How to Achieve Creative Mixes

Gated Reverb.

Reverb is different from plugin to plugin and emulation to emulation, but by and large, reverb reflections start off higher in amplitude before gradually declining in amplitude.

If we gate reverb, we cut off this slowly declining amplitude part of the reflections and cause the processing to include only those initial dense reflections.

It’s very simple to do: insert the reverb you want to use, then insert a gate and adjust the threshold until the tail end of the reverb is attenuated.

It’s a cool sound, albeit, a very 80s sound - but let’s listen to it, and note that if you do it subtly, it can be used to thicken instruments without being too obvious.

Watch the video to learn more >

Classic LOFI into HIFI

This strategy is still enjoyed even though it’s used all the time. Some examples include Tame Impala’s ‘The Less I Know the Better’ or The Smashing Pumpkins ‘1979’. In short, it typically starts at the beginning of a song, in which the frequency range of one or more instruments has been truncated.

Then, when more instrumentation comes in, the range opens up, and the listener is presented with the full frequency spectrum or the HIFI sound they expect from modern recordings.

You can do this with an EQ or with emulations of old equipment or saturators; it’s up to you. The best way to do this is to introduce the processor you want to use and then enable its internal bypass to disable the effect.

Typically, automation is the best way to do this. Let’s take a listen and notice that even though it’s a very familiar effect, it still makes for an enjoyable transition.

Watch the video to learn more >

Automated Delay/Reverb

This works incredibly well for a transition, or to make an part more complex - automate the wet/dry for a delay or reverb and increase it drastically before cutting the amount back down to the original level.

Since it is such an unnatural sound, I find it’s a great way to quickly capture the listener’s interest before moving into a chorus, pre-chorus, etc.

Let’s take a listen.

Watch the video to learn more >

Sweeping Panning

This is a pretty common one, especially for BGVs or adlibs - if your DAW allows for it, try using latch instead of writing in the automation data.

With a latch, you can play the track and then pan the instrument to write in the info. Once you have a take you like, change the function from latch to read to ensure it doesn’t get overwritten.

This works well with a traditional pan pot, but you can try it using a panning plugin or a binaural pan function to create an impressive and realistic sweeping effect.

Watch the video to learn more >

Ghost Ducking

This is popular in EDM; in short, you create a kick track, mute it, and then use it as the side-chain for a compressor that’s inserted on another instrument.

Of course, you can use a different instrument for ducking, but the constant hit of the kick, causing an instrument to be attenuated at regular intervals, has an unnatural but enjoyable sound to it. This is just the most common use of the technique but experiment and see if you can find some additional uses for it.

Watch the video to learn more >

Reverse Effects

In my opinion, the best way to introduce reverse reverb or delay is with a convolution reverb and impulse responses. Most traditional reverb plugins don’t have a reverse function, so you’ll need to export the reverberated tracks and reverse the overall clip.

With a convolution plugin, you can insert the reverb you want to use, reverse the impulse response, and then blend in the effect. Additionally, if there are moments in which you want more or less of the effect, you can automate the plugin’s wet/dry. Let’s take a listen.

Watch the video to learn more >

Glitched Reverb

This last trick is new but has a really cool sound and is easy to pull off.

Send the signal you want to affect to an auxiliary track and introduce the reverb you want to use. Set it to 100%, and then insert the free plugin Codec.

This plugin reduces the bit-depth and introduces artifacts associated with low-quality digital recording.

Since it only affects the reverb reflections, you’ll create this impressive and unique lo-fi reverb.

Then, blend in the processed reverb with the aux track’s channel fader. If you want more or less of the effect, automate the aux channel’s fader. Or if you want the glitched sound to only occur at specific moments but still want the reverb to occur, automate the Codec plugin on and off to include it only when needed.

Watch the video to learn more >