“Would there be any benefit to temporarily putting a limiter on the master in order to highlight any issues in the mix (I mean would it highlight anything too loud in the mix or annoying frequencies)?”
This is a good question, and I’m happy to answer this. Even if you’re not that interested in mastering, this can be useful, because it can kind of give you some feedback on your mix.
My detailed answer and thoughts on the matter can be found here on Patreon.
I recently did a nice session with a patron using a drumloop he gave me, which is the original drumloop that was used in the classic Alien Girl tune by Ed Rush, Optical and Fierce.
So here‘s me having a go with it, layering things a bit and doing some analog-modeled processing to glue the drums together more and add some energy and dirt to the sound.
Let’s get that low-level signal up for added body and full tone.
25 minutes of drumbreak nerdery, here you go!
It’s easy and fun to create two-oscillator basses such as Reese basses with Serum, as they sound lively due to the movement caused by two detuned oscillators.
However, this often causes a problem with sub bass, which will also drift in and out, which we don’t want: we want a solid sub bass level.
This video shows you how it’s easy to fix this with Serum.
Join my Patreon for regular mixing and music production tips.
Patreon class is in session!
Here comes a video (47 mins) walkthru of my recent remix for Make Or Break,
🎥 Check it out on my Patreon 📽
In this video, I’m talking about breaks, things relating to chopping them, what I look for in a break, some of the processing, bass stuff, how the song evolves and what I find important in song structures etc…
I find that especially in terms of song structures, there’s not a whole lot of info out there, so wanted to cover that once again as well.
I hope you find some useful nuggets here.