So with that in mind Bobby Evans Shirt , I keep the aux sends on the drums down very very low.
I go through the entire list of tracks until I’ve used pretty much every track on the session. I want every track to go through this one delay. If you do it right, you can get a nice blend between all the instruments in the delay channel itself. It sort of sounds like your in a bathroom at a live show or something.
Use An EQ To Suck Out the 125-400Hz Mud
After you have a decent mix, in the solo’d aux send, start to blend it into your tracks. You’ll probably find that drums have to be down quite a bit. You may also noticed that if your bass is loud in the delay David Long Shirt , you’ll have mud city. This is certainly not going to do a damn thing for your mixes. So grab an eq and suck everything out between 125-400Hz. I get fairly aggressive with mine. I may suck out 12dB or more. This a trick that is designed to simulate naturalness on the final mix, but that may require some unnatural tweaking and hardcore EQ usage.
Push The Limit, But We Aware There Is A Limit
You’ll notice that as you play with the delay send, that some instruments need more or less of it than others. I like to go back to my drums and push the limit. I turn the delay up too loud on the drums until it sound ridiculous. Then I back it down slowly. There is a magic point where the delay seams to disappear. That’s the spot I like. I don’t want to go any further down than that Darrell Henderson Shirt , though. I want to be right on the edge.
The same goes for vocals, guitars, bass, and keyboards. Push the fader up until it sounds stupid and the back slowly until you can’t obviously hear the delay. I usually end up with vocals and lead guitar the loudest in the in the delay Taylor Rapp Shirt , but rhythm guitars sometimes are the primary delay user. You may even find that some songs on drums call for quite a bit of delay and actually sound good this way. ?When The Levee Breaks? comes to mind.
Conclusion
By using just the right amount of delay with the low mud sucked out, you can add lots of excitement to your mixes. You may find that the effect isn’t mega obvious, but that’s okay. When you turn it off, you’ll probably notice that vocal reverb isn’t quite right and the guitar doesn’t fit right either. However John Kelly Jersey , when I turn it back on, most of these problems tend to go away.
I’ve used this trick quite often over the years and I find myself using it more and more these days. To me, a mix doesn’t sound finished until I use this trick. Some songs call for it more than others. Of course, following the same methodology and then yanking back on the aux return should allow you to knock it down if necessary.
Lastly John Franklin-Myers Jersey , there are no rules for this mixing thing and what works for one person certainly won’t work for another person.
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