See how the pros handle the critical balance between the bass and drums. Learn where, when, why, and how EQ should be used on virtually any instrument. Become proficient in tailoring just the right effect for each particular mixing situation. And master the key to fat and punchy sounding mixes: compression. Tune in every Thursday for a new tip!
- The Abbey Road Studios reverb trick
- Secrets to a powerful and punchy mix
- Using compression like NYC pros
- Listening tips and tricks used by the world's best mixers
- How Van Halen gets their guitar sound
- Making vocals shine
- Adding excitement to boring pad tracks
- Setting up your mix to get the best results in the least amount of time
Skill Level Intermediate
- [Instructor] John Lennon loved the sound of vocal doubling but hated the process of actually doing it. So the clever boffins at Abbey Road Studios designed automatic double tracking. Here's a way to simulate that effect without having to resort to hauling around an exotic tape machine. So first of all, listen to the track, concentrate on the vocal. (jazzy music) Sounds good, but let's say we would like the vocal to be doubled, and of course, we can't do it after the fact but we can simulate how to do that, and we can simulate the ADT, the automatic double tracking that Abbey Road came up with.
And the way we're going to do that is we're going to first insert a delay across the vocal. It doesn't matter what the delay is in terms of short, medium or long. We're going to set it to somewhere around 75 milliseconds to start, it doesn't really matter. And if it has modulation, we're going to set the modulation somewhere around 15, 16%, and a rate of one hertz, between one and two. And make sure that the mix is somewhere around 35%, and this is just where we're going to start. Now have a listen. (jazzy track) So it already sounds somewhat doubled, but we're just starting.
We're going to actually tweak this so it sounds much more like a real double track. And the way we're going to do that is to automate a few parameters. So we're going to automate the delay, we'll automate the depth of the modulation, and we'll automate the rate of the modulation. So now that we've done that, we've set it for automation, we've got to go back to our waveforms here, and we're going to look at the automation track. So, first of all, let's come down here to our effects, our delay. And the first thing we'll do is we'll go to delay.
And we're going to automate that. And the way we'll do that is we'll come up here and we'll set this for random. Now we'll draw it in; and we'll draw... I'll just draw it in like that. Now have a listen. (jazzy track) That's a little too radical so we'll come back here we'll do it something more like that. Now have a listen. (jazzy track) So what's happening there is the delay time is changing and it's changing up and down.
It might not be changing enough. Let's try it again actually. Let's do this where, make sure we have enough going up and enough going down. In other words, down below the rate that we originally set, which was at 75. Now let's listen. (jazzy track) There we go. Now we're going to do the same thing to our depth that we had. And this is changing the depth of the modulation.
Once again it's going to vary it up and down. Now listen. (jazzy track) And what this is going to simulate is a tape machine while in flutter. And now, one more is the rate. And the rate helps it again, simulate the while in flutter, and we're not going to do very much. We just want it very subtly. Don't want it to be too high or too low. (jazzy track) Now you can see the automation actually working on the delay.
You can see the parameters change as it plays. Now let me start without it, and then we'll put it in. (jazzy track) Now of course, you can tweak this so the automation doesn't go quite as wild as we see it here, but that's the general idea.
You want to automate those three parameters: delay, depth and rate in order to get a more realistic doubling effect. And by doing it this way, you'll find that you're going to get it more realistic than you can just about any other way. So to get a similar sound to the automatic double tracking like the Abbey Road technicians designed, first insert a delay on the vocal track and set the mix to around 35%. Start with the delay time of around 75 milliseconds, the modulation rate to around 1.3 hertz, and the depth at around 15%.
You don't have to be too particular about these numbers since they'll change later. Now arm these three parameters for automation and draw in the automation for each parameter using the random tool. Be sure to use only small steps since large jumps won't sound real.
Q: Why can't I earn a Certificate of Completion for this course?
A: We publish a new tutorial or tutorials for this course on a regular basis. We are unable to offer a Certificate of Completion because it is an ever-evolving course that is not designed to be completed. Check back often for new movies.