Forget about that though. Today, I’m here to burst some bubbles, to rain on some parades, and to let you know that that production trick you think is so cool is actually kind of whack. Well, maybe anyway.
Some of the instrumental techniques in this article suffer from the same problem: being obvious attempts at breathing life into a song that just doesn’t feel exciting. Others are cool tricks that can sometimes create problems in a mix, and more novice producers might find themselves doing more harm than good when they employ them. If your favorite production move turns up on this list, don’t take it personally! All of these techniques can be and have been done well — that just means the bar has been raised for anybody who still wants to use them
If you really want to understand an audio recording and hear it in a new way, here are a few pointers on what to listen for. I’m going to break it down to a general technique, and then add an additional advanced technique for experienced musicians, engineers and producers, since they already have more refined listening skills.
Always good to practice. In traditional music theory courses of study there’s the part called “dictation” where you learn to write down what you hear, including basic rhythm and intervals. I should remember to run songs through Capo sometimes.
Studio One has a chord track to help.
Logic Pro doesn’t have a chord track anymore, but you can certainly use it to track tempo and pitch.
It’s easy to think that getting a good mix is just a matter of pushing up some faders, getting a reasonable balance, adding some effects, and you’re finished. Although that might work for a rough mix, there are still a number of intangibles that are vitally important to a great mix. Awareness is always the first step in learning, so here are some things to consider before you start to move faders around.
by DJ Pangburn, iZotope Contributor July 3, 2019
LFO on the Roland Jupiter-6 synthesizer
Everyone has a soft spot for a synthesizer filter sweep or a tremolo effect on a guitar track. Thanks to LFOs (low frequency oscillators), these wooshy filter sweeps and pitch modulation (vibrato) effects are easy to execute. But LFOs have other creative uses.
The pre-chorus is arguably the most overlooked and underrated section of popular song structures. Having been established somewhere in the 1960s, the pre-chorus is a relatively young concept that has truly elevated the art and science of songwriting. The power of the pre-chorus can be seen in several important functions in a song structure, ultimately transforming a couple of musical passages into a fully realized song.
RX is used by sound designers, those in film post-production, and dialogue editing the world over. With RX 7 offering the ability to isolate vocals from songs and automatically detect noise in samples, it’s moved into the hands of creative producers too.
Today I’m sharing six of my favourite RX 7 tricks for music production, along with audio examples for evidence. I suggest using a pair of headphones to listen.
Over the last couple of decades, samplers and digital editing techniques have blurred the lines between vocal tracks and instrumentals. Dance music producers have explored numerous ways to create vocal-led tracks without ever going near a microphone. They’ve even, in the case of producers like Todd Edwards and MK, developed ways to use vocal samples as instruments in their own right. In this walkthrough we’ll look at some of the best ways to cut and transpose vocals in your DAW in order to make them fit into your tracks. So grab some acapellas and let’s get started.
They’re in nearly every Top 40 song these days, but they’re no strangers to the world of electronic music. Vocal chops are the fragmented vowels that act as melodic or percussive pseudo-vocal elements that have infected our ears and have us singing all day long. There’s no doubt that they add a unique and catchy element to songs, and now it’s time for you to experiment, too. Follow this easy guide, and you’ll be chopping vocals like a pro in no time!
I thought vocal chops were skills. I have learned a new use of the word. Looks like I need to read some Ableton tutorials.
In Point Blank’s latest tutorial, producer Risa T demonstrates how vocal stems can be creatively manipulated to make your songs pop. In the video, she uses stems from Hoodboi’s Glide as an example.
Cutting the ends of words and phrases and putting them on a delay track sounds “easier” than automating a delay on the main track. You can always “rejioin” the regions into the main track.
This is an excellent resource. Lots of good advice. It’s not all product-specific information.
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.