Using Guitar Pedals For Mixing

Today I’m sharing something I’ve been doing a lot lately and can make mixing a lot of fun.

Electro-Harmonix Memory Boy analog delay pedal

Use guitar pedals for mixing

Plugins are great but its just not the same as running sounds through real analog circuits. You can send sounds out of your audio interface, tweak the pedal settings and even ‘play’ the pedal to do realtime automation. It can be a lot of fun to work this way.

For the demonstration I’ve recorded an electric guitar directly into my DAW with Amplitube for amp and cabinet simulation. I’m going to then run the signal through an Electro-Harmonix Memory Boy analog delay pedal.

Here is the sound of the direct guitar.

Direct Guitar

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Here is the guitar with the Amplitube 3 plugin added (stereo, amp+speaker+mic)

Guitar + Amplitube

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Now I’m going to run the sound through the pedal. To do this in your home studio you need an audio interface
with a couple spare analog outputs, if your interface has 4 analog
outputs, that’s perfect.

Connect a guitar cable from output 3 of
the interface to the input of the pedal. Connect the ouput of the pedal
to one of the instrument inputs of your interface (usually in 1 or 2). In this case, I’m going from output 5 through the Memory Boy and into input 1 of my Profire 2626.

In the DAW you need to tell the signal where to go. Most DAWs will have a plugin for hardware inserts. In this next example I have the hardware insert before the amp, just like if I had the pedal before the amp. When you do this remember to keep the mix control of the pedal to about 50% or less, you still want to have the clean guitar get through.

Hear how it sounds with the delay before the amp

Guitar + analog delay insert

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There’s another way to use pedals and that’s as a separate FX track. Add a new mono track to your project. You can either use the the hardware insert plugin again and have the other tracks send to this track, or set the track to monitor the analog input and have the other tracks send to the analog output.

Here I have the guitar track sending to my delay track, which has the hardware insert plugin set the same as before. The direct guitar signal goes into amp plugin, then to the master output. The signal from this track is also going to the delay track. It then goes into the insert plugin, out the interface, into the delay, (set to 100% wet, no clean sound) and then into the interface and to the same track. I hope this makes sense. The benefit of doing it this way is you can blend in as much of this signal as you want. You can also use plugins before and after to shape the sound independently of the original tracks. Also, you can send multiple tracks in at the same time.

Here is the guitar through the delay as a send. (delay after the amp in the chain)

Guitar + Delay Send

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And finally, here is what the delay track sounds like soloed.

Delay Return Soloed

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Pedal are inexpensive, easy to use and a lot of them really sound great on more than just guitars. Have fun!

Posted in Gear, Hardware Effects and pedals, Mixing, Techniques, Tutorial | 5 Comments »

How to Create a Duplication-Ready Master in Wavelab

This is a guest post from Samuel Allen of Extreme Studios in Perth, Australia. This article has been edited, the original can be found here.

This is a quick how-to for the technical aspects of preparing a master CD in Wavelab. This article does not explain audio processing techniques for mastering such as How to make a song louder in mastering, How to use Ozone for mastering, or How to use Multiband Compression.

I personally master in Wavelab, which is pretty straightforward for Cubase users, as it supports VST plugins. Although, it can be a bit counterintuitive when coming from Cubase if you expect it to work in the same fashion. If anyone is interested I can go into a more in depth tutorial about fade ins/outs on tracks, crossfading, etc, but for this one I’m just going to show how quick and easy it is to create a duplication ready DDP or physical master with ISRC code, EAN/UPC code and CD text embedded and ready to go.

New Audio Montage
Step 1 is creating a new Audio Montage, do this from the floating panel by clicking the button as per the image below, after which you want to select Stereo, CD compatible, 44.1khz from the dialogue box which pops up afterward

(more…)

Posted in Mastering, Tutorial | 7 Comments »

Audio Recording Bootcamp – 99 cent eBook for charity

Producer, engineer and host of Ronan’s Recording Show, Ronan Chris Murphy has released Audio Recording Bootcamp, a 99¢ eBook for charity. Go get it: Audio Recording Boot Camp

Ronan’s unique perspective and down to earth advice on recording and producing makes it a really enjoyable read. In just a few days of it’s release it’s already ranking highly in Amazon’s charts.

“Audio Recording Boot Camp” is a for charity book, eBook and video series presented by Recording Boot Camp.

Culled and updated from many articles and essays over the years, Audio Recording Boot Camp features over 40 pages of recording advice and perspective from Ronan Chris Murphy. 95% of the net proceeds from the sale of this book will be donated to the recording program at Phoenix House, a center dedicated to helping teens with drug addiction and uses music recording  as a tool to help with recovery.

Go get it: Audio Recording Boot Camp

Posted in New Product Announcement, Producing, Recording | 3 Comments »

Review: IK Multimedia T-RackS Deluxe

Introduction
T-RackS 3 is a suite of high-quality digital and analog-modelled VST/AU/RTAS Dynamics and EQ processors, for mixing and mastering. T-RackS can also be used outside of your DAW as a standalone mastering application. Version 3.5.1 is the latest at the time of this review.
T-RackS Standard comes with the 4 ‘classic’ processors and metering suite as individual plugins also available within the T-Racks Shell or standalone.
T-Racks Deluxe has all the same functionality but adds a few more processors for a total of 9 including two analog modelled devices, the Fairchild Limiter and Pultec Tube Equalizer.
Each of the processors are also available for $99 each. The two newest additions to the T-RackS family – Black 76 Limiting Amplifier (modelled after Urei 1176), and White 2A Leveling Amplifier (Modelled after Urei LA2A Tube compressor/limiter), are only available as add-on purchases.
The decision to offer the individual processors was based on user feedback and common use. When T-RackS 3 was first released it was considered a mastering plugin, but users started liking the effects for mixing as well. Splitting up the system outside of the T-RackS Shell has made things much more convenient.

The T-RackS 3 Shell
The Shell contains all the processors – up to 12 can be loaded in any order, series and parallel. You can load and save presets for individual modules or globally. The shell also contains the full metering module with Peak, Perceived loudness, Phase, correlation and frequency spectrum metering. Each of these can be adjusted to suit the user. The Shell contains four buttons to AB(CD) 4 complete effect chains along with a “copy to” button. Lastly, at the top-right the compare button allows you to compare your processing to the volume adjustable source.

Standalone showing signal chain.

Standalone
The standalone version adds several more features to the shell. Below the metering section is the playlist. You can drop in all your files to process, or reference. Changing tracks in the playlist will start a new empty chain with all settings saved for all previous tracks. There is a waveform display so you can trim in, and out points and fades. The waveform display is also where you can use snapshot automation for the processing chain.
The final notable feature in Standalone mode is ARC integration. ARC is a room compensation system sold separately
Basically, running T-RackS 3 outside of the DAW let’s you load any number of stereo audio files, process them and export to new files including sample rate, bit depth conversion with dithering.
One of the benefits of working in standalone mode is the semi-closed system without access to your hundreds of other VST plugins. You can focus on using the excellent tools available in T-RackS.

Mastering with T-RackS Singles
On the other hand, I already have a pretty good mastering workflow and template in REAPER. One of the things I’ve been doing lately is parallel MS compression which pumps up the RMS level, solidifies the centre channel and widens the overall image. I can do this with the parallel chain but I like having my reference tracks, source track, processed track and parallel effects layer out on faders in front of me. This is beyond the ability of T-RackS shell or standalone.

Another trick is to do band-specific upward compression. Kind of like splitting up a multi-band compressor to separate tracks for each range. By using the linear phase EQ (and latency compensation on in the DAW) you avoid the nasty phase shift you’d normally get trying to blend a band-passed signal in with the full-range source.

T-RackS 3 Vintage 670

5 of the 9 processors allow linked stereo, dual mono, and Mid-Side operation which opens up some creative possibilities without the hassle of encoding and decoding manually MS or splitting the tracks to dual mono manually.

All the single plugins could be successfully wrapped and used with Automap and my Nocturn Keyboard. There are probably too many parameters in the EQ’s to use automap but all the dynamics modules work great with some hands-on controls.

One feature I’d really like is a sidechain input for all the compressors, or at least an internal sidechain filter like the Classic Compressor.

T-RackS Mastering Strategy
The chain I usually start with is Linear Phase EQ, Vintage 670 (Fairchild), Vintage Tube EQ, Classic Clipper, Brickwall Limiter.
The Linear EQ is for corrections, 670 is for glue or widening if required, Tube EQ for wide tone shaping. The Clipper and Brickwall Limiter work together to get things loud. I find setting these up first, then jumping back to the corrective EQ to be a good strategy.

Authorization
I’m going to deviate from the review for a second to applaud IK Multimedia for dramatically improving their authorization process. The new Authorization Manager makes online activation very simple now. I’ve heard complaints and fumbled my way through the old method many times and it was confusing. Now, effortless. Thanks IK!

This is Awesome
The effects are easy to use, map well to controllers and sound great.
In the deluxe package you get both clean (opto and classic) compressors, and the colourful Fairchild model. You also get two clean EQ’s (classic and linear) and the vibey vintage Pultec model.
The Clipper module is excellent to push up your master levels but it’s also great in the mix where you don’t want to hear a change dynamics or tone but just want to set a ceiling for the track. Kick and snare is where I’m often using the Clipper, the hard knew can sharpen the attack and make it cut through the mix and soft knee is very transparent.
I don’t often need a linear phase EQ but when I do, I want something good. The T-RackS Linear EQ is great, so much better than the very expensive Waves ones I’ve used.
All the knobs smoothly respond to mousewheel.

T-RackS 3 Linear Phase Equalizer

Needs Improvement
There are a few areas where I see IK could stand to improve T-RackS, small things but I think they’re worth saying.
In the chain view of T-RackS Shell, an easy way to rearrange modules, such as drag & drop, would be nice.
Sidechain inputs (or at least HPF sidechain) for all the compressor modules
Button to open the user guide. There are no tool tips explaining what the various functions do and the manual is actually saved somewhere you won’t find it.
Install the documentation to the IK Multimedia/T-RackS folder in My Documents along with the presets instead of hidden in the Mac library documentation folder.
Adjustable graph scale for EQ modules. 40dB of gain is far more than you’d ever need in mastering. I’d like an option to limit the graph to +/- 6 and 12dB.

The Future of T-RackS
I’m interested to see where IK Multimedia takes T-RackS next. The Black 76 and White 2A compressor/limiters are not devices typically found in mastering but are essential rock mixing tools. I’d like to see more classic hardware like the Distressor, Massive Passive, and if we’re going with mixing tools, a Roland Space Echo and EMT Plate.
I’d also like to see IK’s take on console and tape simulations which yes, are the thing everyone is doing, but certainly essential mixing and mastering tools.
I have no insider info and I don’t want to start any rumours but I would not be surprised to see a couple new additions to T-Racks in 2012.

Mastering with T-RackS Tutorial

Learning T-RackS
Learning T-RackSI only skimmed through the manual but I did watch the great Groove3 tutorial hosted by Michael Costa on mastering with T-Racks, and it’s actually a great general mastering primer. It’s currently on sale for $10. Check that out here: Mastering With T-Racks
Also available is The Official Guide to T-RackS by Bobby Owsinski. If you’re looking to go beyond the manual and want an in-depth, plain english explanation of the effects and WHY you’d use them, check it out: Mixing and Mastering with IK Multimedia T-RackS – The Official Guide

TL;DR
T-Racks 3 Deluxe is an awesome bundle of audio effects for mixing and mastering. At the current promotional price, especially for upgrades, it’s a fantastic deal. The software is a few years old now but still holds up well vs the competition and is still being updated. There is currently a promotion and group buy for T-Racks 3 Deluxe, click here for more details.

Posted in Mastering, Mixing, Plugins, Review, Software, Virtual Effect | 3 Comments »

3 Mid-Side Processing Tricks

In this article I’ll explain how I use Mid-Side processing on stereo sources for practical or creative effects.

Mid-Side?
Two channels of audio can be combined in a way that gives us control over what is the same in each signal, the middle, and what is different, the sides. The middle is where the kick drum, snare, bass, vocals and a lot of other instruments are, the sides have any hard-panned instruments and spatial effects like reverb. It can be pretty interesting to listen to music like this, there can be a lot hidden in the side channel.

MS is also a stereo microphone technique using a cardioid microphone facing the source and a bidirectional mic turned 90 degrees away just picking up ambience. In this situation the two signals would need to be decoded into stereo. The side mic signal is duplicated, polarity inverted and the two side signals are then panned hard left and right. This is not a true stereo mic technique but can sound very nice. The balance of mid and side signals can be adjusted as needed by changing the level of the 3 tracks.

You can manually encode and decode stereo files to MS and use mono plugins to process mid or side individually. A lot more plugins have an MS mode now. Many of the modules in the T-Racks suite allow mid side processing, as does Ozone, a few compressors and equalizers and a distortion also come to mind.

You can do this for subtle or crazy effects, its a fun way to experiment with plugins and get some unique sounds.

Loud and wide
For a recent mastering job I used a Fairchild compressor plugin in MS mode (Lat/Vert) to compress the middle and increase the level of the sides. I did this in parallel so I could blend the effect in easily. I was also using this to get a lot of extra loudness. You can call this parallel MS Compression.
Compare the master without the parallel MS compression, then with, then the parallel compression soloed.

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Parallel Mid-Side Compression with Fairchild

No more messy verb
I had someone ask about clearing up the middle of a mix when using a lot of reverb. Using Mid-Side Compression on the reverb return can work well. Compress the middle more than the sides and increase the side volume if you want more width.
Here is an example of that on some drums. The drums are Steven Slate playing in KONTAKT. The whole kit is sent into Valhalla Room. With the Fairchild after the reverb I’m lowering the middle by 2dB and raising the sides by 2.

Here you can listen to this effect with lots of reverb on the drums.

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An now with MS compression on just the reverb bus.

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There is NO compression on the drums themselves, I’m only compressing the reverb return and widening it.

Wacky effects
Here is an example of what you can do with a stereo loop and any plugin. This is a little more complicated, and only works if there are hard panned sounds. The loop I started out with had a hihat that wasn’t panned very hard, I copied it to a new track, filtered out all the lows, boosted some highs and then panned it hard left. I recorded the combined original and panned track to a new file.
Here is what I’m starting out with

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Now that I had something on the sides I could mess around with Mid Side Processing.
The first thing you have to do is convert Left – Right to Mid and side. I use the free +matrix MS decoder from SoundHack.com. After that I used a delay plugin to add some filtered echoes just to the middle by disabling the right side input.
In the next insert I used a distortion on just the right side. This brought out a lot more of the reverb than was heard in the original loop. Lastly,  second MS decoder was used to bring it back to stereo.

Soundhack +matrix MS encoder/decoder

Here is how the loop sounds now with delay in the middle and distortion on the sides.

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Pretty cool right!? I hope you have found these tricks useful.

Posted in Mixing, Techniques, Tutorial | 5 Comments »

Video: Bass Guitar Recording Techniques

The final video series on recording techniques from Recording Magazine is on electric bass guitar. This 4-part video demonstrates several microphones, placement and distance, combinations of mics, DI boxes and reamping.

CLICK HERE to go to the Recording Magazine video page for this lesson.

Posted in Amps, Bass, Recording, Techniques, Tutorial, Video | 1 Comment »