When mixing with harmonics, it’s best to know how the saturator you use introduces various harmonic formations - this way you can use certain types to brighter or warmer sound. Additionally, when mixing with harmonics, try running saturation into a subsequent processor to enhance their effect.
If you want to make your kick sound huge, start with additive equalization and then introduce clipping - ideally to the transient of the kick or 808. From there distortion, compression, air EQ, and some form of maximization and limiting will help your kick sound huge.
When using the FabFilter Pro-Q 3, be sure to check out some of the advanced functions like collision detection, EQ matching, and Spectrum Grab. If you use the effect in parallel try the linear phase option, and if you want to affect the stereo image, try mid-side processing.
FabFilter Pro-Q 3FabFilter Saturn 2PSP ImpressorGod Particle - CradleInvigorate - NewFangled AudioSuper VHS - Baby AudioSoothe 2 - OekSoundSeventh Heaven - Liquid SonicsOxford Reverb - SonnoxGullfoss - Soundtheory
ShaperBox 3 - CableguysInvigorate - NewFangled AudioSpaced Out - Baby AudioInfiniStrip - PSP AudiowareMetaplugin - DDMFTrem Control - GoodhertzReelBus - ToneBoostersElephant - VoxengoLimitless - DMG AudioValves - Audio Thing
When creating vocal harmonies with plugins, you can use basic pitch shifting to change the root note to something in-key with the original vocal. Or if the plugin allows for it, you can snap the note to a specific in-key frequency, creating a vocal harmony.
When using FabFilter’s Saturn 2 it helps to understand how it compresses, creates harmonics, and equalizes the signal before introducing modulation. You can then use Saturn 2’s slider for a drive effect, envelope followed to affect transients, envelope generators to change the ADSR, and more.
Reducing Excessive ResonancesSitting Vocal on Top InstrumentalGetting Vocal to Sit in MixDuck Bass with KickRemove Irrelevant Notes on VocalRemove Out-of-Key NotesUse After SaturationBlend Reverb into InstrumentalSmooth out Phasing EffectsVery Subtle Tone Balancer
2S EQ - 2nd SenseTriple EQ - Blue Cat AudioColour EQ - DMMFQRange - LKJBMEqualizer - Melda AudioFrequalizer - Foley’s FinestClassic Equalizer - IK MultimediaEqualizer 4 - ToneBoostersKirchhoff EQ - Three Body TechOvertone GEQ - Voxengo
Minotaur - Nembrini AudioBlackVibe & Kabin - Analog ObsessionPEDALz - Analog ObsessionEmissary - Ignite AmpsGreed Smasher - MercuriallTSC 808 Core - MercuriallBYOD - ChowDSPBoogex - VoxengoAnalog Rack - NembriniCypress TT-15 - Black Rooster AudioPro F.E.T. - Ignite Amps
When mastering a beat and vocals, you can use processing on the beat and vocal separately before collectively processing them on the stereo output. Mid-side EQ and compression on the beat works well, whereas resonance and sibilance reduction helps balance the vocal - then EQ and limit the output.
Organize Your SessionAttenuate Unwanted Frequencies with EQIncrease Details with CompressionAdd Character with SaturationShape Processing with EQIntroduce Speciality ProcessingStart Processing the BussesAdd Temporal ProcessingAdd some Creative ElementsCreate a Demo Master
When performing EQ Matching, either to a reference or for the purpose of inverse equalization, ensure your reference and the track you want to affect have similar LUFS levels. When it comes to inverse EQ matching, try using dynamic bands with the external side-chain as the trigger.
When mixing or processing a kick drum be sure to pick the right compressor - typically ones with faster settings will work well, especially if they emphasize transients with mild distortion. If you want to bring forward the kick’s details, try some form of maximization or upward compression.
When mixing vocals into a beat, be sure to reduce frequencies on the beat that would cause masking to the vocal. We can use EQ, resonance reduction plugins, and ducking to give the vocal some room on top of the beat, before moving on to processing the vocal.
