Dom Morley — Vocal Reverb Tip
My number one reverb tip on vocals is if you want to keep the vocal sort of present and close to you, but you want a big reverb on it. Your biggest problem is when you put a big reverb on it, the vocal disappears back into the room.
If you still want the vocal close, put a pre- delay on that reverb.
The pre- delay makes the room still sound big, but makes the artist, the singer or the guitarist, whatever you want upfront, it makes that stay up front. And it just sounds like the room behind them has got bigger rather than they’ve been lost into it.
by Jett Galindo, iZotope Contributor July 15, 2021
Don’t risk falling into the trap of making your records sound louder and brighter by default for no reason. Although mainstream music might deem it otherwise, there’s no one-size-fits-all rule to what constitutes a great-sounding mix and master. Many times, you get a better picture of the final sound by understanding the context behind the production—from the genre and arrangement down to the songwriting and the artist’s stories/influences.
‘[10 Tips for Better Mixes Through Panning](https://www.izotope.com/en/learn/10-tips-for-better-mixes-through-panning.html\)’
by Nick Messitte, iZotope Contributor July 15, 2021
This article is all about panning—specifically, it will give you tips to keep in mind when figuring out how to pan elements in your mix. Though the kick, snare, bass, and vocals often sit in the middle of a mix (commonly referred to as C or 0 in most DAWs), everything else is pretty much up for grabs.
I was introduced to ‘Sends on Faders’ with my XR18 and the X-Air Edit software mixer. I didn’t really understand the power, but it certainly made it easy to adjust effect send levels.
Logic Pro (X) brought us ‘Sends on Faders’ in version 10.4.2. A new workflow is now possible.
I have to couple the ‘Sends on Faders’ discussion with a better understanding of using multiple mixer windows in a screenset. I can create multiple, different mixer windows and toggle between them with the ‘Cycle Through Windows ⌘`’.
On the left side of the screen I have the mixer window set to ‘Tracks’ with all of my summing stacks (bus folders, however you want to call them — AUX channels with a bus for input) collapsed giving me 24 channel strips. On the right side of the screen I have a mixer window set to ‘Single’ which will show all of the channels involved in getting sound from the selected channel to the outputs.
I can simply select a channel in the left window and the right window changes to show me the actual channels involved. The X-Touch follows the mixer view, so when I select the left window I have the faders and controls ‘under hand’.
I have an extended keyboard plugged in to the X-Touch so I can use key commands to change views.
Next on the reading list is a much deeper read of the Control Surfaces manual to understand the various methods of using the SEND functions on the X-Touch — much to learn.
I am actively involved in discussions on gearspace.com about the joys of the X-Touch
Hope you’re all well. Recently I bought an X Touch (universal Control…). I read (and seen on youtube) that it’s suppose to work pretty much as is out of the box with LPX.
I have found “Sends on Faders” in the Mackie Control world — SEND button plus F7
V-Pot 7 or F7 — Switches to Destination/Level Mixer view. In this mode, you can control one Send slot for all channel strips. Each channel strip corresponds to the channel strip name shown in the upper LCD row.
It is said that the English language is fluid and evolving and we shouldn’t get hung up when people start using different words for the same thing. Often said by those who are using the wrong term as they order their expresso coffee. Whilst it is true that language can evolve, it’s also important to agree that certain terms mean the same thing to everyone working in the same industry.
Yes, please, stop making stems with the phase inverted for the producer to master.