1. This is definitely the best idea I’ve heard

  2. I know that my interface do not make my Music Sound better. But i have experienced getting a better Sound out of my microphone (Neumann 102) with an Apollo compared to my old Scarlett, also my monitors and headset sounds a lot more clear with an Apollo

  3. If you’re looking for a cleaner sound, I would suggest investing in a piece of hardware for tracking your vocals through, like a preamp or compressor. My recording chain is a Neumann TLM49 going through a UAD LA-610 MkII or Avalon Vt-737 and I really like the sound of it

  4. Every kind of drill tbh. There are definitely a ton of good songs in that pocket but there’s also so much copy and paste. I’m an engineer at a recording studio and the amount of drill artists that say the same thing in every line, just switching the words, is crazy. Same subject for every bar.

  5. no, its a term that pretty accurately describes rappers who put out garbage that cant be understood without subtitles. and most of its about sex and drugs.

  6. I think people vastly overestimate the amount of “mumble rap” that has any kind of popularity. Most of rap songs I hear nowadays are either melodic rap, lyrical, or your traditional florida trap/northern drill. Mumble rap had a phase for about a 2 year period starting in 2016. Modern rap (while repetitive) is pretty far from mumbling right now.

  7. Overall, I think this is in a really good spot. Really, only two main things jump out at me:

  8. Definitely as I listen to it more I hear those hi hats really messing with me. One problem I find I have in a couple mixes is being able to get every 808 to at least hit at a similar perceived volume in the final mix. They all peak at the same point and are compressed but do you have any suggestion on taming the really aggressive sub sounds?

  9. Sometimes I use Waves F6 on an instrument to carve out space for a vocal, you can sidechain the vocal into it as a dynamic EQ and notch out certain clashing frequency

  10. UAD Hitsville Master EQ - Waves LinEQ Lowband - API 2500 Bus Compressor - C6 - J37 - S1 - Ozone Maximizer, then Waves WLM and Izotope Insight to check out my levels

  11. API bus compressor depending on the track Soothe 2 if I feel like I need it Abbey Road TG for tape emulation and presence

  12. Pretty sure the Abbey Road TG isn’t a tape emulator.

  13. It isn’t a true emulator but it has a tape equalizer that gives me a similar effect. I generally like it better on a mix bus than something like J37 or Kramer Tape

  14. Yeah I mostly mix rap and rnb vocalists. Is there anything else you might do that is pretty consistent across your mixes within your hooks other than those techniques already mentioned. I tend to be hitting a wall sometimes when it comes to the more grand sounding hooks with a lot of moving part. Any techniques to get a better blend of all the elements or get some more thickness without ruining dynamics

  15. Maybe try some saturation to give it some more warmth or body. If I really feel like a hook needs a different sound than the verses, I sometimes set up a send to a doubler or flanger to give it a different feeling. This could be considered production, but a reverse reverb tail into the vocal always spices things up haha

  16. I am already using a lot of different types of saturation and vocal doubling all with different settings. I do it to try seperate the doubles abit from eachother. The flanger seems like a really good idea I haven’t tried yet. One thing I am doing is mixing a pitch wobble in really low to add some movement. Do you think a flanger might clash with that.

  17. I would set up an EQ before the flanger in the send to cut some of the lows being sent into it, just in case, but I don’t think it would effect it too much regardless

  18. This is the simple answer that nobody likes but try Ozone Master Rebalance, also notching out the snare most jarring frequency of the snare in a multiband compressor would help as well.

  19. Wouldn't Rebalance lower all the drums, rather than just the snare? Think a well set up multi and comp or dynamic eq might help.

  20. In my experience, it usually takes down the most prominent sounds, but it could definitely do that and mess with the balance. I agree, a dynamic or multiband would be the best way to go.

  21. I feel the same about them as the Ozone mastering plugins, very useful sometimes but definitely not something I’m using in every mix. If you’re willing to deal with the headache of subscriptions and licensing then you’ll probably find ways to use them. Personally, I’ve found other waves and UAD plugins that do the job better.

  22. It really depends on the track, if you feel like the quieter sections sound like they shouldn’t be as quiet as they are then I might add some automation and heavier glue but if you think they add or make sense for the structure of the song then I would compress in a way that doesn’t take away that feeling

  23. you’re not alone, all of the music I listen to (even for entertainment) gets looked at through a technical lense whether I like it or not. I wish I could turn it off sometimes

  24. Play around with a dynamic EQ like F6 from Waves or if you’re on a budget, TDR had a plug-in called NOVA that functions similarly

  25. GOD DID, Haha congratulations! I know how you’re feeling, I just landed my first real studio job at 19 a few months ago. It’s still a trip coming in to work everyday doing what I love. Believe me, that feeling won’t go away anytime soon, it still hasn’t for me.

  26. Sorry, just seeing this now. A lot of youtube and long nights in a pretty low budget home studio helped a lot. Working for 2 years in a $30/hr home studio helps to develop your relationships with local artists as well as patience and skill to work with any kind of artist you may encounter. I stuck it out for quite some time, and eventually an offer to work somewhere better in the city came to me. It’s all about the time you put in and building relationships with as many people in the industry as you can. Best of luck in your journey, we’re living the dream :)

  27. Artists on the radio for the most part have big budgets, are recording in professional studios with great microphones and preamps in acoustically designed rooms, engineered by professionals with decades of experience.

  28. This! The most important part of a well mixed vocal track is a quality recording to start with. If your vocals are not sounding the way you want them to in the mixing process, look back at your recording process.

  29. First of all, it doesn’t sound like the initial recording was done in a good environment on a quality microphone. With that being the case there needs to be some fairly extensive EQing done, especially with the style of song you have. Bring the low end and sibilant parts down (150-300hz, and 3k-5k narrow band). I would also add some air to the vocals, increasing the high end (8khz+).

  30. In the Mix on youtube, there are also some really good podcasts if that’s a better way for you to learn

  31. Check out the Avalon VT-737sp

  32. slate fg-x mastering, included in their bundle which has lots of good plugins for only $10 a month

  33. One thing that helps me when mixing AND mostly mastering is making sure to check my progress on different listening mediums throughout. I’ll connect my beats headphones or airpods to my computer so I can get another reference. Once I feel I’m finished I’ll also go out to my car and listen in there. There won’t be one thing that you can change to make it sound good in headphones, you’ll just have to make sure to find a happy medium for the sound between all your listening devices.

  34. he’s more known for his weight and racism

  35. When I was a kid my German neighbors who owned a cottage next door owned a 50/50. They came up to stay once a month. I was about 9-10 yrs old when I ran across their property thinking they were gone. I jumped over a log and the wolf/dog caught me mid-air by my mid back spine and pinned me to the ground. They were instantly there and called her off but that moment sticks with me forever.

  36. My dog’s name is also Cleo

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