EQ causality, plus warm distortion

Your EQ plugin can predict the future. Plus the warmest distortion ever

In this post, I demonstrate how EQ can predict the future, and how we can use this to approximate transformer distortion, with examples. We won’t be breaking any laws of causality, but we will see how audio signal processing is unintuitive. Also, I won’t make you do any actual maths. Continue reading

Hi hat EQ trick

A trick for EQ’ing hi hats

Whether you are using real hi hats or samples, I personally find them the most difficult thing to EQ. Harsh sounding hi hats can make your mixes sound obviously amateur. Here is a trick for making it easier. (This method mostly applies to hi hats recorded on their own, not as part of a drum kit). Continue reading

How to master your own music

How to actually master your own music

How to master your tracks to sound “right” instead of “enhanced”. Mastering your own music isn’t really a good idea, but neither is spending £100s you don’t have for someone else to do it. So here’s a guide on how to actually get it done, focusing on the why instead of of the what.

Continue reading

Logic Pro X monitor reverb, the easy way

Setting up monitoring reverb in Logic Pro X the easy way

Imagine you want to record a singer. You want him or her to hear reverb in their headphones, but you don’t want to actually record this reverb, and you also want to use zero-latency hardware monitoring, so that the singer can hear themselves in their headphones without any latency whatsoever. In this post, I explain how to set this up, but without using the pre-fader send technique. Continue reading

EQing in stereo

EQing in stereo

Put on a pair of headphones. Or make sure you’re positioned in the “sweet spot” of your speakers, so that you have a very clear stereo image. Then listen to these two versions of the same loop. Continue reading

When to use a high pass filter in the sidechain of your compressor

When to use a high pass filter in the sidechain of your compressor

If you’re using a compressor to make a track in your project sound loud and upfront, then choosing whether or not to use a high pass filter in your sidechain could be important.

Why? Because how your compressor perceives volume may not be the same as how the human ear perceives volume. In this post, I explain why it’s sometimes a good idea to put a highpass filter in the sidechain of your compressor. Continue reading

Great sounding reverb with just two sends

Great sounding reverb with just two sends

If you have access to a large, great sounding live room, you may not need to worry too much about creating a sense of space: you can control the amount of ambience with microphone placement and additional room mics if necessary.

But if you record in a small room with close microphones, or you’re mostly working with synths, samples, or virtual instruments, it can be tricky to get a sense of ambience without drowning things out in reverb. Delay effects can sound fantastic, but work best when set up on a track-by-track basis, and aren’t as diffuse and dense as a reverb.

In this post I present a very quick way to set up great sounding reverb for a whole track. Continue reading