Tracking guitars can be an extremely long process that requires an acute attention to detail – not just from the guitarist, but the engineer/producer as well.
While there’s always going to be an appeal to a well-tracked clean & intelligible vocal, sometimes you need to step outside of the box a bit. Vocal performance styles vary greatly between different singers, but there are certain techniques that are universal in creating lush soundscapes; none more relevant to production than the reverse delay swell.
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Have you ever heard of the LCR approach to mixing? LCR is the concept that a professional mix can be achieved using just 3 positions: Left, Center & Right.
I haven’t lost my mind (at least I don’t think I have)…A few weeks back, I was sitting at home alone late at night just jamming out with my guitar and a small practice amp. Nothing special, just something cheap to get some songwriting ideas out.
Limiting isn’t a new process for engineers. Even before the first idea of a limiter came into existence, engineers were saturating tape and pushing consoles to their max – limiting their audio signals without even knowing it.
Background vocals can make or break a mix. Just a single out-of-tune harmony degrades the quality of the entire group in an incredibly noticeable way. Think of the last time you noticed a bad vocal harmony – it wasn’t subtle was it?
While things like vocals are usually the dead giveaways, synthesizers are a close second when used frequently throughout a band’s catalog. You might have noticed something special about them too: nearly everyone has a signature synth sound.
Snare drums are some of the loudest pieces of any drum set, and for good reason. The crack of a good snare combined with the power of a kick drum is the driving force behind every good rhythm section.