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Tech Tips

inSync Tech Tips cover over 4,700 music and audio topics spanning 15 years of technological development. Look here to find answers to your tech questions, cool tips and tools for making music, and more.

Drums Tech Tips

How to bring drums forward in a mix using the Sony Oxford Transient Modulator. (Part 11)

How to bring drums forward in a mix using the Sony Oxford Transient Modulator. (Part 11) Having discussed the controls of the Trans Mod, now we can answer the initial question (see TTOTD 4-4-06). The example was a... Read more »

How to bring drums forward in a mix using the Sony Oxford Transient Modulator (Part 10)

At this point, we've covered all of the controls of the Trans Mod. If you've been following the series, you're probably anxious to get to the application mentioned in part one. However, before we do that, there is... Read more »

How to bring drums forward in a mix using the Sony Oxford Transient Modulator. (Part 9)

Last installment we discussed the Overdrive control (part 8). Now, we'll take on Threshold, which is the last control we need to discuss. The Trans Mod acts only on signals above the threshold setting, ignoring all... Read more »

How to bring drums forward in a mix using the Sony Oxford Transient Modulator. (Part 8)

In Part 7 of this series, we talked about setting the gain control of the Trans Mod in order to prevent peaks from being lost forever due to clipping. However, if high levels of modulation are required, some... Read more »

How to bring drums forward in a mix using the Sony Oxford Transient Modulator. (Part 7)

In the previous part of this series (part 6) we discussed the Deadband control, which provided a method to decrease the sensitivity of the Trans Mod's process to transients. This brings us to the Gain control, which... Read more »

How to bring drums forward in a mix using the Sony Oxford Transient Modulator (Part 6)

In the previous part of this series (part 5) we discussed the Rise Time control, which provides a method to decrease the sensitivity of the process to short term events. This brings us to the Deadband control, which... Read more »

Using Sonnox Transient Modulator to Bring Drums Forward

In the previous tip we discussed the Recovery control. Now we'll rise to the occasion and talk about the Rise Time control. The rise time value modifies the response of the Transient Modulator's envelope detector to... Read more »

More Using Sonnox Transient Modulator to Bring Drums Forward

Last time, we discussed the Overshoot control and how it can tune the response of the Sony Oxford Trans Mod to the program material (see TTOTD 4-6-06). The next control we'll discuss is the Recovery control. The... Read more »

Using Sonnox Transient Modulator to Bring Drums Forward in a Mix

As we discussed in the previous tip (part 2), before we can effectively use the Sony Transient Modulator plug-in to bring drums forward in a mix, we need to understand the controls. Last time, we discussed the Ratio... Read more »

Bring Drums Forward Using Sonnox Transient Modulator

In the first part of this series, the question was raised whether EQ or compression could be used to bring drums forward in a guitar-bass-drum submix. The answer was, in a nutshell, "not really. " The best solution... Read more »

How to single out drums in a guitar, bass, and drum submix for clarity.

Q: Recently, I had to record a live band with three guitars, (two acoustic/electric, bass, drums and three vocalists. Due to the band's physical location on stage and a limited number of inputs in the recording... Read more »

Using EQ during recording

Though it's generally not something that we'd suggest doing, there are instances where it's not a bad idea to apply a little EQ during the recording stage of a project. High-pass or low-pass filters can be used to... Read more »

Quickie Guide to DAW Mixing, Part #22

This tip deals with using EQ to add some interest, and the illusion of realism, to acoustic drum samples. The boring sameness of repetitive samples is well-covered territory, with drums being the primary offender... Read more »

Quickie Guide to DAW Mixing, Part #21

Since we're focusing on DAWs, there's a good chance you're using sampled drum sounds. It's important to keep in mind that these sounds may have been EQed within an inch of their lives during the production process... Read more »

Using EQ During Recording

Though it's generally not something that we'd suggest doing, there are instances where it's not a bad idea to apply a little EQ during the recording stage of a project. High-pass or low-pass filters can be used to... Read more »

Controlling room mics

A well-placed room mic can add depth and space to a recording, especially on drums. But sometimes a room mic ends up picking up too much of a particular instrument and drowning out the source you were hoping would... Read more »

Avoiding hi-hat plosives

Hi-hats can be difficult instrument to recorded well. Part of the problem stems from the fact that there are two different kinds of sounds you're trying to capture: the attack on closed hi-hats, and the "swish" of... Read more »

Quickie Guide to Mixing, Part 13

Previously, we discussed the elements of boosting EQ in the upper and lower treble range. As we move down the frequency spectrum, we encounter the midrange, which we divide into three sections: lower, mid, and upper... Read more »

The quickie guide to mixing, Part 12

In the previous tip, we discussed adding "air" or extreme high-frequency content to vocals and possibly other instruments. Let's move down the frequency spectrum a bit to the high treble (or top) and lower treble... Read more »

Isolating the snare mic

There are a million ways to mic a snare drum. A common method is with a dynamic mic slid ever-so-carefully between the hi-hat and snare. But have you ever soloed the snare track and heard more hi-hat than snare? Due... Read more »

The quickie guide to mixing, Part 8

Now that you've established levels and balances, it's time to add plug-ins. In the past, we've advised creating a sequence template to speed the recording process. For mixing, a template may not be necessary since... Read more »

The quickie guide to mixing, Part 7

Let's say you have your basic rhythm section and vocals in balance, but you have heavy guitars and synth pads that are covering up the vocals in certain places. The problem is, that you like the level of the guitars... Read more »

The quickie guide to mixing, Part 6

In Part 5 of this series, we discussed subgroups and how they make overall level adjustments easier. Let's talk about those adjustments and when not to make them. We tend to group drums and backing vocals more than... Read more »

The quickie guide to mixing, Part 5

Back in the prehistoric times of the Large Formatus Consoleasaurus, creating subgroups was a smart move, since it meant less faders to move. For example, one fader could control the level of an entire submixed drum... Read more »