Bass Compression and Effects in Mixing

 

Studio Pass with Tommy Rogers and Jamie King

 

Lesson Info

Bass Compression and Effects in Mixing

But again what the mix like said I just go for it you know just listen to it and if you could see some you know you're good says hey man that symbol is just too loud try to do something about if they hey that snare justice boxes you know you know and there's that's the literally my process for everything I just kind of with me and then you want to take a step back and come back the next day if you can hear today after that I said I don't believe the whole classic you know mix and then you're done thing is it's not good you know it's not gonna work you put your hands on the ground thiss house get going wait I heard some noise on a track let me kill that find where that is this base digital dropout fix that real quick shit do you so once you get these kind of the ballpark then you start going piece by piece yeah yeah like that I'll try to get everything and just roughly in the ballpark and like that you can either do automation likes it for these lead parts you can even you said turn you...

r volumes up or down what I like to do is a little different you know tommy's noticed this that I I grab just to gain tool and actually gained the parts down and processing way usually started negative ten years like a point you start off leads a listener leads get elite but I'll try to get stuff and likes it a lot of that leveling has been done with it that uh auto some limiting thing that I've done whatever but then like said I'll start doing the fine detail parts you know trying to build in pseudo dynamics like bring down like for the first part I might bring the vocals down a little bit yeah yeah there's ah fix whatever not going to just a quick did you that second line yeah you know these create this great sort of some pseudo dynamics also wait did I like you know the classic telephone a radio filter or basically just cut all lows and highs and there's a it's just a simple is this which recently just got that telephone mike yeah, yeah bought a an actual telephone old school tell us on the guys put a nextel our connection on in very simple effective effect kind of give it some cotton give parts contrast and dynamic. You know, it's been a lot more time. I've got some precincts they used that spend more time getting the right tone for the part and I know we randomly did this phrase didn't he tell me right before the course sounded like we did something the background yeah, because tommy wanted the likes that again before he processed this stuff save a copy on unaffected but I think we did that so that the court really when I remember this think about it about it part we put him that pressure or some sort of some sort of vacuum remember exactly what we did, but, uh, you know, just to give it some it was a harmonic thing, you lo fi see what we can come up with could you could have been a bit crusher he killed about it that it didn't sound like that distortion. Or maybe it was something crazy like that, but in the mix it was kind of cool, it might have been something like somebody was just love make it a little box in your sounding top, more subdued, something like that batted about it by just a little, you know, obviously with lower in the mix, but, like said again, I use the grant as opposed to going straight to automation, I'll just gain it down and with digital in nice thing like said I can gain unlike an analog, you can turn the volume down, you know, let's, take a regular plane no, I can turn it down twenty I can't turn it back up what yeah process that that if I wanted to process it back up, no sales exactly the same and did in the analog round, that would add, like noise you have something turned down and you turn it back up it adds like kiss and stuff in the digital realm it doesn't work so this is just a clean is effective is, you know, automating the level up and down and it's something that likes it I do it I don't know how many other people do it out there I don't think many people probably do his works well for me it gives me kind of a visual without having to toggle through these views and things like that no rules whenever works e okay, I haven't turned those down that's why we'll start one quick thing for you to move on here as far as the panting stuff usually pretty standard keep the all the primary vocals up the center almost always just you know they're living it listen to stereo mano it's just going to sound better some people do the vocals lead vocals, stereo but so started cut you off so if you do a double on the main vocal I'm asking this from my personal knowledge so you don't pan is left right you keep him, you keep one center yeah, I always have one center and then I do the left right on the dub underneath uh yeah that way is just for balance I mean, you can do it and I've heard tons of records that have even commercial really have let the right pants and it sounds huge problem is to be some that tamano than the vocals are also in light way lower okay it's just that creates like just a little issue there so I recommend like vocals center a lot of times with the lead guitar or like a lead since part of lead keyboard part violent or something if there's no whatever the lead thing is put it in the center that's kind of a good rule of thumb just keeping the center and then the other stuff I pan out around uh except I do this offset thing likes it with my backing vocals uh you know, you can either do to really doubles and then pan those left and right but you kind of get out of balance every once in a while if somebody doesn't match it up exactly things like that s o I do the whole time honored you know approach of the the just offset delayed yeah now creates so strange effect when you put it in mono potential phase issues or whatever but I said in stereo it's sounds great it's you know, like say they've been using beatles kind of you know in their engineer kind of I invented that or whatever to kind of save work yeah, you know, just to get the cereal thing where they were having physically double it but I really like using it but basically just offset thea said this this trial at this file here is only one vocal was the identical copy but I put it in two separate tracks which you're paying left and right yeah just a nudge one over three said then if you're already millicent mano just be aware of that yeah yeah like that if you hear like said for instance you can hear this sounds coolest air you put it mano wear that weird little delay it's just you know to you but de nudge forward or backwards or doesn't matter I usually likes it since he's a lined up like that I said it I do a thirty millisecond nudge to create that effect I knows one of them to the other one back one yeah so just so it's kind of like ones a little earlier ones belittled ahead to get the and it's you know I do this across the board so I can actually do this to all these do that report all these backing vocals with me on one two what do you this someone edge this one the other way and let us hear that yet and this was pretty much the last two this soap the way the course that will be more screams funny yeah like that it just sounds huge I need to get focused center part and in the stuff underneath it is just huge and the left and right and up you know you get this big you know, sound. You know, you get the space in between the mono and the left and right, so it just creates the space. It makes us on large. Yeah, pretty soon. It sounds awesome, you know, it's. So cool.

Class Description

Get an inside look at how things run in the studio with Tommy Rogers & Jamie King in this Studio Pass.

Tommy is the vocalist for the progressive metal band Between the Buried and Me and has worked with Jamie to produce most of the band’s albums. In this class, they’ll share their signature approach to production and detail the process they used to record Tommy’s latest solo album “Modern Noise”.

Both Tommy and Jamie aim to track songs that sound organic and real. In Studio Pass: Tommy Rogers & Jamie King, they’ll show you how things should run in a studio to get a final track that sounds like the band on their best day, but not over-produced.

You’ll learn about the role good pre-production plays in getting the best sound and what you should do before you ever set foot inside the studio. You’ll learn about the recording process as Tommy and Jamie track drums, bass, vocals, and guitar for a song from Tommy’s solo album. They’ll also deconstruct Pro Tools sessions and talk about how performance impacts the final arrangement.

If you want to learn how these guys work in the studio, don’t miss your chance to hang for two days with Tommy and Jamie and get a behind-the-scenes look at their process.

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