Ableton Live Tutorial: Gate Remixing

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Drum Bus EQ settings

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Remember that you need to use additive EQ only if necessary or else you’ll end up with a muddy mix, that is why a lot of people recommend subtrative EQ because it’s much safer. So use this approach wisely and keep in mind that this is a guideline. Low-End:  For your drum bus, you won’t need a drastic high-pass filter. Create a small high-pass filter till around 30Hz and not more. Boominess:  Make a small cut in the 60Hz range to remove some boominess. Don’t use a low-shelf EQ, use a bandpass filter with a narrow Q factor. Fullness:  If you have t hin and wimpy drums, make a boost in the 125Hz frequency range. This will add some punch and fullness. Body:  A really small boost in the 250Hz range will add more body and weight helping the drums sound warmer. Boxiness:  Since you’re going to add a lot of frequencies you’ll need a big cut around 500Hz to remove mud and boxiness. Attack & Presence: 2 boosts, one around 1kHz and another...
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Parallel Compression

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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...
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Mastering Chain

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