MusicProductionTips (@MgntcSound) | Twitter

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

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

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

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.

Compression – Expansion – and those other things

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

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.

How to Mix Music Using the Basics – Produce Like A Pro

How to Mix Music Using the Basics – Produce Like A Pro

Like most skills, learning how to mix music begins first by understanding its basic elements.

Source: How to Mix Music Using the Basics – Produce Like A Pro

This one requires addition to my PLAP binder – videos included.

Creative Techniques for Mixing Vocals – Produce Like A Pro

Creative Techniques for Mixing Vocals – Produce Like A Pro

Mixing vocals can be tricky, even when you’re working with a well recorded, talented artist. The following tips are a great place to start in order to achieve better, more professional sounding vocals. How creative you decide to get with your vocal mixes is entirely up to you!

Source: Creative Techniques for Mixing Vocals – Produce Like A Pro


Red Sweater Support

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

iZotope RX Mastering Tips

10 Common Uses for Audio Restoration in Mastering

4. Removing unwanted distortion Every once and a while you get a project that has audible distortion. It could be undesirable clipping, or it could be something else entirely. All you know, from your vantage point, is that the distortion is undesirable to you.

But it might not be undesirable to the band. Your first move is to call the point person on the production team and ask if that distortion is intended. If it isn’t, your next move is to contact the engineer, if you can, and negotiate a better mix. This option isn’t always on the table, so luckily software like RX has ways to fight this distortion—tools which can, to some extent, repair mangled material.

A lot of the time the De-clip module does the trick, even if the material isn’t clipping per se. The process is relatively simple: highlight the passage that is distorting, have the module suggest its processing, audition the results, and tinker to taste.

Repairing distortion is best done in specific, sporadic places, and not across passages of more than a couple of seconds—and that’s speaking liberally. You may have to spend a bit of time to get all the nasty bits, but it’s still worth it.

Sometimes, the distortion is more of a high-end crackle than a clip. Here, the De-crackle module, tuned to attenuate high-frequency distortions, can often work.

I have a very particular live performance in mind. Recorded a guitar (DI) that was using some form of distortion – pedal or amp, not sure. Unfortunately detracts from some of the songs, can’t really remove the guitar. My case isn’t mastering, I have an isolated track. Need to try the “De-crackle” and “De-clip”. The track(s) don’t clip. Challenging.

Applying in practice. As I suspected the De-clip module doesn’t touch the distorted audio. The clipping got recorded at about -12 dB soooo.

De-crackle made a nice dent in the scratchy top-end of the distortion. Basically maxed out the settings, soloed the crackles, made things better. Nice to know.


10 Common Uses for Audio Restoration in Mastering

10 Common Uses for Audio Restoration in Mastering

Many people think of iZotope RX as the software most suitable for post-production or forensic applications. But this kind of audio restoration software also has its uses in mastering contexts. Sometimes you get a mix that requires a little restoration. With RX 7 out, we thought we’d cover the most common uses for this type of software in mastering.

6 Top Songwriting and Music Production Trends of 2018

6 Top Songwriting and Music Production Trends of 2018

In this article, we’re going to dive into some of the more noticeable songwriting and music production trends, and explore what it means for your productions further down the line.


Top 5 Pop Mixing Trends of 2018

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.

Tools For Learning

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.

Sonarworks Love

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…