Showing posts with label technique. Show all posts
Showing posts with label technique. Show all posts

History In The Making

In my recent podcast episode, I talked about forward motion and the idea that a ton of what sets us back in the studio is mindset. Today, I want to expound on that a little deeper by giving you a mindset shift that has helped me tremendously! That being that as a musician, a singer/songwriter, a mixing engineer, etc you are doing more than just making music or JUST mixing someones music. Instead think of it this way, "I am making history"!

Yep, that's right, when we set out to do this monumental task of making an artistic imprint on the society around us we are doing more than just spinning our wheels, we are making history. Think about it, we are releasing something that has never been heard before. If it has never been heard before that means that in the minds of the world it doesn't exist and therefore when we do release it for the world to hear for the first time, it becomes a part of history. This simple mindset shift has helped me to keep trudging along in the trenches at times with a song I felt less than enthusiastic about. It has helped me to release more music than ever before, even if I wasn't completely happy with where the song was in its less than perfect state. This mindset has helped me to navigate through the pitfalls and woes of tweaking that guitar delay for an hour and also helped me to see the forest for the trees on a mix that was not my own.

I know it sounds simple, but hey that's why this blog is called Home Studio Simplified! I want you to make music, better music, and more of it. Music should not seem like a job, even if it is our primary source of income. Nor should it be a daunting task that we put off for weeks because of the fear and frustration of what may appear to us as failure.

The next time you set down to work on something, think to yourself, "Today, I am going to make history".


Break Out of The Box

The audio world used to be full of rebels willing to break all the rules. Now it's held back by those who want to either follow suit or stay within presets and pre-defined guidelines. The reason why we have half of the effects, plug ins, and innovative gear choices at our finger tips, is because of someone who was not satisfied with the status quo.

It was those late night experimental mic placements. The beautiful accidents of various electronic anomalies. Those "mess ups" that were intentionally left because it DIDN'T sound like everyone else. There was a different thought wave when it came to music years ago. The studio was not so much a place to make magical recordings it was an instrument in itself that merely captured those magical recordings. Recordings that were made by well versed and thorough musicians. These great takes were then enhanced by a more than able engineer with good ears, a heart reference of what music should sound like, and a limited amount of ways to achieve that balance. It was not one person or any one idea that made a great record. It was everyone binding together and pursuing the same goal.

During the month of March, I challenge you to experiment with something new. We all get locked into our habits. That mi sounds good on that cabinet, that guitar pedal always stays at those settings, that vocal take is always treated with the same effects and sung on the same mic, in the same room, with the same person... See what I mean. It sounds kinda boring. 

If you want to really ramp up your interest and discover new things, then try new things and you will naturally be excited by what you get from that. Stand out, and do something that you or no one else you know for that matter has ever tried! Come back periodically and let me know what you've done and lets share!



We Have A Lot To Learn


I saw this a few months ago and just had to share it! This so true! I have been listening to a lot of podcasts and watched several videos of "famous" mixing engineers and all of them say repeatedly that they are learning stuff everyday. Mixing is very technical, but there is a side to it that is also very artistic. Maintaining a balance between the two is crucial, and when art is involved with nearly anything, it is always evolving and changing shape.The only way to effectively manage that change is to continue learning and trying new things.

Today, I encourage you, that before the end of this week, try something new. Search youtube for a cool trick or tip and apply it. Put up some mics and move them around a room with an acoustic guitar until you have a catalog of various sounds in that room. Put a distortion pedal on your keyboard. (It actually sounds pretty cool) What you will find is that by doing things in a different way and learning new things to try out, you will rekindle the passion for what makes you unique. Your methods will be different, your style is different, your music will be different, because you are unique. So don't be afraid of learning new things from someone else, rather embrace them and they will ultimately fall into your hnads and be molded in a way that only you can.

I challenge you to DO SOMETHING new this week!

Creating A Song: Step By Step

If there was one thing I really desired when I started to record and mix my own music, it was a clear cut, over the shoulder tutorial. I needed someone with more experience than I had to set me down and say, "Here is how you get started."

Unfortunately, I never had that. Though there are a ton of online tutorials, none of them seemed to cover just the basics, or how to get started in all of this. Since then there have been some who seen the need and stepped up to the plate to offer some help. I simply had to figure it out as I went and make a ton of mistakes.

That's why I decided to start a series of videos where I go through the entire process, step by step. It is that over the shoulder, "Here's how you get started" video series that I was looking for when I started out. Now you can follow along with me as I go through the whole thing! The best part is, I am not doing a ton of editing or working ahead. Why, is that important? Because it will allow you to see my mistakes. Yep, I said that. Then I will show you how I fix some of those mistakes! Priceless!

All to often (especially with social media) we catch only a glimpse of the beautiful editors rendition of something. This at times leaves us thinking that we need to be perfect. Although perfection is a good thing to strive for, and as a perfectionist I am guilty, we can over do it at times. The best concert I ever went to was a Casting Crowns concert. The reason why it was so good was because it was raw and unedited. They messed up a few times, but just kept right on going. The best training I have received on my job was at those moments when everything went wrong and chaos was running a muck. Thence trainer stepped in and showed how to fix it. Now, had that never happened, I would have been lost if the same situation cropped up without a trainer and without the experience. So, when I run into a problem with the mix we are working on, I am not gonna fix it in pre and then present it in post as a perfectly polished peice of work. Instead, I am going to point out the mistake and walk you through how I am going to attempt to fix it. A boss will tell you how to do something, a salesman will show you the finished product while carefully leaving out important flaws in that product. A leader, and a friend, will walk you through the whole process so that your aware of all the ins and outs, and show you how to do something.

That's what I am wanting to achieve in this video series. I want to genuinely help with a real world approach. Will the song be perfect? Nope? Will this series make you better? It may help you grasp some concepts to help you get there, but ultimately doing more recording, mixing, writing, etc., is what will make you better.

So head on over to YouTube and follow along with me as we go through the "Creating A Song: Step By Step" series.




Make sure you subscribe to stay up to date on all the latest videos I will be posting.

Recording with Purpose

http://bit.ly/HSS_YouTube_Channel

By now I hope you have realized the futility of "fixing things in the mix". Not only does it take more time to "fix" things, but in the end everyone loses. The artist you may represent (even if it's yourself), the listener, your mom... (that is if she listens to your work) Everyone will be subjected to the an over processed audio nightmare! Getting a great take, from a great artist, who gave a great performance, without taking a great deal of time to set up mics and position them properly is like playing Russian roulette. You may get a good take by just throwing up a mic where you think it should go, but you may not also. You may be able to even get it sounding decent after an hour of grueling work and 133 plug-ins. However, what if when you got that amazing take, and incorporated it into the mix later, you thought "Hey that actually sounds pretty good the way it is!"

What if, after saying that, instead of struggling to find the right plug-in to make it sound good, you were struggling to find a plug-in at all to even put on it in the first place. Now, I know that in today's world of gear crazy, plug-in happy, home studios, this seems like some Utopia that is not attainable without the latest Wave's deal or that "Stupid Deal of the Day". Yet, in all actuality it is possible!

All it takes is some time to record with purpose. First you have to decide for yourself what is the purpose of the instrument/s you're recording? Are they supportive, or are they the leading elements that make up the song? Do they need a certain sound or tone to set well? Think about it as if you were recording it into your DAW without any hope of ever changing it again. Does the electric guitar need to be brighter to even out the low-mids that are panned hard left from an acoustic part? Maybe it needs to be darker to even out the hype from the keys? 

The best way to know for certain is to hear it as it is being recorded in real time. Break out the ol' headphones and crank up the monitoring level so you can clearly hear what that mic is doing to the sound. Small movements from a mic can dramatically effect the tone of something so move it around quickly until you get in the ballpark of what your looking for and then slow way down, moving it only by inches one way or another. Once you got that sweet spot, remember where you had and mark it in some way if you can. (Tape, sharpie, chalk, etc. use your better judgment as to which would work best) That way you can get back to that tone again if you should need to redo a riff or overdub.

Ultimately, you want to be thinking about the end result. What would you want it to sound like when it's all said and done? By taking this little bit of extra time up front and getting just the right sound going in, you will save a ton of time, CPU, and hair when it comes to mixing. 

I am starting a series on the YouTube channel where I am going to be covering this and other things related as I work through a song step by step from idea to finished product, follow along with me and make something of your own as well! When its all said and done, I'd love to hear what you got! Until next time, go make some music!

You can subscribe to the channel here: http://bit.ly/HSS_YouTube_Channel

The New Years Reolutions



I hope you had an awesome Christmas! Spending time with family and enjoying the time off work is a gift in itself. Here at the McClellan household we enjoyed some great food and fun with family. Santa must have not got the letter I wrote because I did not get that SM57 in my stocking but that's okay, I will let it slide this time.

So now a new year is soon to begin and with it comes the usual resolutions that all of us fail to keep. Yep, I am a realist. However, my Pastor said something in service the other day that made total sense. He said that the reason most of us fail to keep those resolutions is because we are holding ourselves accountable. Ergo, when we are the only one to let down its easy to break that commitment. So, I propose that this year, when it comes to the resolutions you will make concerning your studio, ,musical progress, (or anything for that matter) get a buddy you can trust to give you honest feedback and keep you on track! Tell him/her that you want them to stop you dead in your tracks and slap you silly if they have to and say something like "Hey! You said you were going to release an album this year! Get to work!" Even better find a group of like minded individuals that share the same goals and let them know your goals openly. This will place you in the hot seat when you don't fulfill those goals, which in turn will spur you on.

Now with anything in life you have to have drive and a passion for your endeavor regardless of what it is or you will not have the want to achieve. This is where the task at hand loses its luster and suddenly becomes a job. Now, that is not to say that at times even our greatest passions become burdensome and frustrating when we don't see the results we are looking for, that is natural. Keep chugging along though and it will pay off in the end.

So, for the new year I have a few resolutions to share with you on my part. These are things that are achievable and needed for me to get to that next level in life. Aside from the first thing on my list these are in no particular order.

1- I am going to get closer to God, closer to my Pastor, and closer to my Family
2- I am going to go to school this year and start earning a degree (Business Administration more than likely)
3- I am going to release my EP before my Birthday (February 1st)
4- I am going to collaborate with another musician to co-write a song
5- I am going to lose 15 pounds
6- I am going to release less content of higher quality rather than a bunch of content with little value
7- I am going to complete a course on using Sonar
8- I am going to step up guitar lessons with my son (he already knows a lot at 8 but I need to spend more time on that with him)

There! I did it! I let it out and now I am accountable at least to those of you lovely people who stop by and read my ramblings every once in awhile. Thank you by the way for those of you who have listened to the podcast, read this blog, commented on or liked my Facebook page, and subscribed to the YouTube Channel. I am just getting my feet wet with all this and am really loving it!

Okay, so now to find a few good friends of mine that will hold me accountable face to face and I am all set! I hope you all have an awesome year 2016, God bless each and every one of you!

Let Your Mix Be Heard

Mixing is very much a mental ascent. There are elements that require a very precise touch, backed by head knowledge and experience. However, there are areas that necessitate a more "blind" approach. This is what I want to cover today.

Now, when I deliver this there will be many who bulk at it and many who never actually put it into practice. Why? Because it seems so simple. DON'T be one of those who obtains loads of tips, tricks, and head knowledge but never experiments or applies. 

Ok, so enough preface. What's the hack?! Here it is...

Close your eyes.

Yep, I know revelatory, huh? But don't just brush this aside. How many times have you went to adjust something in your DAW and "heard" an audible difference only to realize that that knob you were tweaking wasn't moving at all! (Guilty!)

We are so visual. We want to see results. Yet, mixing is not based off of sight, it is sound we're after. Therefore by eliminating our body's natural inhibition to "see" results we are giving ear to what the craft is calling for, audible results.

 

Action Step:

If you have a Surface Controller this will be easier to do but if not it is still easily achieved by using your mouse or track pad. 

1) Pull up a track in your mix and solo it. 
2) Now, open up that "go to" EQ you love.
3) Remove any settings that may be on it. If you like how it sounds then write down those settings before clearing it out. If it has no settings then make some quick adjustments from your gut. Write them down and clear it out.
4) Pick a band and cut it by -3dbs with a moderate Q (1.5-3.0)
5) Now grab a knob on your Surface Controller or click and hold that same thing with your mouse and close your eyes.
6) Sweep around the frequency spectrum without opening your eyes. 7) Listen critically to the track and hear where that cut makes the most effective difference to get closer to the sound you're after.

Note: If you wrote down your settings from the previous adjustments, look at where your setting ended up and see if it matches your previous one. Which one sounds better? What did you discover!?

Save Time with MIDI

MIDI Recording

Recording, although fun, we still want to speed things up a bit and get something released! This MIDI tip will help you do just that! I recently laid down a track for a song I am arranging and thought mixing would be easier if I could get all my takes from various MIDI sounds at once. Then I thought, arrangement  would go smoother as well if I had all those sounds at my disposal right out of the gate. Audio engineers tend to over-complicate things. So, as an experiment, I thought I would just route all of my sounds to the same controller and play the exact same part at the same time. After it was all said and done I had every sound I wanted at my finger tips. played the exact same way, and setting right in front of me! That was easy! Now I know that this isn't revelatory to some of you , but anything that saves time now days is worth mentioning. I hope this helps. Watch the video below for a visual on this. Oh, and don't forget to subscribe. I am now uploading a new video every Saturday!



Song Arrangement

Song arrangement, in its purest form is making things exciting, engaging, and emotional. Music in
itself demands, at times, an emotional response. While there are several tools we can utilize to add this much needed element to our art, arrangement is the most effective ingredient of a song to keep it
interesting.

Our mix can only go so far with our mixing skills and mixing ninja tricks. Though plug ins, mic
placement, effects ITB and outboard, etc. can provide a great foundation for emotional real estate,
arrangement is the icing on the cake. A great song can be hindered or helped by this one element.

There are at least 8 identifiable arrangement strategies that are used in music. I will explain briefly what each strategy consists of and try to give some examples of how they're
used. They are as follows:

• Minimal
• Reproducible
• Maximal
• Steady-state
• Cumulative/Subtractive
• Stepped
• Dynamic Contrast
• Unplugged/Plugged



Minimal

A minimal arrangement is one in which there are very few instruments and/or they are played in a
minimal style without to much complexity. This arrangement strategy makes good use of silence and
uses the vocals to feed emotion.

Reproducible

This arrangement strategy is one that is recorded with a live sound in a studio or is actually recorded
live. It is one that can be reproduced in a live setting without losing its studio versions fingerprint.

Maximal

This is the proverbial “Wall of Sound”. Anything goes in creating this wall as well. All instruments in, 40 vocal parts, you get the point.

Steady-State

This is where the song is pretty toned down. It may have a loop that plays through the whole song, a
sound effect or something, but it generally stays in the box. This style focuses on the lyrics more.

Cumulative/Subtractive

This arrangement style allows the song to grow and expand as it progresses, and at times may take
away elements to create interest and emotion. It usually ends in a climactic moment.

Stepped

A stepped arrangement is one is which the song uses two or three identifiable sections that are
contrasted by their dynamic level and instrumentation. The song alternates between these, stepping up to one and down to another at times. It also has varying keys and tempos at times.

Dynamic Contrast

The intention of this arrangement strategy is to create ear shock, usually by a sudden loud snare hit or
instrument. This can be achieved as well by volume changes and intensity.

Unplugged/Plugged

Some times a song that is done acoustically will be redone in an electrical fashion and vice versa. There used to be a trend for awhile that almost every artist had to do an unplugged version of some of their songs. It can fill another slot on that album and let new listeners hear something old, as well as old listeners hear something different. This can be really cool if you're predominantly a rocker, and then you put an acoustic song on your album. Keep them guessing and they'll stay interested.

Check out the video below for an example of nearly all of these elements in one song.


Mix Tips-Improving Workflow

In the video below I share with you some ways you can speed up your workflow and make your sessions more efficient. Some tips shared are Sonar specific, however, the concepts can be applied across any platform.


A Guitar's Best Friend: Humidity


Have you ever wondered why your guitar plays great one day, yet feels completely different on another? Suddenly the fret edges are sharp or the action has shifted and the guitar won’t play in tune anymore. These changes can happen overnight, especially in the winter. Cold, dry weather brings low humidity and that causes cracked guitars. Winter is my busiest time of year for structural repairs, and most of these repairs are preventable with an inexpensive humidifier. I’ve been preaching this message for more than two decades: Preventive measures are the key to keeping your guitar in top condition.

Dealing with humidity.
Humidity is the amount of moisture or water vapor in the air. The more moisture in the air, the higher the humidity. Lesser amounts of moisture results in lower humidity.
There’s a popular myth that a guitar sounds better when it dries out. Actually, it just cracks and then I get to charge a fortune to repair it. This myth is often confused with a guitar’s natural aging process. When a guitar ages, cells in its wood begin to crystallize and harden, causing the guitar to get louder and more dynamic. But if it’s not properly humidified, the wood will crack. (Did I mention structural repairs are very expensive?)
But you can have too much of a good thing: When a guitar is over humidified, it swells up and loses volume and tone. (Think of a tub of lard with strings.) High humidity can also cause finish discoloration and even allow mold to grow inside the guitar.
The way to avoid these problems is to maintain a consistent humidity level for your instrument—particularly an acoustic hollowbody. This will prevent a host of ailments and costly repairs.

Symptoms of low humidity.
One of the common telltale signs of a dry guitar is sharp fret ends. When a guitar dries out, the fretboard shrinks and the frets protrude beyond the wood. Correcting this problem requires re-humidification, conditioning, and fret filing. If your guitar is showing signs of low humidity (sharp fret ends, cracks, or separated glue joints), you need to have it evaluated by a reputable luthier.
This is what happens to a dry guitar in various levels of low humidity.

LEFT: Fig. 1. This top cracked from lack of humidity. MIDDLE: Fig. 2. Fretboards can also crack as a result of low humidity. RIGHT: Fig. 3. The Humidipak guitar humidifier system. Photo courtesy of Planet Waves
Below 35 percent humidity:
• Action (string height) changes.
• The top flattens out.
• Fret ends feel a little sharp.
Below 25 percent humidity:
• Fret ends become very sharp.
• There are drastic changes in the playability.
• Seams begin to separate.
• There’s a slight separation between the bridge and top.
• The finish starts to sink.
Below 15 percent humidity:
• Cracks appear in the top and body (Fig. 1).
• The bridge and fretboard crack (Fig. 2).
• The glue joints in the neck, bridge, and braces begin to separate.
All of these ailments will greatly lower the value of the instrument—not to mention your enjoyment of playing it—so be sure to maintain your guitar at the proper humidity level.
What is the best humidity level for my guitar?
Most experts say 40-50 percent. At this level, a guitar will sound and play its best. A great way to control humidity is to use a humidifier. Think of it as an inexpensive insurance policy to protect you from very expensive repairs.
A guitar humidifier is easy to use and very effective. Some guitar humidifiers are suspended between the 3rd and 4th strings and contain a damp sponge that needs remoistened every two or three days. This type of product works okay, but it’s not consistent. The humidity will spike at first, then slowly diminish as the sponge dries out.
The more modern guitar humidifiers use a gel that not only emits humidity, but also absorbs it if the humidity gets too high. This technology was first developed for cigar humidors, and now it’s available for guitars. Planet Waves makes a great humidity control system called the Humidipak that uses this technology. I’d also recommend using a hygrometer to measure the humidity.

LEFT: Fig. 4. A room humidifier in action. MIDDLE: Fig. 5. Thanks to heat exposure, this bridge separated from the top leaving a gap big enough to slide in a seam separation knife blade. RIGHT: Fig. 6. Use a wood conditioner to protect your rosewood or ebony fretboard.
Another great way to control humidity is to use a room humidifier. This is a great idea if you have multiple guitars in one room. Humidifiers come in all shapes and sizes, but be very selective, as some work much better than others. I use a programmable humidifier that utilizes both “warm mist” and “ultrasonic technology.” It also has a built-in hygrometer and a UV light to help purify the water. This type of humidifier is much healthier than the “cool mist” types that require a filter.
What guitars need to be humidified?
All guitars should be humidified, even electric solidbodies. Newer guitars generally need more moisture because the wood is kiln-dried, as opposed to a vintage guitar made from air-dried wood. The difference between kiln and air-dried wood is dramatic. Kiln-dried wood uses heat to dry the wood to accelerate the aging process. However, these guitars require more moisture to prevent warping and cracking. Air-dried wood is more stable, especially in vintage guitars, because the wood was generally aged over a decade before being made into a guitar. As a result, the cracked wood was removed from the pile and used for something else. Guitars made from air-dried wood still need humidity to sound best, but they retain moisture better than their modern counterparts.

Too hot to handle!
Heat exposure can also have destructive effects on a guitar. When a guitar is left in the trunk of a car—especially on a sunny day—the glue joints can fail. Imagine the shock of opening your case and finding a pile of wood where your guitar used to be. Once again, I get to charge a fortune for repairing heat-damaged guitars, so be vigilant.

A frigid nightmare.
Cold is also an enemy. When a guitar is exposed to low temperatures and then brought into a warm environment, the finish can develop checking. Checking creates tiny hairline cracks in the finish—like someone laid a spider web over the finish— and you can’t polish this out. Finish checking is permanent and can only be repaired by refinishing (not something I would recommend). Finish checking is basically the result of the finish changing from one temperature extreme to the other. This causes the finish to expand and contract too fast, and that makes it crack. To minimize this, when you bring your guitar in from the cold, don’t open the case until the outside of the case is at room temperature. Even then, there’s no guarantee the finish won’t check, but it will lessen the odds.
Okay, let’s review—here’s how to prevent damage to your beloved guitar:
• Buy a guitar humidifier.
• Keep your guitar at between 40–50 percent humidity.
• Use a hygrometer.
• Keep your guitar in a consistent environment (one that’s comfortable for you).
• Keep it out of direct sunlight and out of the car trunk.
These simple steps can save you hundreds of dollars in repairs.

Adapted from: http://www.premierguitar.com/articles/Fighting_the_Humidity_Battle

John Levan Nashville guitar tech, has written five guitar repair books, all published by Mel Bay. His bestseller, Guitar Care, Setup & Maintenance, is a detailed guide with a forward by Bob Taylor. LeVan welcomes questions about his PG column or books. Drop an email to guitarservices@ aol.com or visit guitarservices.com for more info on his guitar repair workshops..

A Better Mix: Simple Steps (Part 2)

In the previous post I included a video about the process and the concepts I used to dramatically improve my mix on the song "Livin' For The Moment". In the video attached to this post I go step by step explaining the concepts. I hope you enjoy this sort of over the shoulder approach. To hear the podcast associated with this post click here. http://bit.ly/HSS_Podcast

A Better Mix: Simple Steps

After my latest album release I made some resolutions. There have been some things that I have always done just to "get by" and make some music. Well, I realize that I was wrong about a lot of those methods. (Yep, I just said I was wrong)

So I decided if I was going to step it up and get more serious about making better music/better mixes that I had to break away from the norm. This means I would have to work harder, but I have to say, it was worth it! This latest song nearly mixed itself and the truth is, I had more fun with it! Though these things are commonly known, I am reiterating there importance to making better mixes. For the most part I have utilized these in most of mixes, but going forward, I will be takin the time to implement these methods on EVERY mix, EVERY time!

So, check out this video, and let me know if you have any other tips for the community. God Bless!




Need A Vocal To Set On Top? Try This!

Generally speaking, the vocal is one of the hardest things to get "perfect" simply because it has to compete with so many other frequencies. It also is the "star" of any given song (unless your working  in a trance/edm style) and thus we have a conundrum. How do we get that thing to poke out when it is buried under so many sounds that it has almost no room to breath? (no pun intended) Well there are a few fundamentals that need to be in place first. These are as follows...

  • You have to have a good source/singer
  • You need a pop filter in place
  • You need a mic that "fit" the artist 
  • You need proper levels and placement

Now, after these are in place there comes a few things that are subjective to the mixing engineer. For instance, I personally use these tactics...
  • I mix the vocals last
  • I put a HPF on at about 100hz and dial it in from there while the mix is in mono
  • Boosting the high mids, cutting around 3000khz, and at times a small boost at around 6800khz
Okay, so those are the methods of my approach in most cases. Of course every mix is different, but one way to really speed up your mixing is to have set patterns that have worked time and time again and to use them as starting points. Its almost like having a template, in fact I have a template saved that already has these settings dialed in! That makes things insanely simple and fast!

Every once in awhile, all of these things may only get us halfway there, or there might just seem to be something missing. Then it is time for...

Yes that's right, the mixing ninja tricks! Below is a video I recently shot on one way of many that you can achieve that sound your wanting. Check it out and let me know what you think below inthe comments section, or send me an email! You have a blessed day!



What is Phase? How do you handle it?

In this video I talk a little about what Phase is, and some simple ways to check for it. I also explain a real simple way to fix it on an acoustic guitar that has been recorded DI and mic'd simultaneously. This is by no means the definitive guide on Phase, and only covers a small area, but there are several sources out there that go so far in depth that they lose the element of simple. I like simple. Simple solutions, simple answers, and simple explanations, so I have left it as simple as I can for now. I may go more in depth later if the need arises but for now I hope this is helpful.


Note:

A number of instruments are routinely recorded both acoustically and electrically, simultaneously. For example, electric bass is often recorded via both a DI box and a miked amp, while an acoustic guitar's piezo pickup system might be recorded alongside the signal from a condenser mic placed in front of the instrument, in some situations. In such cases, the waveform of the DI or pickup recording will precede the miked signal because of the time it takes for sound to travel from the cabinet speaker or instrument to the mic. The resultant phase cancellation can easily wreck the recording.
A quick fix for this is to invert the polarity of one of the signals, and see if this provides a more usable tone. It's almost as easy to tweak the miking distance for more options if neither polarity setting works out. A better method, though, is to re-align the two signals in some way by delaying the DI or pickup channel, either using an effect unit during recording, or by shifting one of the recorded tracks after the fact using your sequencer's audio-editing tools.

Hope this helps.

HSS Screencast 007-Putting Your Bass on Busses

Yes, I have been on a kick to help you "Tame" those Bass frequencies in your mix. I recently gave several tips in a previous post "Taming The Bass Beast" . In this screen cast I share another quick tip to help get those Bass notes to shine through your mix. This will not work on every mix and is not even needed on every mix, but it is another great tip to get add to your bag of tricks. Enjoy!


HSS Screencast 006-Adding "Glue" to A Mix

In this screencast I give you a quick tip to add some "glue" to a mix. This is not for every mix, but can be useful at times.


HSS Screencast 004- Save On CPU Usage

In this quick screen cast I cover a way to save your computers CPU/RAM usage. Try this easy trick to keep that beast from catching fire!


Now Available! HSS-Guitar Purchase Guide

WAIT! Don't buy that guitar just yet! There are some things you need to know first, things that could save you a ton of money, and set you up for a better outcome. 

Wanna know some things that dealers don't want you to know? Wanna utilize the same techniques that have saved me from making big buying mistakes, and kept a little green in my pocket for some accessories?

Check out the "Guitar Purchase Guide"! The first in a series of workshops from Home $tudio $implified. The price is low enough to still make that purchase you're wanting to make, but walk out of the store without regrets!

Listen to HSS Episode 007 found here  (iTunes or RSS Feed) for a promo code!


How To Know When The Mix Is Done? (My Take)

Recently Grahm Cochrane over at the  RecordingRevolution.com covered this topic on Twitter with a link. To give you the brief overview, his method is to stop when your head is bobbing, when your feeling the music and not just analyzing the mix. For more insight and a ton of wisdom head on over to his website and give that post and many others a look.

Now, another method that I have learned is note taking. It is geeky, and thus why I love it! Joe Gilder over at the HomeStudioCorner.com kicked down this method (I felt cool when I said, "Hey, I've been doing that!"), but he went a step further to explain the whys of note taking to his listeners. Great stuff!

So my spin on all of this is...
What if you don't like the song? What if you LOATHE the song?! In this case it will be nearly impossible to bob your head, and note taking... Well, turns into doodles of you with a shotgun pointed at your computer.

So what do you do?! You've gotta make money right?! Or maybe this is one of your own. (It happens) Well here are some tips from some guy in a small town with big dreams.

1) If it is your mix and you don't like the song, move on. No one will be hurt and you may save yourself some embarrassment. You're actually doing yourself a favor, because the stuff you love to mix comes out WAY better anyway. If it is a clients, one option is to ask to hear the stems of the songs your asked to mix before you agree. This could save you time and money as well. Then you could work on something you like, get better results quicker, and move on to the next job. It's good practice anyway, considering most people like to give you recordings that are not useable.

2) If you can't bob your head, note taking is going to be the only way thru it. Listen critically, write down what needs changed (without touching a mouse or keyboard) when it's played through, make only the changes you've wrote down. Rinse and repeat till there are no changes left. Then run it to the client in a ziplock baggie with rubber gloves! 

3) The last option is to take breaks. Mix something else, then come back to it. Don't take so many breaks you conveniently forget to mix it and give your service a bad name.

4) Overall, your time is valuable, you only have so much of it. Don't involve yourself in things that will drain you of your time and happiness for the sake of making a dollar or two. It IS ok to say no to a client, if done with humility and kindness it may even make them come back with a better recording.

So in conclusion, the methods of reaching the end result of a finished mix are still the same as before. But, if you can't stand the mix, you still need to make informed decisions and give it your best shot, or simply don't take the job. It would be much better than producing work you're not proud of or could drive away work later. Be true to yourself and to your style.