Ever struggle to get the bass to sit right? You’re not alone.
The bass is one of the hardest things to mix, yet it can be the difference between mixes that completely fail… …and mixes that sound INCREDIBLE on absolutely any speakers or headphones.
So, I set out to develop a simple method for mixing bass to perfection.
It’s called the Pocket EQ Technique, and this article breaks it down into 5 simple steps.
When it comes to amp sims, I’m sure you’ve heard a hundred different opinions.
“It sounds crap. It will never sound real.”
“I need software because I can’t make noise at home, and amp simulators now sound as good as the real thing.”
Either way, I set out to get some REAL data about this ongoing battle by surveying 447 different musicians.
If you are struggling to decide which road to go down, you’ll absolutely love the infographic in this post.
I also put together a complete run down of the 24 best simulators available in 2017.
“I’m only myself when I have a guitar in my hands” – George Harrison.
Capturing a good guitar tone isn’t always easy.
You want to do the guitarist justice – after all, it’s an iconic instrument and an integral part of every band.
But electric guitars rarely sound as good on a recording as they do in real life.
In this guide I’m going to share 14 straightforward, practical tips that will help you to record guitars that mix themselves.
You might not know this, but there is a right and a wrong way to approach EQ.
EQ can be daunting at first. I can still remember the first time I saw a parametric EQ…
“WHAT is this?!?”
But when you learn how to use EQ with the right strategy…
It suddenly becomes easy.
In this EQ guide and complete tutorial, you will learn the 4 key approaches to using equalization when mixing music, in addition to 10 essential tips I have picked up after over 12 years of mixing.
Setting up a home studio isn’t easy.
It takes a bit of time and money to get going.
But when you get it right… wow, is it worth it.
When you have a solid home studio setup, you can produce music at home that sounds professional. You can produce music that’s worthy for the radio.
I want to let you in on a little secret…
You only need 9 pieces of equipment to set up a home studio that can produce radio-worthy mixes.
Keep reading if you want to learn what those items are.
You are also going to learn how to choose the perfect room in your home, where to place your speakers, how to add acoustic treatment, and more.
Getting the low end right isn’t easy.
Your speakers, your room and your headphones are tricking you.
But when you DO get the low end right… wow, does it make a difference.
You start to notice that your mixes translate better…
…and your music sounds powerful and impactful.
The first time I used multiband compression in a mix, I completely ruined it.
I slammed the lows and highs hard on the mix buss, and thought the track sounded ‘fat’.
But I soon realized I was wrong. It didn’t sound good. It sounded awful.
I can still remember the confusion and frustration. This powerful tool seemed daunting, and complicated.
And that’s understandable. After all, a lot of people simply don’t know how to mix with this tool.
The biggest mistake you can make is to use every single band at the same time (unless you have a particular reason to do so).
So, what should you do instead?
Well, there are 7 simple ways you can use multiband compression to improve your mixes.
This easy-to-follow guide will show you those 7 techniques, so you can start improving your mixes with this powerful tool today.
He told me he had found “the secret to that professional EDM sound”.
This was the first time I heard about sidechain compression. It was a friend of mine, who was an aspiring dance music producer.
He had produced an energetic dance track with just a kick drum, a synth pad – and little else.
Actually, it was pretty impressive.
I’m going back a while here. Almost a decade, in fact.
As a mix engineer (not an EDM producer), I didn’t see the potential for sidechaining at first.
But since then I have discovered 4 definitive sidechain techniques that I use in most mixes. These apply to all genres – not just dance music.
I can still remember the first time I came across ‘New York’ style compression.
I read about it in a book over a decade ago, and immediately it opened a new way of thinking for me.
The idea was intriguing. By duplicating the drums, compressing them hard and mixing this new signal in with the old…
The drums could sound punchier and larger than life.
All of this – without touching the drums themselves.
The foundation of this trick is parallel compression.