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I love amplifying the in key notes. I personally like to amplify the 1 & 5, maybe the 3 a little. One time I did a test on the drums. I amplified all of the 1's on the drum spectrum, and went WAY up into the stratosphere. I was getting a "ping" noise in key, and it sounded really neat. Then I lowered them to a normal level, so it's not noticeable. That does work, even if the listener doesn't realize it. It just subtly makes it sound better.
This is awesome!! Sharp and clear but not harsh at all. Could you also put a before and after at the end? Like fully dry vs fully processed not just from the last part
I was possessed by thick vocals a period, so tried to make them “bassy”. I realised that a female vocal shall be clear, and the clearest element in the mix, letting the other backing instruments making bass and low-mid, a lot more. Some (including me at times) try to make the vocal to a bass, or to a guitar. That won’t work. Parallel processing has been my best vocal treatment apart from EQ and compression.
Is there any difference between sending a full signal to a send fader and adjusting the send fader or leaving the send fader at default and adjusting the amount sent?
If you're sending only 1 track to an FX bus you just mix the FX in on the fader level (probably a bit easier), but if you're sending multiple tracks to the same FX bus you can use the send knobs to taste (get the FX mix balanced) but then still have full control over the final FX mix volume using the FX fader.
In some cases, several sends are sent to separate FX-AUX’es, which together go through a final bus. If one very late realises that all FX totally should go down, it’s very rational just bringing that destination fader down, let’s say everything between 0.5 and 3.5 dB.
Technically there isn't initially, but once you add a processor it'll affect how much of the signal is getting run into that processor. So say you inserted a compressor on the parallel aux channel - the compressor would compress more if the send was set at 0dB vs. if the send was set at -3dB.
Not that many have it - Kirchoff does as @cspcreative pointed out. I'm not sure of any others that offer it at the moment, so you'll have to look up the frequencies of notes.
@@sageaudio Thank you. Also, so when you de-emphasize the in-tune frequencies, all of the generated saturation remains? Or would it get slightly attenuated as well?
The people dogging on the song are hilarious lmao. a whole 3 seconds of barely processed vocal is shown, calm down. Appreciate the mixing tips as always 😌
Honestly yeah haha. If you don't enjoy the music that's ok, but the point is to hear the effects - it's not about our personal preferences or music tastes.
In-key frequency saturation… hilarious! Goes to show that modern pop music does not use many non-diatonic chord changes or key changes. personally, I compress before equalizing when mixing … that way, the vocal sound does not drastically change if you want to make a slight equalization modification
AutoTune is not the professional way to go, except when striving after that sound which is not the case for most pop and rock/metal. The way you talk indicates that you are a Fruity Looper…
