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SOS Visit the world-famous Capitol Studios in Los Angeles

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The Easiest Way to Record Your Electric Guitar (And Other Beginner Recording Tips) | Reverb

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The global learning portal for all Shure Technical Training.

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The Easiest Way To Record Your Bass Guitar | Reverb

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Recording Vocals in your Home Studio - Part 1: Getting Started

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Recording Vocals in your Home Studio -  Part 2: The Perfect Vocal Mic

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Recording Vocals in your Home Studio - Part 3: Comparing Different Mics

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How to Record Acoustic Guitar with only One Mic - Part 1: Getting Started

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How to Record Acoustic Guitar with only One Mic - Part 2: Microphone Positions

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How to Record Acoustic Guitar with only One Mic - Part 3: Hear the Sound of Different Microphones

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How to Record Acoustic Guitar: 6 Tips for Getting Great Acoustic Guitar Sounds

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How to Record a Singer-Songwriter: Part 1

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How to Record a Singer-Songwriter: Part 2

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How to Record a Singer-Songwriter: Part 3

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4 Stereo Microphone Recording Techniques - Samson Blog

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By Matt Vanacoro Stereo recording is often thought of as the 'tried and true' way to record a live performance, and many budding engineers set up 2 microphones at a concert and don't give it Read more...

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How to Record Electric Guitar – Part 1: The Basics

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Comparing 5 Popular Ways of Recording Bass Guitar

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Upright Piano Mic Shootout 1/5 - Dynamic Mics: Shure SM58, EV RE20, Shure SM57, Beyer M260

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Audio ear training and learning center for producers & engineers

Track & Analyze your Progress

Get an objective feedback about your skills, monitor your learning process and track your improvement over time.

Join the SoundGym Family

We are sound experts, producers & engineers from more than 200 countries.

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Audio ear training for recording musicians and sound engineers. Get a daily sound workout, enhance your listening skills, and get better results in the studio.

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When it comes to recording music, there are some basic techniques that have been around since the early days of analog tape.

One of the most important is called overdubbing. It's used in almost every type of music production workflow.

But what is overdubbing exactly? Why is it done and when should you use it while creating music?

In this article I'll explain everything you need to know about overdubbing to get the best takes of your songs.

Let's get started.

What is overdubbing in music production?

Overdubbing means recording multiple passes of a musical performance in order to fix mistakes, thicken the sound, or add additional layers.

The term comes from the practice of recording over sections of analog tape, but it's often used to refer to any situation where you record on top of existing material-even without replacing it.

Sometimes a great take is nearly perfect, but still needs a light touch-up in a few spots.

Why record overdubs?

Overdubs serve several important purposes in the recording process. Here are the most common ones:

Fixing mistakes

Sometimes a great take is nearly perfect, but still needs a light touch-up in a few spots.

In these cases, many musicians prefer to create a short overdub by punching in rather than recording a whole new take.

This is especially helpful when tracking vocals since singers can easily get tired from recording too many takes.

Thickening the sound

Another classic technique in recording is called double tracking. It's a type of overdubbing where the musicians layer additional takes of the same part on top of each other.

The resulting sound is thicker and has a natural modulation effect from the small differences in pitch and timing.

Adding additional layers

Recorded music generally has more small details and stylistic flourishes than a live performance.

When overdubbing, the musicians are free to record additional passes with new ideas or more intricate parts.

When overdubbing, the musicians are free to record additional passes with new ideas or more intricate parts.

For example, It's common to add additional vocal harmonies, instrumental solos and auxiliary percussion during overdubs.

How to overdub in your DAW

Luckily for modern producers, overdubbing is easier than it's ever been thanks to non-destructive DAW editing.

In this section, I'll show you how it's done.

Here are four basic ways to accomplish overdubbing for different situations:

1. Record on a new track

The simplest way to overdub is to create a new track in your DAW and record alongside tracks you've laid down already.

This is basic multi-tracking, but it's also a form of overdubbing.

In many cases a single instrument part requires more than one simultaneous track to get the right sound.

I'm talking about situations where the instrument changes timbre mid-song or needs to fade out naturally over the entrance of the next line.

Don't hesitate to create new tracks and overdub if the need arises-even for a single part or element.

2. Record over an existing track

You can also record over an existing track just as easily.

In this situation you simply choose the spot you want to overwrite and begin recording on the fly.

Hot tip: In some DAWs you might need to enable "Quick Punch" or other punch-in features to start recording while the playhead is running.

Because DAW recording is non-destructive, you can go back and extend the new take or the old one in either direction.

If you do it correctly you'll have a seamless overdub!

3. Punch in and out

Punching in and out is a variation on the previous technique that's especially good for fixing small errors in the middle of a take.

In this situation you set up boundaries and only re-record material that falls in the area you specify.

This way you can play specific parts over and over until you get them right-it's a key part of modern vocal production!

4. Loop record

Finally, if you want to make multiple attempts of the same passage one after the other, you can use the loop record function.

If you want to make multiple attempts of the same passage one after the other, you can use the loop record function.

Like punching in and out, this method requires you to set a boundary where the overdubbing will take place.

With loop record engaged, the selected area will play over and over again, creating a new take each time.

Hot tip: Using the loop record feature usually results in the creation of a takes folder or playlist. You can use the loops you recorded to create a composite take, or "comp" of all the best moments in your performance.

This way you can try several takes in a row, or just practice the section intensively to get it right.

Learn basic recording techniques

Recording with a DAW might seem like advanced technology, but many of the core techniques go back to the earliest days of recording.

Overdubbing is one recording method that's here to stay. It helps you get better takes and be more creative with music production.

Now that you know how it works, get back to your DAW and keep creating.

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What is Overdubbing? How to Fix Mistakes and Thicken Your Sound

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When it comes to recording music, there are some basic techniques that have been around since the early days of analog tape. One of the most important is called overdubbing. It's used in almost every type of music production workflow. But what is overdubbing exactly?

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Midterm challenge week-  no new module content

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Midterm challenge week-  no new module content

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What are Audio Effects? Sound Basics with Stella – Episode 1

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Compressors Explained – Sound Basics with Stella Episode 3

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Mixing explained #1 - Basic Mixing Theory

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Reverb is one of the three essential processes in mixing music.

Alongside compression and EQ, it's a crucial tool for achieving a balanced and musical mix.

But what exactly is reverb and how do you add it to a sound during mixing? How does it work and how can you use it best?

For new and emerging producers, learning to use this essential tool can seem intimidating.

Luckily, there's nothing complicated about reverb once you understand the basics.

In this article I'll give a comprehensive intro to reverb, explain how to use it effectively and suggest some of the best plugins to use in your DAW.

What is reverb?

Reverb is short for reverberation. It refers to the lingering decay of a sound as it bounces off surfaces in an acoustic space.

In music production, reverb is an audio effect that generates artificial ambience to simulate the kind that might occur in a natural environment.

Audio engineers and producers use reverb devices in place of acoustic reverb to have greater control over the sonic properties of the ambience.

This allows them to ensure that the length, quality and blend of room reflections is sonically pleasing and appropriate for the mix.

Why is reverb used in mixing?

Reverb is used in mixing to situate a sound within the artificial space of a mix.

Ambience helps sound captured by a microphone feel more natural to the listener.

It also enhances the blending of different instruments by creating the illusion of a shared acoustic environment.

With all those benefits, you might be wondering why engineers don't just record the sound with natural reverberation to begin with.

In some cases they do, but it often doesn't give the best results for a number of reasons.

Before the introduction of artificial reverberation, the only way to create reverb was by recording it acoustically.

This meant capturing a sound source in a large environment with naturally reflective surfaces.

There are a few downsides to this method. First off, qualities like the time and timbre of the reverberation can't be easily changed in a single room.

But more importantly, large reflective spaces make it difficult to capture the sound without sonic coloration from the room.

When sound waves emanate from the source and reflect off the walls, floor and ceiling, the reflections blend the direct sound when they reach the microphone.

In some cases the direct sound and its reflections can reinforce each other. But they can also create what's known as destructive interference by canceling each other out.

This colors the sound and gives engineers less control, making it difficult to balance in a mix.

The solution? Controllable ambience with predictable qualities that engineers can adjust to meet their needs in the mix.

That's where reverb comes in!

How to use reverb in your music production

Using reverb well is an art form.

But that doesn't mean it's difficult to get started. After all, your DAW probably comes with a built-in reverb plugin you can start using right away.

In music production, the best way to learn is to experiment. But if you need some beginner tips to help you get started, here's how to set up your signal chain and dial in the most common parameters.

How to set up reverb in your DAW

1. Create an aux send and aux return channel to run your reverb in parallel. This lets you blend in the effect signal without changing the level of the unaffected sound.

2. Insert the reverb on the aux return channel and set its mix control to 100% wet.

3. Send sources to the reverb channel by increasing their send level

4. Tweak the reverb parameters to dial in your desired sound.

How to dial in your reverb in the mix

You'll need to set your reverb plugin properly to compliment the sounds in your mix.

Each plugin is different, but most share at least some common parameters for adjusting the reverb's behavior.

Here are the most common controls you'll find on reverb plugins and how to set them to get the sound you're looking for.

Decay time

Decay time sets the overall duration of the reverb tail. Longer settings produce a spacier trailing decay that gradually fades into the background.

Long decay times are generally associated with larger acoustic spaces like cathedrals or concert halls. Try these if you're looking for an expansive ambient reverb.

Shorter settings produce closer, more abrupt reflections that can simulate a small or enclosed acoustic space like a tiled bathroom.

Pre-delay

Pre-delay introduces a short delay before the reverb signal begins its decay cycle.

It's used to give the dry signal some space before the reverb kicks in. This is especially useful for dense reverbs that build up quickly.

If the reverb signal feels too present on the onset of notes or hits, try increasing the pre-delay time before reaching for the decay time or wet/dry balance.

Damping

Acoustic spaces react in different ways to the frequency content present in a sound.

For example, the brightness, darkness and weight of acoustic reflections is affected by the materials of the surfaces and the geometry of the room.

This absorption of high and low frequencies in acoustic reflections is called damping.

By altering your reverb plugin's damping controls, you can affect the tonal balance of the reverb signal.

Try high damping values in the low frequencies and low ones in the high frequencies for reverbs with a short decay time to emulate a compact space.

Try a high damping value in the high frequencies of a long reverb to emulate a spacious cathedral.

Modulation

Modulation is one of the unique sonic possibilities that came with the development of algorithmic reverb.

Inside the algorithm, acoustic reflections are represented by delay lines. That means it's possible to vary their delay time with an LFO.

The result is a modulated effect that sounds a bit like chorus or vibrato on the reverberation.

It makes the reverb tail feel extra lush and dreamy and it's often used in genres that rely on heavy ambience.

Sophisticated reverb plugins often contain many more controls than the few I've listed here.

Make sure to consult your plugin's documentation to learn more about its specific functions.

🧠 Hot tip

It's easy to go overboard when you first get started with reverb. It can be tempting to use settings that are too wet or too long when you're not being careful. In many mixing situations, less is often more when it comes to reverb. Your reverb should be audible but not overbearing and certainly not contributing to muddiness or harshness in the mix.

Types of reverb

Once producers realized the need to apply ambience after recording, engineers began devising ways to create artificial reverb.

While the technology evolved significantly over the years, each method has its place in different styles of mixing.

Here are the main reverb types, how they're typically used and the best plugins to get the sound in your DAW.

Mixing your music?

Learn the basics in this beginner's series.

Chamber

The earliest reverberation devices used physical spaces to create ambience.

Called echo chambers, these were entire rooms dedicated to artificial reverberation.

They worked by placing a speaker at one end and a microphone at the other.

The engineer would play the recorded sound back through the speaker and capture resulting reverberation with the microphone.

Real chamber reverb is impractical for the majority of studios because it requires so much space.

But it had a unique sound that's associated with early hit recordings.

Luckily for modern producers there are plenty of great chamber reverb plugins available today:

Plate

The next innovation in artificial ambience was plate reverb.

It works by using a transducer to send na audio signal through a large plate of metal.

On the other end, another transducer picks up the vibrations in the metal and converts them back to a sound signal.

The result is a dense yet smooth reverberation that builds up quickly but doesn't get in the way of the dry signal.

Producers often use plate reverb on vocals, drums and guitars that need smooth ambience to sit in the mix.

Spring

Like plate reverb, spring reverb uses the physical behavior of a material to simulate ambience.

Known as electromechanical reverb, plate and spring both use transducers and metal to achieve their sound.

Compared to a massive plate of sheet metal, a spring tank is relatively compact. But the coiled spring produces a different quality of sound that's slightly less realistic than that of a plate.

Even so, spring reverb is an essential sound in music production due to its association with classic amplifiers and effects units from the 60s and 70s.

Spring reverb has a short and cloudy decay with a characteristic "drip" sound when pushed hard.

Try spring reverb plugins such as the three listed below:

Algorithmic

As digital technology made its way into music production, engineers developed new methods to create reverb.

Digital algorithms could simulate the effects of room reflections and provide even more control than was possible with electromechanical methods.

Not only that, early algorithmic reverberation devices pioneered new sounds that went beyond emulating physical spaces.

Enormous modulated halls, gated non-linear textures and other special effects became common as this technology developed.

Here are a few unique algorithmic reverbs you can use today:

Convolution

The average laptop today is much more powerful than even the most sophisticated digital hardware effects of the 80s and 90s.

As computing power grew, clever engineers came up with even more accurate reverb effects.

Convolution is a technique that uses an impulse response to recreate the exact ambience qualities of a physical space.

An impulse response is an acoustical measurement of a space that's taken by playing a special signal called an impulse and recording the result.

By subtracting the audio information of the impulse from the recording you have a sonic blueprint of the space's reverb.

If that sounds complicated don't worry, convolution plugins take care of it all behind the scenes.

Just know that convolution can create the most realistic ambience textures of all. In fact, many convolution reverb plugins come with a library of impulse responses captured at iconic real locations like churches, famous studios and other special environments.

Endless reverberation

Reverb is one of the most foundational processes in mixing.

While it may seem simple, it takes some knowledge and experience to use it in a way that enhances a musical performance.

From the different types of reverb to routing, parameters and mix elements, this effect is one of the most exciting to learn as an emerging producer.

Michael Hahn is an engineer and producer at Autoland and member of the swirling indie rock trio Slight.
@Michael Hahn

Gear guides, tips, tutorials, inspiration and more-delivered weekly.

Keep up with the LANDR Blog.

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What is Reverb? The Beginner's Guide to Reverb in Music Production

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Learn everything you need to know about reverb in the ultimate guide for beginners. From different types to common settings here's the 101.

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In 1982 The CD revolutionized mastering. Clunky vinyl masters were replaced by digital CD's, although many of the analog tools stayed the same. That changed in 1989 when the first DAW, with mastering software, offered a mind-blowing alternative to the process.

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What is mastering? - Try Mastering Free | LANDR

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In 1982 The CD revolutionized mastering. Clunky vinyl masters were replaced by digital CD's, although many of the analog tools stayed the same. That changed in 1989 when the first DAW, with mastering software, offered a mind-blowing alternative to the process.

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Are You Listening? Ep. 1 | Audio Mastering Basics

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How to Choose a Virtual Instrument

If you're making music with a computer, chances are good that you'll need to employ one or more virtual instruments to produce the sounds you want. This buying guide spells out the concepts and practicalities involved with using virtual instruments, both in the studio and live onstage. Your Sweetwater Sales Engineer has the knowledge and experience to help you choose the best VI for your needs. Call us at (800) 222-4700.

What is a Virtual Instrument?
Better than the Original
Using Virtual Instruments Live
Types of Virtual Instruments
Dealing with Compatibility Issues
What to Look for in a Virtual Instrument

What is a Virtual Instrument?

A virtual instrument is a type of software that acts as a sound module. These instruments can be fantastically detailed emulations of vintage keyboards, recreations of analog synthesizers, sophisticated sample players, pianos, orchestral instruments, drum machines, and instruments no one's dreamed of before. Nearly all virtual instruments act as plug-ins within a DAW host program, though some also offer a standalone mode for live performance. One thing they all have in common is that they use your computer's CPU and other resources to create sound.

If you're already familiar with traditional digital keyboards, then it might make sense to think of virtual instruments like this. Digital keyboards are really four pieces of technology in one: a MIDI controller, an audio interface, a computer, and a virtual instrument. The keybed and hands-on controls are the MIDI controller, the I/O is the audio interface, the circuitry of the sound module is the computer, and the program running on that computer is the virtual instrument itself. The beauty of creating a virtual instrument rig is that you get to choose all four components yourself - and you can have as many virtual instruments as you like!

Better than the Original

Since we're on the subject of reasons that virtual instruments are so cool, let's jump right into one of the big ones. Between loop-less sampling and extremely detailed modeling, virtual instruments today sound as good and often times much better than the original synths and keyboards they're supposed to emulate. But merely cutting out noisy amplifiers and never having to retune your oscillators is just the beginning of what virtual instruments have to offer.

Synths that were monophonic due to the limitations of their circuitry can have limitless polyphony in their virtual forms, whereas arpeggiators, aftertouch, step-sequencers, and other controls no one dreamed of back in the day are now readily available. What's more, monolithic analog sounds that once took hours (or days) to program can now be recalled in an instant, saved as a preset, or stored within your DAW's session file. The very real power of these virtual instruments has inspired many composers to shelve their favorite keyboards forever.

Using Virtual Instruments Live

One of the greatest advantages of virtual instruments is the astounding sonic power that you can take advantage of in a live setting. Imagine the ability to take a Hammond B3, a Mellotron, an ARP 2600, a Minimoog, a Fender Rhodes electric piano, a Prophet 5, and a Yamaha DX7, not mention to mention a Steinway Grand to your gigs without having to keep a stable of roadies and an 18-wheeler on retainer. All you need is a laptop, a MIDI controller, and an interface.

There are few things you'll want to keep in mind if you want to use your virtual instruments live. First, get a dedicated computer for your instrument rig. It doesn't matter if it's a Mac or a Windows PC (provided it can run all of the instruments you want). Simply clear off all the software apps you don't absolutely need, install your VIs, and use this machine for nothing but live performance.

Then it's just a matter of finding the right audio interface and a MIDI controller that's going to provide you with the feel and functions you need. Sound like a lot of work? Don't worry, your Sweetwater Sales Engineer can help you find the right gear and our service department can build your whole rig for you.

Types of Virtual Instruments

Rather than pigeonholing virtual instruments into two or maybe three categories, it's far more accurate to say most fall somewhere between synthesis and sample playback. Synthesis starts with a basic building block of sound, such as a tiny sample of a fundamental waveform, and then generates sound by using that building block as the root of an extremely complex calculation. In many ways, this recreates the process of analog synthesis, which starts with an oscillator that's run through a series of filters and modulation methods to achieve a desired sound. In a computer, this is a processor-intensive operation, which means it requires a lot of CPU power.

Sampling, on the other hand, requires little in the way of CPU power but much more RAM and hard drive storage space. That's because samples, which are essentially audio files, take up space. The longer your samples are and the higher their bit depth/resolution, the more disk space and memory you'll need.

Most virtual instruments use a bit of both sampling and synthesis. For example, a really great Rhodes emulation might use full-scale samples as the base sound, but calculate the distortion, modulation, reverb, and amplitude envelope. Neither method of creating sound is inherently superior, and there are comparable virtual instruments (for instance, for acoustic piano) that lean heavily in either direction.

Dealing with Compatibility Issues

It's important to make sure that the virtual instruments you choose will integrate into your system. Most virtual instruments work on either Mac or Windows PCs, but factors such as CPU type and speed, memory, and hard drive space can be an issue. Most virtual instruments also include various plug-in formats (e.g., VST, AU, AAX, etc.) for compatibility with multiple DAWs, but many don't include them all. No matter what, always check the system requirements before you buy a virtual instrument.

What to Look for in a Virtual Instrument

Focus or Flexibility?
Are you looking for an instrument that does one specific thing really well (piano, FM synthesis, etc.), or a sample player that comes with a massive library of sounds? Do you plan to create your own original sounds, or will you rely mostly on preset sounds? What about incorporating third-party or add-on sample libraries? Answering these questions will go a long way toward figuring out what you really need.

How Does it Sound?
A virtual instrument may appear to have all the bells and whistles a composer or sound designer could ask for, but if it doesn't sound good to you, then you won't be happy. We highly encourage you to listen to demos and check out videos on the virtual instruments you're considering, which is why you'll find tons of YouTube videos and embedded audio demos right here at Sweetwater.com.

How is the User Interface?
Nothing jeopardizes your creative flow like a bad UI. Unfortunately, some of the very best sounding virtual instruments aren't the most user friendly. If you can't make heads or tails of the layout, then the virtual instrument you're looking at may not be right for you. Take a look at some screen shots (we usually have several on our site) and check out a video or two.

Can Your System Handle it?
Always check the system requirements to ensure compatibility with your OS and DAW before you buy a virtual instrument. You'll also want to ensure that you have enough processing power, memory (RAM), and disk space available. If you're right on the line, then you'll probably be able to run one instance of this virtual instrument, but multiple instances might be out of reach for your machine.

How Will This Instrument Fit in Your Rig?
If you want to tweak your VI's parameters from a MIDI controller, find out if the plug-in has a learn function that makes mapping to your hardware controller easy. If you're making a move from hardware to software, a dedicated controller will make the transition a smooth one. Some VI makers even offer dedicated hardware controllers that emulate the interface of the original synth.

Understanding these concepts should make it easier for you to evaluate and choose the best virtual instruments to suit your needs and tastes. As always, a call to your Sweetwater Sales Engineer at (800) 222-4700 will help answer any questions you might have. Here's hoping you'll have a rewarding musical experience!

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Virtual Instruments Buying Guide | Sweetwater

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If you're making music with a computer, chances are good that you'll need to employ one or more virtual instruments to produce the sounds you want. This buying guide spells out the concepts and practicalities involved with using virtual instruments, both in the studio and live onstage.

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spitfire labs, orchestral tools sinefactory, native instrument komplete set, ample sound ample p bass lite ii + ample sound ample guitar m lite ii, vcv rack, plugin boutique

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spitfire labs, orchestral tools sinefactory, native instrument komplete set, ample sound ample p bass lite ii + ample sound ample guitar m lite ii, vcv rack, plugin boutique

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What Is Mix Automation? Everything You’ve Been Too Afraid to Ask

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Have questions about mix automation in a DAW? We have answers. Learn what automation is, when to use it, the types of automation modes, and more.

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Audio production can take a lot of practice and a great deal of time. Fortunately, mix automation techniques can help speed up your process and improve your workflow. So how can you use automation efficiently in your mixes?

In this article, we'll be exploring different ways to automate your production to save you time and get the sound you're looking for.

We've previously discussed mix automation basics, detailing how the process works and why it benefits your music. If you still need clarification on these points, take a look at the article, because in this post we'll be diving deeper into automation with seven creative tips, applicable to all genres.

Want to try these automation tips out?

Get access to all of the plug-ins used in this article with a free trial of a Music Production Suite Pro membership.

1. Start with a swell

We often think about the chorus as the most important part of a song, but listeners won't make it that far if they aren't hooked from the start. Those first few seconds need all the attention they can get.

While it won't suit every mix you make, automating a short swell that leads into the start of the song is an effective technique to pique listeners' interest, almost flinging them forward. To do this, copy the first note of a lead element to a new track and reverse it, baking in the swell motion, then automate the level for timing and feel. Have a listen to a clean start, then the swell version. To my ears, the swell bring a lot more confidence.

This might be enough for your song, but there are plenty of other mix automations you can add on to for ear candy. Try automating the pitch from low toward the note center. Or automating a reverb wash at the end of the swell for drama. Maybe adding a low-pass filter with Neutron Pro and automating it to move from closed to open will fit your song. These are all simple and time-efficient experiments to carry out, so there's no harm in trying them all. I gave the reverb swell a shot:

2. Automate pans for sound design

There are many reasons you'd choose to pan something in a mix: to create space in the center, widen background vocals, and reduce masking are a few. Once you bring automation into the picture, however, a whole new world of sound design possibilities opens up.

At slow speeds, an automated pan will add subtle movement to secondary mix elements without disrupting their balance. In a four chord keys progression, try starting the first chord off to the left, then panning towards the right as the notes fade out. Do the opposite once the second chord lands, and repeat.

If showy is what you want, go ahead and pan hi-hats, percussion and chopped vocals back and forth to evoke the high-octane energy of EDM, trap, and Detroit electro. This brings out a musiciality in otherwise standards sounds like 808 hats and snares. You may want to keep the same pan scheme for the whole song, but you can often get a lot more mileage by panning at strategic moments, like during a hi-hat triplet before a snare, or in the lead up to a major song moment.

For tempo-synced accuracy, use specific note values on your DAW's autopan plug-in. If you find sidechain compression too aggressive or unnatural, this is an alternative option to carve out pockets in your mix for kicks and other percussive elements to occupy.

3. Accentuate vocals with throws

Instead of processing an entire vocal track with reverb and delay, many mixers opt for "throws" instead, choosing to send only certain words to an ambience bus.

This might be done at the end of a phrase to fill in the open space before the next one, to build anticipation before a chorus, or to introduce a brief, one-time magic vocal moment. If you really want to make throws standout, be sure to process your reverbs and delays created with a plug-in like Neoverb Pro further with EQ, modulation, distortion, and anything else you feel makes sense in context.

Just so you know, this vocal throw technique can be applied to all instruments, and works particularly well on plucked instruments with shortener notes, like guitars.

4. Bring forward or hide elements with EQ

All too often new engineers dial in an EQ curve and forget the option to automate individual nodes. To make a chorus more exciting, you can automate a gentle boost in high frequencies on a vocal or guitar part then return the settings back to normal during the verse. Conversely, after a particularly cathartic song moment, you can cool things off by automating a filter to close down on lead elements.

I sometimes use EQ to create contrast between two similar-sounding sections, like an introduction and verse. I'll keep the intro in a reduced frequency range with a bandpass filter, then automate the filer to open and fill out the spectrum just before the first verse hits. Listen to this in the audio clip below:

5. Loosen programmed sections with variation

For all of the convenience that MIDI programming brings, the sequences you make will lack the natural variation of live playing without a bit of mix automation. If you want to bring a loose, organic feel to programmed parts in your DAW, there are a number of things you can do.

At the top of the list is velocity automation, which controls the how hard a sound is played. On a quantized snare that maintains the same placement throughout a song, you'll want at least one other parameter to be in flux. Having some hits come in louder than others is a good way to break this monotony. You might want to vary note length too, so automate the release to shorter and longer to have some snares with crack a little more than others.

This is already enough to get a more natural feel, but you don't need to stop there. To replicate the sound of a drummer hitting a different part of a drum skin, automate snare pitch by just a few cents every hit.

6. Automate the master bus for better dynamics

When you've come close to finishing a song, but feel a chorus isn't jumping out just enough, try pushing things up a couple dB on the master bus with a plug-in like Ozone Pro to simulate what would be a group of musicians giving more of themselves to the music. Alternatively, you can drop the level of the master output before the chorus that you really want to pop, making it seem larger in comparison. The latter option is recommended if headroom is limited.

At a smaller scale, draw in gain automation on separate instrument submixes, bringing up their level every quarter note, or in a way that emphasizes the feel and character of the instrument. This will bring some natural movement to a mix that needs a little oomph.

7. Automate the master tempo for surprise

Though something of a novelty effect, automating the tempo of your song has advantages for the creative producer.

You might want to start your song slow and automate up to the correct tempo, the way a needle would drift on a turntable. Bring the tempo back down at the end of song for a similarly disorienting feel, like Mura Masa did in his song, " What If I Go?"

Conclusion

For the modern mix, automation is often necessary to make consumers feel like they are listening to a living, breathing piece of music. You can automate just about anything in your DAW, so it's really up to your explore-these tips are just a starting point.

A final tip is to arrange your mix so multiple automations intersect at the same-as that synth filter is closing down, have your vocal delay increase, and the shaker move between the speakers. Though you can go overboard with automation, you'll find it takes a lot of drastic moves to get there.

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7 Creative Automation Tips for Music Producers

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Audio production can take a lot of practice and a great deal of time. Fortunately, mix automation techniques can help speed up your process and improve your workflow. So how can you use automation efficiently in your mixes? In this article, we'll be exploring different ways to automate your production to save you time and get the sound you're looking for.

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What do these numbers mean?

Online streaming services measure loudness, and turn down loud music to avoid "blasting" listeners with sudden changes in loudness.

We call this level reduction the "Loudness Penalty" - the lower the LP numbers, the more your music will be turned down to match other songs.

For example, a Loudness Penalty of -2.4 on YouTube means your song will be played back 2.4 dB quieter than its original loudness.

However, these numbers are not targets. Streaming services apply loudness normalization so we don't have to. Use them to Preview your music and compare with suitable reference material.

If the results sound good, you don't need to take any action. However, you may decide you'd like to experiment with lower levels to see if you prefer a more dynamic sound. We do!

Why are there different LP numbers?

Each streaming service chooses their own method of measuring loudness, and how loud the loudest songs should be played (the Distribution Loudness). This means there is a slightly different Loudness Penalty for each service. For more insight into the different ways each streaming service implements the Loundess Penalty, request more information below.

What have you got against loud music?!

Nothing! We love loud, aggressive genres as much as anyone else, but users complain about unexpected changes in loudness, and the streaming services want to avoid this.

LEARN MORE

We've tried to make the Loudness Penalty site simple and intuitive, but online loudness is a complex topic. To help you take maximum advantage of what Loudness Penalty scores can tell you, we've put together a short series of emails to tell you everything you need to know about how LP will affect your music and how to get the best results.

Find out:

Why LP values are different for each platform

Which streaming services use compression or limiting

What to do if you see LP values above zero

When you might choose to ignore LP values

The ideal LP value for maximum playback loudness

How to improve your LP scores

Just enter your email and click "TELL ME MORE." It's completely free!

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Online streaming services measure loudness, and turn down loud music to avoid "blasting" listeners with sudden changes in loudness. We call this level reduction the "Loudness Penalty" - the lower the LP numbers, the more your music will be turned down to match other songs.

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Binaural 3D audio with a fixed listening position is already blowing people's minds. Now imagine you could actually move through your mix from one source to the next in an interactive Unity environment. You could walk around the singer or check out a funky bass solo simply by getting closer to the player. Or simply move towards the group you want to listen to in a crowded audio scene.

In this article, we want to show you how you can take advantage of the latest achievements in audio technology as well as provide information on how to transfer your object-based 3D audio mix from your DAW into the virtual environment by using the latest updates of dearVR SPATIAL CONNECT and dearVR UNITY together with dearVR PRO.

Use-Cases

There are various use-cases which benefit from the transfer of a 3D audio mix into the Unity game engine:

Augmented audio mixes for AR experiences

Linear audio objects for a desktop or VR game (atmos, off-SFX, music)

Audio objects for Videogrammetry scene to walk through

Immersive 6DOF music experiences

6DOF

The concept of having an interactive audio scene in which you can wander around is called 6DOF. This abbreviation stands for "six degrees of freedom". A 3D audio mix in your DAW with the 3D audio spatializer plugins dearVR PRO or dearVR MUSIC already has three degrees of freedom. These words reference the three types of rotations of your head. However, you cannot wander around within your mix in this scenario.

By bringing the audio mix into the interactive world using the latest updates of dearVR SPATIAL CONNECT and dearVR UNITY this movement can finally be achieved. Being able to move around sound sources is though already common in today's games. By transferring the audio mix into the game engine Unity we are now able to move the listener's position in all three dimensions. This results in a completely new object-based 3D audio experience for our DAW mix with six degrees of freedom.

How to transfer a 3D audio mix into the interactive environment

The latest dearVR SPATIAL CONNECT and dearVR UNITY updates enable you to export the spatialization automations with just a few clicks into the game engine Unity.The following workflow describes the process of preparing your 3D audio mix in your DAW using dearVR PRO and dearVR SPATIAL CONNECT.
1. Export audio and automations from your DAW
First, start by creating your linear 3D audio mix in your DAW using dearVR PRO and dearVR SPATIAL CONNECT. When you are happy with the results of your linear 3DOF binaural mix you can export the dearVR PRO object position automations by pressing "record" in dearVR SPATIAL CONNECT and starting the DAW session. dearVR SPATIAL CONNECT will then record all object position automations in real-time until you stop the recording process. Next, you need to execute a multitrack-bounce while having bypassed every dearVR PRO instance. To have the automation curves synced with your audio, all bounced tracks need to start at the same time as our automation record does!
2. Import your audio and the automation data in Unity
The interactive environment exists within the game engine Unity. Unity, is a full-fledged game engine, which is used for many games and VR/AR experiences. When using the dearVR UNITY plugin in the game engine you can access the same high-precision localization as that from the dearVR PRO and dearVR MUSIC plugins. Start by creating a Unity project and import the dearVR UNITY asset to be able to spatialize all sound sources using the dearVR audio engine. Next, we import all audio tracks and their automation files. We suggest you start with the audio files as both audio clips and automations will automatically be linked in the created Unity prefabs. We recommend you use the dearVR reverb component in Unity and select the correct room preset. Now, drag the Unity prefab of each audio object into your scene and you're ready to go.

If you want more information about setting up a Unity scene with dearVR UNITY or working with the Unity reverb plugin, please take a look at our dearVR UNITY manual.

Furthermore, if you're working with audio middlewares like Wwise or FMOD you are able to attach the created track automation clips to the connected Unity game objects and could even make use of FMODs Reaper integration and Wwises Nuendo integration.

Of course, there are many use-cases that benefit from having the ability to move the audio sources in a virtual three-dimensional space with a high-precision localization. In this article, we showed you how you can transfer your object-based 3D mix from your DAW into the virtual environment using dearVR SPATIAL CONNECT with dearVR PRO and dearVR UNITY.

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Object-based 3D audio mix - from the DAW to the interactive world

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Binaural 3D audio with a fixed listening position is already blowing people's minds. Now imagine you could actually move through your mix from one source to the next in an interactive Unity environment. You could walk around the singer or check out a funky bass solo simply by getting closer to the player.

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Gaming platform PIXELYNX partners with Niantic to create Pokémon Go-like collectible music experience PIXELYNX, a gaming venture created by...

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One of the best things about making music videos is the chance to experiment and follow new creative impulses. If the artist is up for it and budgets allow, boom, we're on our way.

Recently, in another line of our work, we have been learning a lot about 360 degree videos and so naturally we've been thinking about how to use them in music video production.

If you've heard of The Occulus Rift, Google Card or you play online virtual reality games, then you know about 360 videos. If this is a new subject to you, we have linked to a couple of articles at the bottom of the page that provide an introduction to the subject, its history and some of the common applications where it is being used now.

Filming 360 Videos

360 videos are best watched on a Chrome browser or the YouTube app on your mobile. You can manipulate the screen, either through the movement of the head and body if you're wearing a virtual reality headset, or using your cursor to move around the screen - to see 'what is behind you?'

From a filming point of view 360 videos bring on a significant technical challenge.

The cameras are relatively low-cost and, at the risk of upsetting anyone, fairly easy to use, BUT there is more or less only one wide-angle lens choice. The consequence of this is that a traditional close up will look distorted: as if the subjects' nose was pressed against the glass. There are new rules of composition coming into play.

The other consequence of 360 is that any kit, especially the lights, will be seen, so you can't use them in a normal way. Traditional camera techniques have to be re-visited and the crew has to be off-screen.

The best way to get started is take a look at some examples:

Avicii - Waiting For Love (Jump VR Video) This 360 music video has been watched 17 million times. Although there is a lot of action going on it is a static video - everything happens in one space. It's clever and must have required a lot of choreography and smart editing. Is clever enough?
FOALS - Mountain At My Gates:
Well, here's another clever one. I'm still trying to work out how they did everything in it, and every time I watch it I see something new.
Welcome [360 Version] by Fort Minor (Official Video)
This 360 music video shows a simple treatment - the artist in an oblivious crowd sings his song, whichever way you look, something is going on, or is it ... because at various points the edit is rapid and there's no time to look around. Pausing the video to take a look doesn't reveal anything special and so .. what's the point. It stands on its own as a 'regular' video.

Naive New Beaters - Heal Tomorrow - Clip 360° ft. Izia This example is a full-on production looking more like a film-set but which has cleverly integrated some green-screen (I think) action and some big set-piece prop moves into the plot. At the beginning the audience is told to follow one particular guy around which is when you get to see the impressive stuff.

Snoop Dogg and his Snoopavision channel is included for this reason - they are funny, there is a series of them and you have to watch them twice to make sure you haven't missed anything. Who wouldn't be delighted to get their video watched twice by the same person?

The Future of 360 Video...

360 videos definitely have a future with music videos, but as always it's the idea that matters first and foremost. It's as simple as that.

A more likely use for 360 videos in the world of music will to put the viewer in the front row of the concerts of their choice.

Beyond that, there are gaming companies developing 3D virtual reality 360 degree videos that you interact with. I'm not sure how you would use this in a music video but it's an intriguing proposition - so long as it's a great idea.

If you have any comments or feedback we would love to hear from you.

More on 360 Videos

Our friends at Camberwell Studios have been experimenting with 360 videos for a while now. Here are some useful articles to give you some more information regarding 360 video:

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music videos production services articles

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youtube music videos production articles

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One of the best things about making music videos is the chance to experiment and follow new creative impulses. If the artist is up for it and budgets allow, boom, we're on our way. Recently, in another line of our work, we have been learning a lot about 360 degree videos and so naturally we've been thinking about how to use them in music video production.