Music Production Secrets is a weekly series with Tape Op magazine founder and Jackpot! Recording Studio owner Larry Crane. Every Friday, Larry provides a new technique for tailoring your effects, gaining sonic control, and opening new creative doors during mixing and tracking.
These tutorials work with any DAW, in almost every recording scenario, and are based on Larry’s 20+ years of experience recording, producing, and mixing some of the world’s best musicians, including Sleater-Kinney, The Decemberists, Elliott Smith, She & Him, Jolie Holland, and Stephen Malkmus. Tune in every week for another tip.
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Instructor’s Welcome Note:
– I don’t always get the best sources to mix from on some occasions, and when I counter, like, a real mid-rangy vocal, say, recorded on kind of a cheaper mic or something, I like to try to find a way to control it and make it work in the mix a little better. Here’s one where I specifically recorded my friend, Erin Sutherland, singing through a really cheap mic that I found in a electronics supply store one time. It looks like a little silver bullet, and it sounds pretty funny.
So let’s check this out against the music track. (soft music) ? I can’t seem to ? to remember you ? – So it’s a cool effect. You know, that could be something you would want to have happening in a track, but maybe it’s something you don’t want to have happen in a track. Let’s go over here. We’re going to solo that vocal sound. ? I can’t seem to ? – And one of the things that I notice with the cheap mic or a real mid-rangy mic is you get those peaks.
Notice like the s, and the t, and stuff jump out at you. When I was working on a track for Elliot Smith a number of years ago, I really wanted to make it sound more there’s vocal in this track, to sound more like the stuff on the rest of the record, and I started doing layering up a couple of DSers, and I’m going to show you the same way here how we can do that on Erin’s vocal. I really like working with the Massi DSer here. It really, to me, it’s real easy to control, and it’s effective.
Sometimes DSing, I’ve got some hardware DSers, for instance, that they don’t always work on a track. It’s basically a compressor that detects the frequency and then reduces that frequency or the whole track at that point. So it’s a picky sort of device, and I find that this plug-in works really well. I’ll show you how I’m going to set it. ? I can’t seem to ? – When you have the frequency knob down, it goes into listen mode.
So notice that we’re hearing what we’re reducing. Play that again. ? I can’t seem to ? – You hear those things that I was talking about getting reduced. Now the other button right here to check out is the band split button. So now that’s only going to reduce that frequency at those points. So listen to it soloed here. ? I can’t seem to ? To remember you ? – So see how that kind of cleans that up right there.
And what I’ll do also is make another copy of this plug-in. Let’s open that over here. I hit that little button right there, this red button, to keep two plug-ins open at once in case that’s something you’re wondering about. And this one we’re going to leave out of the band split mode. We’re going to reduce a little less of the frequency, and we’re going to go to a slightly higher frequency. So check how this works. ? I can’t seem to ? To remember you ? – And hear it in the track.
? You don’t need me ? To say it’s true ? You don’t seem to ? To remember true ? I don’t need me ? To see it’s you ? – And what I might do as well after this is do the slightest little EQ bump.
You notice it gets a little duller because we are technically kind of DSing even though we’re DSing in the mid-range. So let’s do this. ? I can’t seem to ? To remember you ? You don’t need me ? To say it’s true ? You don’t seem to ? To remember true ? – And notice how we just with subtle techniques there we can kind of tame those mid-range frequencies and make the vocals sound a little more high fidelity and actually sit in the mix and work better.
So keep this trick in mind. It’s using a DSer more like a multi-band compressor using two instances of it as well to kind of get more control. And then think about what you’ve done to the tone, and then reinvigorating that high end at the end of the process there. So definitely try this out for a real mid-rangy vocals or even guitars and stuff like that. You’ll find yourself DSing in the strangest places.
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