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 Beginner
- [Instructor] Often times effects just aren't called for on a certain track, but we still need it to sound bigger. A delay less than 40 milliseconds is so close to the original source, that we don't distinguish it as a repeat, and that's called the Haas Effect. Here's how we can use the Haas Effect to make just about any mix element much larger than life. So, first of all listen to the song with no effects whatsoever. ♫ This ain't no luau it's a motorway ♫ Some kind of landfill with a prostrate - [Instructor] Now, really what we want is something on the vocal here first.
So, we're going to work on that. Here's what it sounds like solo. ♫ This ain't no luau it's a motorway - [Instructor] Now what we're going to do is add the Haas Effect, and the Haas Effect is anything less than 40 milliseconds. So, right now we have two 16th notes, and I'm just going to randomly pick a couple of very very short delays, I'm going to say 10 milliseconds on the left side, and 15 on the right. Now, these have no relation to the track, we're not timing it, I'm just picking two kind of normal times that we've used for this, and I'll let you hear what it sounds like, it's very unique.
First of all, let's bring this up. Now watch. ♫ This ain't no luau it's a motorway ♫ Some kind of landfill with a prostate - [Instructor] Now all of the sudden we widen things out, actually, I'm going to widen them even more here. Listen. ♫ This ain't no luau it's a motorway ♫ Some kind of landfill with a prostate - [Instructor] Listen in the track. ♫ This ain't no luau it's a motorway ♫ Some kind of landfill with a prostate ♫ You better clean up you Messerschmitt ♫ I ain't doing it - [Instructor] And what we've done is we've widened it out without it seeming like there's effects on it, and really that's what we're trying to do, we're trying to put it more in your face, and we're trying to make it bigger than life without any effects whatsoever, but actually there is an effect, you just don't know it's there.
What happens if we actually time something to the track? Well, first of all, this is a 129 beats per minute, and a 16th note is 116.28 milliseconds, so, if we cut that in half, we get 59 milliseconds, 58 and change, and if we cut that in half again, what we get is 27 milliseconds, and if we cut that in half we get 13.5 and let's just say it's 14, so what we're going to do is we're going to say let's put 14 milliseconds on this side, and we'll put 27 on this side, now listen.
♫ This ain't no luau it's a motorway ♫ Some kind of landfill with a prostate ♫ You better clean up you Messerschmitt ♫ I ain't doing it - [Instructor] And what we have now is something that actually sounds a little better, it's longer but it's timed to the track, so it feels better, and it's funny because even though we don't hear those Haas delays as individual repeats, we can feel it. We don't hear it as a repeat, but there is something that's different about it, and it's wider and it sounds better to us.
No matter what, even at those short delay times, it still matters if we time it to the track. To set up the Haas delay trick, first set a delay to either 10 milliseconds, or time it to the track. Make sure that the delay isn't set higher than 30 milliseconds or you'll hear it as a separate repeat, which is what you don't want. Now pan the delay to the opposite side of the intended track, or use a stereo delay instead and set one side to 10 milliseconds and the other to 15 milliseconds.
You can also time each delay to the track, once again keeping each below 30 milliseconds. If you want, you can add some modulation to the delay for a thicker sound.