be used to remove all of the mono information from a signal so you can hear the purely stereo information. Just set Width to 200%: Something I like to do is listen to my reference tracks at 200% just to get a sense of how […]

COMPRESSOR: THE INSERT A SIGNAL ANYWHERE-ERIZER

We’re still talking about mastering here, but this tip includes a cool technique that you may find other uses for.. When I’ve inserted my mastering chain into the mix, I sometimes like to use Spectrum to have a look at the difference between my mix and the track I’m referencing. This presents an interesting problem. […]

MASTER IN THE MIX, pt. 2

As I’ve mentioned a couple of times, I find that applying mastering processing to a nearly completed mix can help draw attention to flaws in the mix. In particular, I sometimes find peaks in individual tracks, overly dense sections of the mix, or errant low frequencies that sound fine until I try to squash the […]

MASTER IN THE MIX?

There are two different techniques for applying mastering processing to a mix: in the Master track of the Set you’re mixing in or in a separate Set just used for mastering. The conventional approach is, of course, to complete the mix then master it separately. However, there are always variations. If I’m doing a quick […]

CUTTING THE LOWS

Remember a few tips back when I was talking about seeing sharp drop off in frequencies below 30Hz? These super low frequencies can consume a lot of mix headroom without contributing much to the outcome. These frequencies can cause limiters to respond very agressively and really make a mess of things. They can also contribute […]

SETTLING FOR LESS

You may find that, even after tweaking the limiter a bit, you’re just not able to get acceptable sound quality with the level of loudness you’re going for. That’s understandable – music these days is mastered incredibly loud. It takes a lot of skill to get stuff that loud with good sound quality. (There’s also […]

LIMITER TWEAKS

If you use a limiter to bring up the volume of a track, bear these few principles in mind. A slower attack will leave the transients of the music a bit more in tact, but at the cost of higher distortion. Live’s Limiter does not have an attack control, it only has Lookahead. The shorter […]

LOUD – BUT AT WHAT COST?

For the moment, we’re going to continue focus on Limiting as the main source of adding loudness to a mix. It’s not the only tool that’s used, but it’s the most available and the easiest to understand… At first, when you crank up a limiter to give your mix some volume, it can be very […]