Today you can buy microphones that were used to record Nirvana's 'In Utero'
This one simple mistake will lose you a third of your songwriting royalties - with video
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The Making of a CD - FREE DOWNLOAD
An investigation of the pre-delay parameter of the Lexicon 480L reverb plug-in
Setting microphone preamplifier gain to achieve both adequate headroom and a good signal-to-noise ratio
The difference between minimum-phase and linear-phase EQ on transient signals such as snare drum
What is production? Part 1: A&R
Demonstrating the Waves J37 analog tape emulation plug-in and comparison with a real tape recorder
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This song was initially al midi except for the Vocals. I have used Mackie Tracktion for the sequencing and al sounds are played back on a Roland Fantom external sound module.
I recorded all the separate instruments as Wave files in to Tracktion and did the appropriate compression for each one. Once they were all in I recorded the vocals on to a additional track with two Behringer large diapragm condenser microphones.
Then I sent each track trough a separate channel of a Saffire Focusrite interface into a Behringer Eurodesk mixing desk where I did all the equalizing fading and panning.
I panned the percussion and bass in the center because this is dance music where bass needs to be felt and it needs to be felt everywhere in the room and because some speakers tend to struggle with low frequencies it is easier for them to share the load.
All the other instruments and background vocals are panned to one side or another except vocals which is also center panned. I have not hard panned any instruments.
A Bass roll off was applied to everything except the bass and percussion the bass drum was boosted at 80 Hertz and pulled at 50 Hertz and the bass was boosted at 50 Hertz and slightly pulled at 80 Hertz so that thy would not compete for the same frequencies.
A Behringer V-Verb Pro was used as a send effect with a reverb Delay combination setting.
Almost no reverb at al was added to the bass and percussion so that they would be really in your face.
The largest amount of reverb was used on the strings and backing vocals and vocals. Pretty much the exact opposite of what you get in a symphonic orchestra where the strings are close and have very little reverb and the percussion because they are so loud are located in the back and therefore have lots of reverberation.
In the master section of the mixing desk I inserted a Behringer Ultra curve Pro Where I did a bit of compression and equalization. I pulled all frequencies below 40 Hertz Since this is not classical music or a grand pipe organ where infrasonic frequencies as low as 16 Hertz are essential.
I then boosted frequencies slightly around 60-70 Hertz where our ears perceived loudness more easily and home stereos are capable of producing that desired thumping sound that you can hear as well as feel which is such an essentual part of dance music.
I also slightly increased the treble frequencies with a large Q setting. Then I wanted to get rid of annoying resonance and less pleasant sounding frequencies. I used a high gain narrow Q setting on the parametric equalizer and swept it across the frequency range and at the exact location where the sound was the most unpleasant I reduced the frequency using a very narrow Q setting I repeated this on several locations. I also increased the Stereo with a bit with the With feature of the ultra curve pro.
This song is avaliable for free download at the following adresses
Further information is available at www.myspace.com/djschnapsidee