Drum Mixing With Logic Pro X Plug-Ins Only – Two Approaches To The Same Tracks | Logic Pro

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Drum Mixing With Logic Pro X Plug-Ins Only – Two Approaches To The Same Tracks | Logic Pro

Chris Vandeviver and Eli Krantzenberg have been doing a series of collaborative videos. We each tackle the same situation, from two distinct vantage points and approaches. These posts are designed as a vehicle to demonstrate just how flexible Logic Pro X is, and the sometimes dramatically different results that are achieved by two people using the same tools.

How Inter-plugin Communication Shows up in Your Workflow – iZotope

How Inter-plugin Communication Shows up in Your Workflow

by Will Hunt, Product Marketing Manager January 16, 2020

We talk about Inter-plugin Communication in our products, but what does it actually mean? It is not one single feature, but a framework that lets iZotope plug-ins work as a team to help you accomplish common mix tasks that professional engineers tackle on the job every day. In this article, I’ll use the Tonal Balance Bundle to demonstrate ways iZotope plug-ins use this framework to streamline common mixing tasks.

Stems In Music Production – Everything You Need To Know | Production Expert

Stems In Music Production – Everything You Need To Know | Production Expert

The main thing to bear in mind is that you’ll need to duplicate some resources here. On a regular mix you only need one of every effect, say reverb and one delay. But when stemming you need one of these for every stem, routed to the relevant stem bus. Otherwise, you’d have the effects of all the different stems on one stem, and the point is to separate things. So if you’re creating four stems you’ll need four sets of effects busses. You can imagine how quickly this will start to take up system resources if you’re printing a lot of stems, and especially if you’re working in 5.1 or 7.1

Simple enough to create effects tracks for each stem. Just have to remember to do it when mixing the project.

In the Logic Pro X world, if you’re using summing stacks, you might simply want to insert the effects on the stack and use the mix control knob to adjust the levels appropriately. If the recipient of the stems insists on separate effects tracks per stem, well, OK…that’s just not that hard to do.

A good practice would be to create a track for the effects bus (need to do this anyway if you want to bounce the stems) and place it right along with the summing stack in the arrange area.

Use The Waves Scheps Omni Channel To Mix Fast Completely In The Box | Production Expert

Use The Waves Scheps Omni Channel To Mix Fast Completely In The Box | Production Expert

In this free 4 part tutorial series, brought to you with the kind support of Waves, we show you how you can tackle a live band mix quickly using Waves Scheps Omni Channel plug-in. Watch to see and hear how this channel strip differs from more traditional console emulations and generic modular based channel strips. Scheps Omni’s secret sauce is found in both its flexibility and sonic performance which harness some of the best bits of working with analog gear and digital workflows.

I like the Omni Channel for exploring. Works in all the DAWs and I can use it with SoundSource and AudioHijack.

The Complete Guide to Mixing Low End — Pro Audio Files

The Complete Guide to Mixing Low End — Pro Audio Files

Bass. Kick. Sub synths. 808s: All of the things that make music great. And yes, even you, coffee shop open-mic lady with your ukulele, would benefit from some 808s. I will die on that hill. So let’s talk about it.

How low can you go?

The Not-So-Subtle Differences Between White, Pink, Brown And Blue Noise – Bobby Owsinski’s Music Production Blog

The Not-So-Subtle Differences Between White, Pink, Brown And Blue Noise – Bobby Owsinski’s Music Production Blog

I know you just read the title and thought, “I knew about white and pink noise, but what the heck is brown and blue noise?” Well, they’re a real thing and used more often than you think. But the differences between white, pink, blue and brown? It all comes down to frequency and amplitude.

Never had it explained so well. Don’t have a generator for Brown and Blue yet.

Mixing In Stereo – Everything You Need To Know To Make Your Music Mono Compatible | Production Expert

Mixing In Stereo – Everything You Need To Know To Make Your Music Mono Compatible | Production Expert

Think you know everything there is about mixing in stereo? Think again. FabFilter has published an excellent three part video series produced by Dan Worrall titled How To Mix In Stereo Without Sucking In Mono. This series is extremely well presented explaining stereo mixing fundamentals, panning, stereo microphone placement, phase, the effects of comb filtering, width, mono compatibility and more.

I just watched the first part – “Toeing the Blumlein” and stayed fascinated throughout.

I do a lot of mono monitoring to make sure things don’t get lost, but I rarely make changes that will make the mono mix down work really well. These videos are an excellent pointer.

Using Logic built-in plug-ins I think it will require several steps (made easy by the FabFilter tools)

Bus effects – independent panning required?

Logic EQ would need to have two instances, one for Mid and one for Side. Probably 2 aux channels…no, simply use the EQ in “Dual Mono” mode and work with Mid and Side channels as desired. Unfortunately there are no documentation resources for the “Dual Mono” mode of the EQs in Logic. The documentation says use two plug-ins. I will try to compare other EQs and see how easily things can be adapted.

Ozone 9 EQ essentially has both available “easily” along with pan and width. 

Mid, Side, and Everything In Between (A Mid/Side Deep Dive)

Mid/side processing is an undeniably powerful technique, and one which gives the mastering engineer a wide range of sonic sculpting tools not available with traditional stereo processing. However, as we all learned from Spiderman’s Uncle Ben, “with great power comes great responsibility.”

 IK Multimedia has a nifty new EQ – T-Racks EQual…

IK Multimedia – EQual

The new EQual digital equalizer is a 10-band, ultra-clear, high-end parametric equalizer with an extremely transparent sound, ultra-precise editing and a vast array of filter shapes that are based on the typical curves of classic British and American analog EQ’s. This incredibly flexible “hybrid monster” gives you the best of both worlds – digital precision with transparent clarity and on-demand analog character that works perfectly for high end mastering as well as individual track work.

 

 Also need to look at the Imagers….

The Subtle Art of Pitch Correction | Universal Audio

The Subtle Art of Pitch Correction | Universal Audio

Mix engineers today are asked to do far more than simply mix the song. In fact, it’s now expected that they clean the tracks, eliminate pops and clicks, adjust the track timing, and replace or augment some of the sounds as well. Another job that falls to many mix engineers today is correcting the pitch of any track that needs it. This process is faster and easier than ever, but like anything else, you still need good fundamental technique to seamlessly pull it off.

Some advice on pitch correction from Bobby Owsinski.

Mixing in Stereo: Adding Width and Depth to Your Recordings | Universal Audio

Mixing in Stereo: Adding Width and Depth to Your Recordings | Universal Audio

When it comes to discussing the fine art of mixing music, I tend to approach the subject with some trepidation. After all, compared to many of the topics I’ve written about, this one is rife with subjectivity — one person’s idea of a great sounding mix may be another’s sonic nightmare. And what works for one genre of music will be decidedly wrong for another.But all those variables aside, there are at least a few general theories, tips, and tricks that apply to most mix projects. So while the idea here is not to give a step-by-step tutorial on two-track mixing, hopefully we can cover at least a few concepts that are useful for everyone.

Daniel Keller’s mixing techniques. The images showing mic placement have decent starting points. The loudness contour frequency chart is especially useful. 

Consider this panning of instruments as a preset…

Blog studio basics mixing stereo feat 1 2x

Ready, Set, Mix! Tips for Prepping Your Mixing Session | Universal Audio

Ready, Set, Mix! Tips for Prepping Your Mixing Session | Universal Audio

It’s time to mix, so let’s start to move some faders! Well, maybe not right away. If we really want a mix to go quickly and smoothly, there’s some preparation that needs to be done beforehand. Although many great mixers aren’t conscious about exactly how they’re going about prepping for a mix, they all cover basically the same areas: technical prep, session prep, and personal prep. Let’s take a look at each.

Excellent advice from Bobby Owsinksi.

A Guide to Bussing in a Mix (+ Processing Tips) — Pro Audio Files

A Guide to Bussing in a Mix (+ Processing Tips) — Pro Audio Files

Separating instruments into mix groups is an essential part of audio production. Processing audio at the buss level, rather than with inserts on individual tracks, can not only lead to a more efficient workflow but also help productions shine in a natural and very musical way.

A Guide to Bussing in a Mix (+ Processing Tips) — Pro Audio Files

A Guide to Bussing in a Mix (+ Processing Tips) — Pro Audio Files

Danny Echevarria
– 11/11/2019

Separating instruments into mix groups is an essential part of audio production. Processing audio at the buss level, rather than with inserts on individual tracks, can not only lead to a more efficient workflow but also help productions shine in a natural and very musical way.

Set Automation Select Tool – Logic Pro X keyboard command of the day

Logic Pro X keyboard command of the day. #LogicProX @StudioIntern1

  Set Automation Select Tool

The performance part of mixing, mastering, and editing sound. Just as sound occurs over time the changes of the sounds do as well. Being able to copy or move automation is just as important as being able to copy a chorus or a verse. There is value in reproducible “movement”.

I’m just reminding myself that automation is my friend and I should remember to use it as a mixing tool. I don’t always have to create a region to make some simple fader moves.

Select, copy, and move automation – Logic Pro X

After you create automation points and curves, you can easily change things to meet your needs. You can copy automation within a track or between tracks and can move automation within a track. When moving regions, you can choose whether or not to move any existing automation with it.

 

 

⇧ SHIFT  –  ⌃ CONTROL  –  ⌥ OPTION  –  ⌘ COMMAND

Select Soloed Tracks  – Logic Pro X keyboard command of the day

Logic Pro X keyboard command of the day. #LogicProX @StudioIntern1

  Select Soloed Tracks


Selects all tracks that are currently soloed. This can be very useful. At the minimum a quick way to be able to pan or level control the current group of playing tracks. Only available in the Edit>Select Tracks> menu, or by command. The command only works when the Arrange window is the current focus.

Solo tracks – Logic Pro X

You can solo a track, silencing all tracks that are not also soloed. Soloing tracks is useful when you want to work on a track individually, or work on a few tracks, without hearing the other tracks in the project.

 

 

⇧ SHIFT  –  ⌃ CONTROL  –  ⌥ OPTION  –  ⌘ COMMAND

4 Tips for Using Upwards Compression in Neutron

4 Tips for Using Upwards Compression in Neutron

by Nick Messitte, iZotope Contributor September 18, 2019

In an earlier article called “Expanding on compression” I covered unusual forms of dynamic processing, including upwards compression. Neutron 3 offers the ability to implement upwards compression, so I thought it would be useful to cover it further.