I was recording some samples off records as always and wanted to compress some louder passages before chopping things.
Wanted to do a video of that. So what I’m doing is I’m giving some (slowish) compression to a loud section in the audio whose level I want to bring down.
I also do a real quick aggressive, quick, peak-based compression at the end to squash a pop at the end.
Quick though of the day regarding transients / level of drums in the mix.
These days, it’s easy to overdo transients with any transient designer. But it’s good to understand that when it comes to mastering and limiting, you WILL hit a wall at some point regarding transient level.
What am I getting at? Sometimes it happens that Continue reading About overcooking transients in the mix→
These two were my “Octatrack exercise” tracks where I learned how to use the amazing Elektron device.
I quickly threw the songs out after finishing; I checked their mix/master later on and thought they could be improved.
So, I spent two coffee breaks giving them a new makeup and fixed the frequency balance.
Fanu now official @ Spotify.
Will be having control over that page now, and to celebrate and kick it off, I’ve created a “FANU PICKS” playlist full of bass music and D&B to show you some tracks that have inspired me and which I think you should hear. This is the stuff I also play as a DJ, so let’s get those bookings in.
• Access the page and peep the playlist
• Direct link to playlist
Looking back at what I’ve learned from working hundreds of different producers along the years, I wrote a few quick DOs and DON’Ts for working with a mixing/mastering engineer.
This is by no means a comprehensive list, but considering these will mean way fewer headaches in my job.
• Know how your music should sound; words often fail here, so 1–3 reference songs from your favorite artists/labels is an excellent starting point. We all have those songs, so just spend a bit of time finding those that you think represent your style somewhat close. Remember, a good song does not necessarily equal a good-sounding song. It’s happened to me many times that I get to hear, “Yeah, actually, it doesn’t sound good, but I thought it’s just a good song”…and then we start all over again. This will cost you the price of two masters in the worst case.
I wanted to deviate from my usual stuff (there’s so much of it lined up already, so just wait!) and take a break from the norm.
As a music-maker, I want to be exploring new avenues, as I think that’s best for longevity.
Sometimes you have to travel paths less trodden and go against what others might expect. An artist willing to be in the game for the long run needs to evolve and expand, and this is how. Expect the unexpected.
This album was something I wrote during the darkest winter hours – hence the name, “Valoton”, which is Finnish for Lightless. Musical escapism therapy at its best.
If you find this something you like, please do share it.