MusicProductionTips (@MgntcSound) | Twitter:
Vocal contrast: give the vocals a 1⁄4 note or an 1/8 note delay. When the chorus hits, change it to a 1⁄2 note delay and turn up the feedback a little bit. The vocal will have more depth in the chorus. Back off the high end with an EQ to create depth without the obvious echos.
These are handy tips. I like them. I keep them in a collection on the twitter…
Scrivener | Literature & Latte:
Research within reach Need to refer to research? In Scrivener, your background material is always at hand, and you can open it right next to your work. Write a description based on a photograph. Transcribe an interview. Take notes about a PDF file or web page. Or check for consistency by referencing an earlier chapter alongside the one in progress.
I should provide this link 😉
Compressor – Neutron 2 Help Documentation:
Simply put, a compressor adjusts dynamic range. Most commonly, it reduces it using downward compression, but as you’ll discover, Neutron is capable of both upwards and downwards compression.
This is the current documentation for the N2 Compressor.
MV2 Compressor Plugin | Waves:
With high and low level compression controlled by a streamlined interface, the MV2 is the simplest, most flexible way to control your sound. With intuitive dual faders for quick dynamic optimization, it’s never been easier to maximize your volume
Equal time for Waves MV2. The catalyst to my “upward compression” search.
Today I want to dig in to compression and expansion. I understand compression. I am starting to understand expansion. I really don’t understand the difference between “downward compression” (the typical) and “upward compression” (not so typical).
Waves has a plugin – MV2 – that combines an upward compressor and a downward compressor. Warren Huart (Produce Like A Pro Academy) thinks highly of it.
I am confident that the iZotope Neutron 2 processor can function similarly to the MV2. There are 2 compressors, both of which can do downward compression (positive ratios) and upward compression (negative ratios).
Set Compressor 1 to the negative ratio and “upward” threshold, set Compressor 2 to the positive ration and “downward” threshold. Use the output gain control to adjust.
Now we get to try it in practice.
Expanding on Compression: 3 Overlooked Techniques for Improving Dynamic Range:
“When many engineers say ‘compression’, what they mean is “downward compression.” In other words, bringing down the level of the signal above the threshold that you set on your compressor, to make louder things quieter. But all too often, we forget about upward compression, where quieter sounds are brought up to the threshold point; this technique can be quite handy in certain situations for a more transparent effect (it can also be approximated with parallel compression, if you don’t have an upward-compressor on hand).
Reference pointer for my Compression post coming up.
Red Sweater Support
Where’s my license? If you purchased directly from our store, please send us an email, including any names or emails you might have used when purchasing. We’ll find the license in our records and re-send it to you.
If you purchased from Apple’s Mac App Store, you can reinstall by finding our product in the “Purchased Items” list of the App Store application.
Source: Red Sweater Support
We here in the blogging section of iZotope are in the business of giving you tips and tricks for your mixes. These, right here, are tips and tricks for a specific end: pop mixing trends from 2018. We’re going to list what they are, and give you some idea of how to get there with iZotope plug-ins.
Source: Top 5 Pop Mixing Trends of 2018
Light Saturday reading that I would like to remember something about.
I have to remember to post when I put a video or article into one of my binders.
My currently overloaded tool for study is Scrivener.
I started wit a single project. Now have multiple projects for DAW specifics, as well as one for iZotope tools. Need to add one for T-Racks.
I need to add some love to the Sonarworks world.
I have lived in the world of IK/Multimedia ARC 2 (Automatic Room Correction) for about 3 years. Changed my world. A lot. No complaints. Separate profiles for my JBL LSR305, M-Audio AV-40, Casio PX-330 piano (has line in so I can work with the piano but have all the sounds).
Decided to try Sonarworks for headphones on the laptop…was impressed with the demo. Impressed enough to purchase the headphone license. Then we get the PLAPA discount, so I decided to go for the full Reference 4 upgrade. It’s November – studio upgrade season. Tried really hard to build room profiles using my reference mic from ARC2. That was an abject failure. OK…I’ll get the Sonarworks microphone and do the whole thing.
I “shot the room” this afternoon. Took a bit of fooling around to get a proper level so I could calibrate. When the software told me how far apart my speakers were to the half-inch I was excited to proceed. Many measurements. I got good by the end and could put the mic almost exactly where the software wanted it.
Now I get to listen to music for a couple of weeks to re-train my ears 😉 Definitely a different adjustment than ARC2. Bass is way more in control. My “Mix Test” doesn’t get the whole house vibrating anymore on the dub music. The boomy jazz bass is still very bass present, but the fretboard sound is quite “visible” and no longer lost.
I’m really buzzed about the loss of the buzzy-room bass…really.
Happily I can flip between ARC2 and Reference 4 without much difficulty – mad skillz ya know…
So far I have gone more than an hour at full reference volume on the mix test without running out of the room 😉 SPL meter is reading the same as always – 74 dB for most things, 85 dB for the ZZ Top and Conspirator.
Time to let the ears rest…little bit of Robert Jon & The Wreck 😉 I turned it down…