OTT vs. MV2Fresh Air vs. Maag EQ4LoudMax vs L1Supermassive vs. FF Pro-RTDR NOVA vs. FF Pro-Q3GSatPlus vs. PSP Vintage WarmerChowTape vs. SatinMJUC jr. vs. Comp Tube STALALA vs CLA 2aMEqualizer vs FF-Pro Q3
When making airy vocals, you need to find ways to amplify frequencies above 12kHz - this can be done with EQ, frequency-specific reverb, or through unique parallel compression tricks. Since these frequencies can increase the chances of aliasing, it’s best to use oversampling when possible.
When mixing hip-hop music, some of your instruments will already have some processing - for example, your 808, snare, and any sample-based instrument. That said when mixing hip-hop it’s best not to over-compress, but instead, find ways to augment the timbre and presence of instruments.
When making a vocal chain, understanding your routing will affect how you process your vocal. For example, I always start with subtractive forms of processing to remove frequencies I don’t want later on, since later forms of processing will most likely amplify these aspects if they aren’t corrected first.
When making a clear master, EQ is the easiest way to increase clarity, but saturation, intelligent EQ, transient expansion, and limiting all play a role in making a clear master. In addition, some functions like true peak limiting, and oversampling can help or hinder master clarity.
When mixing a vocal with free plugins, you can use parametric EQs like the MEqualizer, one that’s semi-parametric like the SSQ, or a graphic EQ like the Overtone GEQ. When mixing the vocal with free plugins, MCompressor is an option, as is TDR Molotok for a unique timbre.
BYOD - ChowDSPTube Preamp - DDMFLOADES - Analog ObsessionAnalog Rack - Nembrini AudioTILTA - Analog ObsessionKrush - TritikThe Expressor - TheZheChow Matrix - ChowDSPADverb - Audio DamageInitial Clipper - Initial Audio
When compressing low-end, it’s best to consider which instrument or group you’re trying to control - for example, a bass guitar is typically compressed with an optical compressor with a soft knee. Alternatively, a kick drum will typically sound better with a hard knee and faster attack and release.
Quickly Fix Masking with EQPinpointing Masking FrequenciesFinding Fundamental and HarmonicsFinding Dis-harmonious FrequenciesDynamic Resonance AttenuationDynamic Masking CompensationEmulating Microphone CapsulesEmulating Famous MicrophonesImportant Vocal FrequenciesEQ for Dialogue
To fix masking in your mix or master, pay particular attention to your low frequencies - which both have immense overlap in terms of the musical scale, and can greatly affect higher frequencies. The best tool to reduce masking is an EQ, but saturation and compression also play a role.
When blending vocals, heavy compression with a shorter attack and longer release will work well on BGVs, doubles, and background harmonies. If you’re trying to blend vocals but the timing sounds off, try heavy de-essing to remove sibilants causing the perceived timing issues.
When making a mastering chain, first understand the routing of your DAW, then choose a first insert that will set you up well for further processing. Typically your mastering chain will include subtractive EQ, compression, saturation, low-level enhancers, and a limiter, before including automation to make the master unique.
You can ‘Heat Vocals’ or add lots of presence and detail by introducing compression, saturation, parallel high-frequency compression, and a short delay to thicken the vocal. Before your compression, use some corrective forms of processing like subtractive EQ and a de-esser to tame problem frequencies.
When mixing acoustic guitar, typically you can start with an EQ that cleans up low frequencies, before moving to compression and/or saturation. The compressor you choose will depend on the sound you’re trying to achieve, for example, an 1176 will work well in a rock mix.
Edit First for Less CompressionCapture all of the VocalEmphasize 2kHz into CompressionDoes Saturation Compress?Saturation vs. Compression for VocalsTry Reverse SaturationExpert Vocal Dynamic ControlUpward and Downward Compression Peak then Optical CompressionShort Reverb as CompressionCompress Temporal Effects
