Tag Archive for: mixdown

Mix & Mastering Preparation Tips

/in , , , /by

As a mastering engineer one question I get asked all the time is – “how can I get the best pre-master mix out of my tracks?”. It’s an important question for sure, and this post will outline some of the actions producers can make right now to make your tracks sound way better than before. I can promise by following the mix & mastering preparation tips in this article you’ll hear a huge difference towards the final version of your projects.

My clients want big and full sounding tracks, and I love when my customers flip out after hearing the project they’ve worked hard on come back to them sounding every bit as big as the productions they are inspired by. If you ask the best engineers around the world they’ll tell you that working on music with a great quality mix is the key to turning a solid tune into a monster sounding track. But how do we get there first?

My clients come to me to correct and fix the flaws of their mixes, which isn’t always simple and straightforward. Working on properly mixed tracks with plenty of headroom (at least -6db) will make my job much easier and allow me to bring out the very best in your track.

It’s common for producers not to have the right tools or experience when tackling many of the problems that take away from a good mix, and this is where I step in to help. Let’s make clear a few things you can do in prepping your tracks to sound their best from the get go.

  • Avoid extreme EQ’ing. The greater adjustments you apply to a sound, the higher the likelihood of inducing unwanted resonances, and phasing issues. While in sound design, heavy processing can sometimes bring interesting results, it is often much more productive to pair an EQ with a compressor to get the same result. First, use your EQ to cut shelves from your audio source, then use compression to make what you want to hear, louder. TIP: Try using a maximum of 4 points on your EQ.
  • Remove unwanted frequencies. This is mainly about removing unnecessary frequencies from your sound, rather than cranking up the parts you want louder. If your sound isn’t a kick drum or something else in the lower range, apply a high pass filter or EQ and cut everything below 100hz. If your sound is a kick or bass, try cutting everything under 20-30Hz. As for pads, melodies, vocals, I’d suggest doing cuts in the 100-250Hz region as there will always resonances there. If you use reverb, make sure to remove or cut anything under 300Hz as it can easily get congested there, which will take out some of the precision and power of your song.
    In the end using your eq is a process of clearing away space to allow other sounds to be heard more clearly. Less is more.
  • Be careful with cheap plugins. While you can do a lot with free or cheap plugins, sometimes, this might compromise the quality of your work. Most DAW’s will have native plugins such as reverbs, compressors, eq’s etc.. however I recommend investing $30-$50 on a handful of plugins that more than often sound much better than the native plugins your DAW provides. This applies to compression, EQ, reverbs, chorus, delays, etc. I’ll often get effects on Plugin Boutique or Plugin Alliance.
  • Side chain your kick and bass channel. These frequencies will likely overlap to some degree, which will leave your track sounding muddy, and reduce the impact, clarity, and volume of both sounds. Use sidechain compression with your bass and kick to allow both sounds to breathe and peacefully cohabit in your mix.
  • Less is more. Busy mixes, once compressed can sound horribly busy if not EQed properly. Play safe, use less. You might be surprised that on huge sound system, simple elements can sound much more powerful than a giant wall of noise.

These next 3 important points will always make a tremendous difference in the quality of your mix.

• Do not apply compression or limiting on the master (bus). Please leave the compression to me. This might sound like a good idea but your track will likely suffer for it. Mastering is my job, and I need your track to come to me as transparent as possible. If you add compression on the master channel, you’ll likely create distortions and the end result won’t be nearly as tight.
• Give me -6dBfs of headroom. This is super important. Ideally, you should aim to have each channel at -6dB, not just turn the master channel down to -6. This reduction in volume per channel creates the right amount of space for me work with and is essential in getting your track to sound full, and deep.
• 24 or 32bits / 44khZ. This is the requirement for the best results.
• Careful with hiss. Hissing is a background noise that can happen with analog gear or some fun plugins. Once compressed, it might be loud and difficult to mix in, so be careful of the level you use.

In general, the best mixes I get are the once where everything is balanced in terms of frequencies. Here’s a easy way to get that happen:

  • Lower down the volume of your monitoring. You can’t achieve good mixing at high volume. You’ll see right away what’s too loud if you use it that way.
  •  Lower the volume of each channels if they’re too close to 0dB. One bad habit I often see is people pushing all their channels to 0dB. Not only this take off the dynamic range, but it also gets hard to see what’s at the right level. The loudest channel in your mix should be at -6dB, the others below. Why? Because it gives you room (6dB exactly!) to push louder to what requires attention.
  • Find the busiest moment in your track and listen to it looping. Now, use one channel at a time to lower your channels completely and mix each sound up until you hear it properly. The mix out/mix in technique is a good way to pinpoint if something was too loud in the mix. Sometimes, a sound doesn’t need to be that loud and because we overheard the track, we feel everything should be loud.
  • Group channels or use busses. Group your four main frequencies: low, mids, hi-mids, highs. You can then play with volumes of each zones and adjust them so they’re balanced. You may use again the mix in/mix out technique and EQ for subtle details.

 

I want to hear your feedback on anything talked about in this post. As always let me know if you have any suggestions or tips you’ve come across in prepping your tracks for great mixes. Share this post or leave a comment below and tell me what projects you’re working on right now.

 

 SEE ALSO : Dynamic Sound Layering and Design 

Finishing Your Projects

/in , /by

I want to tackle a huge, big-time topic of much discussion and effort among many music producers – finishing your projects. Like many of my friends, readers of this blog, and clients of mine, finishing your music is really important to you. Yet, we all have loads and loads of music with real firepower that will never get past the finish line.

As someone who has finished dozens of records, remixes, and projects of my own, I’m going to get right down to business of showing you how to finish all the projects you want to. Let’s do this.

Firstly, I need to get a few things out of the way.
1. From my perspective, I believe a song might never be done. Even if you’ve finished it, mixed it, released it, (which you defiantly need to do) and heard it played in mixes all over the world, to you that track might never really be complete.

2. It’s (almost) never going to be perfect. Do not let perfection kill all your efforts. The more you hear it, the more you’ll pay attention to that part you could have tweaked better, or that part in the arrangement you could have brought to a totally new level. Let’s face it, you need to remember that a listener will likely never hear that song as much as you have and will never notice the few imperfections that are loud and clear to you. It’s okay, let’s get it done the very best we can in the time we have.

3. Taste is subjective. What you feel is perfect, likely won’t be in the eye’s of someone else, and vice versa. Yet at some point, you have to put your foot down to what the song’s theme and structure is and embrace it by telling yourself “ok, this is my song and there won’t be compromises, I’m moving forward.”

4. Use your reference tracks. I keep coming back to using musical references in many of my posts because it’s your personal target for what sounds good, and what you want your production to sound similar to. The more you work with one, (comparing your sounds and levels to the reference track) the more you’ll understand how your track is progressing, or not.

The next part is going to be exciting, and scary.
After writing and developing all the right parts of your track at some point you’ll come to feel your project is ready to be canned down into it’s finished form. “What are the signs that a track needs to enter it’s finished form”?
• Your track has a beginning, a middle, and end.
• The imported reference track in your arrangement has about the same length and number of sounds as your track.
• The sections of your track are very clear and your transitions from one part to the next flow well, and feel right.
• All channels have a rough mixdown and an overall healthy balance. Now, we’re really good to go.

“If you want to make music the #1 thing you have to do is finish your productions. Open a project that is ready and follow these steps – we’re going to finish one right now.”

finish your music productions

Getting to this point is the goal ~ crossing the finish line, exporting your finished music.

Since the main sections of your track are already there, we’re going to starting at the beginning and listen closely to each part of your arrangement.
1. Loop 4-8 bars at a time – mainly rely on your ears and listen. You’ll quickly hear if something stands out and needs to be adjusted, or removed. After running through each section, continue doing this every 8 bars or so.
2. Give your ears a break. After 5-10 minutes of active listening stop the music for at least 20 seconds. Our ears get tired easily and right now we need to stay sharp to make the right corrections to our track.

We’re in the last phase of finishing your project now. Here’s how to make sure your track has all the right elements to be interesting and keep the listener’s attention.

• Notice how sounds come in and out. Some sounds come in abruptly, to cause a surprise, while others will come in slowly (fade-in). Alternating how sounds come in is a great way to keep interest.
• Percussion sequence. Is the way sounds are programmed making any sense or can be improved? A good way is to put one or multiple channels in solo and listen carefully… Are you making a coherent phrase?
• Transitions. Are the transitions between each section supporting the evolution of the main idea? Some transitions will be used to announce incoming sounds or the exit of others. Some transition can also be used to build or release tension. Be aware of the effect of both.
• Don’t overdo it. The biggest issue when working in micro-mode is the danger to over listen to your idea and changing too many things, nearly starting all over.

One more important thing – once you have about the song completely revised, I would greatly encourage you to take a macro, global view of the project. These are the points you want to look for:
• Perspective 1/3. Zoom out of the window so you can see the song entirely in your arranger. You should be able to see clearly 3 distinct sections. If not, you might want to look into that. What defines each sections? They should have different intensities, and a number of sounds playing.
Why is this important? Your song is a story and it needs the right timing and elements our ears to come to expect. The most dramatic reason though is, each section should showcase a strong moment. Having 3 of them is a good formula to make a song interesting and memorable, but any more than that and you’ll likely take away the power the previous peaks.

• Sequence of how sounds come in, out. Keep a logical and fluid transition of how sounds come in and out. Your percussion parts can come in a certain way, then you can repeat it later. Don’t showcase all your sounds all at once, or you’ll burn your idea out pretty quickly.
• Repeating ideas. As seen in the lego post, if some sounds happen in a certain sequence, try to keep that until the end for coherence.

For any musician or producer, not finishing your projects can be really frustrating, but it happens to the best of us.

This post is all about sharing my own personal way of starting and completing projects so that you can confidently go into your next session with a game plan I know will keep you on track to get things done.

As always let me know if you have any suggestions or questions about this post and leave a comment below and tell me what projects you are excited to complete.

JP

SEE ALSO : Pointers To Define Your Sound

Conversations with Clients: Kike Mayor

/in /by

In Conversations with Clients, we bring you an honest and unfiltered look at Pheek’s services, straight from the mouths of those who know — and want you to know too! For this third piece in our series, I spoke with Kike Mayor, a Peruvian techno producer based in New York. 

◊      ◊      ◊

Why don’t you tell me a bit about yourself and your experience as a producer?

Well I started DJing back in the year 2000. I started collecting my first records at the end of the 90s, it was during my last years in high school. And then right after, I started playing records, and playing local parties in my hometown in Peru. Shortly after that I found myself playing at these big parties, and I was the warm-up DJ for every single act that came out of the country. Then I started making music around the year 2005, and from then I just kept doing it and made a lifestyle out of it.

You’ve been producing for a long time now then, just over 10 years.

Yes, 10 to 12 years. My first record came out in 2007, so 10 years in the market anyway.

And throughout this time, have you mostly mixed your own music? What’s your experience with sound engineering in particular?

It’s not much. I’ve pretty much been doing my own mixdowns based on my ear training, and it took me a while to realize how important [the mixdown] is. Last year I found Pheek, and he explained to me how a mixdown can really make a difference on the final product. It’s just amazing. And it’s not that he… like, he does nothing to a track that is already produced, he just, how to say it… he puts every single part of a track in its own space. Do you know what I mean? And from that, the tracks sound clean. And like, I never had any complaints about it [before], but I just feel that he improves the final product. Pheek is an amazing sound engineer. He’s my sound engineer!

Until now then, you’ve basically just been doing your best on your own?

Yeah, I was trying to do my best, but I think that having sound engineer knowledge is very important, you know? And I don’t have that. I was always making music and loving my tracks. I don’t think there was ever a problem. But I also think it’s a matter of my own practice as an artist, as a producer, that I always want my stuff to sound better and better and better.

So what inspired you to seek his help, did you just discover his services through his Facebook page?

So I got signed to a vinyl release with a label from Detroit.

Detroit Vinyl Room?

Yes, Detroit Vinyl Room. The owner got in touch with me and said that Pheek was going to take care of the mastering and mixdown.

Isaac Prieto you mean [another client of Pheek’s]?

Yeah, Isaac, yeah [haha]. And so it was really good for me, because – I’m going to be honest – I was trying to get in touch with Pheek before that. I started seeing him offering all these services, but I was always wondering, I mean, would that be alright, would that be good? I didn’t know. Because there’s also the fact that then you have to spend money, you know what I mean? When it comes to spending money on your music, it always has to be a really well thought-out decision. And then Isaac offered to do this for me, and I was like okay, I want to try it for free for the first time, it doesn’t hurt.

Then he introduced us and I sent the project to Pheek, and I loved the final result. I have the test pressing of the record here. It sounds amazing. So from then on, we started talking and talking and talking, and I’m really happy that we started working together, and now we’re friends.

You sound very satisfied with having spent the money! So what was the difference exactly?

The difference was that everything sounded in its place. Like when I see the spectrum of the track, I feel that the spectrum has layers, you know? There are some sounds that go in the back, and some sounds that come in the front, and in the middle. So the tracks stop sounding flat. I don’t know if that’s something for advanced ears, but I got to a point in my life when I realized that that’s what I want. I really found that with Pheek, and I’m very very happy about it. I love making music so much, and I love my music so much, and I want to spend the money to do that. It’s a great service.

Just to hear how my track sounds after Pheek does the mixdown is inspiration for me. I love how every time I send him projects now, he takes less time every time. And that means to me that the previous mixdown I made is improving. It’s just some specific things that maybe a regular ear wouldn’t feel, but I feel it, and sometimes it bothers me.

Would you say then that having Pheek do your mixdowns is helping you develop your own ear and skills at mixing too?

Exactly. 100 percent. I think that Pheek's mixdown services changed how techno producer Kike Mayor views musicas an artist you have to have the inspiration of working with somebody that is a big name – and as I told Pheek, I’ve been following his music way, way before I knew him. Something that I was always highlighting was that thing I told you about with the layers in the music — I was like, how does this guy make his music sound like this?

So when you get the mixdown back, is the track finished, or do you work on it more?

I listen to it, and I pretty much just copy/paste the link and send it to the label. I trust it 100 percent. It sounds awesome. There’s no difference when I mix my tracks with tracks from other artists, with the volume or anything – and I definitely mix my music with music that is awesome, amaaazing – and when I’m playing live, I feel no difference, which is great. That makes me really happy.

How beneficial was it to have a second set of ears on your music? Because usually, when you mix your own music, you’re listening to your own track a million times, right?

Oh, well, I would say there’s a difference with having someone else, and then having Pheek, you know? Just the fact that I respected him so much from before. I mean him being the one now that listens to my music… It’s great, man.

Have you taken anything from the experience that has impacted your production in a more lasting way?

Umm… well basically, the music that I’m making now… I mean I just listen to it and I really love it. I find myself very, very focused right now on producing music that will be, like, timeless.

So it’s really inspired more confidence in your own abilities.

Yeah, exactly, yeah, 100 percent. Because, I mean, it’s been 10 years that I’ve been producing. I started producing progressive house, and then I produced tribal house, and then I produced tech house, and then I produced deep house. And now it’s all about the evolution. I feel like it’s different for every artist, but for me it really took me a while to get to the point where I am now.

Do you know why it took you so long to find someone to do your mixdowns?

Well, I think it depended on my environment, you know? When I was in South America, everything was different. Music was different, the crowds were different, my needs as an artist were way different. Since I moved to New York everything changed, and I started trying to develop a new sound like 3 years ago, in 2013. I’ve been constantly trying to improve and improve since then, and I have changed too. I’m producing music now that is way different from the music I was producing back in 2013, like quality-wise. And now with Pheek, everything is going great.

I’m assuming you have a lot of other friends who produce music too?

Yeah, yeah.

And do they usually do their own mixing too?

Yeah, I guess it’s normal for people that… maybe they don’t want to, maybe they don’t trust. They might think that a sound engineer that does a mixdown for them, if it’s not in person, in the studio, that maybe they would change the song, that they’d regret it. For me it was really easy to trust, because it’s Pheek. 100 percent. I’m planning a trip in February to Montreal, so I want to get down to the studio.

And before Isaac had spoken to you about Pheek’s services, did you have some of these same fears?

Yeah, with my own music, you know… like, I would never give my music or a project to anybody. But I knew Pheek, I’d heard all of his music, and I knew who I was dealing with.

I am very, very happy with his services man.

That shines through!

Awesome [haha]. And also I like the fact that Pheek is helping me. He is always pushing me, and giving me advice.

So you get more than just his mixdown services you mean.

Yeah, I would say that he’s my friend. He really supports me a lot. A lot. Like he always tells me that he loves to work on my projects because they’re fun, and he loves the music I make, which means a lot to me. I’m always like, “Aw, dude, stop!”

– Check out Kike Mayor on Soundcloud.

 

Riding the Grooves in Ableton

/in , , /by

Have you ever felt that your music’s rhythmic structure lacked a certain human touch? This seems to be the general consensus among producers, yet there is a simple solution to this hitch in the road. It’s caused by what I believe is the biggest drawback to producing music within a DAW: the musician tends to pigeonhole himself or herself by needing everything to sound perfectly aligned to the grid.

From experience, however, I think I can affirm – with a reasonable degree of certainty – that this method does not reflect how humans operate. We are not precise, monotonous machines, and we are most definitely prone to error when jamming live with acoustic instruments. There is even a certain beauty in this rawness, as music perfused with slight imperfections tends to appeal to the ear as more natural and groovy.

In order to achieve this particular “effect,” Ableton Live allows the producer to import a collection of rhythms, called grooves, into any MIDI or audio track, so as to either alter the current rhythm already written or to add an element of surprise or randomness to the audio.

The Ableton Core Library has a myriad of classic grooves that you can choose from, from MPCs to Latin percussion to hip-hop. However, in this tutorial, we’ll get really advanced and show you how to get creative by making your very own grooves.

Step 1: Record any percussive sound

I’ve recorded myself rattling my keys using nothing but a Macbook (you don’t need to get fancy).

 

Your recording will most likely sound like crap, so feel free to cut out excess noise with gates or tame peak transients with compressors.

Step 2: Modulation (Optional)

Add a creative effect that will automate the gain (volume) of your signal. You can draw automation curves or pump (sidechain) it with Ableton’s Autopan. The point is to create as many dynamics as possible by playing with the volume so that it translates into the clip’s velocity once we extract the groove. You shouldn’t have to do this if your signal is already very dynamic.

Step 3: Bounce

Consolidate the clip and its effects by either resampling it onto another track or simply freezing and flattening the track (by right-clicking the track).

Consolidate the clip and its effects by either resampling it onto another track or simply freezing and flattening the track (by right-clicking the track)

Step 4: Extract groove

Right click on your consolidated audio sample and select “Extract groove.”

Step 5: Groove pool

Open Ableton’s groove pool by selecting the wave in the lower left side. Your groove should appear in this box.

Step 6: Add groove

soundpicture2You can consult the Live manual or other tutorials to better understand what things like “base” and “quantize” mean, but make sure the timing is set really high (i.e., how much the groove pattern will affect the clip). Drag the groove name onto any audio/MIDI sample or loop track, preferably something percussive like a drum loop. Notice how the rhythm of your track has changed, and how certain transients sound louder or quieter, or appear later or earlier. If you increase the velocity of your groove, your signal will respond heavily to the volume changes in your original signal (which is why I used the Autopan to create dynamics).

Press “Commit” in the clip view, to destructively write the current groove settings to your sample. This means the sample’s pseudo-markers will move in accordance with the quantization setting, and your transients will translate the rest of the settings you selected in the groove pool.

 

Original:

Processed:

Step 7: Layering

Hopefully, you’ve saved your original percussion loop so that you can play it with your newly made rhythm. Notice how there’s percussion a bit everywhere now, and that it’s a little bit off. Yet I’ve still opened doors to new possibilities that I couldn’t have predicted by simply drawing in MIDI notes. I even got a wonderful slap-back delay on the snare, which I can edit to my liking.

I’ll go so far as layering the two sounds with a reversed sample of my new groove, which gives me this:

 

 

I’ve then added back the original keys rattle sample, and simply applied sidechain compression to get this beat:

 

Although it sounds a little all over the place, I can always go back and edit it how I want, or even apply some effects! Note how it sounds more human now and not perfectly cut to grid.

soundpicture3

Bonus: Step 8

Go back to Step 6, and drag your groove to an empty MIDI channel instead of an audio or instrument track. An empty MIDI clip will appear with notes matching the groove you created. Drag an instrument onto it to hear how it sounds. Although it will probably sound awful, you can always edit the MIDI notes to your liking!

soundpicture4

Bonus: Step 9

You can even get away with layering organic textures such as strings, or pad with grooves. Make sure to apply different groove settings to each layer by duplicating the groove (CTRL+D/CMD+D) and dragging it onto the track that you want. You can control all the different grooves together with the Global Amount value at the bottom right of your groove pool.

Examples:

SEE ALSO : Background vs forefront to create dimension   

Learn Mixing At MUTEK’s Panel Workshop

/in , , , /by

Learn more about the workshop here!

I’ve been asked by MUTEK to present a workshop on how to prepare tracks for mastering. This means, in technical terms, how to get the most out of your mixdown session. For many people, the whole music production process seems like a crazy, disorganized back-and-forth of constant tweaking, with the help of a lot of coffee. But if you look at the most common modus operandi, the stages actually go like this:

  1. Sound design/recording. This is where you either create new sounds or select the existing ones that you’ll be using in your next song.
  2. Production. Once you have all the sounds, you try to decide your hook. This stage involves deciding the structure and working on the arrangements.
  3. Mixing. Once your song is canned, you mix the component parts so you get the best sound possible.
  4. Pre-mastering. Shining and polishing. Adjusting so it sounds best, everywhere.
  5. Mastering. Preparing the master copy for duplication.

Get tips for making a great mixdown at Pheek's MUTEK workshopApplying a methodology to your music production can provide many benefits. Many artists embrace the chaos of going back and forth between the stages, or working without a plan. This is fine if you think it’s the best way for you to remain creative. But if you want the best out of your sound quality, it might be a good idea to adopt a more ordered approach.

Why?

One of the most important reasons is that if you juggle between these stages, you will lose focus. The mixdown will be done best if you have everything set up first. If you have to keep changing elements around as you go, you’ll be forced to reconsider EQ and volume levels also to make sure that everything fits. Think of it as building with Lego blocks: if you move one brick in the middle of a wall that’s already built, you’ll need to readjust a lot of things around it to compensate.

So while there’s no hard rule on the order of the stages, and one can hop between them to fix certain problems, there is another major issue to consider. If you spent countless hours on arrangements, your ears might be bored to death when it’s time to mix it, and you’ll lose what really matters. This is why mixing is increasingly seen as a stage you might want to leave to someone else — not because you can’t do it, but because you want a fresh perspective.

If you decide to do it yourself though, you want your song’s idea to be sewn up so that only the sound needs tweaking. And ideally, once you have everything set, you might want to take a few days off and then attack the mixing.

For the MUTEK panel, I’ll be sharing some great tips on:

  • How to approach production generally.
  • How to work with a reference.
  • How to do great mixdowns.

I will be using some of the participants’ projects as an example.

You can register here.

 

A Great Sound Engineer Will Give Your Song Its True Sound

/in , /by

In this blog post, I will explain how important it is, for the sake of your music as well as for the mastering process, to have a good mixdown. I also want to make the point that working with a trusted sound engineer who knows how to master can be a game-changer.

The Importance Of A Good Mixdown

No matter who your sound engineer is and how skilled he or she is or what equipment they use, there will never be a great-sounding master without a killer mixdown. A good audio engineer should understand your needs as well as your song. An engineer with experience can do that, but choosing the right one is important.

What is a great mixdown?

  • It has a perfect balance of sounds. None are battling to get heard.
  • Each part shines and feels right.
  • The stereo image gives your song a big impression.
  • The song breathes, it doesn’t sound harsh.

There are a few challenges you might face in completing your song.

Perhaps this is familiar?

  • The bass sounds muddy.
  • The main melody seems overshadowed by other sounds.
  • The song lacks overall punch.
  • Your track’s percussion sounds shy.

Sometimes, doing the mixdown yourself won’t give your project the treatment it deserves. If you spent countless hours creating it, you know that it has to sound right. Many producers, even experienced ones, know that a second pair of ears will do it justice. It’s no surprise that most of the best producers give their projects to a trusted mixing engineer.

There are some other challenges too:

  • Your studio is technically challenged (eg., lacks acoustic treatment, no sub, not EQed, etc).
  • You simply lack experience.
  • You’ve heard your song too many times and can’t make decisions.

Again, those are the kind of problems that many people have.

It’s important to choose a sound engineer who has a great understanding of the musical genre you’re producing. This will ensure your sound is in tune with what’s on the market.

Why me?

I’ve been doing mixdowns for myself and others since 2002. The number of songs I’ve done is hard to calculate, but the one thing that matters is that my clients are always satisfied. With almost 20 albums released under my Pheek moniker, I understand the challenges and know when compression should be done, and how.

My main task is to understand what you want to do so I can help you define your own personal sound.

In future articles, I will explain some of my tricks on how to get your music sounding proper.

But if you need an audio engineer like me, don’t hesitate to book me now!