Casque d'Or

During the making of the sounds and beats you already start to mix a bit cause that gives you a better idea if it will work or not. As of now the total idea of the track has to be solid and should already be playable in the clubs more or less. But, After this the hard part starts. This is like the last 10% of the track but takes up the most skill and time. First try to set a logical arrangement for the track. Then try to fit everything altogether sounding like a complete track.  After that It’s all about - Cutting stuff away (less = More). So don’t keep adding things!!! - Mixing, mixing, mixing - Make automation for a more natural feel and more control. - Making effects to mask poor transitions - Making your track Tight. - Cut off the tails of effects and sounds which blur to much with other stuff. -  After that Check, Recheck, Check and Recheck again and again. - Test it in your car , headphone, club, homestereo etc...

Introduction IVGI's base sound is comparable to the DESK mode in the big brother SDRR. Both started with the same base but emerged into different directions. You can think of both as twins, who were separated at birth. IVGI is designed to react dynamically to the input signal. Even the modeled fluctuations react dynamically and also change depending on the drive setting, so that it doesn't get in the way of the SOUND. Stereo tracks benefit from it's modeled crosstalk behavior with controllable level. Just as its big brother SDRR, IVGI features a “Controlled Randomness”, which determines the internal drift and variance inside the unit. It contributes to the liveliness and realness of IVGI's saturation character. All internal processes are modulated to some extent to make this possible. IVGI gives you a sensible amount of controls to manipulate the character of the saturation itself. It offers a unique ASYM MIX kn...

1. Find Your Anchor It’s easy to get lost in a mix while asking yourself if the snare is too loud, the bass too low, the guitars to distant etc. You need an anchor for your mix. Define one element that stays static and mix around that. Starting points could be the vocal (after you figured out some basic eq and compression to get it sitting in the right place), or the snare. Both are very important, forward parts of many mixes. Mix around them. If you get lost, ask yourself how the part in question relates to your anchor. If you feel lost,  mute everything  around the anchor and start adding instruments back in until you pinpoint the parts that are too loud, too soft, too distracting, too…wrong in the mix. Then fix, instead of questioning every level and every part. 2. Listen Through Imperfections This one is major time saver if you can perfect (pun intended) this approach. If you stop mixing every time you decide an ess is too loud, a smack is too audible, or ...

Parallel compression is a powerful mixing technique, but it's often misunderstood. Read on to find out what it really does — and how it can help you make better mixes. When talking with sound-engineering students of all ages and experience, I often find that one area where most struggle is compression. Perhaps that's not surprising, since the concepts are fairly challenging on their own — before even contemplating the subtleties of different kinds of physical implementation (or modelling). Compressors are available in myriad different forms, using feed-forward or feedback control paths, with RMS- or peak-weighted side-chains, and even more variations of audio-attenuation device, such as opto attenuators, diode rings, vari-mu valves, solid-state VCAs… and the list goes on! Let's leave such complexities aside for the moment, though, because in this article I really want to try to clear up some common misunderstandings about the increasingly fashionable technique of p...

Parallel compression refers to the technique of duplicating a signal, compressing the copied signal, and then blending it back in with the uncompressed signal. Some compressors also have a ‘mix’ knob where you can blend the compressed and uncompressed signals. The benefits of parallel compression are manyfold, though there are a few pitfalls. Setting up a parallel compression chain can be daunting. Compression on its own can be a bit complex for those who are just getting the swing of things. Parallel compression complicates this by coupling all the versatility of regular compression with treating a signal in extremes. The parallel signal isn’t necessarily going to sound good on it’s own, so how do you know when you’ve compressed it correctly? Well — it isn’t so tough if you can find your center — which in all cases of mixing is: what are you trying to accomplish? If you know what you want to hear, you’ll know whether or not you’ve set up the chain...