As I mentioned in my overview of what are transients, audio transients can best be described as those initial palpable “hits” of a sound; they’re the first thing we hear when we hear a sound. In the context of mixing, transients grab our attention and draw our ears to a particular instrument in the mix. […]
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Dynamics in vocals are natural. When a singer delivers a vocal melody, certain words or phrases will be louder than others either for emphasis or out of the necessity of belting out higher pitched, more difficult to sing notes. What about OVERLY dynamic vocals, to the point when it becomes difficult to mix? Compression alone
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One of the keys to a clean mix is eliminating unwanted noise. When you add up all of the electrical, ambient, room, and other noises which can be picked up from microphones or your audio interface, this can be a time consuming task. A noise gate is an fast and efficient way to filter out
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Reverb is a beautiful thing. It allows you to create depth when there was none inherently in the audio itself you recorded. Used on an aux/return track (see sends vs inserts), it’s great for creating one or two room style reverbs for your entire mix, allowing you to blend in different amounts of this effect
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Harsh vocals can alienate the listener or distract them from the rest of your mix. Whether it’s a product or combination of recording technique, vocalist, microphone/placement, or environment, there are ways to treat harsh vocals post-recording. Let’s cover all the transparent options available for treating harsh vocals without ruining the track itself. Harsh Vocals Fixes
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