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In this course, author Bobby Owsinski reveals industry tips, tricks, and techniques for producing professionally mixed audio on any digital audio workstation. He offers recommendations for setting up an optimal listening environment, highlights the most efficient ways to set up and balance a mix, and shows how to build a powerful sound with compression. The course also explains how to master the intricacies of EQ; incorporate reverb, delay, and modulation effects; and generate the final mix.
One of the biggest secrets of making your delays fit into a mix is by using either the internal or an external equalizer to shape the sound. In this video I'll show you how to do just that. So the first thing we'll do, we will listen to the track and concentrate on the vocal. (Music playing) Okay, now let's add a little bit of delay. What we're going to do is solo it and I'll add the delay. This is going to be an eight note delay of 288 milliseconds.
(Music playing) Now that might not be exactly right. Let's try a couple of other combinations and see if we can find something that works better. Let's try a dotted variation and let's actually go to a dotted 16th note.
(Music playing) That sounds pretty good. Let's see what the triplet sounds like. (Music playing) Now let's go to an eighth note triplet.
Let's hear what it sounds like. (Music playing) That's sounds pretty interesting. Let's leave it there. But what we're going to do is we're going to shape the sound of the delay a little bit. So what we're going to do is come over here and add our 4-Band EQ and let's have a listen to what this sounds like. Let's bring this over here.
Let's bring our EQ over here and now we're going to solo it up and what I'm going to do is shape it. Now just like we did with reverb sometimes if we add a dip in the presence frequencies of the vocal, we can actually have the Delay blend into the mix a lot better. So let's do that by-- let's go to about 3K or so and let's dial in a 5 or 60 Db dip and let's have a listen. (Music playing) Let's listen in the track.
(Music playing) Now let's mute it and then I'll unmute it as the track goes on. (Music playing) You can see by adding that dip in the presence region that suddenly it fits better into the track. You don't notice it as much and that's what we're trying to do.
The other thing we can do is add a high-pass filter and get rid of the low frequencies which also makes it fit better in the track. So what we'll have to do is disable the frequency bands that we're not using on the equalizer and that will enable us to use the high-pass filter. Well, let's put it about 100. Let's put it at 200 and that should work. Dial it in and let's have a quick listen. Let's solo it first. (Music playing) You can hear the difference that the EQ makes.
It makes it sit a little bit better in the mix because the delays aren't as prominent. And that's what we want sometimes. Have another listening to the track. (Music playing) So to sum it up shaping the sound of the delay with the either the onboard or an external equalizer is a great way to get it to fit into the mix better. High-pass filter it from 100 to 600 Hz to keep it from getting muddy or keep it out of the way of a busy track. Filter from 10K down to 2K to make it blend into the track better.
Insert an EQ dip from 2k to 5K to keep it out of the way of a vocal.
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