Offset Vision Linktree:
And of course you'll find Offset Vision if you search for them on Spotify, Apple Music or your favorite music streaming app.
Their EP "Glass Walls", that they produced themselves, kicks ass! So definitely check them out!
Let's dive in!
Wet Future Website:
Wet Future Instagram:
Wet Future Facebook:
Wet Future YouTube:
And of course you'll find Wet Future on Spotify, Apple Music or your favorite music streaming app.
Let's dive in!
And by "moving" we mean automatic changes in volume, pan, or plugin settings throughout your song.
And even if you don't mix, understanding this concept will definitely help you make better engineering decisions and communicate better, because you will understand what is (hopefully) going to happen in the mixing stage.
Using automation, you basically tell your DAW (or desk with built-in automation) to make automatic real-time changes in order to bring certain parts up or down, highlight or hide things and create or enhance the dynamics from part to part, as well as within a part.
With automation you can guide a listener through your song, put the focus on the most important element at any time and turn a static mix into an emotional, dynamic experience of an artistic performance.
As always, there are best practices and common methods but there are no rules. Automation opens up wonderful creative opportunities and we're talking about all of that on this episode to help you make more exciting, less static mixes.
Let's dive in!
Or they don't do enough because they are afraid of messing things up and what they end up with is a flat, amateur sounding vocal.
Our chains are different from session to session, of course. But they are still consistent enough for us to talk about them and share them with you.
The why behind what we do is consistent and knowing the reasons why we use certain things in our chains over an over again is more valuable than the actual settings.
In this episode we talk about what we are using to record and mix vocals, why we use these specific plugins and pieces of gear and how we use it in different situations.
Let's dive in!
But why would you want to create MIDI notes when you have a "real" performance? What are the benefits and typical use cases? And how do you do it properly, so that the MIDI actually represents the original audio accurately?
Let's discuss!
Again, this seems trivial but it's crucial to spend some time diving deeper into the subject. There's more to it than most people think.
There are no rules, but there are definitely best practices, proven techniques and a couple of different approaches that everyone should experiment with to fully understand the concept and idea behind panning.
And then there's the fun part: Beyond the basic stuff there are endless ways of using panning creatively to add excitement, movement and dynamics to your mixes.
Listen now, take notes and then figure out what works for you to give your songs exactly the width and clarity they need!
...and you've probably heard the marketing message, telling you you're missing out if you're still listening to music in stereo.
Is this true, though? And does that mean we need to upgrade our home studios and build expensive immersive audio rooms? Or switch to headphones exclusively? Is your stereo setup becoming useless?
Let's discuss!
This question came up in our Facebook community:
"Saturation. What is it? I have an idea of what it is from my king gizzard addiction, but i have no idea what it really is or how to use it."
Well, let's discuss!
(We also answer a couple of follow-up questions around the topic, covering mastering/mix bus saturation, parallel saturation and a couple more.)
...even if we don't have very trained ears and even if we're not very experienced or familiar with the genre:
We immediately notice when something is way too loud or way too quiet.
And we subconsciously notice when the song doesn't feel right, maybe because it's hard to make out the bass line, or the drum groove is just not hitting hard enough, or there's this weird, buried thing in the background that's distracting us, while something else is jumping out too much.
So there is one skill that we have to learn and constantly improve as engineers and mixers if we want our music to translate well and deliver all the emotion and energy with minimal distraction:
Balancing. Simply finding the right levels for every track in every part of the song and every mic on a every source that we record.
Technically it's super simple, but it's also incredibly difficult to get right. If you get it right, however, assuming that your source tones are good, you're 80% there. Without touching an EQ, compressor or effect.
Let's discuss!
Jacob has worked with some of the biggest names in metal and alternative music. He's produced and or mixed records for bands like Volbeat, Amaranthe, The Black Dahlia Murder, Heaven Shall Burn, Evergrey, Fleshgod Apocalypse, Primal Fear and many many more.
We're getting to pick Jacob's brain and talk about
among many other things.
Enjoy!
