When mixing with impulse responses, you’ll need the impulse response file, and a convolution reverb or space designer plugin. The most popular way to mix with impulse responses is to reverberate a signal, but they can also be used for equalization, emulation, and occasionally delay.
Digital distortion types are typically the result of bit depth and sampling rate limitations - when these are reduced, it results in aliasing, clipping, waveshaping, and more types of familiar distortion. To avoid these, we can increase the sampling rate via oversampling and bit-depth by recording at least 16 bits.
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The interfaces on this list are in order from lowest to highest cost, and we've stuck with ones that include 2XLR inputs - that said, if you want to scale up or down, each interface has models with more or fewer XLR connections, but with the same internal functionality and processing.
When creating a modern vocal, the vocal needs to sound detailed and upfront, yet balanced with a clear frequency response. You can accomplish a modern vocal with the correct compression settings, combined with upward processing like inflation and saturation - then add temporal processing like short reverb.
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When introducing creative vocal techniques, using mid-side processing can be used to isolate temporal processing to the side image - causing a unique sound. Additionally, if combined, processing such as binaural imaging, transient and tone EQ, and others are great for creative vocal mixing techniques.
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To make a mix sound 3D, use level faders and panning to bring a signal closer or farther away, and to the left and right. Reverb can make a signal sound closer or farther away depending on the settings, and binaural processing is needed to emulate varying elevations.
When mixing for car speakers, the mid frequencies need to be full and complex, and the low frequencies need to be centered, driving, and primarily mono. Use a mid-side EQ to isolate the lows to the mid image, and use saturation or parallel processing to affect the mids.
Whether you’re trying to widen your image or want to introduce a unique form of processing to your mix, mid-side is a crucial element. Mid-side processing can be introduced with the right EQs and can be included in your routing to allow for mid-side saturation, compression, and more.
When making a loud master be sure not to push not into a limiter aggressively - instead, boost a little of 3kHz and dip 250Hz to emphasize important frequencies. Also, when masking a loud master that’s not squashed, pick saturation that amplifies high frequencies, but leaves lows unchanged.
Setting Up RoutingSaturation on Mid & SideSplit EQ on Mid & SideHigh-Frequency ExciterNeeded Mid De-essingParallel Compression & OverdriveIndependent Left/Right CompressionLeft/Right Identical LimitingEQ on Master OutputFinal Limiting Stage
You can time your effects like a pro by dividing 60000 by your sessions BPM to get a quarter note in milliseconds. If you want a half-note, multiply this value by 2, or divide by 2 for an eighth note - then enter this value into time-based functions.
