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Production Trickbook

Posts 176 - 200 of 221
  1. 631823
    Mahloo13 : Wed 25th May 2011 : 7 years ago

    OK been a while since I've shared anything with you guys, maybe you guys do this maybe you don't but heck here I go:

    You can always duplicate some of your tracks(I'd recommend using Aux channels and sending the info pre-fader) and apply heavy EQ and Compression on the Duplicate/Aux Track. You'll be surprised at how natural the sound will be yet it will be more powerful and present. It's a common trick used on Guitars, Vocals, Kick drums, Snare, Toms. It takes a bit of practice to blend it all together but the results are great.

    Don't hesitate to use Groups or Busses it will make your life easier on large sessions and on groups of instruments like Drums, Rhythm Guitars, Vocals, Strings etc. etc.

    Use compression wisely as it glues a track together like nothing else.

    Well can't think of anything else at the moment anyways mixing is subjective so do it or don't.


  2. 631823
    Mahloo13 : Wed 25th May 2011 : 7 years ago

    Ohh yeah...pan instruments and don't be afraid to experiment with delays and panned reverbs as it can bring a new dimension to your mix.

    Spend some time on testing different EQ's and Compressors and decide what goes better on the mix.

  3. 558188
    Zelab : Thu 26th May 2011 : 7 years ago

    Well i havent really contributed anything to this thread but ive pritty much absorbed all the infomation i can and now im going to leave a few things that i do to create different effects.

    Gatting a pad created in massive.
    When you have your pad set up go to a LFO that isnt in use and go to the stepper selection and set it to 1/4 having one space all the way down one all the way up (repeat) . now thats done Link the LFO to the amp and then you have a gated sound. then play around with the stepper till you get your disired sound

    For a Fatt sound.

    I bassicly make the sound and the melody then clone it 3 times then pan one all the way to the left one all the way to the right then leave the 3rd one centerd then you will havae a really fat sound. and to finnish it off put them all in the same mixer channel and compress them down to your disired sound

    hi hts
    i personally dont really have much to add exept be as creative as you can. for instance instead of a high hat get a recording of tapping a glasss bottel being tapped or a metal bar being tapped. all these different sounds make your beats alot better in my own opinion

    i know its not much but i hope this helps :)


  4. 424360
    Soligen : Mon 6th Jun 2011 : 7 years ago

    All these are great things, but I find it's hard to find a SURE way to mix and master a track, really there can be guidelines that should be taken note of.

    But instead of waffling I'll add to this thread.

    My few tips:

    1. Allow breaks in a song, almost EVERY song has a break or two to allow the listener to get re-excited about your music, this also creates a great tension and will make a repetitive song sound slightly more varied.

    2. Variation on the same thing in small or large detail can make a huge difference to a song.
    I find that with introducing variations on a basslines can be the little pizzaz you want to be adding to your track.

    3. A lot of people say, don't start working on a different track but.. at the same time, if you make mistakes in one song, you tend to do things differently the next time but it's different from person to person.

    4. Pick a song you like or sounds like something you're making, even if you've already started it, if it sounds like.. I don't know.. the ting tings then buy (I do *honest*) their track or one of and analyse it, listen to it, check the EQ, view it in the multi metre, anything that can show you the upmost detail of that song. That way you can try and clean your sound up in a similar way.

    5. Last but not least, check out my looperman page! hahaha, no I'm joking, but yeah, try to enjoy yourself, if you didn't have fun making the track and I'm listening to it, it will probably sound dull and lifeless because you didn't imprint emotion into it, it sounds crazy but I always try and invoke a feeling in my songs and personally it helps me to get creative so try it out.

    Other than that, there is no set way to do anything in this world, if there's a will there's a way!

    So keep making great music Loopermen and women!

    Peace and respect Soligen,

  5. 632867
    DannyStyles : Fri 15th Jul 2011 : 7 years ago

    If you're in the business of sound (live/studio/whatever) you'll use equalizers to solve problems. That's all an EQ is - a problem solver. Its NOT a bass booster. In every frequency band there is noise. There is low frequency noise, mid-range, and high frequency noise too. If you go around boosting everything, you are also boosting all the associated noise in that frequency band.

    An easy trap to fall into is the tendency to boost an instrument in the mix via the EQ, when cutting should be your preferred option, unless you're using the EQ to boost for "creative reasons" (maybe to achieve an effect, etc)

    WHY should you cut instead of boosting?
    EQ is basically a filter, and as such, applying it introduces resonance and PHASE-SHIFTING at the cut-off point. Any EQ (unless it's a linear-phase type, of course) introduces phase shift when boosting/cutting.

    This is basically comb-filtering which manifests as tiny amounts of distortion. For this reason, cutting EQ is preferable to boosting, on account that boosting will make the phase distortion more noticeable.

    Some EQ Tips:
    When recording: Capture the source as "hot" as possible to keep the signal-to-noise-ratio high.

    Use balanced cables for sound sources coming into your PC/mixing surface to further the above tip.

    When applying a Q bandwidth to a frequency range, a setting of 1.0 (the "magic Q") sounds more natural and generally avoids any masking problems.

    Find the frequencies that sound bad, and cut them to clean the sound up. This is a much more professional approach than finding the good stuff that you like, and boosting it. The effect is the same, but your mix will be cleaner with this approach. It may not seem like much to boost a little here and there, but it's a little bit of noise. If you multiply a little bit of noise by 24 channels it's a big problem.

    If you have sweepable EQ's on your channel strips on your mixing board, listen to the channel, turn the boost knob up and sweep the frequency knob from low to high. Find the frequency range that sounds like absolute crap! Then cut some of it out. Be careful not to cut too much of it out or it will sound unnatural. Now if you need more volume, then turn up the volume, but don't go boosting frequencies.

    Just like boosting a little on each channel can add a lot of noise to your mix, cutting a little on each channel can remove a lot of noise from your mix. Just don't cut too much. It should still sound natural - only cleaner.

  6. 632867
    DannyStyles : Fri 15th Jul 2011 : 7 years ago

    Here's a addition to my post about EQ - When I first started out as an Audio Engineer I found the following information very helpful as a sort of general EQ guide... of course, these are not hard and fast RULES... but just a general guide you can use as a starting point and work it from there... So here it is:


    Note: EQ BEFORE compression.

    50hz - Increase to add more fullness to lowest frequency instruments like bass drums, toms, and the bass. Reduce to decrease the boominess of the bass and will increase overtones and the recognition of bass line in the mix. This is most often used on loud bass lines.

    100hz - Increase to add a harder bass sound to lowest frequency instruments. Increase to add warmth to piano and horns. Reduce to remove boom on guitars & increase clarity.

    200hz - Increase to add fullness to vocals. Increase to add fullness to snare and guitar. Reduce to decrease muddiness of vocals or mid-range instruments. Reduce to decrease gong sound of cymbals.

    400hz -
    Increase to add clarity to bass lines especially when speakers are at low volume.
    Reduce to decrease boxy sound of lower drums like bass drums and toms.

    800hz - Increase for clarity and "punch" of bass. Reduce to remove "cheap" sound of guitars.

    1.5Khz- Increase for clearer, cleaner bass. Reduce to remove dullness of guitars.

    3Khz - Increase for more attack of guitars. Increase for more attack on low piano parts.Increase for more clarity on voice. Increase for more attack on the snare or other drums. Reduce to increase breathy, soft sound on background vocals. Reduce to disguise out-of-tune vocals and guitars.

    5Khz - Increase for vocal presence. Increase low frequency drum attack. Increase attack of piano, acoustic guitar and brightness on guitars. Reduce to soften thin or tinny guitars.

    7Khz - Increase to add attack to percussion instruments. Reduce to decrease sibilance or that annoying ssss sound on singers.

    10Khz - Increase to brighten vocals. Increase for slight brightness in acoustic guitar and piano. Increase for hardness on cymbals. Reduce also to reduce sibilance (that annoying ssss sound again)

    15Khz- Increase this will pretty much brighten anything, but use sparingly as hiss and other nasties are here.

    When a Q control is available, play with it to see what widths will give you the best results. Remember, these are just general starting points, and by all means do not overdo it! It is always better to cut to achieve the results you are after. Cut to correct, boost for effect! Cut to correct, boost for effect! Cut to correct, boost for effect! Cut to correct, boost for effect! Cut to correct, boost for effect! Cut to correct, boost for effect! Cut to correct, boost for effect!

  7. 606024
    Fortelegy : Tue 19th Jul 2011 : 7 years ago

    For really interesting sounds, experiment by running tracks through multiple effects on a rack (running drumloops through amps can have an interesting lo-fi/harsh/thinning effect). Balance everything like you would a normal track and automate the dry/wet for interesting textures/transitions.

  8. 606024
    Fortelegy : Tue 19th Jul 2011 : 7 years ago

    Oh, and when utilizing instruments that are typically played live like pianos and strings, don't completely quantize them to the grid. People don't have perfect timing in real life. By nudging the notes ever so slightly, you can get a more performance-like feel and add drama.

  9. 643579
    bishbo2000 : Sun 31st Jul 2011 : 7 years ago

    Zingy Pad Effect

    on a send7return channel put a parametric EQ followed by a saturator or distortion.

    create a 3-5db boost around 800hz on the EQ

    send some of your pad to this channel

    sweep the frequency of the EQ with automation to taste.

    your pad wil get a spacey zingy effect at the boosted freq

  10. 612831
    DerrickSarp : Fri 12th Aug 2011 : 7 years ago

    Why didnt i see this thread earlier. learnt a lot. this is also a trick i learnt when i started mixing and wanna share it.
    EQ'ing kick and bass
    Since the lows control the overall output of ur mix, it is best if u EQ your kick and bass at the same time. When u boost a particular freq of ur kick to a certain amount, it is advisable to cut that same freq off ur bass by the same amount. say u boost 60Hz to 90Hz of your kick by 4dB, cut the same freqs of the bass by the same amount of decibel. Doing this avoids accumulation of freqs and makes ur kick stand out at the same time giving ur overall mix that bassy feel.

  11. 709812
    mcfontaine : Tue 24th Apr 2012 : 6 years ago

    A little tip that i use sometimes if i want to record some quick live drums but don't either have the time or the project justifies real studio time.

    Find a nice sounding dead room, i use a local rehearsal space. Then record the drums using the "3 mic drum technique", i'm guessing most of you will know about it anyway.

    Then when it comes to mixing it. Leave the kick dead centre. Then i double both left and right tracks. Then spread them out on either side of the spectrum, but make sure they are equal so if its L25 & L40 make sure its R25 & R40. Then eq each track separatly to either bring out or mute certain freq's, till you get a really full sound.

    Just experiment, it works really well. Obviously remember to drop the volume of the drums more than you normally would as you have a double signal, overwise you will end up "pushing" all the following tracks you add.

    Hope that helps.


  12. 709812
    mcfontaine : Tue 24th Apr 2012 : 6 years ago

    I see there is a bit of a "don't start a new song until you have finished another" or "yeah start a new song" debate on here.

    There isn't really a hard and fast answer at all. The only answer i can give is that it comes from experience. The more you play and record the more you get to know what you are doing. There are times you will, say be trying to play a piece and it just isn't there. I have found over the years i have found i sort of know if its worth carrying on that session or coming back fresh to it.

    If you are in a live band, i would really suggest you don't write a song and then just go and record it. Play it out a few times, if it is solid you won't change the arrangement, but sometime new things will happen in the life of the song as you play it out ... then go and record it.

    And finally .... RECORD EVERYTHING. Two reasons, one if you are doing that "last run-through" before you record ... you might just play it the best you ever will. Also it stops what i call Red-Light Symdrome ... a player can be perfect in the run-through but the second they know it's being recorded ... thats when they fuck up ... done it enough time myself to know.


  13. 951439
    Evisma : Tue 27th May 2014 : 4 years ago

    Super useful thread here. Not my style but good anyway!


    If you write while you record, do not touch EQ or effects in live recording until the song is fully written. I've heard many tracks that sound like ass because the original guitar tone or bass tone sounds like ass and they try to just go with it and fix it in the mix. If it doesn't sound good when it's dry, it won't sound good wet.

  14. 1100958
    cosmicinfluence : Mon 16th Jun 2014 : 4 years ago

    Loving this thread guys.
    I am a beginner so i cant really contribute much.
    here is something for a pure novice to keep in mind though.
    prestes are your'e friend, they are made by experienced sound engineers, so use them.

    However don't forget that no one can predict what u will need at any given moment, u will almost always have to make adjustments, they are just a starting point.

  15. 736426
    BEATZMODE : Mon 16th Jun 2014 : 4 years ago


    If you own,common household stereo system,headphones,mobile phone etc i suggest you play your finished track through these devices as in most cases not everyone owns studio monitors and with listening back on your track with these you may hear a difference in your mix when played from either device .
    e.g your stereo system may tell you that your track is distorting due to bass,kicks etc but your headphones may not be able to pick up on it as well as the stereo system,or your mobile phone may gain distortion or instruments drowned out due to loudness of basses,once youve picked up on the flaws from each device just simply go back to your project and tweak whats needed to be tweaked

  16. 1095400
    AnalogDisc : Mon 16th Jun 2014 : 4 years ago

    I don`t thik this is the right place to ask a question, but worth a try. Don`t want to start a new thred for this.
    So my problem is:
    I`m using FL 10 and I can only import wav samples and and some of my samples (acapellas mainly) are in mp3 so I need to convert `em to wav every time. Does someone have a solution for this to not converting to wav?

  17. 1
    Looperman : Mon 16th Jun 2014 : 4 years ago


    this thread is for tips rather then questions. start a new thread for your question

  18. 1095400
    AnalogDisc : Mon 16th Jun 2014 : 4 years ago

    I`m really sorry then. Peace! :)

  19. 605220
    Ensam : Wed 10th Sep 2014 : 4 years ago

    To create interesting percussion panning fx, take a two bar section of a percussion loop and duplicate the track, reverse the loop in the new track and pan them hard left and right. Duplicate the items out for as long as you need. When you listen to it back you'll get a interesting push, pull and panning effect. Experiment with different types of material for different results but keep the loops short, usually 2 bars works well, or you start running into strange timing effects.

  20. 782612
    40A : Thu 11th Sep 2014 : 4 years ago

    Turn every knob in your daw to max. You just mastered Dubstep.

  21. 589130
    Spd2 : Sun 21st Sep 2014 : 4 years ago

    40A, you killing me...LMAO!!!!

  22. 1248311
    Livingsoulsdie : Sun 12th Oct 2014 : 4 years ago

    I was told to compare the track your mixing to another commercial track that has already been mastered that is similar to your own. Next to mix your track in mono and make it sound as great as you can. Once you redone switch it back to stereo and make sure it sounds great. Usually when you change it back to stereo it sounds amazing. I'm just still learning so I hope these tips are not bad.

  23. 1378797
    GregVincey : Sun 8th Feb 2015 : 3 years ago

    This might not be a tip, but is cool. Try to re-sample anything from a drumloop, a melody or even a 16 bar chord progression in to a re-synthesizer like harmor and just fiddle with the nobs and see what you get. You can create good sounding pads and effects by doing this. Try it.

  24. 1430167
    wordybum : Fri 20th Feb 2015 : 3 years ago

    this is the best thread i've found so far. i am as novice as it gets when it comes to mixing and production, so this is amazing to find and learn from. thank you everyone who contributed to this thread.

  25. 342904
    breo : Sun 22nd Feb 2015 : 3 years ago

    Hi guys

    Here is a nice little trick I use for any style.
    This is used to go into s break down or you can reverse it to use as a build up.

    Right here it is sampl the snare kick or what ever u like and create an off beat Eco with this. But on each Eco hit take the pitch of the sample down by a tone. This makes for great fades.

    Also if you do this in reverse and build the pich and volume up it can make for a nice build up or transistion in a song.

    Hope that makes science.

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