Kim Lajoie Blog Dump

Kim Lajoie's Blog Dump
Collected and assembled by Mabian

Last updated on: 2015/06/14
Introduction
This document contains all articles posted (as of the date mentioned on the cover page) on the
Lifesigns from the studio blog by Kim Lajoie, currently available at address
http://blog.kimlajoie.com/
(Note: the original blog address was http://kimlajoie.wordpress.com, the blog has moved to the new
web address in Jan 2012)
Even though released under permission of the blog author, this document is to be considered
completely unofficial and unsupported by Kim.
I started reading the blog a few years ago and article after article I had the increasing feeling that
the content exposed in the blog could be even more useful if collected in a comprehensive PDF file
for offline reference.
So, I spent a few hours in OpenOffice to transfer the content of all articles in this document.
I quickly realized that the same information arranged this way could be interesting for everybody
who likes digging into digital audio and songwriting techniques.
I then contacted Kim asking him if it was ok for him to release the document publicly; he was so kind
to reply and accept shortly after and there it is.
The posts are sorted in ascending chronological order, a table of contents with links allows navigating
and accessing them quickly. The PDF also has standard bookmarks and of course it's completely
searchable.
Each post heading in the document is a link to the original article on the blog, so that you can easily
go there to add comments, interact directly with the blog author, download additional contents and
have access to any other referenced material.
Thanks once again to Kim for his blog posts and for allowing free distribution of this document.
For any feedback or everything you can find and PM me (username: mabian) at the KVR or Cockos
forum; every time the PDF is updated I post about it on these two threads:
http://www.kvraudio.com/forum/viewtopic.php?t=295853
http://forum.cockos.com/showthread.php?p=573859
That's it, I wish you enjoy the document like I'm doing and have a good time with it.
I personally consider the blog one of the most awesome goldmines of suggestions, tricks and words
of wisdom about the immense computer music creation world!
- Mario Bianchi (aka Mabian) -
Table of Contents
2007/06/26
2007/06/26
2007/06/26
2007/07/17
2007/07/19
2007/10/22
2007/11/29
2008/05/31
2008/06/27
2008/07/04
2008/10/28
2008/11/19
2008/12/21
2009/01/01
2009/03/11
2009/03/11
2009/03/15
2009/04/16
2009/04/16
2009/04/16
2009/04/20
2009/04/21
2009/04/23
2009/04/26
2009/04/28
2009/04/30
2009/05/01
2009/05/03
2009/05/04
2009/05/05
2009/05/06
2009/05/07
2009/05/08
2009/05/09
2009/05/11
2009/05/12
2009/05/13
2009/05/14
2009/05/15
2009/05/16
2009/05/18
2009/05/19
2009/05/20
2009/05/21
2009/05/25
2009/05/26
2009/05/27
Compression and reverb.............................................................................13

Ordering of EQ and Compression................................................................13
Pre-fader versus post-fader........................................................................14
How to push sounds to the background.......................................................14
Getting synths to fit together / Mixing Synths..............................................15
EQing reverb.............................................................................................16
Mixing with 2-bus processing......................................................................17
Mastering: How much should I limit?...........................................................19
Sense of space in Sunlight.......................................................................21
Balancing kick and bass..............................................................................22
High-end gear............................................................................................23
Thoughts about coherent drum kits.............................................................24
Compressor attack and release times..........................................................25
Using chorus, phaser or stereo imager........................................................26
How to achieve best results when mixing down to a stereo pair for mastering
................................................................................................................27
Saturation, compression and reverb............................................................28
On stereo widening....................................................................................29
How do you process your bass?..................................................................30
Processing Bass: EQ...................................................................................30
Processing Bass: Compression....................................................................31
Processing Bass: Character and body..........................................................32
Processing Bass: Saturation........................................................................33
Processing Bass: Layering...........................................................................33
Spectrum Analysers....................................................................................34
Downwards or upwards?............................................................................35
Vocal doubling...........................................................................................35
Vocal processing........................................................................................36
EQ and frequencies.................................................................................37
Compressing kick drums.............................................................................37
High pass filters in mixing...........................................................................38
Processing snare (in a drum kit)..................................................................38
Approaching mixing...................................................................................39
Overcoming loopitis.................................................................................40
Song form.................................................................................................41
Transition form..........................................................................................42
Sonata form..............................................................................................42
Making sounds bigger by using compression to manipulate micro-dynamics. .43
Transitions between sections......................................................................43
Planning mastering....................................................................................44
What makes structure work?......................................................................45
Reversed cymbals and the like.................................................................47
On Vibe.....................................................................................................47
That pumping effect...................................................................................48
Variations on that pumping effect...............................................................49
About monitoring environments..................................................................50
Different types of reverbs...........................................................................51
The space..................................................................................................52
2009/05/28
2009/05/29
2009/06/01
2009/06/02
2009/06/03
2009/06/04
2009/06/09
2009/06/10
2009/06/11
2009/06/13
2009/06/15
2009/06/16
2009/06/17
2009/06/18
2009/06/20
2009/06/22
2009/06/23
2009/06/24
2009/06/25
2009/06/25
2009/06/26
2009/06/29
2009/06/30
2009/07/01
2009/07/01
2009/07/06
2009/07/07
2009/07/08
2009/07/09
2009/07/13
2009/07/15
2009/07/16
2009/07/17
2009/07/20
2009/07/21
2009/07/22
2009/07/23
2009/07/27
2009/07/28
2009/07/29
2009/08/03
2009/08/05
2009/08/06
2009/08/06
2009/08/10
2009/08/11
2009/08/12
2009/08/13
2009/08/14
2009/08/17
Speakers...................................................................................................53
Headphones..............................................................................................54
Dragging out the tools................................................................................54
Mixing in mono..........................................................................................55
The right vocal level...................................................................................55
Producers and producers.........................................................................56
Stability.....................................................................................................56
EQ on the mix bus.....................................................................................57
Familiarity..................................................................................................58
Devil Gurl and MAutoEqualizer....................................................................59
Variation and development.........................................................................60
Multiband compression...............................................................................61
Expectation...............................................................................................62
Monitoring gain staging..............................................................................63
Peak vs RMS..............................................................................................63
Theory vs creativity....................................................................................64
Compressing vocals....................................................................................65
Perception of time-speed............................................................................65
Buildups....................................................................................................66
Volcano: Advanced Tactics..........................................................................67
The vibe of a session.................................................................................67
Bit Depth...................................................................................................68
Extending chords.......................................................................................69
New Robot Child songs up..........................................................................69
Sample Rate..............................................................................................70
Writers block.............................................................................................71
Limiting vs Clipping....................................................................................71
Gain Staging..............................................................................................72
Drum programming Expectation and Excitement.......................................73
Sections of variable length..........................................................................75
Composing for Kick Drums 1.......................................................................76
Normalising...............................................................................................79
Beginning, middle, end...............................................................................80
Transition sections that are too long.........................................................81
Nested Structures......................................................................................82
What is saturation?....................................................................................83
Recording vocals........................................................................................83
Soft-knee compression...............................................................................85
Dont fill the frequencies.............................................................................86
Backing Vocals...........................................................................................87
Mixing with reverb 1...................................................................................87
Effects on a send.......................................................................................90
The case against compressed drums (articulation vs texture).......................91
Mixing with multiple reverbs.......................................................................91
Alternatives to reverb.................................................................................92
Masking.....................................................................................................93
2009/08/19
2009/08/20
2009/08/24
2009/08/25
2009/08/26
2009/08/30
2009/09/02
2009/09/03
2009/09/07
2009/09/14
2009/09/17
2009/09/28
2009/09/30
2009/10/05
2009/10/07
2009/10/15
2009/10/15
2009/11/10
2009/12/10
2010/01/04
2010/01/11
2010/01/13
2010/01/18
2010/01/25
2010/02/01
2010/02/08
2010/02/15
2010/02/22
2010/03/01
2010/03/08
2010/03/15
2010/03/22
2010/03/27
2010/03/29
2010/04/05
2010/04/12
2010/04/19
2010/04/26
2010/05/03
2010/05/10
2010/05/17
2010/05/24
2010/05/31
2010/06/07
2010/06/14
2010/06/21
2010/06/28
2010/07/01
2010/07/05
What to do when you have too many plugins..............................................94

Tips for quiet recordings.............................................................................94
Mastering versus mix-bus processing..........................................................95
Automation and expression.........................................................................96
The answer to everythings been done But what is the question?.............97
Emulations................................................................................................98
Lost in Tweakville.......................................................................................98
Dynamic range and headroom....................................................................99
EQ cutting vs boosting...........................................................................100
Reducing the distance between idea and output........................................101
Four basic principles.................................................................................102
Limitations vs creative direction................................................................103
Four songs published................................................................................104
Gaining motivation...................................................................................105
Reverb on the mix-bus.............................................................................105
How to be more productive in the studio...................................................106
How to reduce computer noise in the studio..............................................106
ProRec Article Reverb Types Explained....................................................107
How do individual tracks sound on their own before theyre mixed?............107
Sweetening your mix bus, and why you shouldnt wait for mastering to do it
...............................................................................................................108
Five compression mistakes and how to avoid them.....................................109
Suicide Songs (plus bonus album) now free...............................................110
How to use tone and depth to separate sounds..........................................110
Eight ways to write effective backing vocals...............................................111
How to convince yourself to invest in acoustic treatment............................113
Five EQ mistakes and how to avoid them...................................................114
Your tools are not your competitive advantage...........................................115
Five secrets to making your mix louder......................................................117
The secret to full-sounding mixes..............................................................118
Making your song more dynamic...............................................................119
Are you using ear-catching sounds effectively?...........................................121
When to separate sounds and when not to................................................122
Dont be alarmed, its just a new theme..................................................123
Are your mixes too wide?..........................................................................123
Five ways to make space in your mix.........................................................124
How to add more excitement and energy to your music.............................125
Whats wrong with transient shapers?.......................................................126
Four ways to use mid/side EQ...................................................................127
How to get out of a rut and rediscover inspiration......................................128
Whats holding you back?.........................................................................129
Why randomising is not humanising.......................................................130
Frequency analysers and mastering...........................................................132
Five ways to deal with an ugly vocal..........................................................132
Tuning the kick drum to the key of the song..............................................133
Do you have enough contrast?..................................................................134
If your song a jumble of noise?.................................................................134
Dont be lazy!..........................................................................................135
Mastering article on ProRec.......................................................................137
Effects presets.........................................................................................137
2010/07/08
2010/07/12
2010/07/19
2010/07/26
2010/08/02
2010/08/06
2010/08/09
2010/08/16
2010/08/23
2010/08/26
2010/08/30
2010/09/06
2010/09/13
2010/09/16
2010/09/20
2010/09/27
2010/10/04
2010/10/11
2010/10/18
2010/10/25
2010/11/01
2010/11/08
2010/11/15
2010/11/22
2010/11/29
2010/12/02
2010/12/06
2010/12/13
2010/12/16
2010/12/20
2010/12/27
2011/01/03
2011/01/06
2011/01/10
2011/01/13
2011/01/17
2011/01/24
2011/01/31
2011/02/03
2011/02/07
2011/02/14
2011/02/17
2011/02/21
2011/02/28
2011/03/03
2011/03/07
2011/03/14
2011/03/21
2011/03/28
2011/04/04
Obsession................................................................................................138
Development and momentum...................................................................140
Contour...................................................................................................141
Bouncing to audio....................................................................................142
5 remix ideas for an a cappella vocal........................................................143
Understanding Practice.............................................................................144
Its not amateur, its just undeveloped......................................................145
Does your song need a hook?...................................................................146
Dont make better mixes. Make better music..............................................147
Come into my Kitchen............................................................................148
Five ways to build energy.........................................................................150
How to make space for the vocals in the mix.............................................150
Six ways to get bigger beats.....................................................................151
(Dont tell anyone)................................................................................152
The #1 reason your song isnt exciting enough..........................................152
Are you making this common EQ mistake?.................................................153
What a good dance track has in common with pop music...........................154
How to make great music without vocals...................................................154
Mastering doesnt make your song sound good..........................................155
How to practice effectively........................................................................156
How to get faster without speeding up......................................................157
About preproduction.................................................................................157
Preproduction: Polishing lyrics...................................................................158
Preproduction: Tightening structure..........................................................160
Preproduction: Clarifying creative direction................................................160
So, Im on Twitter..................................................................................161
Preproduction: Enhancing expression........................................................162
Preproduction: Rehearsals........................................................................162
Who wants a Christmas present?..............................................................163
Are you cheating?....................................................................................164
Different types of limiters.........................................................................165
Music is open source................................................................................165
The best of 2010......................................................................................166
Make your synths bigger!..........................................................................168
Who wants my feedback on their song?.....................................................169
What it takes to write a killer bassline.......................................................169
How do you know when a mix is finished?.................................................170
Pan how you like......................................................................................171
Kitchen consultation: Larry Seger Think Of Me........................................172
Why you need direction and focus in your mix...........................................173
What makes a good melody?....................................................................174
Interview with me on The Home Recording Show......................................175
How to tell if you need more gear.............................................................175
How foreground sounds shape the character of the mix.............................176
Kitchen consultation: Jeroen Kerstens Rise..............................................177
How long should your song be?................................................................178
Everything louder than everything else......................................................179
Dont make good music. Make amazing music............................................180
Recording raw or with effects on the way in?.............................................181
The importance of getting it wrong...........................................................182
2011/04/07
2011/04/11
2011/04/18
2011/04/25
2011/04/28
2011/05/02
2011/05/05
2011/05/09
2011/05/16
2011/05/23
2011/05/30
2011/06/02
2011/06/06
2011/06/13
2011/06/20
2011/06/22
2011/06/27
2011/07/04
2011/07/07
2011/07/11
2011/07/18
2011/07/25
2011/08/01
2011/08/04
2011/08/08
2011/08/15
2011/08/22
2011/08/29
2011/09/05
2011/09/08
2011/09/12
2011/09/19
2011/09/26
2011/10/03
2011/10/06
2011/10/10
2011/10/17
2011/10/24
2011/10/31
2011/11/07
2011/11/14
2011/11/21
2011/11/28
2011/12/05
2011/12/12
2011/12/19
2011/12/26
2012/01/07
2012/01/07
2012/01/09
Kitchen consultation: Yair Hollander Alive................................................183

Develop complimentary skills....................................................................184
My industry contacts wont help you..........................................................185
Poetic devices..........................................................................................186
Another interview.....................................................................................187
Does your music sounds good on all systems?...........................................187
Kitchen Consultation: Marat Schacht Winding Roads................................188
How to get the right amount of bass in your mix........................................190
What is creative direction?........................................................................190
The difference between mixing and mastering...........................................191
The relative importance of mixing tools.....................................................192
Kitchen consultation: Stu Lewis Stay Free...............................................193
Hierarchy of production, and why mastering is overrated............................194
Work quickly capture the lightning!........................................................196
Why mastering is so delicate.....................................................................197
Free guide for email subscribers Texture, Dynamics and Structure............198
Dont just play with yourself......................................................................199
Get the plan right at the start...................................................................200
Kitchen Consultation: Matthieu Michaux El Nio......................................201
Endless revisionism..................................................................................203
What is workflow?....................................................................................204
What artists need.....................................................................................205
Developing work ethic..............................................................................206
Kitchen Consultation: Hayling Price The Rhythm......................................207
Workflow for collaborative projects............................................................208
Dont build a structure by just muting/unmuting parts................................210
How to develop a melody from a simple idea.............................................211
Balancing time and money when planning projects....................................212
How to use group busses.........................................................................213
Kitchen Consultation: Galen Conroy Turnstile Pottery...............................214
Whats the difference between workflow and project management?............215
Examples of using group busses...............................................................216
How to start a collaboration......................................................................217
Do something different with rhythm..........................................................218
Kitchen Consultation: Fred Akerstrand Lies Remix...................................219
Different types of workflows (with examples).............................................221
Proportion and variety..............................................................................223
Visual feedback in plugins.........................................................................224
6+ ways to get bigger bass......................................................................225
Find a big room........................................................................................227
Using chorus to increase stereo width.......................................................228
What makes a successful collaboration......................................................228
Everything you wanted to know about de-essing but were too afraid to ask.230
Interesting things to do with delay............................................................232
Are singers more sensitive than other instrumentalists?..............................233
How awesome is doubletracking?..............................................................234
So whats the point of expansion?.............................................................235
My blog has moved!.................................................................................236
I got an iMac to run Windows in my studio................................................236
The role of pads.......................................................................................238
2012/01/10
2012/01/12
2012/01/13
2012/01/14
2012/01/15
2012/01/16
2012/01/17
2012/01/18
2012/01/19
2012/01/20
2012/01/23
2012/01/24
2012/01/25
2012/01/26
2012/01/27
2012/01/28
2012/01/29
2012/01/30
2012/01/31
2012/02/01
2012/02/02
2012/02/03
2012/02/04
2012/02/06
2012/02/07
2012/02/08
2012/02/09
2012/02/10
2012/02/11
2012/02/14
2012/02/20
2012/02/21
2012/02/22
2012/02/23
2012/02/24
2012/02/27
2012/03/01
2012/03/02
2012/03/03
2012/03/09
2012/03/09
2012/03/13
2012/03/14
2012/03/15
2012/03/16
2012/03/21
2012/03/22
2012/03/27
2012/04/05
2012/04/06
Ways to create interesting mixes...............................................................238

Using subtractive EQ................................................................................239
A sense of movement...............................................................................239
Mix at lower volumes................................................................................239
A simple explanation of compression? No, actually its quite comprehensive.240
Are you making these five mistakes when mixing bass?..............................240
5 Reasons Your Song Might Use a Pre-Chorus............................................241
Bob Ludwigs tips for mixing vocals...........................................................242
Making your manuals available anywhere..................................................242
Editing manually dont let the computer do it for you!..............................243
Get more out of your phaser.....................................................................243
2011 Annual Report.................................................................................244
Crunch your drums...................................................................................249
Update on studio computer.......................................................................249
3 Mid-Side Processing Tricks.....................................................................249
Recording engineers who make so sense...................................................250
Its like getting a new pair of speakers.......................................................250
Things you cant hear...............................................................................250
Mastering in a changing industry...............................................................251
Creativity comes after the fact..................................................................252
Lateral / vertical (considerations when mastering to vinyl)..........................252
Which is the best DAW for you?..............................................................252
Beware of cookbooks...............................................................................253
Do romplers have a place in todays studio?...............................................253
Joes big stupid recording failure...............................................................254
What level should your mix be at before you send it to mastering?.............255
Nothing interesting today.........................................................................255
Choosing and learning new gear by reading manuals, not forums...............256
SBTRKT live.............................................................................................256
More gear, less money?............................................................................257
Processing drums separately vs processing the whole kit............................259
Give yourself permission to be imperfect...................................................259
Collaborating with different DAWs.............................................................260
Using guitar pedals (and other odd hardware) for adding texture................261
Audio examples of bus compression..........................................................261
What to do if your speakers suck..............................................................262
Know yourself for the sake of others......................................................263
5 Compression Mistakes That Keep Even Smart People Stuck...................264
Compressing rap vocals (and other thick and aggressive vocals).................264
More things you cant hear.......................................................................265
Practice (and perform) your parts dont just sequence them....................265
Does your arrangement suit your singer?...................................................267
Is sexist language ok if youre an audio engineer?......................................268
and the worms come out of the woodwork.............................................268
Fragile chord progressions........................................................................270
Workflow example: Dance music and vocals..............................................270
Do something different.............................................................................271
Mileage and headlines..............................................................................271
Quick question long long does it take you to mix?...................................272
The time it takes to get things done..........................................................272
2012/04/07
2012/04/08
2012/04/10
2012/04/17
2012/04/25
2012/04/28
2012/04/29
2012/05/04
2012/05/16
2012/05/18
2012/05/21
2012/05/22
2012/05/24
2012/05/26
2012/05/29
2012/05/30
2012/05/31
2012/06/01
2012/06/02
2012/06/14
2012/06/19
2012/06/26
2012/06/30
2012/07/01
2012/07/05
2012/07/17
2012/07/19
2012/08/08
2012/08/19
2012/08/23
2012/08/25
2012/08/27
2012/09/05
2012/09/11
2012/09/12
2012/09/28
2012/10/02
2012/10/03
2012/10/12
2012/10/23
2012/10/29
2012/11/11
2012/11/20
2012/12/14
2013/01/04
2013/01/12
2013/01/17
2013/01/24
2013/02/02
2013/02/06
Why do we need to be more efficient?.......................................................274

What to do with all that spare time help others.......................................275
Are control surfaces worth it?...................................................................275
The fear or failure....................................................................................276
Clicky keyboards......................................................................................276
No more IK Multimedia.............................................................................277
Phase vs polarity......................................................................................279
What do you do when no-ones watching?.................................................279
A hard-knock life......................................................................................280
Monitoring with reverb.............................................................................281
Various updates.......................................................................................282
A true story.............................................................................................282
How to tell if youre not good enough........................................................283
Dimensions of the voice............................................................................284
About the guides......................................................................................285
What do you remember?..........................................................................286
Teaching this kid a lesson about punctuality...............................................286
Maybe you should worry more about performance and not recording?........287
Rap it in a Grid.........................................................................................288
If the gear doesnt matter, how do you choose what to get?.......................288
Muscle memory and why workflow matters................................................289
Audio perception and ABX testing..............................................................290
90% of what matters happens before you hit record..................................291
Changes to consultation...........................................................................292
Rookie mistakes.......................................................................................293
What if I want to make a song longer?......................................................294
Masculine and Feminine sounds................................................................295
Its been pretty quiet around here.............................................................295
Mobile music apps: Fast-tracking creative development..............................296
Bare Toes Into Soil The Dust We Share [video].......................................297
How to increase your productivity in the studio..........................................297
Dont make music. Make experiences........................................................298
Anywhere can be a studio, but not everywhere should be a studio..............299
What does it mean to make a record?......................................................299
The next guide Mixing Tools Reference Guide..........................................300
The difference between exploring and finishing..........................................300
Dont rush mastering!...............................................................................301
Are you a producer or an engineer?..........................................................302
Variable creativity.....................................................................................302
Another perspective on gear vs skill........................................................303
Bare Toes Into Soil Sarah [video]...........................................................304
Art vs craft: finding a balance...................................................................304
It doesnt have to be good, but it does have to be something.....................305
Your room is more important than your speakers.......................................306
New Years Resolutions really?................................................................307
Inspiration is for amateurs........................................................................309
An easy way to approach acoustic treatment for your studio.......................310
Forget Tech, Its About the Notes..............................................................310
Practice doesnt make perfect...................................................................311
Breaking workflow (or: If youre getting stuck, youre working on the wrong
2013/02/13
2013/02/15
2013/02/18
2013/02/19
2013/02/26
2013/02/27
2013/02/28
2013/03/03
2013/03/11
2013/03/20
2013/03/21
2013/03/22
2013/03/23
2013/03/24
2013/03/25
2013/03/26
2013/03/27
2013/03/28
2013/03/29
2013/03/30
2013/03/31
2013/04/09
2013/04/14
2013/04/30
2013/06/22
2013/06/23
2013/06/24
2013/06/25
2013/06/30
2013/07/07
2013/07/10
2013/07/11
2013/07/12
2013/07/14
2013/07/17
2013/07/18
2013/07/19
2013/07/20
2013/07/25
2013/07/26
2013/07/27
2013/07/28
2013/08/02
2013/08/06
2013/08/07
2013/08/10
2013/08/14
2013/08/15
problem)...............................................................................................312
Who wants to be on a compilation?...........................................................313
Submissions for compilation......................................................................313
Why Im not listening to your early submissions (yet).................................314
Its not enough for your raw tracks to sound great.....................................315
Whos still planning to submit a track for the compilation?..........................315
Are you backing up? This is how I do it.....................................................316
A non-musicians experience in the recording studio...................................317
Submissions are closed!............................................................................317
Dont worry, I havent forgotten................................................................318
Half of life is showing up..........................................................................318
Community Kitchen Vol 1..........................................................................319
Explosions In This Guy Surrounded........................................................320
Moonphase to Dust...............................................................................321
Sifemanor A Winters Tale......................................................................321
Musikbasteln Tremo...............................................................................321
Omni-Psyence Beam Me Up...................................................................322
Cymazic City Burns Down......................................................................322
Karl Lost Got A Nerve............................................................................323
Mr. Kwazi Deluge...................................................................................323
Adam Brock Poplar Trees.......................................................................323
Josh Freund Clutching At Fading Memories.............................................324
I hope youre not scared...........................................................................324
Yoda was right.........................................................................................325
Find your voice. Or: Are you publishing your first draft?..............................327
Take charge of your creativity...................................................................327
Do you mix dirty or clean?........................................................................328
A new guide (finally, right?) How To Make Your Music Louder..................328
Rock what you got...................................................................................329
What if you only had ten tracks?...............................................................330
Artists have to believe in the process in order to believe in the results.........331
You also have to do the other kind of listening...........................................332
The Case For Starting Your Mix With Drums...............................................333
Everyone needs to know how to make their music louder...........................334
I turned quantise off................................................................................334
A closer relationship with your client (or: The Unlikely Advantages of Recording
in Your Control Room)..............................................................................335
Dont hang up your camera. Or your instrument........................................336
The only 5 (or 4) essential mixing tools you need.......................................337
Time for another compilation whos in?...................................................337
The 3 ways that I use saturation in a mix..................................................338
Submissions for the next compilation.........................................................339
A Case For Making Money From Your Studio (and why I do it)....................340
7 tips on making your music loud..............................................................341
How to be a mastering engineer. Or, how to be a master............................342
Submissions close at the end of this week!................................................343
How (not) to take the pressure off your vocal recording session..................343
Final call for compilation submissions......................................................344
Update on the compilation........................................................................344
Parallel processing....................................................................................345
2013/08/20
2013/08/29
2013/09/05
2013/09/10
2013/09/20
2013/10/13
2013/11/03
2013/11/11
2013/11/18
2013/11/25
2013/12/02
2013/12/09
2013/12/13
2013/12/16
2013/12/19
2013/12/23
2013/12/29
2013/12/30
2014/01/01
2014/01/09
2014/01/13
2014/01/27
2014/02/10
2014/02/17
2014/02/24
2014/03/03
2014/03/10
2014/03/17
2014/03/21
2014/03/24
2014/03/31
2014/04/07
2014/04/14
2014/04/21
2014/04/28
2014/05/02
2014/05/05
2014/05/12
2014/05/19
2014/05/26
2014/06/02
2014/06/09
2014/06/16
2014/06/23
2014/06/30
2014/07/14
2014/08/11
2014/08/18
What mastering feels like..........................................................................346

Not all hired help is the same why who you know really is so important. .346
An update on the compilation and next guide............................................347
Community Kitchen Vol 2..........................................................................348
The most important part of the mixing process..........................................348
Im not dead............................................................................................349
A collection of advanced EQ techniques.....................................................349
Should you use internal synth effects or external/plugin effects?.................351
Fight through the suck.............................................................................352
How would your mixes sound without reverb?...........................................352
Are you creative and artistic? Stop telling us. Show us................................353
Heading toward a post-plugin studio.........................................................353
New reverb guide!....................................................................................354
Three EQ techniques that many people use (and why theyre wrong)..........355
Parallel Compression on the Whole Mix why?..........................................356
Sometimes its better to wait.....................................................................356
No-one reads a comic strip because its drawn well....................................357
The two things I do that make almost every artist pleased with my first mix
revision...................................................................................................358
Well, that was a pretty big year (musically and personally).........................359
This is What it Means (part 1)...................................................................360
The most powerful tool.............................................................................360
Energy in music.......................................................................................361
Headroom (and the difference between what we hear and what the equipment
hears).....................................................................................................361
The shape of reverb.................................................................................362
A basic primer on EQ................................................................................363
Reverb is not that important.....................................................................364
Stability in composition.............................................................................364
You dont need contracts. You need trust...................................................365
The talent myth.......................................................................................366
Using EQ for a louder mix.........................................................................367
How To Know If Youre Doing A Good Job Mastering..................................367
Using reverb in the mix............................................................................368
Video: Performance vs cleanliness.............................................................369
Expressing joy in music............................................................................369
Acoustic treatment soundproofing vs absorption.....................................370
Whats your rush of inspiration? [Video]....................................................370
Mastering for loudness. Dont do it. Or if you have to, try this..................371
Think before you pan...............................................................................372
When to use delay instead of reverb.........................................................372
Give yourself an unfair advantage.............................................................373
Saturation transient sounds vs sustained sounds.....................................374
Pitch Correction Vs Expressive Control.......................................................374
Microshifting............................................................................................375
Lets make music together........................................................................375
What is sidechain compression?................................................................375
More about Mid/Side EQ...........................................................................376
How loudness is measured.......................................................................377
Why I dont worry about bleed..................................................................377
2014/08/25
2014/09/01
2014/09/08
2014/09/22
2014/10/06
2014/10/20
2014/11/03
2014/11/17
2014/12/01
2014/12/15
2014/12/29
2014/12/31
2015/01/11
2015/01/12
2015/01/23
2015/01/26
2015/01/31
2015/02/08
2015/02/09
2015/02/14
2015/03/11
2015/04/10
2015/04/24
2015/05/27
2015/06/14
Put your sounds into an upside-down triangle............................................378

Click tracks..............................................................................................378
Rate of change........................................................................................378
Considerations when choosing sounds for loudness....................................379
A basic primer on compression..................................................................379
Tonality in composition.............................................................................380
Using compression and saturation to increase loudness..............................381
When (and how) to use a gate or expander...............................................382
Expressing sadness and serenity in music..................................................383
Disgust, fear and aggression.....................................................................383
Amazement and anticipation.....................................................................384
This year has led me to an interesting place..............................................384
Making good progress on the electronica/metal and the book.....................385
Multiband compression.............................................................................386
Three ways to critique your music (or: how to shake up your subjectivity)...387
Dynamic EQ.............................................................................................388
Updated personal website.........................................................................388
If it doesnt change you, is it worth doing?................................................389
Always remember the emotional connection..............................................390
How not to be a producer.........................................................................390
The importance of physical proximity........................................................391
Enter the iPad..........................................................................................392
Just quickly record some vocals?...............................................................393
How to know if youre any good yet..........................................................393
I made a YouTube video of me playing a YouTube video. And sampling it....395
2007/06/26 - Compression and reverb
2007/06/26 - Compression and reverb

It might be helpful to look at this as a choice between reverbing the compression (sound>compressor->reverb) or compressing the reverb (sound->reverb->compressor). Reverb is
usually an additive process it adds a component (the reverberation) to the existing sound. If you
add the reverb last (after compression), youll be able to produce a conventional, natural sound.
Thats because the signal being sent to the reverb has the same (or similar) dynamic response to
the final sound well hear in the mix. Also, the added reverb itself isnt being significantly
processed, which means it will sound close to what the reverb designer intended.
By doing it the other way compressing the reverb, you are directly altering the dynamic
response of the reverb itself. This is not a common process, but may be useful for achieving
special effects or unnatural ambiences. For example, smooth deep compression on a long reverb
tail may lengthen the reverb tail or make it sound deeper. More aggressive comrpession can
create a very unnatural pumping effect that emphasises the reverb without washing out the
original sound.
-Kim.
2007/06/26 - Ordering of EQ and Compression

The order in which you use EQ and compression will depend on the sound, what you want to do
with the sound, and the rest of the mix. By using EQ first, followed by compression (sound->EQ>Compression), you are adjusting the frequency spectrum of the sound, then applying
compression to the adjusted sound. You might think of this as compressing the EQ. This is useful
because the compressor will respond in a natural and predictable way because it is operating on
what you hear. You can use the EQ to remove problems and shape the sound for the mix, and the
compressor will respond to the fixed sound instead of the raw sound. The downside is that
sometimes a compressor will adjust the perceived frequency response of a sound (usually by
reducing the low end or the high end), and its not as easy to compensate for it with pre-EQ.
Conversely, by using compression first, followed by EQ (sound->Compression->EQ), you are
adjusting the dynamics of the sound, and then adjusting the frequency spectrum. You might think
of this as EQing the compression. This can be useful if your compressor is reducing the percieved
high end or low end of the sound frequency spectrum the EQ can compensate for any funk the
compressor is adding. The downside is that the compressor is not responding to the sound you
hear, which means it might not sound as natural or predictable. As an extreme example, your
sound might have some significant low end rumble or resonance if you compress before EQing,
the compression will respond to the rumble or resonance even if you greatly reduce it with postEQ.
A hybrid approach might look like EQ->compression->EQ, where the first EQ (before compression)
is used to address any problems in the sound and shape it in the mix, and the second EQ (after
compression) is used to add any final touches or compensate for compression funk.
Which approach you use entirely depends on your sound and your mix. Its important to
understand how it works though, so you can make an informed artistic judgement.
-Kim.
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2007/06/26 - Pre-fader versus post-fader
2007/06/26 - Pre-fader versus post-fader

Without going too deep into mixer topologies, the channel fader sets the gain (you might also
think of it as the level or volume, though its not quite the same thing) of the sound going into the
mix bus (also called the 2-bus or the master channel). Placing effects before the fader (pre-fader)
mean that those effects will hear the same level, no matter what the fader is set to. Placing
effects after the fader (post-fader) will mean that thsoe effects will hear a level depending on
what the fader is set to. This is particularly noticeable with effects such as compression, which
respond differently depending on the level of the sound. If you set up your compressor pre-fader,
then it will behave the same no matter what the fader is set to. On the other hand, if you set up
your compressor post-fader, then higher fader gain will result in more compression and lower fader
gain will result in less compression. In effect, you will use the fader to simultaneously set the
audible volume of the sound in the mix AND drive the compression. Normally this is not such a
good idea beacuse it makes it more difficult to fine-tune the mix (changing the volume changes
the compression too).
Post-fader effects are typically not used often, except for sends (also called aux sends or FX
sends). The send effectively duplicates the sound and sends one copy to the send channel (the
other copy is sent through the original channel as normal). If a wet reverb is applied to the send
channel, youll have two channels making sound the original dry (no reverb) channel, and the
wet (reverb) send channel. If the send is post-fader, then the sound level that is sent to the
reverb depends on the fader setting. This way, if you adjust the fader (to fine tune the mix, or
perhaps automate a fade in or out) the RELATIVE level of the reverb stays the same. On the other
hand, if the send it pre-fader, the absolute level of the reverb stays the same (so if you turn the
fader all the way down, youll still hear some reverb, and if you turn the fader all the way up, youll
hear less reverb relative to the original sound).
-Kim.
2007/07/17 - How to push sounds to the background

To push sounds further into the background, you dont need any magic plugins, just an
understanding of psychoacoustics:
1) Less bass. Much less bass. Natural sounds that are far away will have very little bass and low
mids (unless theyre truly huge sounds in movies), because lower frequencies require much more
power to travel. The reverse of this is the proximity effect where sounds very close to your ear
(whispering I hope!) or very close to the microphone tend to have much stronger lower
frequencies. To roll off the bass, try a low-strength (1-pole or similar) high pass filter. Start low and
shift it up until you no longer feel the sound.
2) Less treble. Less sparkle, less definition. Natural sounds that are far away will have reduced
higher frequencies due to absorption by air and other materials. Distant sounds also have much
less definition and clarity. Often a low-strength (1-pole of similar) low pass filter (with no
resonance!) will work well.
3) Reverb, modulation. As above, distant sounds tend to have much less definition and clarity. You
should do whatevers appropriate in the mix to unfocus the sound. Sometimes more reverb will
do it. Often a very short reverb will work best. It doesnt have to be a strict room just something
to diffuse the sound. Sometimes chorus or even subtle phaser will work better. It depends on the
mix youre trying to reduce the clarity of the sound.
14
2007/07/17 - How to push sounds to the background
4) Collapse to mono. Distant sounds do not wrap around the listeners head. Theyre often not
wide (unless theyre truely huge sounds in movies). Sometimes a full mono collapse isnt
appropriate though it depends on the sound. You might want to retain a little width in
atmospheric sounds (like pads). Sometimes leaving a little width will improve the diffusion in the
sound (when a full mono collapse might make it more focussed).
5) Pan centre. This works for two reasons. Firstly, sounds that are panned to the side tend to
creep up closer to the listener. Imagine the soundstage in front of you as a semicircle the
sounds on the side can (all things being equal) actually get closer to the front than the sounds in
the center. Also, panning centre will hide the background sounds behind other foreground typically
also panned centre (such as lead vocal and snare, depending on your genre). This will make it
mroe difficult for the listener to focus on the background.
6) Compose it in the background. To support the above, you should actually compose the parts as
background parts. Again, this means understanding the application of psychoacoustics to
composition.
As listeners, we tend to focus on sounds that are:
- louder
- higher pitched
- moving quickly
- not repeating in short cycles (EDM- Im looking at you!)
- phrased (ie. not constant)
Likewise, background parts will be the opposite:
- quieter
- lower pitched
- moving slowly
- repeating patterns
- unphrased
Likewise, background is only ever a relative measure. If your background part isnt getting far
enough in the background, it could be that you dont have anything far enough in the foreground.
Just like everything else in music if everything is background, nothing is background.
Of course, this is all fundamental composition technique. Believe it or not, we all can learn from
the classics!
-Kim.
2007/07/19 - Getting synths to fit together / Mixing Synths

Without getting too deep into ergonomics and workflow, often synth parts from the same synth
(and sometimes different synths from the same company/designer) will make it easy to design
sounds that blend well together. This is not only because they might share the same oscillators or
filters, but also because the user interface encourages a similar approach to sound design.
On the flip side, synths with different user interfaces may encourage a different approach to sound
design. Of course its not just the interface, other factors may include different oscillator and filter
algorithms, as well as different envelope curves, keyboard/velocity scaling, portamento curves, etc.
If you dont have a precise idea of the sound you want to design before you design it, youll find
yourself more influenced by the affordances of the instrument. In other words, if you think I think
15
2007/07/19 - Getting synths to fit together / Mixing Synths
a snappy bass might work here, youll go with what the instrument guides you to the type of
sound that the instrument makes easy to design, and the type of sound that sounds good quickly
on that instrument (not sure if that makes much sense let me know if you want a better
explanation). On the other hand, if youre very clear about the exact sound you want (ie, you can
hear it in your head) AND you know your instruments well enough to know how to get it, then
youll fight harder to get what you want, but the end result will work better in a diverse mix.
If youre working on a project with several different instruments and youre finding a part isnt
quite blending with the rest, try this:
1) Pull the parts volume right down to silence. Dont use the mute button actually pull down the
channel fader.
2) Listen to your mix without the part, and IMAGINE the part. This is sound design, so dont just
imagine the notes or the type of sound (composition stuff Im assuming here youve already got
that sorted). Really imagine how it sounds in the mix frequency spectrum balance, dynamic
range, depth, height (seriously!), interaction with other instruments, etc. This isnt easy, and youll
need to practise in order to get good at it.
3) SLOWLY raise the channel fader of the offending part. Stop as soon as it sounds wrong (or, you
can hear the wrongness). Mentally compare the sound youre hearing with the sound youre
expecting. Try to pinpoint exactly what is wrong with the sound, and what changes need to be
made. Sometimes its just one aspect of the sound, often its a combination (which is why its
difficult to get the sound to sit in the mix if you dont know exactly what youre aiming for).
4) Fix the sound. This is where it really pays to know your tools. Sometimes its adjusting the synth
parameters. Sometimes its different eq, compression or other effects. If the sound is very wrong
and youve used a lot of channel effects (such as eq and compression), remove them. Clear the
channel and start again.
If you still cant get it to work, you might need to go back to the composition. What are you trying
to achieve with that part? Perhaps the rhythm isnt working well against the other parts. Perhaps
you need to transpose the part up or down by an octave (or less than an octave!). Maybe your
imagination has failed you and the music actually needs a different type of sound, a different
instrument.
Sometimes the music is simply better off without that part. Dont try to shoe-horn in a sound just
because you think its cool every part in the music has to support the music. Ask yourself what
is the music trying to do here? How is this part supporting it? These are difficult questions to ask,
and even more difficult to answer. With practice youll get better at it, and your music will thank
you for it.
-Kim.
2007/10/22 - EQing reverb

Many reverbs have some onboard EQ. Depending on your host, you may also be able to insert a
separate EQ plugin before or after the reverb.
Generally, you can think about EQing reverb as three bands:
Lows: Reduce or cut the lows to cut down on mud and boom. Getting surgical here can
sometimes really help clean up a mix. Increase the lows for special effects running a kick drum
16
2007/10/22 - EQing reverb
through a low-heavy reverb will give you a tasty huge BOOOOOM!!!

Mids: Reducing (dipping) the mids of a reverb signal can thin it out, sometimes helping it fit in the
mix. It can also help give you a very hi-fi sound. Boosting the mids (relatively) can increase
thickness and body.
Highs: Reducing the highs can go a long way to cleaning up annoying sillibance in vocals (s and
t) if the reverb is catching too much of it (also think about using a de-esser on the vocal channel
itself too). Reducing or cutting the highs can also make the reverb become less noticeable overall,
which may sometimes help it sit in the mix better. Boosting the highs can work well when you
want to emphasize the the reverb (make it noticeable) without muddying the mix.
Youll notice that Ive used terms like sit better in the mix. This is an artistic judgment you have
to make (if you cut everything to make the reverb sit best in the mix, you wont have anything
left!), and youll have to make it in the context of the mix.
Youll also notice that Ive given advice for reducing AND boosting different frequency areas.
Theres no simple advice like Doing X will always improve your mix (even the famous 500Hz
dip!). Techniques will have certain audible results, but you have to decide if those results are
appropriate for your mix, for your music.
-Kim.
2007/11/29 - Mixing with 2-bus processing

Mixing with 2-bus processing for
As you already mentioned, mixing with bus processing allows you to work towards your final
sound in one go. This is particularly useful when 2-bus processing is used for more than
mastering (preparing a mix for a distribution format/medium). The best-known example is
pumping compression. Its not so easy to put together a mix where pumping 2-bus compression is
a feature element if youre not actually hearing it when youre mixing!
On the more extreme end, other processing tools are appropriate for inserting on the 2-bus while
mixing. Personally, Ive used things like buffer stutter effects, stereo width manipulation, filters,
and even distortion. Mind you, these (even the stereo width manipulation) were not for mastering
they were effects. They were usually automated, and only enabled for specific sections of a
song.
On the more subtle end, Ive heard of mix engineers mixing into a 2-bus compressor. Not
necessarily to get an obvious pumping effect, but to gel the mix together. Apparently doing this
allows the mixer to get away with using less channel compression.
Mixing with 2-bus processing against

One of the important reason not to mix into a 2-bus compressor is that it can be easy to start
chasing your tail in circles. It can make mixing difficult because adjusting one instrument can
radically change the behaviour of the other instruments. In the simplest case, turning an
instrument up will subsequently cause other instruments to drop in level when that instrument is
playing. If youre not watching for it, you might later try to turn those other instruments up and
wonder why the rest of the mix is dramatically rearranging itself with your every move. It can also
17
make it difficult to compensate for (or keep) complex relationships between instruments.
Another trap is using 2-bus processing to compensate for mix problems, when a more appropriate
tool would be processing on individual channels. The obvious example is EQ. If theres not enough
bass (for example) in your mix, you might adjust the EQ on the 2-bus as a shortcut to adjusting
the kick and bassline individually. By taking the shortcut, youre adjusting the frequency spectrum
of the kick and bassline in the same way, by the same amount (when it might be better to make
more tailored adjustments). Youd also be boosting the bass of every other instrument in the mix.
Unintended consequences may apprear later, and youll be scratching your head.
Yet another trap is that 2-bus processing can be confusing. Again with the EQ example if youve
boosted the bass, you might be working on a background part and be wondering why the
frequency balance is skewed, when you might not have any EQ (or even different EQ) on the
channel itself. With 2-bus compression, instruments will sound different when solod to when
theyre in the mix sometimes radically so.
The other issue is the confusion between 2-bus processing and mastering. As Ive mentioned
before, 2-bus processing is what happens when you insert plugins on the stereo pair that goes out
to your speakers. Mastering is what happens when you prepare a stereo mixdown for a distribution
format or medium. If youre inexperienced, it can be easy to try to do both at once, when they
really are completely different tasks (that happen to use similar tools). In short mixing is the
process of making the individual tracks work well together, and mastering is the process of making
the overall sound work well in context (often next to other songs). By using mastering tools like
EQ or compression on the 2-bus while mixing, it can be easy to fall into the trap of making
mastering adjustments before the mix is finished. Of course, these mastering adjustments are
undermined when you go back and change a mix element, which means you have to go back and
change the mastering adjustments, and so on and so on.
Mixing without 2-bus processing for

This is the traditional approach. Without 2-bus processing, the mix is much more controllable,
and allows much more precision in making mix decisions. You hear the individual tracks as they
are. The EQ and compression settings on each track actually reflect what you hear. Adjusting the
levels or EQ of a single instrument doesnt magically adjust the levels or EQ of other instruments.
You dont have to worry about mastering taking your focus away from getting a good mix. You can
master when the mix is done without worry about later mix decisions messing up your mastering
adjustments. Soloing instruments is a good way to zoom in on a sound, while still having the
confidence that the sound wont change when the other instruments are brought in.
Mixing without 2-bus processing against

Of course, the downside to mixing without 2-bus processing is that you cant hear the effect of any
processing you might be planning to use. As I wrote earlier, this is particularly important where 2bus processing (such as pumping compression) is a significant part of the character of the overall
sound. Unless youre quite experienced, it can be difficult to balance the instruments to hit the
compressor in just the right way. Its even more difficult if you cant even hear the compression
because its not plugged in! Regarding EQ, sometimes drastic EQ adjustments in mastering can
reveal unintended sound elements. Mixing without such eq, it can be difficult to predict what
mastering might bring out (or suppress). Arguably though, this can be mitigated somewhat by
targeting your mix to be close to your target frequency spectrum. Close enough only dont get
18
surgical leave that for mastering!
What I do
As a general rule, I mix without any EQ or compression on the 2-bus. Pumping 2-bus compression
is not something Im particularly fond of (for my own work). I prefer dense multilayered
productions, which end up with very subtle and precarious balances between instruments. Mixing
into a compressor would make this almost impossible for me. Similarly, with EQ I try to mix as
close to the final spectral balance as I can in the first place without resorting to global EQ. EQ fine
tuning is done during mastering, and I very rarely need to make an adjustment greater than +/6dB.
On the other hand, I dont shy away from using 2-bus processing for special effects. Ive used
filters, stereo width manipulation, buffer stutter effects, even distortion and bitcrushing. These are
special though, and usually only engaged for specific sections of a song. Theyre usually
automated too, for extra fun.
-Kim.
2008/05/31 - Mastering: How much should I limit?

Mastering is a process of preparing a mixdown for distribution. Often people focus on signal
processing (such as EQ and compression), but its important to remember that it also includes
setting times between songs (for mastering albums or EPs), fades (usually fadeouts), and (in this
day and age) encoding to a lossy format such as MP3 or AAC.
First, do no harm.
Youre asking about dynamics, so Ill focus on that here.
In preparing a mixdown for distribution, you should consider dynamic range and overall level.
Theyre not the same thing: Dynamic range is the difference between the loudest parts and the
softest parts. Overall level is (in digital) the distance below 0dBfs.
If youre targeting digital distribution, then youre probably expecting your music to be added to a
listeners library (such as iTunes) and played alongside other music. If you want your music to be
perceived as normal or professional, then youll need your music to sound as similar as possible
to the other music your listener has in his/her library.
To best achieve this, you should select two or three other songs that you think represent a similar
genre to your music. The more similar (in genre, instrumentation, and overall sound), the better.
The more well-known, the better. This is your reference.
You should find a way to be able to switch quickly between the references and your mixdown.
Personally, I do this by starting a new project in my DAW and loading my mixdown and my
references each on their own track. By working with SOLO mode on, I can switch between tracks
as fast as I can press the up or down keys to switch to the current track.
Resist the temptation to immediately slap a limiter or mastering toolbox on your mixdown and turn
it up to match the references. Instead, turn the references down to match your mixdown . Dont
use meters use your ears. Make a note of how much you turn them down.
19
Lets pretend for now that you have two reference tracks, and you turned them down by the same
amount: 18dB.
Now you have your mixdown playing at the same overall loudness as the reference tracks. First
listen to the dynamic range of your mixdown compared to the references. Are the quiet sections
too quiet? Are there any loud bursts (not transients but whole notes or sections) that are too
loud? If so, you might find a compressor useful. Use it to subtly reduce the dynamic range of your
mixdown. Dont use it for colour, or to adjust transients. Typically Ill start with a fast attack,
medium-long release, low ratio and medium-deep threshold. If your compressor has an RMS (or
similar) sensing mode, use it. It might take quite a bit of fiddling to get this right. Remember to
bypass te compressor regularly to make sure youre doing no harm. Also remember to keep the
overall level of the mixdown the same. Resist the temptation to push it all louder at this stage.
Typically you wont have to do much to adjust the dynamic range of your mixdown.
Once youve got the dynamic range right, its time to look at overall level the distance below
0dBfs. Right now your mixdown is the same loudness as your references. However, the peaks on
your references are at -18dB (thats how much you turned them down), and your mixdown might
be peaking around -9dB or higher. This is where the limiter comes in.
What you need to do is bring the peak level of your mixdown to -18dBfs without changing the
loudness as you hear it.
Adjusting the peak/average level ratio this way will make it easier for you to hear when you are
doing damage to your audio. The typical method of pushing up the level of the mix makes it
difficult because youre changing two things at once the peak/average ratio and the overall
level as you hear it. Not only does this complicate the hearing process, but it also makes it easy to
ignore audio damage because the more damage you do, the louder it gets (and as you know,
humans tend to perceive louder music as better).
Unfortunately, most limiter plugins are configured for the above behaviour, sporting an easy-toabuse input level control. To get around this, you should insert two gain plugins, so your chain
looks a little like this:
gain1->limiter->gain2
Set the limiter to limit at 0dBfs. When you switch it on, you should hear no effect. Then slowly
increase the level of the first gain and simultaneously reduce the level of the second gain by the
same amount[1]. Do this 1dB at a time, and listen carefully to what youre doing to your sound.
If you get down to -18dB (or whatever your references are at) without reducing the overall level of
your mixdown as you hear it and without doing too much audible damage to your sound, then
WELL DONE! YOU WIN THE GAME! Turn your speakers down, remove the second gain plugin, and
render it!
If you couldnt get down to the level of your references, you need to adjust the settings on your
limiter, or use different tools. Unfortunately I cant give much advice here, as it depends entirely
on the kind of damage the limiter is doing to your sound, and what kind of damage youre willing
to tolerate. Sometimes you might need to reduce the bass with EQ (why its important to match
the spectral/EQ response to your references before you try to match the dynamics). Sometimes
you need to add some more aggressive clipping to retain the overall level as your reduce the peaks
(particularly if your reference are as loud as commercial pop). Sometimes you might need to use a
compressor beforehand to bring a spiking element into line (such as the kick drum in my track
Horse Head). Ive heard of some people using a series of several compressors or limiters, each
reducing a small amount (personally I havent needed to try it, it sounds far too complicated to
control effectively).
20
If youve done well, you should have your mixdown at the same overall level as your references
(as it has always been), but also with the peaks at the same level as well (-18dB in this example).
When youre happy turn your speakers down, remove the second gain plugin (which will pop your
mixdown up to 0dBfs), and render it!
-Kim.
[1]Unnecessary technical note: What this effectively does is move the 0dB point inside the limiter
plugin! This is a cool trick to do with any other dynamically-sensitive plugin, such as compressors
or distortion! Blue Cats free gain plugins can be linked in reverse, allowing this kind of two-way
gain adjustment to be done quite easily.
2008/06/27 - Sense of space in Sunlight

VitaminD sent me a PM asking me about the sense of space in the song Sunlight, stating that I
didnt write much about spatial or panning tricks in the production diary.
I thought Id write my response publicly here because there might be a few others here who are
interested.
I didnt really use any special tools or tricks to achieve the sense of space.
Layers:
No magic here just an understanding of foreground and background. I make sure the lead vocal,
snare, kick and bass are in the foreground. Everything else goes in the background. This ensures
there is a noticeable distance between the closest elements and most distant elements. Obviously
this contributes a great deal to the sense of space in a mix.
I also made sure that the foreground elements are all quite thick and full, and all the background
elements are actually quite thin. This ensures that the background elements do not obscure each
other (at least, not more than I intend), and they dont get in the way of the foreground.
Panning/spatial:
Again, no magic here. Just old-fashioned panning. Foreground elements are in the centre,
background elements are more spread. If I remember correctly, I only used one mix reverb CSR
Hall - and even then its not used much. The front-to-back distance that I wrote of above allows
me to create a sense of depth without drowning the mix in reverb.
Explosion at 2:16:
The widening you hear is just an automated mid/side balance adjustment on the 2-bus. Its made
more dramatic because in the preceding section I (sneakily) slowly collapse the mix to mono.
Compositionally, I do a few other things to dramatise the explosion. I take out the drums directly
after the explosion, removing the listeners main rhythmic reference. This give a sudden floating
(or even flying) sensation, as the vocal continues forward but the feet are gone. In the
preceding section, I also obscure the vocal (with DSP), creating in the listener a sense of
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2008/06/27 - Sense of space in Sunlight
incompleteness and expectation fulfilled when the unobscured vocal is revealed again. Just
before the explosion, the background instruments also go into a very short repeated loop, almost
to the point of stopping altogether (notice the absence of the usual elongated chord/harmony
progression at 2:08 ). This has an effect of reducing the scope of the listeners memory, as each
logical chunk is much smaller. When the explosion hits, its almost as if the very fabric of the
music is suddenly huge.
Back wall reflection:

In the chorus there is a delayed, reverbed copy of the first few lines of the vocal. Again, nothing
spectacular. Its really there to exaggerate the front-to-back depth during the chorus. I only
applied it during the chorus because this sort of thing loses its effect if its audible throughout the
whole song. Doing this also emphasises the difference in depth between the verses and the
choruses.
So, no magic!
-Kim.
2008/07/04 - Balancing kick and bass

A kick drum can be loose, tight, deep, percussive, hollow, tubby, thick, light, etc. Do you want it to
hit you in the stomach? The chest? The face?
Likewise, a bass could be rough, smooth, deep, throaty, thick, etc. Bass often also has the
potential for emphasising the higher-register sound of upper overtones. A bass could be as deep
as the stomach (or even lower!), or high enough to be a low-register melodic counterpoint to the
melody.
Of course, these are just examples. Kicks and basses can be anything you imagine.
My point is that you need to make a decision about what youre trying to do with the kick and the
bass. They should not only complement each other, but also be appropriate for the production
values of the song.
For example, if you want both the kick and the bass to be equally thick and low, the effect will be
muddy and confusing if theyre playing at the same time just as if a guitar solo and lead vocal
were to sound similar to each other and be playing at the same time. No matter how you EQ or
compress, you will be fighting every step of the way.
The choices you make will determine the kind of processing you need to do.
Personally, I usually take one of two approaches. I might want a deep strong bass, in which case
Ill make the kick weaker and more percussive. Other times I might want a higher, more melodic
bass, which allows me to make the kick lower and longer. If I want a strong kick, I need to make
the bass higher and/or weaker.
Which approach I choose for a song depends on what Im trying to do with the song as a whole.
For example, if the song has a strong rhythmic element or has a lot of other melodic instruments
(such as guitars or keyboards) Ill usually emphasise the kick and push the bass back a bit.
Alternatively, if the song is more sparse I might need the bass to provide much of the harmonic
support, so the bass becomes high(er) and stronger, and the kick is lower and more subdued. If I
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2008/07/04 - Balancing kick and bass
want a heavier sound, I might want the bass to be quite low and deep, and emphasise the
percussive nature of the kick (shorter and sharper).
-Kim.
2008/10/28 - High-end gear

I just want to say something about high-end gear. Ill try to keep it short.
Of course theres a difference between high-end gear and low-budget gear. Of course music made
with high-end gear generally sounds better than music made with low-end gear. There is an
undeniable correlation.
However, do not make the mistake of assuming correlation implies causality.
That means just because good-sounding music is made with high-end gear, it doesnt mean
high-end gear makes the music sound good.
High-end gear only makes music sound good because the engineers choose and operate the highend gear. Top engineers choose high-end gear because it helps them get the sound they want.
Theres a point that Im making in framing that statement its the engineer that gets the sound,
and they get it by using the gear. The sound comes from the engineer, not from the gear.
Maybe itd help if I put a slightly different perspective on this. Consider freeware plugins versus
expensive payware. Theres no doubt that someone could mix some professional-quality (whatever
that means) music using nothing but freeware. So why pay for any plugins at all? Try flipping the
question - Why limit yourself to freeware?
We choose gear not only on the sound it makes, but on other factors too. Ease of use, precision
(and limitations) in controls, design and layout, compatibility, reliability, support and other factors.
When youre dabbling in a home studio, some of these factors are unimportant. We expect that if
we use freeware we dont have much choice in support or ease of use. If your time is cheap,
youre having fun, and youre learning, you dont mind much if it takes you ten seconds or two
minutes to get the right EQ curve. You dont mind much if you upgrade your DAW (or switch
between Mac and PC) and have to go searching for new plugins because your old ones arent
compatible anymore. You dont see much difference between your comrpessor having fifteen
knobs with ridiculous ranges (and millions of settings that sound bad), or five of the right knobs
and a carefully-tuned set of algorithms that almost never sound bad.
Im not saying these factors go unnoticed, but that if youre starting out theyre not important. On
the other hand, if youre charging by the hour, these factors are critical. They are make-or-break. A
professional mix engineer could do a mix in your studio with your freeware plugins and still turn
out a decent mix, but itd take much longer, be much more painful, and would not be as close to
the creative direction.
Another example: My first real microphone was an SM57. Id recommend it to anyone as a first
mic. Its also in every recording studio too. Trent Reznor recorded the louder vocals on The Fragile
using an SM57. Bjorks Vespertine was recorded using an SM58 in a hotel room. Sometimes,
however, low-end gear is not the right tool for the job. I bought an LDC mic when I realised I
needed more top-end clarity on my vocals than the 57 was giving me. Likewise, most studios have
a mic cupboard with mics ranging from under a hundred dollars to several thousands of dollars.
In the light of those two examples, I hope the following makes sense:
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2008/10/28 - High-end gear
High-end gear in studios is not about high-end for its own sake. Its about not being
limited to low-end gear. Its about being able to choose the gear that helps YOU get
YOUR sound.
of course, you need to be intimately familiar with YOUR sound, and how you want to get there
(which is much harder than it sounds). If youre not, theres no difference between high-end gear
and freeware. You still suck.
One final analogy: A master concert pianist will choose an expensive grand piano to practice on,
because the pianist can take advantage of the nuance and expression available on such an
instrument. For the pianist, there is a world of difference between the right grand piano and a
crappy school upright. The pianist lives entirely in a world where controlling the tiny nuances is the
very thing that makes her a master concert pianist.
A beginner, of course, will sound like a beginner no matter what piano he plays.
-Kim.
2008/11/19 - Thoughts about coherent drum kits

The solution is equal parts creative direction and technical skill.
In other words, this is like most issues in the home studio[1] you need to know what you want
AND know how to get it.
On order to create a coherent kit, you need to know what a coherent kit sounds like. As an
engineer, this needs to be much more than simply Ill know it when I hear it. You need to
specifically define what you want. This actually goes beyond coherence its about your vision for
the drum kit including what it will contribute to the mix and support the song.
As youve probably noticed, good sounds and right sounds are not always the same. Simply
collecting a snare, kick, hats and crash that all sound good on their own doesnt necessarily
mean theyll work well together and it doesnt mean theyll be the right choice to support the
song. Dont worry about finding good sounds and instead focus on getting the right sounds.
But how do you know what the right sounds are? This is where creative direction comes in. This
is where you imagine the sounds (often literally hearing them in your head) before they come out
of your speakers. If you do this, youll find that coherence is not really a problem at all.
In fact, coherence might be a red herring. When we talk about coherence we often take it to mean
several sounds having similar characteristics. In the context of a drum kit, this might mean that all
the drum kit elements are short and spiky, or thick and heavy, or dull and visceral, or large and
fragile, etc. In fact, contrast in drum kits can also be very effective. A low long kick can be coupled
with a short stark snare (eg. Massive Attacks Teardrop). A 808 kick could be coupled with an
acoustic snare (eg. Saul Williams DNA, or 2 Pie Island & Flues Little Things). An electronic kit and
an acoustic kit could both be used in the same song in different sections (eg. Marilyn Masons This
Is The New Shit).
Initial choice of samples (or other sound sources) is just as important as appropriate processing.
Choice of samples is particularly important and this is where your 10GB of drum samples may be
mroe a hinderance than a help. Do you really want to audition a gigabyte of kick drums every time
you start a song? Likewise for snares, hats, crash cymbals, etc. Youll probably find that restricting
yourself to ten or twenty good samples will actually help you improve your productivity. Dont
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2008/11/19 - Thoughts about coherent drum kits
hoard samples just in case you need one that happens to be the perfect sample. There is no
perfect sample. A sound is perfect because its the right sound for the mix, for the song. A sound
cant be perfect for the song before the song exists! Instead focus on choosing a sound thats most
suitable from a collection. Be satisfied with the sound being about 50%-80% of the sound you
have in your head. Bring it into your project and bring it the final 20%-50% using processing
(which may also include pitch and length adjustment). Of course, this only works if you already
have a sound in your head to begin with (this is creative direction!). If you dont have this, then no
amount of samples or processing will help you because you dont know what you want.
-Kim.
[1] Traditionally, the producer and engineer are two different people. The producer provides the
creative direction and the engineer implements it. For example the producer might say the drum
kit needs to be more snappy and the engineer would do that using whatever tools are available. It
would be just as out of place for the producer to start talking about compression ratios as it would
be for the engineer to start coaching the band. In the home studio, the artist is composer,
performer, producer and engineer (plus many other roles too!)
2008/12/21 - Compressor attack and release times

Ive put together this quick demo.
Heres what to listen for:
Fast attack, medium release

Pay attention to how the fast attack immediately clamps down on the drum transient (the initial
spike). Note how the impact of the drum sounds much softer as a result. This makes the drum
sound squashed.
Medium attack, medium release

Notice how with a slower attack time, some of the transients are let through by the compressor
before the gain reduction begins. As a result, the very start of the drum is significantly louder than
the body or tail. This makes the drum sound snappy.
Slow attack, medium release

Compare the length of the drum transient between a medium attack time and slow attack time.
Notice how the clamping down action is slower, letting more of the transient through. As a result,
the transient is more solid, and has more body.
Medium attack, fast release

Notice how, compared to the previous examples, the tail rises up much faster than before.
Because the gain reduction returns to unity about halfway through the beat, the last part of the
tail decays naturally. This produces a swelling sound, in contrast to the sucking/reversed sound of
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2008/12/21 - Compressor attack and release times
a medium release.
Medium attack, slow release

Here the gain reduction is not given a chance to return to unity before the next hit. What youre
hearing is only the first half of the release envelope. Notice how the effect is not so dramatic. This
is also because the compressor is already reducing gain when the next transient arrives meaning
there is less room for the compressor to further reduce gain (as compared to the gain reduction
being at unity just before the transient arrives). A slower release can be useful when you want to
keep the dynamics controlled but in a more natural (and less dramatic) way.
Each example was processed by one instance of a notorious free compressor with no parameter
readout so dont ask me for the numbers, I dont know what they are. I tuned the compressor
by ear, and so should you!
-Kim.
2009/01/01 - Using chorus, phaser or stereo imager

Chorus
Choruses create a doubled sound by adding a delayed copy of the sound. The delay time is very
short (usually less than 40ms) so it blends with the original sound (and doesnt sound like two
different sounds). Flangers are a special case of chorus effects where the delay time is usually less
than 15ms. To add movement and interest, the delay time is slowly changed. This also changes
the pitch of the delayed sound, which helps make the sound richer. More sophisticated chorus
effects add multiple delayed copies (also called voices) for an ever richer and smoother sound.
The downside is that the sound becomes more diffuse and washed out. It can also blur the sense
of pitch in the sound.
Use chorus to widen the stereo image when you want the sound bigger and more diffuse. Dont
use chorus when you want to keep the sound focussed and direct.
Phaser
Phasers usually operate by a complex method of using allpass filters to cause phase shifting. You
dont need to understand exactly how it works just the sound. Phasers add movement by
modifying the frequency spectrum, and changing it over time. You might think of it as a complex
EQ that keeps shifting and changing.
Use a phaser to widen the stereo image when you want to sound to stay focussed and direct.
Dont use a phaser if you dont want to change the tone of the sound.
Stereo Imager
This is a broad term that has been used to refer to several different techniques. Some tools widen
a mono sound by delaying one side (left or right). I recommend against this technique because it
causes the audio to sound like its originating from one side (even though theres equal energy on
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2009/01/01 - Using chorus, phaser or stereo imager
both sides) and the tone of the sound will drastically change if your mix is collapsed to mono (or if
you do any further stereo width adjustment further down the track, such as that in mastering).
Some other tools adjust the stereo image by using mid/side encoding to separate the centre
audio from the side audio (which represents the stereo width). They then enhance the side audio
which widens the stereo image. Basic tools do this by simply raising the volume of the side audio.
More sophisticated tools use EQ to let you control the stereo width at different frequency areas.
The advantage of this approach is that it can sound very natural if the original audio is already
stereo.
Use these tools when you have a sound thats already stereo (such as a stereo recording of an
instrument or a complete mixdown) that you want to widen with a natural sound. Dont use these
tools if your original audio is mono (including mono which has been processed by stereo effects).
-Kim.
2009/03/11 - How to achieve best results when mixing down

to a stereo pair for mastering
A few thoughts on how to achieve best results when mixing
Obviously, being a blog post (and not an essay!), I dont have the scope here to go into massive
detail. I can, however, take a more reflective approach
The way I see mixing, a mix engineers job is in two parts: Knowing the tools, and using the tools.
Know thy weapon

Like any craftsperson, the mix engineer has several tools available. At a basic level almost all
mixing involves adjusting the tone and dynamics of several audio tracks. Usually tone is adjusted
using EQ and dynamics are adjusted using the channel fader and compression. Delving deeper,
there are many variants of each and even hybrid processors that change both tone and dynamics
simultaneously.
Different EQs are designed with different focusses and trade-offs. As such, different EQs sound
different. Sometimes this is because the internal design is very unique two EQs might sound
differently even with the same front-panel settings. Sometimes, however, it is the front-panel
design itself that makes the EQ sound different. The number of bands, knob ranges and discrete
settings vs continuous settings will make you, the mix engineer, think differently when youre
using it. For example, you might be dealing with a voice recording that is too muddy. Listening to
it, you might decide to reduce the energy in the lower mids and boost the top. The exact
frequencies you use and the amount of boost will depend on the design of the EQ youre using.
Even the number of EQ bands you use might vary from EQ to EQ. To see this for yourself, try
EQing a sound with a particular EQ, then take it out of the chain and use a different EQ with a
different design. Its likely youll find that, knob settings aside, youll come up with a (slightly)
different sound. Your mind is working differently. Its taking a slightly different problem-solving
approach, dependant on the capabilities, limitations and suggestions of the tool in front of you.
The same applies to compressors and other dynamics processors. The internal design affects
attack and release curves, program-dependancy and other ways in which the device responds to
the sound and the sound responds to the device. The front-panel design also affects the way you,
the mix engineer, thinks about how to apply compression. Do you have the full compliment of
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2009/03/11 - How to achieve best results when mixing down to a stereo pair for mastering
knobs (attack, release, threshold, ratio, makeup)? Are there additional knobs (eg. knee, detection
mode, etc)? What about the relative size of the knobs? You might configure the compressor one
way if all the knobs are the same size and lined up neatly, or another way if the threshold and
ratio knobs are large and the attack and release knobs are small.
Hybrid processors can come in many flavours. At one end of the spectrum there are EQ processors
that apply some small amount of saturation (which compresses the sound somewhat). At the other
end of the spectrum there are compressors that apply some tonal shift in addition to gain
reduction. In between is a strange world inhabited by dedicated saturators, dynamic EQs,
multiband compressors, harmonic exciters, and more extreme tools like amp simulators and filters.
These tools are even more diverse than regular EQs and compressors, and as such the decisions
that went into their design play an even bigger part on how they interact with the audio, and how
you interact with them.
For better or worse

Hopefully it should be pretty clear from the above that theres no single best tool in each
category. Of course different tools will respond differently depending on the audio youre working
with. Your choice of tool also depends greatly on YOU does the tool help you get the sound you
want? Regardless of what others say, do you find yourself fighting with it to get results? More
control (ie, more knobs or faders) doesnt always translate to better control. Conversely, theres no
point using a tool with limited controls if you cant get a sound you like. Your choice of tools may
very well be different to someone elses even if they work with similar music to you.
Thoughts about using the tools will have to come another time ;-)
-Kim.
2009/03/11 - Saturation, compression and reverb

Following on from the previous post, here are some tools I use:
Saturation
Voxengo Voxformer Great for adding hair to a sound. Its a very dry scratchy sound, so too
much can sometimes make a sound pretty gross, but just a little bit often is enough to add some
life and colour to a boring clean sound.
Magix Am-phibia A lovely thick solid sound, especially with the two adjustment controls under
the advanced panel. Coupled with a VERY gentle compressor and some VERY interesting EQ and
exciter options, this is simply a great tool for locking down a sound.
Magix Am-track The tape saturation module here is great for smoothing out a sound. I tend to
use it more like a coloured limiter that behaves in interesting ways when pushed hard.
Occasionally Ill overdrive other plugins (such as Stilwell Oligarc or Audio Damage Dr Device and
Rough Rider) for a saturation effect, but this is on more of a most songs basis, rather than most
tracks.
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2009/03/11 - Saturation, compression and reverb
Compression
Magix Am-track This is my primary compressor. The modern mode is great for basic dynamics
control. It does exactly what its told to, with the exception that it never sounds nasty. I dont
know how they did it, but somehow it never sounds nasty even at extreme settings. Sometimes
itll sound inappropriate, but never nasty. The vintage mode is particularly good for adding some
vibe to drums and percussion it tends to shape the envelope more than control dynamics.
Audio Damage Rough Rider For when I need something extreme, this is what I reach for. It
pumps and breathes easier than almost anything else Ive tried. While Am-track never sounds
nasty, Rough Rider almost never sounds nice. It doesnt even have a neutral default setting the
plugin starts smashing the audio as soon as its plugged in. The top-end roll off is good too, it
often makes the audio sound more solid and compact. When Im applying this kind of
compression, a little colouring doesnt really bother me. If its too much, Ill usually boost the top
end going into the compressor. While the frequency response is flatter that way, its still far from
neutral and the built-in clipper does interesting things to the boosted top end before its rolled off
Occasionally Ill use other compressors, such as those Voxengo Voxformer (for convenience) and
Magix Am-phibia (for something special).
Reverb
IK Multimedia CSR What can I say? I love it. Feels just like it should. The hall and plate are my
favourite at the moment. Ive got several of my own custom presets that I use about 90% of the
time (often tweaked slightly for the song). If Im doing something more conventional (such as Erin
Shays A Day Too Long), Ill start with one of the factory presets and adjust it for the song. At the
moment Im rolling all the sibilance off the top, creating a darker sound that sits easily in the
background without drawing too much attention to it.
-Kim.
2009/03/15 - On stereo widening

I have some thoughts on stereo widening.
There are several different processes that are commonly described as stereo widening. These
include mid/side rebalancing, haas-length (less than 30ms) ping pong delays, and even inverting
the polarity of one side.
Without going into too much detail, I consider these processes to be useful mainly as special
effects. Of all stereo widening processes, mid/side rebalancing is the most natural-sounding (and
mono-compatible). Even still, there should hardly be any need to use it. Pan and stereo width is
one of the least-effective tools in composition and production. This is because most people dont
actually listen in stereo! Ive lost count of the number of houses Ive seen where two stereo
speakers are actually pointing in different directions, or the number times I see people listening to
only one earbud from their iPod (most commonly when introducing people to new music!).
Stereo widening also shouldnt be necessary to separate sounds in the mix. Effective front-back
depth can be achieved when mixing using the regular tools for adjusting tone (EQ), dynamics
(compression) and ambience (reverb). If youre composing, front-back depth can also be achieved
by manipulating register, motion and familiarity. Ive written more about this here.
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2009/03/15 - On stereo widening
Using stereo wideners instead of panning is similar to using harmonic enhancers instead of EQ.
Who is your target audience?
-Kim.
2009/04/16 - How do you process your bass?

Its a funny question, that.
The first response that comes to my mind is: Use your ears and figure it out yourself!. Yeah. Ha
ha. Like Im going to reach through the Internet and magically train your ears for you.
But then I realise that people have all these astonishing tools available to them in software form
(EQs, compressors, saturators, exciters, enhancers, various filters and modulation effects). And
they all come in different flavours. And combinations. And each vendor is spruking their own brand
of magic mojo. And everyone on the internet is talking about side-chained compression. And
Mid/Side processing. And multiband compression. And layering sine waves. I guess it can be a bit
daunting if you dont really know how to navigate this mess.
And in many modern music styles, bass is pretty important.
But theres still the problem of context. How you process your bass depends entirely on what it
sounds like raw, and what you want it to sound like. Processing is just a way to get from one
sound to another. Giving you my personal settings wont work for you because your raw sound
isnt my raw sound, and my desired sound isnt your desired sound (were working in different
styles of music, with different mixes and different creative directions). Add to that the fact that
were using different toolsets, in different studios.
So perhaps my arrogance is actually a way of avoiding the root problem: You want help, but I
cant hold your hand.
Maybe instead we can talk about some of the different tools you might want to use, and how
using them might help you get from your raw sound to your desired sound.
-Kim.
2009/04/16 - Processing Bass: EQ

The most important tool for processing bass is EQ. EQ allows you to emphasise and de-emphasise
different frequency ranges. Pushed to extremes, it can be used to change the voicing of the bass
the placement of where it sits in the mix, and how the tone changes for each note.
Before you reach for EQ, though, you need to know your monitoring environment. I wont go into
too much detail here (maybe another time), but your monitoring environment includes factors
such as your speakers, your sitting position, the size and dimensions of your room, the furniture in
the room, etc. Room acoustics are a complex and subtle thing, and you need to know your own
monitoring environment well. That means listening to a lot of music!
EQing instruments is difficult if you dont know your monitoring environment. This is especially true
when working on bass, because in most rooms the bass response is more uneven than any other
frequency range. Compounding the issue is the fact that, mix-wise, theres very little space down
there it can get quite cramped.
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2009/04/16 - Processing Bass: EQ
Assuming youre ready to EQ, the approach you should be aiming to take is that of listening to
your raw sound and imagining in your head what the end result will sound like . If you can do this,
you wont waste much time playing with your tools. Obviously this is something that comes with
experience (which is why its important to make as much music as possible!). In the mean time,
what do you do?
There are numerous EQ guides floating around on the internet, with various EQ ranges (or worse
specific frequencies), accompanied by descriptions of what happens when you boost or dip each
frequency. While theyre interesting, theyre just opinion. I suggest you get your hands dirty and
and explore the frequency spectrum yourself, with YOUR ears, with YOUR tools, in YOUR studio.
Grab an EQ, and explore boosting and cutting at various frequencies on your own sounds. Start to
train your ears on what each frequency range sounds like. As important as the end result is, its
equally important to train yourself about what your raw sound is like. For example, if dipping at
100Hz brings you closer to the sound you desire, bypass the EQ and listen to the raw sound.
Reflect that this is what too much 100Hz sounds like (hence why youre dipping there). Similarly,
for example, if boosting at 100Hz brings you closer to the sound you desire, bypass the EQ and
reflect that this is what not enough 100Hz sounds like. Get to know your sound.
Keep in mind at all times that EQ is relative. Its never one-size-fits-all. Not even close. The EQ
settings you use depend entirely on what your raw sound is, and what your desired sound is.
-Kim.
2009/04/16 - Processing Bass: Compression

Ive lost count of the number of times Ive seen this exchange:
hwo do i maek my bass PHATTNESS pls halp

Use a compressor
I cant decide whats funnier the blatent (and sometimes obviously deliberate) spelling errors of
the question, or the starkness of the response.
While not as powerful as EQ, compression can be useful in turning your raw sound into your
desired sound. Traditionally, the role of compression is to reduce the dynamic range of the audio
by turning down the loud parts and turning up the soft parts. If youre working with a recordng of
a musician performing on electric bass, you might use compression as a corrective tool where
some notes were played stronger or weaker than others.
For electronic genres, however, the note-to-note levels arent as much of a problem because the
MIDI data (the velocity of the notes) can be manipulated directly. In fact, its fairly common for
synth bass sounds to be set up so that every note is the same level, regardless of how hard or soft
you might play the keyboard. For electronic music, differences in levels can come from filters or
EQs interacting with different notes in a bassline. If youre using some fairly extreme EQ and/or
filtering then you might find that some notes are reinforced (making them louder) and other notes
are quieter.
Sometimes its hard to tell, though, because your monitoring environment might also be
reinforcing some notes over others (in this way, the room acts as another layer of EQ or filtering).
If you think your bassline is changing levels from one note to another, take a look at your level
meters. If the level meters are visually correlating with what youre hearing, then compression can
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2009/04/16 - Processing Bass: Compression
be used to even it out. If the levels are constant, then the problem is with your monitoring
environment and compression wont help.
If youre using compression to even out changes in level caused by EQ or filter, its best to place
the compresser after the EQ or filtering. That way youll have the most control, and the
compressor will respond to what youre hearing. If you use EQ or filtering after the compressor,
then that might introduce more level differences that the compressor cant fix.
When setting up the compressor, youll want to start with a fast attack, medium release and high
ratio. Set the threshold so that the quietest notes are just reaching the threshold the other notes
should be over the threshold, thus triggering the compressor. Best to choose a hard knee instead
of a soft knee. If you can hear the level of the bass dropping after loud peaks, try reducing the
release time (this will make the compressor react quicker to drops in level). If the bass sounds like
its distorting, increase the release time (this will make the compressor a little smoother). If you
have some extreme processing and you want some notes to stand out (filter sweeps, for
example), reduce the ratio (this will make the louder notes punch through a bit more).
-Kim.
2009/04/20 - Processing Bass: Character and body

Watch your levels!
While EQing your bass, another thing to keep in mind is equal loudness contours. Put simply, we
(as humans) are more sensitive to upper-mids (1kHz-5kHz) than to lower mids (100Hz-1kHz).
Were least sensitive to the extremes at each end (less than 100Hz and greater than 5kHz). When
EQing bass, this means that the lower the frequency, the more level you need. The more level you
need, the more you swamp the rest of the mix and the more you need to turn everything down to
compensate. It can also cause problems if youre using compression or limiting on the 2-bus or in
mastering.
Similarly, problems can occur further up the spectrum. We are more sensitive to lower mids than
bass. In practice, this means that you dont actually need much level before it sounds like too
much. For example, you might find that you can boost a lot of 75Hz before it gets obnoxious, but
you can only boost a little at 250Hz before it gets obnoxious. This is also why it usually sounds
better to dip the lower mids than the bass. The thing to keep in mind, however, is that the lower
midrange is where the character of the bass is, whereas the bass is where the body is (and the
upper mids is where the articulation usually is).
I can hear the cries I WANT CHARACTER AND BODY IN MY BASS!!!
Yeah. Great. Good luck with that. Its called the volume fader.
Instead, think about character and body as being a balance. The more character you have, the
less body you need to have in order to compensate. Likewise, the more body you have, the less
character you need to have. Dont cry yet. You actually dont need much character for your bass to
be characterful, and you dont actually need much body for your bass to be thick and deep. In
the context of how it will be percieved by listeners, its more a subtle shift of emphasis than a
reshaping of the sound.
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2009/04/21 - Processing Bass: Saturation
2009/04/21 - Processing Bass: Saturation

So, weve addressed two important processing tools available to a mix engineer EQ and
compression. Next up is one of my favourites saturation. How can saturation be useful for bass?
Saturation can do a number of things simultaneously it can reduce the headroom requirements
of the track, it can make the bass more audible on smaller speakers (and more powerful on larger
speakers), and it can help it sit more consistently in the mix.
Saturation reduces the headroom requirements of a track in a similar way to a limiter (or
compressor with high ratio) by making sure signal cannot exceed a certain level. This chops the
tops off the loudest notes, bringing them down to the level of the other notes. Unlike limiting or
compression, however, saturation doesnt do this by actually reducing the volume. Instead, using
the saturation the loudest notes are distorted a little. The net effect is that pure volume is
transformed into noise. Another way of looking at it is that lower-frequency energy is turned into
higher-frequency energy.
What does this actually sound like?
It should sound like the bass is at the same level, but instead of stronger notes getting louder,
they get noisier. Applying saturation with a deeper threshold (so that most notes are saturated, not
just the loudest ones) makes the whole bassline sound noisier. Whats actually happening is that
upper harmonics are being generated. Because the bassline is monophonic (single notes at a time
not chords), the harmonics being generated are related to the pitch of the bass. Because these
harmonics are at a higher frequency, theyre audible even on smaller speakers that cant reproduce
the lowest bass sounds. This means that your bassline will still be audible without requiring large
speakers. You dont even need much saturation for this to occur. On larger speakers, the upper
harmonics reinforce the bass, making it sound more powerful.
As for actual selection of tools and settings, youll have to experiment. There are a wide variety of
different methods of saturating a sound, and theres a wide variety of different sounds available.
Aside from some kind of drive control, saturation processors dont have standardised controls in
the same way that EQs and compressors do. Just remember that less is usually more you dont
need to push the bassline into full distortion to achieve a useful saturation effect.
-Kim.
2009/04/23 - Processing Bass: Layering

Strictly speaking, layering is not really a method for processing, but its a common approach to
take when designing a bass sound. Layering is an additive approach to designing a sound, because
youre building it by adding different elements together. By contrast, a subtractive approach (such
as subtractive synthesis) works by starting with a big sound and taking away the parts you dont
need (for example, by filtering). In the real world, youll probably find yourself combining thw two
approaches.
Recall the discussion about character and body. Sometimes you might find that your main bass
sound has a satisfying body (energy below 100Hz), but not much character (above 100Hz). Other
times, you might find that you like a bass sound that has a lot of character, but not much body.
Using layering, you can build a composite bass sound that has right body and character for the
song youre working on.
The trick to making this work is to stay focussed (in your mind) about what youre trying to
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2009/04/23 - Processing Bass: Layering
achieve. Otherwise its too easy to create an indistinct mess of sound.

For example, you might have a deep filtered synth bass that sits perfectly at the bottom of your
mix, but loses power when the rest of the mix gets busy and doesnt cut through. You might try
to make the bass brighter by raising the lowpass filter or using saturation, but then find that the
sonic signature of the bass changes too much and you lose the characteristics that you like about
it. Rather than trying to make the bass sound brighter, think about layering a second element so
that the original sound stays at the bottom of the mix but the added layer adds some more
character in the lower mids. You wouldnt need much the added layer can be effective even if its
quieter than the original layer.
Alternatively, you might have a bass with a lot of character in the lower mids but find that its not
adequately covering the bottom of the mix. You might also find that the level of the bass below
100Hz varies quite a lot (especially if the bassline covers a wide range of notes). Boosting the bass
might make the level even more uneven, and reducing the note range of the bass would probably
compromise your bassline. Rather than trying to add more of what isnt working down there (or
destroying your sound with a multiband compressor), consider adding a new layer to cover the
bottom of the mix. That way you can focus the original layer on the range where its strongest (the
lower mids, or wherever the character is). If the bassline has too wide a range, you might even
simplify it for the lower layer, so it is more focussed and sits better under the mix.
-Kim.
2009/04/26 - Spectrum Analysers

Are spectrum analysers a useful tool or a distracting diversion?
Its been written in many words and at many places that spectrum analysers are a Good
Thing(tm). They let you see what you cant hear, help you overcome deficiencies in your
monitoring environment, and help pinpoint problem areas.
Having said that, I dont use spectrum analysers, and Ive advised others not to use them. The
justification I usually provide is that its better to mix with your ears instead of your eyes, and even
if youre not very experienced, its better to train your ears as much as you can instead of learning
to rely on visual aids. After all, this is music, right? Audio? Your listeners arent listening with their
eyes
But am I right?
Does using frequency analysers really result in poorer mixes? Do they really slow down ear
training?
This is my opinion, but its an only an opinion. A good friend once told me An opinion is what you
have when you dont have all the facts. When you have all the facts, you dont need an opinion.
Ill admit it: I dont have the facts to support these assertions, and I dont think I ever will. All I
have is based on my own style of working, and my own beliefs and values.
I still maintain that spectrum analysers are to be avoided, but I dont have any supporting
evidence to show you. You have to try them out and make up your own mind.
-Kim.
34
2009/04/28 - Downwards or upwards?
2009/04/28 - Downwards or upwards?

Every now and then, people ask about upwards compression or upwards expansion. Often when
this is raised there is some confusion about what upwards means, and how it might be different
to regular compression or expansion. This confusion is sometimes exacerbated by a
misunderstanding about how compressors work (as distinct from what theyre used for).
Essentially, regular compressors and expanders both work by reducing gain that is, lowering
the volume. Compressors do it by reducing gain when the volume level of the audio goes above a
certain amount, and expanders do it be reducing gain when the volume level goes below a certain
amount.
Limiters and gates are extreme versions of the above. A limiter is an extreme version of a
compressor reducing the gain so much that the output level never excedes a certain amount. A
gate is an extreme version of an expander reducing the gain so much that the output level is
silent.
Because compressors and expanders work by reducing gain, they can be referred to as operating
downwards. You might refer to a regular compressor as a downwards compressor and refer to a
regular expander as a downwards expander.
(Sometimes this is a source of confusion because compressors are often used to make sounds
louder because the loudest parts of the sound art turned down, the whole track can be turned
up without distorting.)
In contrast, some compressors and expanders can operate upwards. They work by increasing gain.
Upwards compressors work by increasing gain when the volume level of the audio goes below a
certain amount. Upwards expaders work by increasing gain when the volume level goes above a
certain amount.
Upwards compressors and expanders arent too common possibly because they can be unstable
and produce really loud levels! Still, sometimes these terms arise and its good to understand their
meaning. In essence:
Upwards compression reduces dynamic range by making quiet sounds louder
Downwards compression reduces dynamic range by making loud sounds quieter
Upwards expansion increases dynamic range by making loud sounds louder
Downwards expansion increases dynamic range by making quiet sounds quieter
-Kim.
2009/04/30 - Vocal doubling

Sometimes people talk about making a lead vocal sound thicker by doubling it copying the
track and applying some subtle effect to the copy (such as delay or pitch shift), and then
sometimes panning the two tracks opposite each other.
Personally I never use such doubling tricks if I want to emphasise the vocals in a particular
section Ill either add backing vocals (usually harmony, but occasionally unison), or copy the vocal
to a new track and add a longer delay to add depth rather than density.
Personally, most doubling tricks just sound like gimmicks to me. Sometimes if I really want a
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2009/04/30 - Vocal doubling
unison double and the singer isnt around anymore Ill use some of the other takes (with
editing/correction if necessary). However, if you really want a unison double AND your singer isnt
around anymore AND you only got one take (ie, you cant use the additional takes as doubles
which I recommend doing if you can) then your options are limited. Whatever you do itll still
sound like a single take, a single performance.
-Kim.
2009/05/01 - Vocal processing

My usual vocal processing chain consists of several stages: Gate, EQ, Compression, De-Essing, and
reverb (as a send).
Gate
This is first in the chain so the gate has the full dynamic range of the original audio. The more
natural the dynamic range available to the gate, but easier it is to set the threshold and timing for
a natural sound.
EQ
Generally I prefer to use EQ before compression. This is so I can get the tone I want for the mix
before I adjust the dynamic range. It also makes it easy to highpass the audio so the compressor
doesnt respond to low-frequency audio (such as rumble) that isnt going to make it to the mix
anyway. Ive written more about the order of EQ and compression here.
Compression
I choose to apply compression to the final tone of the sound, rather than adjust the tone
afterwards. This helps the compressor react smoothly and naturally to the sound we hear, rather
than responding to sound that is going to have its frequency balance changed afterwards.
Saturation
I dont often use saturation of vocals. When I do though, its just after compression, and I use it
similar to a limiter - to catch the few peaks that are too loud even after compression. Usually I set
it up so that loud sustained notes are saturated, making them sound loud without overpowering
the mix, but most notes are left clean (not saturated).
De-essing
This is interesting. Ive found that I get the best results by applying the de-esser after EQ and
Compression. I find that the way I use EQ tends to enhance sibilance (tonal tilt toward high
frequencies and high-ratio compression). Using a de-esser earlier in the chain sometimes means
that the later EQ and compression counteract the effect of the de-esser. This forces me to apply
more de-essing, which ends up sounding (more) unnatural (at extremes, it can pump a bit but
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2009/05/01 - Vocal processing
not in a good way!). By de-essing after EQ and compression, only a slight amount of de-essing is
needed.
Reverb
Reverb can be quite sensitive responding to both tone and dynamics. In the kind of dense
productions I usually do, its best to feed the reverb as consistent a signal as possible, to avoid
widely-warying levels of ambience or a build up of mud. The purpose of reverb here is to add
ambience and air to the vocal sound not to be heard as an effect separate to the vocal. To that
end its important that the reverb responds to what we hear (similar to the compressor). Ill often
lowpass the reverb to keep it sounding lush and avoid it catching any sibilance.
-Kim.
2009/05/03 - EQ and frequencies

Regarding EQ and frequencies, the important thing to remember is that EQ is relative. That
means that the EQ you apply depends entirely on the sound youre working with. For example,
theres a lot of character in vocals at around 2.5kHz but how much you scoop or boost will
depend on the sound youre starting with, and the mix youre working with. You might also find
that 1.5kHz or 3.5kHz is more effective for what youre doing.
I might cop some flack here, but theres no substitute for using (and training) your ears. Grab an
EQ and experiment on your sound. try boosting or scooping at different frequencies (one band at
a time!), and listen to how it changes the quality of the sound and how it changes the way it fits in
the mix.
-Kim.
2009/05/04 - Compressing kick drums

Just a quickie to say that the choice of compressor you use for kick drums is more important than
the actual settings you use. Kicks are a fickle beast a few ms or a few db can make a huge
difference in how the sound is perceived. This is also where a lot of compressors differ in how
they handle strong low frequencies and how they respond to rapidly-changing envelopes.
If youre not getting the sound you want from your kick drum, dont spend too much time
adjusting the compressor. Instead try a different compressor. This is why its handy to have a few
different compressors on hand preferably different styles. Sometimes an aggressive compressor
is the right thing to pump the volume, sometimes a gentle compressor is better for shaping the
attack and overdriving the tail. Often a compressor wont work no matter what settings you use,
and another one will work within a few seconds of tweaking.
Also dont assume that the compressor that worked for a kick worked last time will be the right
one next time. Sure, it might be worthwhile to start with it, but keep in mind that kicks (and the
mixes theyre in) are just as variable as the compressors themselves.
-Kim.
37
2009/05/05 - High pass filters in mixing
2009/05/05 - High pass filters in mixing

Its commonly suggested that it is correct to apply a high pass filter to every track except the
kick drum and bass. Doing this does two things:
1. It keeps the low frequencies in the mix for the kick and bass, so that they sound as pure
and focussed as possible. This helps in making the low frequencies as loud and clear.
2. It reduces unwanted noise from the other tracks, which makes them more focussed. This
helps in making the overall mix sound clearer and cleaner, and reduces the headroom
required by this unwanted noise.
Like all mix techniques, however, there is a degree of balance and creativity required. Too little
filtering may make your mix muddy and messy. Too much, though, will make your mix thin, light
and empty. As producer and mix engineer, you must make a judgement as to the appropriate
amount. Your approach will vary from track to track, and even from mix to mix. You will know the
appropriate amount through experience and critical listening.
There are even some situations where the best approach is to avoid high pass filtering altogether.
You might want to mix like this when you have a song that needs to be sparse and natural
usually with recordings of acoustic instruments and voices. I took this approach with my mix of A
Day Too Long.
For other, more modern mixes, I approach each track individually. I gradually raise the high pass
frequency until I hear it take away too much body. Its often worth trying different filter slopes if
theyre available. Often Ill find that a straight high pass filter is too harsh (read: steep/extreme) so
Ill use it in combination with a low shelf EQ. I might set the high pass filter quite low usually
below 200Hz and use the low shelf to reduce the body (lower mids) without drastically changing
the character of the sound.
Even though I dont use frequency analysers, others find them useful. Yellowfever, for example,
suggests using a frequency analyser to visually find the frequency where a high pass filter
wouldnt affect the tone of the sound.
-Kim.
2009/05/06 - Processing snare (in a drum kit)

Those who come from the world of electronic music and samples may experience some shock
when mixing a real, live drum kit!
Traditionally, sampled drums have been mixed with one sound per channel. There might be a kick
channel, a snare channel, a hihat channel, and perhaps more channels for cymbals, toms and
auxillery percussion. If you want the snare to sound a specific way, it is (relatively) simple to
process the snare channel adjusting the tone and dynamics of the sound to transform it from
its original form into the desired form.
When mixing a live drum kit, however, this is not such a simple process. If you come from an
electronic or otherwise sampling background, you will probably be tempted to solo the snare
channel. From there will will realise that the channel is much dirtier than you might be used to
the sound is very dry and raw, and theres bleed from the rest of the drumkit! You might battle for
some time with gates, EQs, compressors, and perhaps even transient shapers. When you are
satisfied with your sound (or get close enough without going insane), youll unsolo the snare to
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2009/05/06 - Processing snare (in a drum kit)
hear it in context
And be shocked that it sounds nothing like what you thought it would!
And soon enough, youll discover the second difference between mixing samples and mixing a live
kit more bleed! Specifically, the snare drum will be picked up by several channels. This will at
least be the snare channel (the one you meticulously processed) and the overheads. The snare
may also be coming through the tom channels, a hihat channel if you have one, and even the kick
channel!
Zealously gating the bleed out of all the other tracks will ultimately produce something that doesnt
sound much like a live drum kit. Sorry you cant perfectly control every aspect of the sound!
It might be more appropriate to approach the drum kit as a single instrument instead of a
collection of individual sounds. Listen to the whole drum kit and focus on the snare. That sound is
coming from at least three channels the snare channel and two overheads. Solo each channel
individually and listen to how the channel contributes to the overall snare sound. When youre
imagining your desired snare sound and thinking about how to transform what youre hearing into
what youre imagining, consider that you might have to make changes to more than one channel
to achieve it. Also consider than no matter how much you may process a single channel, you will
only be changing one component of the sound.
Finally, keep in mind that the more processing you apply, the less natural your sound becomes.
Presumably, youre using a live drum kit because you want the sound of a live drum kit in your
song. If you process it so much that it sounds like a bunch of samples, you negate the main
reason for using a live kit in the first place!
-Kim.
2009/05/07 - Approaching mixing

Often theres quite some discussion about understanding individual techniques or dealing with
particular sounds in mixing how to use compression, how to process drums, how to saturate
bass, etc.
While an understanding of techniques is essential, its just as important to see the bigger picture
how to fit it all together, how to approach a mix.
The approach to take to mixing can vary greatly depending on style, taste and intent of the mix
engineer and producer (with respect to the song itself!). It might also be affected by factors such
as the available tools or project timelines.
The approach I use is to begin with the foreground sounds first to start with the most important
elements of the mix. This is usually the lead vocals and the drums. These are the principals, the
centrepieces of modern popular music. The vocal provides the melody and emotion and the drums
provide the rhythm and the groove. Once those large pieces are in place, Ill work on the
supporting elements bass, background vocals, auxillery percussion, keyboards, synths, guitars.
After that I add the final spice background sounds, edits, automation, special effects.
I sometimes liken this to a process of fitting rocks in a jar. If the rocks are all different sizes, its
best to start by placing the largest rocks in the jar, followed by the medium-sized rocks, and lastly
the pebbles. You can imagine getting into trouble if you tried to start by adding the pebbles first
and waiting for the the end before adding the largest rocks. You might have quite some
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2009/05/07 - Approaching mixing
rearranging to do! The same applies to mixing.

-Kim.
2009/05/08 - Overcoming loopitis

It seems that many computer music composers have a problem with developing songs[1]. There is
a tendency to create elaborate multilayered loops of two or four or eight bars, but a resistence to
being able to put together a whole song.
At risk of oversimplification, this is caused by vertical thinking, where a section of music is
developed by adding additional layers (and also getting lost in mixing balancing and processing).
What is needed is horizontal thinking where a section of music is developed by adding and
developing sections.[2]
There are a number of ways of going about this, but all of them revolve around thinking
horizontally - working with sections that contrast and develop, rather than simply stacking sounds
onto a single section. The way the sections of a song are organised is called structure or
form. Looking at it this way, there are really two ways to approach this:
1. Know your structure before you fill it. A good example of this is if you know you want to do
something roughly mainstream: verse1-chorus-verse2-chorus-bridge-chorus-chorus. You
know when you start that youll need three sections (verse, chorus, bridge) and that one
section (verse) will need two variations (verse1 and verse2). You can develop these
sections independently in your sequencer. Once youve got them developed to a certain
level (maybe drums, bass and main supporting parts) you can arrange them into place by
moving and copying the sections. Once the sections are in place you can then make the
transitions work and apply the finishing touches. There are other structures and forms you
can try using you can use this approach even if you dont want to compose mainstream
music! Ill discuss some structures in future blog posts.
2. See where the music takes you. Using this approach you would develop several sections
independently and think about how they fit together later in the composition process. You
might use them in a standard mainstream structure (with verses and choruses, as above),
or you might do something more complex, or more abstract. This is a more dangerous
approach because its easier to come up with an incoherent song one that sounds like a
bunch of stuff. Youll recognise this because the sound will sound sprawling, and not feel
like its going anywhere or making sense. Its also easy to fall into this approach as a result
of being too lazy (or too self-righteous) to commit to a structure early on.
Whichever approach you take, you have to force yourself to break out of the two or four or eight
bar loop. You have to start thinking in sections, start thinking about organising these sections to
form a song.
And once youve got the hang of that, you can then start thinking about suspense, excitement,
contrast, expectation, etc
-Kim.
[1] For the purpose of this discussion, Ill use the term song as an umbrella term for songs,
tracks, works, pieces, etc. This is regardless of whether it has a melody, lyrics, or lead vocal.
[2] Ive got some more detailed ideas about the causes of this, but theyre beyond the scope of
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2009/05/08 - Overcoming loopitis
this blog post.
2009/05/09 - Song form

One of the most popular structures is song form. Most popular songs follow a basic pattern:
verse1-chorus-verse2-chorus-bridge-chorus-chorus
This structure works well because theres a fairly even balance between the familiar and the
unfamiliar. Done well, there also a clear contour and direction to the song.
1. The first verse and chorus are unfamiliar the first time we hear them, though its suggested
that the chorus is more important than the verse because its usually louder, fuller, and
more stable than the verse.
2. Afterwards the second verse increases the comfort level and familiarity because its based
on material (harmony and rhythm) that weve heard before in the first verse.
3. The second chorus is usually exactly the same as the first chorus, reinforcing its relative
importance and further increasing comfort (with familiarity).
4. At this point weve heard two rounds of a verse followed by a chorus. Intuitively were
expecting another verse, but instead were surprised by the bridge. The bridge usually
introduces some fundamental differences (such as new harmony, new rhythm, or new
instrumentation) which is surprising and refreshing. Its important, however, that the bridge
is cut from the same cloth as the rest of the song that is, its not so different that it
sounds like a new song. Otherwise itd be so surprising that itd be jarring to listen to!
5. After the bridge, we return to a double chorus, which is a return to comfort and familiarity,
reinforced by the additional repetition.
Of course, there are many variations!
Many songs have an introduction (an intro).
Some songs have a short section that leads into the chorus (sometimes called a prechorus).
Some songs have three verses.
Some songs have a two-part bridge (perhaps an instrumental solo followed by a sparse
vocal refrain before leading into the final chorus).
Some songs have a chorus at the beginning.
Some songs only play half the chorus the first time.
This song form doesnt have to be limited to pop music, or even vocal music though! It works just
as well for instrumental electronic music, rock music, hip hop, and just about any other kind of
music. Try it!
-Kim.
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2009/05/11 - Transition form
2009/05/11 - Transition form

Another interesting approach to structure is to think about transition. This is where the prominant
feature of the track is the transition between two quite different sections. A good example of this
is The Sunshine Underground by the Chemical Brothers, which starts out quite slow, relaxed and
sparse. By the end, though, it is fast and energetic with the rhythmic elements sounding at
double-time (twice as fast). Another example like this is Hyperballad by Bjork.
While both these examples start slow and finish fast, you can explore any kind of transition. For
example Dreaming Your Dreams by Hybrid starts sounding dark and menacing, but finishes with
an uplifting feel almost joyous and loving!
Feel free to be adventurous in your transitions. Maybe you could start out quick and light but finish
heavy and full. Or start out harsh and noisy but finish smooth and clean. Maybe start out
electronic but finish acoustic. The possibilities are endless you are only limited by your
imagination!
-Kim.
2009/05/12 - Sonata form

Dont be put off by the fancy name! Sonata form is not just for classical music! Its actually useful
for modern music too especially if you want to do something a bit more adventurous than typical
song form. Basically, sonata form consists of three sections:
1. The start (called the exposition)
2. The middle (called the development)
3. The end (called the recapitulation)
The first section (the exposition) presents the main musical themes, the middle section (the
development) explores variations based on those themes and the final section (the recapitulation)
returns the to main themes.
Classically, a musical theme was most often a melody, but you could use use a groove or a sound
as a theme. It doesnt really matter how you do it so long as the theme has a distinct musical
identity. That is, it has to be recognisable.
In the exposition, there are usually two themes. The exposition is divided into two sections one
for the first theme and the other for the second theme. Traditionally these two themes are in
different keys, but if your music is more sonic (about sound) than harmonic (about harmony) then
you can differentiate the two themes by using different sounds or different textures.
In the development, you can take elements of the main themes and explore variations of them.
You can mash them up, combine them, change the style anything really! You can explore several
variations, one following the other. This section is usually best if its roughly a third to a half of the
total length of the song/track.
In the recapitulation, you return to the main two themes. Usually this is almost exactly the same
as the exposition, except that the second theme is made more like the first theme. Classically, this
is done by changing the second theme so that its in the same key as the first theme. In more
modern music, you might make the second theme more like the first by using the same sounds or
the same rhythms as the first theme.
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2009/05/12 - Sonata form
As with all composition techniques, the best way to learn is to try it out for yourself! Compose
several tracks using sonata form and see where it takes you!
-Kim.
2009/05/13 - Making sounds bigger by using compression to

manipulate micro-dynamics
Compression is (sometimes) a complex and subtle process. Compression can be used to control
macro-dynamics and micro-dynamics. What does this mean?
Roughly speaking, macro-dynamics refers to the volume differences between notes (for example,
some notes might be louder than others). Micro-dynamics refers to the volume envelope - the
differences in volume between different parts of the same note.
The traditional use of compression is to control macro-dynamics to keep the performance
consistent and even, and to help keep a track in its place in the mix. Think of a vocal performance
where some syllables are louder than others, some sustained notes drop off early. Compression
can be used to bring a more consistent level to the syllables and words so that they sound more
even. It also makes it easier for the vocal to maintain its relationships with the other instruments
in the mix especially a busy or dense mix.
Compression can also be used to control micro-dynamics the envelope of each individual note.
This is most commonly done when using character compression on drums the shape of each
drum hit is being deliberately altered. This type of control can be used to make sounds bigger by
flattening a sounds volume envelope, it has more power. Consider the envelope of a drum hit or
piano where the sound starts loud but rapidly decays. Compare this to the envelope of a trumpet
or distorted guitar where the sound stays at the same level for the length of the note. Even
though both sounds might start at the same level and have the same duration, the sustained
sound is louder and more powerful. Compression can be used to make the drum hit or the piano
sound more like that by either reducing the level of the attack or by increasing the level of the
decay.
Practically speaking, this is usually done by using relatively fast attack and release times, coupled
with a medium to high ratio and relatively deep threshold.
Just be careful modern digital compressors can be very powerful, and even free plugins can be
capable of completely flattening the sound. This can make a sound very loud and exciting on its
own, but cause it to disappear in the context of the mix. This is because the articulation of the
sound is greatly reduced (or removed!), so it becomes closer to pure tone. Even though it has
more power, its psychoacoustic properties are closer to those of background sounds! This is why
busy mixes tend to work better with dynamic, spiky sounds, but sparse mixes can be made to
sound very full by using heavy compression.
-Kim.
2009/05/14 - Transitions between sections

All this talk of structure revolves around sections necessarily so, because were talking about
organising a large block of time, and the most common way of doing this is by subdividing into
smaller sections. No matter how you organise your sections, you will still have a skeleton of a song
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2009/05/14 - Transitions between sections
that consists of several sections of various lengths, one after the other. Without any transitions
between sections, each section will simply stop as the next begins. The effect will be similar to
that of changing channels on a television abrupt and unsophisticated.
To make a transition between sections work, you must make something of it. Articulate it in the
music, make a point of the change. Necessarily, there are one of two approaches you can take
with each transition a smooth transition or a contrasting transition.
Smooth transition
A smooth transition is one where the first section smoothly moves the listener into the second
section. A common example of this is where the second section is fuller and more exciting than the
first section, so the end of the first section has a build up into the start of the second section.
Similarly, if the second section is slower or sparser than the first section, the end of the first
section might pull back or slow down before entering the second section. The second section
might even continue to get sparser in the first few bars.
At an extreme, the transition between two sections might be long enough to be treated as its own
section. That is, a whole section in the song is dedicated to transitioning from the previous section
to the next.
Contrasting transition
By contrast, a contrasting transition is one where the change from the first section to the second is
marked and noticable. It doesnt have to be sudden, but it does rely on the two sections being
quite different. An example of this might be the sudden jump from a sparse and soft introduction
to a song into the full and busy main part of the song. Another example could be a jump from the
second chorus of a song into a contrasting bridge section.
At an extreme, a deceptive transition can be used to further emphasise the contrast. An example
of this could be where the first section ends by building up as if the second section is louder and
fuller, but instead the second section is suddenly quiet and soft. Another example could be where
the first section ends by slowing down and pulling back (perhaps even pausing) before the second
section suddenly bursts in.
-Kim.
2009/05/15 - Planning mastering

Yes! Mastering should be planned!
Ive written in depth about the process of mastering itself, but theres also some important things
to consider before you start especially if youre preparing several songs for publication (public
release) together.
Packaging
How many songs will be in the release? Is it a single? An EP? An album? What is the order of the
songs? Of youre mastering for CD, will each song have a crossfade transition into the next? Will
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2009/05/15 - Planning mastering
there be a gap? How long should the gap be?
Distribution
What will the target format be? CD? Internet download? MP3/AAC/WMV? Streaming? Vinyl? Radio?
Each of these distribution formats requires a slightly different mastering approach.
Target playback
Who will be listening to the music, and on what system? iPods and computer speakers? Audiophile
HiFis? Clubs?
Genre norms
On top of all this, different genres require different approaches modern rock can be thick and
loud, but an acoustic singer/songwriter album needs to be quieter and cleaner. Orchestral music
should emphasise dynamics and natural acoustics, but electronic music might need to be clear and
solid.
Without considering these factors, you risk compromising your mastering either getting an
ordinary job done or even an inappropriate job done. Mastering requires subtlety and diligence,
and its important that this final processing stage is approached the right way so that your music is
presented at its best.
-Kim.
2009/05/16 - What makes structure work?

After experimenting with different approaches to structure, you will begin to vary standard
structures and start to think about developing your own approaches to structure. You might start
to wonder what makes structure work? What separates an effective and satisfying structure from
an ineffective one?
Contour and proportion

Contour and proportion are about the overall shape of the structure. A structure with good contour
is one where the overall rise and fall of tension and excitement makes sense. This means it can be
understood by the listener as having a shape that can be followed. The obvious and most common
shape is one where the song begins with low excitement, gradually increases to maximum
excitement about 2/3 through, and then ends at minimum excitement again. This isnt the only
shape that works though! Another shape that makes sense is one where the excitement is greatest
at the start and the end, but the middle section is quiet and subdued. Several Juno Reactor songs
from their album Labyrinth have a contour like this.
Proportion goes hand-in-hand with contour. At a slightly smaller scale, proportion is about the
lengths of each section. A structure with good contour is one where each section is just the right
length not too long or too short. Poor proportion is usually caused by sections that are too long
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without enough change to keep them interesting. Theres no easy rule to help you determine the
right length you have to use your experience and judgement. Shorter sections can be useful for
increasing excitement and expectation because they make it feel like the song is moving along at a
quicker pace. Longer sections are useful for building tension because the listener is expecting a
change that is postponed, or for maintaining and emphasising a hightenened level of excitement
during a climax.
Expectation and fulfillment

Expectation and fulfillment go hand-in-hand when approaching structure. Expectation, as you
might guess, is what happens when a listener thinks s/he knows what is going to happen next in
the music. This expectation is shaped by many factors you cant control, such as personal taste in
music and genre norms. A factor you CAN control though, is repeated sequences. For example, if
you have three sections A, B, C and arrange them in your song as A-B-C-A-B-C-A, the listener
will excpect section B to follow. As a more real-world example, standard song form begins with
verse1-chorus-verse2-chorus, after which the listener naturally expects a third verse to follow.
Fulfillment is what happens when the listeners expectations are met. In light of the above
explanation of expectation, the listener experiences fulfillment when the section that logically
follows is the section that actually follows. Note this is not always a good thing. If the listeners
expectations are fulfilled too much the song is perceived to be predictable and boring.
Instead, building expectation but not fulfilling it helps add surprise and interest. It can also support
a sense of development and movement in the music. For example, standard song form begins with
verse1-chorus-verse2-chorus, at which point the listener naturally expects a verse3. Instead, there
is a bridge new material that surprises and adds interest, and also gives the song a sense of
development by increasing the musical scope (adding musical material to the song).
Coherence
Coherence is about the amount of musical material in a song. An easy way of thinking about this is
to consider the number of different sections (or melodies, or themes, etc) in a song, as well as the
overall length of the song. A song with a high level of coherence will not have much musical
material it might have fewer different types of sections, or its sections might be very similar.
Conversely, a song with a lower level of coherence will have a lot of musical material either more
different sections or more variations. Some level of coherence is necessary in music in order to
give the song a distinct musical identity and so that each part sounds like it belongs to the same
whole. Too much coherence, however, will make a song boring and repetitive.
Time is also a significant factor contributing to coherence too. Given a certain amount of musical
material (say, for example, three different sections), you can increase coherence by increasing the
overall length of the song. Similarly, you can decrease coherence by shortening the length of the
song. This is an often-overlooked approach. If youre working on a song and you feel like its too
boring and repetitive, try shortening it instead of simply adding new material. Likewise, if you have
a lot of musical material (many different sections or musical ideas to organise) and the song is
feeling like it doesnt have a distinct musical identity, try making the song longer. This will let the
music breathe a bit more allow the musical ideas to expand and develop.
As with all composition techniques, using them in extreme is usually not the best approach some
judgement is required. And as with all composition techniques, practice is necessary for mastery!
You wont get the hang of this first time around give yourself a few songs to experiment, to
46
develop your own sense for how it all works.

-Kim.
2009/05/18 - Reversed cymbals and the like

Every time I see someone asking about reversed cymbals, my first reaction is that of disgust and
then I realise that I use them too.
I occasionally find them useful for some songs where dramatic changes between sections are
appropriate. The key word here is dramatic. Reverse cymbals (and reversed drums in general) as
section transitions are dramatic, and arent very useful for more subdued or relaxed songs.
My usual approach is to use the drums that Im already using in the song. Ill arrange a few
combinations of kick, snare, ride and crash. Ill then render them to an audio file, bring it into the
project, and reverse it in place. What that gives me is a few choices that I can use to emphasise
transitions or other significant moments in the song. Having several choices means I can vary the
sounds, which allows me to get away with using them more often befiore it sounds repetitive. It
also means I can use a reversed sound with a strength and character best suited to the weight
and significance of the transition.
-Kim.
2009/05/19 - On Vibe
What is vibe? Abstracting for a moment, its something about listeners response to your music.
More practically, its the aggregate effect of your choices of timing, sound design, composition,
mixing, performance, etc. Really, vibe is the result of your taste in music. Its the multitude of tiny
decisions you make often without even realising there is a decision to be made. You just do it.
So how do you create vibe? How do you create music that has a distinctive identity, that
feels individual, that sounds like you?
This comes in two equal parts: you need to learn your tools, and you need to learn yourself.
Learning your tools is a topic thats been covered in great depth everywhere. The more of the
music production process you do yourself, the harder this is. Develop your composition skills.
Practice your instruments. Know your studio equipment inside-out. Become an expert at mixing.
Dont suck at mastering.
Learning yourself is more difficult, and isnt discussed very widely. This is about your taste in
music, and mostly comes from listening to as music music as possible and making as much music
as possible. As a music creator, music is your literature. Listen to as much as you can. Learn to
appreciate different styles. Fill your music library with classical, heavy metal, techno, rap, pop,
experimental, jazz, etc. The more different varieties of music you listen to, the more you learn
about what you like and what you dont. Youll also pick up interesting ideas to try out for yourself.
This also helps prevent getting stuck in a rut, or running out of ideas. When all you listen to is one
variety of music, youll find your own imagination becomes limited.
Making as much music as possible is also terribly important. The more music you make, the more
opportunities you have to try out different ideas, different approaches, even different styles of
music. The more experimentation you do, the better youll understand what works for you. Try as
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2009/05/19 - On Vibe
much as possible to finish projects. Dont leave them hanging, and (more importantly) dont get
stuck endlessly refining and touching up. Youll learn more by spending a month finishing two or
three songs than deliberating over a single song.
How does this relate to vibe? The vibe comes from you. It comes from within. It comes from what
intrigues you, what excites you, what moves you.
-Kim.
2009/05/20 - That pumping effect

So youve probably heard enough of that pumping effect by now. Yes, that pumping effect where
the whole mix ducks to the kick. Or at least ducks in time with the music. Or at at least some
instruments in the mix. Or something.
If you still think it hasnt gone out of fashion yet (or maybe youre waiting for it, like hard pitch
quantisation, to come back in fashion) you might be wanting to brush up on your technique. Or
you might want to explore some different techniques to come up with something new and
different. Or maybe youre just a sucker for punishment. There are four main ways to approach
this:
Straight full-band compression

This is how it was done in the old days a big kick drum in the mix, and a compressor on the mix
bus. For the most distinct effect, the kick should be just loud enough that it should be the highest
peaking sound in the mix. You can check this by looking at the peak meter on the mix bus. The
kick is loud enough when the peak meter jumps up whenever the kick plays. The mix bus
compressor should then be set so the threshold is just low enough that it is triggered by the kick
and nothing else. With a high ratio, fast attack and medium release, you should be able to hear
the effect pretty clearly. For a stronger effect, use a higher ratio.
Full-band compression with pre- and post-emphasis

For a more dramatic effect than straight full-band compression, insert an EQ on each side of the
mix bus compressor. That is, one EQ before the compressor and one after. Set the first EQ to boost
the bass significantly (for example, a low shelf +9dB at 150Hz) and set the second EQ to make the
opposite cut (for example, a low shelf at -9dB at 150Hz). Coupled together, you should hear an
unchanged frequency response. However, what the compressor hears is a mix with a LOT more
bass than usual. With a strong kick, this can make the compressor behave in an exagurated,
slightly unnatural manner. Which might just be what the doctor ordered.
Sidechaining
The two above techniques will fall down, however, on mixes with very strong basslines and
relatively weaker kicks. This is expecially so where the bassline is voiced very low and is fairly
constant (always sounding, without rests). In these cases, you might want to try true sidechaining.
This is where the compressor on the mix bus is operating on the whole mix, but is only listening
to a separate feed which has the kick drum on its own. Not all compressors can function in this
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2009/05/20 - That pumping effect
mode, and the ones that do can be fiddly to set up and control.
LFO modulation
Another approach is to use an effect with a tempo-synced LFO. Youd have to set the LFO period
to a crotchet (a quarter-note), and its shape to a rising saw. Then assign that LFO to control the
gain of the plugin. Volcano from Fabfilter[1] can be configured like this. Apparently Camelphat
from Camel Audio is also capable of this, though I havent personally tried it myself. The
advantage of taking this approach is that being able to adjust the shape and depth of the LFO
gives you different, and sometimes more intuitive, control over the sound of the pumping.
While its often written that the effect is always produced by side-chained compression, there are
other ways of achieving it. Sometimes the obvious solution is not the most appropriate one. And
sometimes trying something new can take you places you never thought youd go
-Kim.
[1] Disclaimer: I have a professional relationship with Fabfilter.
2009/05/21 - Variations on that pumping effect

Sidechained compression is another technique that has several uses. It can be used on individual
tracks to create a dramatic ducking effect without affecting the rest of the mix. You could trigger
compression on a synth pad with the kick or snare for dramatic effect. It can be used as a special
effect vocals. This is possible both ways to duck the vocal when the kick is played, or to duck
other instruments while the vocal is heard. Its now common in some circles to use kick-triggered
sidechain compression on a synth bass, so that the dramatic pumping effect almost sounds like the
attack time is being automated. This focusses the effect so that the rest of the mix remains intact.
Its also common to trigger a side-chained vocal compressor with a high-passed version of the
vocal, to reduce the sibilance (harsh ssss sounds).
The real fun starts when you take these techniques beyond the ordinary pumping effect. Pre- and
post-emphasis is a handy technique that is applicable beyond compression. You can use it any
time you want a plugin to respond to a skewed tonal balance but without changing the balance as
its heard. One approach is to use this with saturation. By temporarily boosing the low frequencies
or high frequencies, you can focus the saturation on that range. By scooping the mids you can
sometimes make the saturation smoother.
LFO modulation is where things get really interesting. Using a tool like Fabfilter Volcano[1], you
dont even have to have the kick playing in order to hear the pumping effect. You could vary the
modulation strength and shape even use different pumping shapes in different parts of the song
to emphasise the different levels of excitement or tension. You could also experiment with coupling
the volume modulation with modulation of other effects filtering, overdrive, chorus/flanger,
stereo widening, etc.
Remember interesting things happen when you experiment and explore different techniques!
Keep an open mind and youll be sure to develop your skills and knowledge.
-Kim.
[1] Disclaimer: I have a professional relationship with Fabfilter.
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2009/05/25 - About monitoring environments
2009/05/25 - About monitoring environments

Monitoring environment is critical to production and mixing. You must be able to accurately hear
and interpret the sounds youre working on in order to make reasonable decisions. Achieving a
good monitoring environment, however, is not as simple as buying the most expensive speakers
you can there are several components to a good monitoring environment: The space, the
speakers, and headphones. Ideally, they should all work together and complement each other.
The Space
The space you listen in is just as important as the speakers. There are many different types of
acoustic spaces, and if you want to get the best out of your space you should try to understand
the relevant acoustic properties. Spaces generally have three broad properties that you should pay
attention to:
The size and dimensions of the space
The surface coverings
The placement of objects within the space
The Speakers
The speakers are the most obvious component of a monitoring environment, but not necessarily
the most important. Its also not simple to choose speakers. For example, simply getting the
largest woofers you can afford is not always the best approach speakers with larger woofers
tend to be focus their energy and accuracy on the lower frequencies, sometimes at the expense of
accuracy in the upper mids. Conversely, smaller speakers might be more accurate in the upper
mids but weak in the bass, making it more difficult to correctly judge mix decisions for the kick and
bass critical in modern dance music.
Headphones
Headphones are also a part of a well-balanced monitoring environment. They offer a different
listening perspective to the speakers in your room. Generally, headphones allow more detailed and
focussed listening, which makes them ideal for spotting problems in recorded audio (such as
background noise or interference). The drawback is that the sound is generally drier and wider
than when listening with speakers, making them inappropriate for judging front-to-back depth. If
you choose well, however, you can use your headphones to compensate for weaknesses in your
speakers either using bright headphones alongside muddy speakers or deep headphones
alongside thin speakers.
I intend to address each of these topics in more detail in future blog posts.
-Kim.
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2009/05/26 - Different types of reverbs
2009/05/26 - Different types of reverbs

Just quick run-down of some common types of reverb:
Hall
This is the most common type of reverb. As the name suggests, hall reverbs are usually designed
to simulate the kind of reverberation effect produced by large halls. A hall reverb is usually a good
choice for adding a three-dimensional ambience to your mix. Good hall reverbs tend to fill out the
back of the mix, adding depth without crowding the foreground.
Room
Room reverbs are similar to hall reverbs in that they are usually designed to simulate the natural
sound of an acoustic space. Unlike halls, rooms are (obviously) smaller spaces. A room reverb is
good for adding realism to instruments that have been recorded with very close mic positioning or
direct injection. Guitars and drums are likely candidates for room reverbs. A good room reverb will
give you the sense that the instrument is being played in a real acoustic space.
Plate
Plate reverbs simulate an earlier method for generating reverb by injecting sound into a large
hanging metal plate and letting it reverberate. Plate reverbs have a similar shape to hall reverbs,
except the sound is usually denser and flatter (two dimensional). Plate reverb is great for adding
length and size to a sound without making it sound distant or small. Snare drums and lead vocals
tend to work best with plate reverb.
Spring
Spring reverbs simulate a method of generating reverb that is commonly built into guitar amplifiers
by injecting sound into metal springs and letting them reverberate. Spring reverbs tend to sound
bouncy and lo-fi. Personally I cant stand them, but you might find them useful on guitars. Or
vocals if youre feeling particularly sadistic.
Inverse
Inverse reverbs simulate a backwards sound by generating a reverb that increases over time,
instead of decreasing like other reverbs. These are not based on any sound in reality and are
sometimes useful for special effects or unnatural ambiences.
-Kim.
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2009/05/27 - The space
2009/05/27 - The space

The space you listen in is just as important as the speakers. There are many different types of
acoustic spaces, and if you want to get the best out of your space you should try to understand
the relevant acoustic properties. Spaces generally have three broad properties that you should pay
attention to:
The size and shape of the space
The surface coverings
The placement of objects within the space
Size and shape

The size and shape of the studio are a critical factor in determining the general acoustic character
of the room. Parallel walls create standing waves, which skew the native frequency response of the
room. Unfortunately, most rooms have several parallel walls! The more square a room is, the
greater the problems with standing waves. Larger rooms have standing waves at lower
frequencies, which interfers less with the audible audio range. Conversely, smaller rooms have
standing waves at higher frequencies, which interfers more with the audible audio range.
The ideal size is a trade-off, however, because larger rooms bring other problems, such as
reverberation. Also, the ideal room shape wouldnt have any parallel walls, but you might have to
settle for less if youre not in a position to design a new room (or inherit a previously-designed
acoustic room)
Surface coverings
The type and arrangement of surface coverings will affect the reverberation characteristics of the
room. Uneven surfaces (such as bookshelves) will break up the reflections and make the
reverberation smoother (which is less distracting). Soft surfaces (such as foam or fabric) will
absorb sound and reduce the reverberation time and level. Again, correct treatment of surfaces is
a trade-off. Too much absorption will makes the room sound dead and unnartural, which may
encourage you to create mixes that are more dense and washed out.
Placement of objects
The placement of objects within the space also affects the sound of the room. Large objects can
help absorb lower frequencies that surface coverings cant absorb. This can be used to make the
room less boomy. Objects can also diffuse the reflections in the room, helping to make the
reverberation smoother.
-Kim.
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2009/05/28 - Speakers
2009/05/28 - Speakers
The speakers are the most obvious component of a monitoring environment, but not necessarily
the most important. Its also not simple to choose speakers.
Full-range monitors
Full-range monitors usually have large woofers and are designed to produce sound down to low
frequencies (in addition to high frequencies). These monitors try to reproduce the broadest range
of sounds. Because of this, these can be attractive as first monitors. Be aware though, that
theres no free lunch. Reproducing those lower frequencies requires large cones, which are good at
reproducing lower frequencies but arent so accurate at higher frequencies. The top of the
frequency range is usually covered by the tweater, which is good at reproducing high frequencies
but not as strong on lower frequencies. This approach results in a speaker that is strongest at high
and low frequencies but might be weaker in the mid-range.
Smaller speakers
Another approach to the size/frequency trade-off is to use a medium-sized woofer with a tweater.
This approach focusses the strength and accuracy of the speaker in the middle and high
frequencies. This is good for making a lot of mix decisions, because the mids and highs is where
the most instruments are playing together and where its most important to get the balance right in
the mix. The drawback, of course, is that these speakers are weakest in the bass. This can be a
particular problem when working on modern electronic music, where the kick and bassline are
extremely important.
Subwoofer
A common solution to the problem of smaller speakers bass response is to add a subwoofer. This
is a third speaker focussed on the lowest frequencies. This has the potential for a more accurate
approach across the whole frequency range. The drawback, however, is that its easy to misconfigure the subwoofer (usually by making it too loud). The way the subwoofer works with the
other speakers depends greatly on the room their placed in, meaning the configuration is very
much up to you (or whoever configures your room for you). Its common to hear large amounts of
bass as pleasing or exciting, making it difficult to resist the urge to configure the system to sound
exciting instead of accurate. Another problem more common with cheaper subwoofer-based
systems is that the front speakers are too small to reproduce the lower mids (which are poorly
compensated for by the subwoofer) , and the subwoofer is too small to accurately reproduce the
lowest frequencies anyway.
Of course, a well-rounded monitoring environment consists of more than one set of speakers so
that the weaknesses in a single set doesnt become a weakness in the whole monitoring
environment.
-Kim.
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2009/05/29 - Headphones
2009/05/29 - Headphones
Headphones are a part of a well-balanced monitoring environment. They offer a different listening
perspective to the speakers in your room. Generally, headphones allow more detailed and focussed
listening, which makes them ideal for spotting problems in recorded audio, such as background
noise or interference. Theyre also essential for recording acoustic instruments such as vocals,
guitars or drums.
The drawback to using headphones is that the sound is generally drier and wider than when
listening with speakers. Personally I find they can be misleading for judging dynamics too the
difference between levels seems to be smaller than when listening to speakers. These
factors make it more difficult to use headphones for judging front-to-back depth.
What headphones are good at, however, is zooming in on audio. Headphones can be great for
hearing details that you might otherwise miss with speakers such as rumble, hiss, crackles,
breaths, background noise, distortion etc. Headphones can be excellent for surgical correction and
cleaning up. They can also be useful for judging subtle distortion when using limiters and
saturation to reduce headroom in mastering.
If you choose well, you can use your headphones to compensate for weaknesses in your speakers
either using bright headphones alongside muddy speakers or deep headphones alongside thin
speakers.
-Kim
2009/06/01 - Dragging out the tools

Theres only two reasons to drag out the tools:
(1) To play with them because you dont know what youre doing.
It is necessary to do this in order to learn your tools. Whether your new tool is a reverb processor,
a compressor, a guitar, a new set of speakers or even a new studio chair, you need to spend some
time with it alone without the pressure and obligation of working for a client. Pull apart some old
projects grab the drum tracks, the vocals or guitars and try to recreate the same sound using
the new tools. Twist some knobs, explore the range of the tool. Explore it, see what it can do. This
is important and necessary just dont do it in front of a client!
(2) Because its the right tool for the job.
This is what you do when youre on a job. You pull out your tool because you already know its the
right tool for the job. You already know what settings youre going to use and what the result will
sound like before youve plugged anything in. You get here by spending a lot of time doing (1).
Its called practice.
-Kim.
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2009/06/02 - Mixing in mono
2009/06/02 - Mixing in mono

There are several different approaches to panning and stereo width in mixing.
Personally I leave panning until the end of the process. While Im recording and mixing I have
everything panned centre. The only exception to this is tracks where the stereo component is a
key characteristic of the sound, such as stereo synth pads or double-tracked guitars. Its only when
Ive finished adding parts to the mix that I then pan the parts.
What this does is artificially make the mix more dense as Im working. This forces me to pay
careful attention to how each part interacts with all the other parts (and the whole context of the
song). It also helps me to use foreground and background more effectively. Being unable to pan
means there is only a limited sonic space available for the foreground, so I cant use the left-right
space to jam more sounds in (which ends up sounding mushy and crowded anyway).
Its almost always critical that mixes hold up in mono. Sometimes a mix might be summed to
mono in playback (low quality streaming websites, poor FM radio reception, some television), or
sometimes a listener will only hear one side of your mix (imperfect listening position, speakers
placed in different rooms, shared earbuds). Even in the right listening space, most people dont
pay much attention to panning.
-Kim.
2009/06/03 - The right vocal level

Its not always easy to find the right level for a vocal. Its common to feel the need to mix the
vocal low (especially if its your own vocal!), burying it among the other instruments. Its also
common to mix the instrumental backing first, and the find that either the vocal rides unnaturally
over the top or is unintelligible. Sometimes it might seem that the vocal doesnt fit in no matter
what EQ, compression or reverb you use.
The trick is to acknowledge that the vocal is the most important part of the song, and the most
important part of the mix. That means it should be in the foreground. If you start with the vocals,
you are free to use as little EQ as necessary ensuring you have as natural a sound as possible.
Then build up your mix around the vocal, bringing in instruments in order of importance. In a
mainstream pop/rock mix this order would be something like: drums, bass, guitars/synths,
backgrounds. The relative levels of each group of instruments should be determined by the style of
music. For a lot of pop music, the vocal should roughly be at the same level as the snare (with the
sibilance at roughly the same level as the hihats). Bass is next and guitars are usually further
behind, but in rock the bass is further back and the guitars are closer to the front.
Reverb should be added later its not a fixer! The vocal should have the right tone, dynamics and
correct level relative to the rest of the mix before any reverb is added. The reverb merely adds
ambience and makes the vocal sound less naked. If the vocal doesnt fit in the mix without reverb,
then adding reverb wont help.
-Kim.
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2009/06/04 - Producers and producers
2009/06/04 - Producers and producers

Im an old curmugeon.
Something interesting has been happening to music production. More specifically, something
interesting has been happening to the role of the music producer.
I commonly see the term producer to refer to various roles, usually something like the guy at
the computer or the guy who does the mixing, or even the guy who makes the beats. Maybe a
producer is simply someone who produces music?
Traditionally, the producer is someone who works with a band and is responsible for the creative
vision of a project (usually an album). The producer might perform any of the following tasks:
Help choose band members or additional studio musicians
Help with instrumentation and arrangement of songs
Maintain the mood, esteem and motivation of the band members
Communicate the creative vision for the project to third parties such as studio musicians,
mix and mastering engineers, marketing and promotion teams, record label staff, etc
And others
Nowadays though, modern technology has allowed recording studios to be owned and run by
almost anyone. Now people with creative vision for music projects are likely to skip working with a
band. Instead theyll set up their own computer studio and write and record their own music. Now
all of a sudden theres a single person who is a composer, musician, recording engineer, mix
engineer, studio owner, promoter, etc.
Sometimes this producer will outsource to cover gaps in their own knowledge and abilities.
Weaknesses in songwriting or composition skills can be covered by doing remixes or covers.
Weaknesses in singing or playing instruments can be covered by bringing in musicians. Sometimes
people try to cover weaknesses in engineering skill are by purchasing more expensive gear. Either
way, the lines are blurrier now, and the term production has grown to include a number of newer
roles.
In todays smaller studios, there is production implied when people speak of recording or mixing.
Likewise there is often recording or mixing (or even composition) implied when people speak of
production.
-Kim.
2009/06/09 - Stability
Stability is the effect of a number of elements in the song all contributing to a sense of
predictability and comfort. Some techniques that can produce a sense of stability are:
Simple, regular rhythm; or repetitive or predictable rhythm (Not just drums, but rhythm of
other elements too).
Unchanging or predictable sonic texture.
Easy chord progressions.
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2009/06/09 - Stability
Consonant harmony (Consonance is the opposite to dissonance)

Stability comes from repetition, predictability, and simplicity. Two common uses of stability are:
Exposition of material. This is the introduction or presentation of new musical ideas. Stability is
useful for exposition because material is easier to remember when it is easy to digest (the mind
remembers material better when it doesnt have to work hard to interpret or decypher it).
Conclusion. Stability is usually a desirable attribute for a conclusion (ending) section because it
tends to resolve expectations (rather than create them), that is it makes it easier to finish
questions, rather than ask new ones. Stability is very effective in resolving tension.
The flip side of stability is instability. This is the opposite of stability where tension is easier to
create, where the listener has to work harder to understand the music. Instability is often where
things get much more interesting as well this is where the music develops and veers into new
territory. Instability is usually unpredictable and unsettling there are more surprises, new sounds,
and sometimes unpredictable patterns.
As a composer (or producer), it should be fairly obvious that its a good idea to aim for a balance
of stability and instability within a song. Beyond mere balance, think about deliberately controlling
the level of stability throughout the song so that it enhances the contour of the song. For example,
pop songs have most stability during the chorus. This reinforces the chorus as the most important
and memorable part of the song. It makes it easier for the listener to understand and memorise.
Conversely, the bridge is usually less stable. This adds interest and catches the listeners ear. It
also sets up the following chorus making the stability of that chorus more welcome. Sometimes
the introduction (intro) of the song is very unstable again, this is to catch the ear before diving
into the relative stability of the verses and choruses. While instability is useful, too much will make
the song difficult to understand and listen to. Conversely, too much stability will make the song
boring and uninteresting.
-Kim.
2009/06/10 - EQ on the mix bus

As Ive written previously, there are compelling reasons for and against using processing on the
mix bus. What I recommend against, however, is using static EQ on the mix bus. The reason for
this is that pure EQ (discounting EQ with added saturation) has the same effect regardless of
whether it is processing single tracks or groups.
For example, if you apply a +6dB boost at 100Hz on your mix bus, this is no different to applying
the same +6dB@100Hz on every single track in your mix. This is a blunt instrument! If you are
applying EQ like this, it is usually to bring out a particular character in certain instruments (such as
the kick and bass in this example). If youre mixing, however, you already have access to the
individual tracks and can apply EQ in a much more targeted and specific manner. In this example,
a better approach might be to simply raise the level of the kick and bass, or apply a low-end boost
to the kick OR the bass. Avoiding mix bus EQ would also avoid boosting any mud or rumble in the
other tracks, helping you achieve a cleaner sound.
There are a couple of scenarios when applying EQ to groups of instruments may be appropriate:
Group EQ and automated EQ.
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2009/06/10 - EQ on the mix bus
Group EQ is useful when you have several tracks that sound very similar (such as several takes of
a single instrument) and you wish to apply the same EQ curve to all those tracks. I often do this
when I have guitar or vocal stacks multiple takes of the same instrument layered for a thicker
sound. Applying EQ to the group saves time because I dont have to set the EQ on each track, and
it saves CPU/DSP because theres only one instance of the EQ (instead of several).
Automated EQ might also be useful on the mix bus as a special effect you might have dramatic
changes in your song which include a build-up with the whole mix high-passed or low-passed.
Applying this automated EQ on the mix bus is easier and more dramatic than applying it to
individual tracks.
-Kim.
2009/06/11 - Familiarity
Familiarity is a way of describing the effect that a section of music has on its listener when the
listener recognises something in the music. Of course, the opposite of familiarity is unfamiliarity
when the listener does not recognise something in the music.
Degrees of familiarity refer to the idea that we dont just have Familiar and Not Familiar there
are many levels in between. For example, we could speak of Not familiar, Partially familiar, and
Completely Familiar.
When a section of music is not familiar, it means the listener does not recognise it this is usually
because the material is new (has not been presented earlier). This can create uncertainty, but can
also have an effect of opening up expectations for a piece for example, a short unfamiliar section
right after the introduction of a piece can give the impression that more will be revealed, or that
the unfamiliar material will be developed (or revisited) later in the piece.
When a section of music is partially familiar (a bit familiar), it is often because is bears some
resemblance to previous material but it is changed, or developed. Some examples could be A new melody that shares the same rhythm of a previous melody
A bassline that matches a previous chord progression
A synth pad thats been vocoded with the chorus vocals.
Slight familiarity can be powerful when used effectively, because it is a bridge between something
known and something unknown. It can be used to soften a transition to new material. It can be
used to give hints of where we came from, of where were going to. It can be used to make a new
section feel more like it belongs to the piece.
When a section of music is completely familiar, it means the listener has heard it previously in
almost exactly the same form. This is usually the result of literal repetition (repeating some
material without changing it) and can be used to reinforce some particular material (like the
chorus of a pop song). Complete familiarity can also be desirable at the end of a piece at the
conclusion. This is very similar to my mention of stability at the end of a piece.
Layers of familiarity is what happens with some parts playing familiar material, and some parts are
playing unfamiliar material. Layers of familiarity are interesting for the same reasons as partial
familiarity it creates a crossover between known material and unknown material.
The concept of familiarity is not as concrete as some other aspects of music theory (such as chord
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2009/06/11 - Familiarity
progressions, voice leading, or filter sweeps). This is not meant to be the focus for a composer,
and it doesnt really make sense to study it on its own.
Its something to keep in mind as you compose, something to think about in between figuring out
how many times to repeat that drum loop and when to bring in the next synth line.
Familiarity can be linked with Stability, and Expectation. Its important to understand, however, that
while these concepts may often correlate (when familiarity is high, often stability is high as well)
they are not the same, and interesting results can be achieved by mixing them in unusual ways.
-Kim.
2009/06/13 - Devil Gurl and MAutoEqualizer

Ive just published Devil Gurl a harder electro-rock from MEGALOVE. This is the fourth in this
series, and the first with live drums (performed by our drummer who plays at our gigs).
This is the first project that Ive started to include MAutoEqualizer in my mastering workflow.
Basically this is an EQ that analyses some reference material along with your own track, and then
applies appropriate equalisation to make your track have the same tonal balance as the reference
material. Unlike some other similar plugins, MAutoEqualizer uses Fast Fourier Transform for
analysis only the actual signal processing is performed using parametric equalisation (minimum
phase and linear phase algorithms are both available).
I was initially sceptical about this approach surely tonal balance is a matter of judgement and
creative direction? Well, in mixing it is. Mixing is a creative endeavour. My approach to EQ in
mastering though, is to adjust the tonal balance of the audio so that it favourably compares with
my commercial references. While this requires considerable skill, it does not require a great deal of
creativity.
The idea of having software algorithms do this task for me is actually quite enticing. Regardless of
whatever mastering skill Ive developed, I still find it to be a chore boring and tedious precisely
because it is not very creative. Having said that, MAutoEqualizer doesnt perform miracles. Getting
a good result requires two things:
1) A good mix. Automatic equalisation isnt a magic fix-it. All it does is adjust the overall tonal
balance. Mastering EQ is extremely limited in its ability to change the balance between instruments
or to change the tonal characteristics of individual instruments.
2) Generous and appropriate analysis material. I find the best results require giving
MAutoAnalyser several different songs to analyse for reference. This ensures the target tonal
balance is more average and doesnt contain any idiosyncratic irregularities specific to a single
song. As has been my practice for years, I choose 3-4 reference songs in a similar style, but from
different artists and albums. I just line them up on a track one after the other and let
MAutoEqualizer listen to them in one pass. Similarly, its important for MAutoEqualizer to analyse
the whole of the song being mastered.
-Kim.
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2009/06/15 - Variation and development

Put simply, variation is when you take a bit of music (it could be one bar, one instrument, or even
a whole section) and you change it. More accurately, you would probably make a copy of that bit
of music, and change the copy. The key is that the changed copy still bears some resemblance to
the original (ie, were not talking about transforming it into something unrecognisable).
Easy.
What then, is development? Development is a more sophisticated version of variation. If we
define variation as making some change, we could define development as using a defined
process to make a variation. At first glance, the difference may look like one of semantics, but I
assure you its more than that. Before we discuss why wed want to use development, Ill give you
some examples so you know what Im talking about.
Example one:
Lets say we have a drum pattern. Lets say we want to vary the position snare drum. If we were
to make a variation, we might randomly move the snare drum hits around, perhaps inserting
some or removing some. The variation will not actually be random wed be changing the snare
hits according to what we think sounds good. I use the term random because it helps illustrate
the difference between variation and development.
If we were to make a development of the drum pattern, we would use a defined process to alter
the snare drum hits. Defined process? Well, we could do something like move all the hits one
sixteenth of a bar earlier. Or we might gradually increase the density of snare drum hits (one hit in
the first beat, two hits in the second beat, , four hits in the fourth beat). Or we might make the
velocity (volume) of each snare drum hit increase as they progress throughout the bar. Or we
might do all three.
Example two:
Lets say we have some melody, and make a copy and we want to change the notes on the copy.
If we were to make a variation, wed change the notes randomly according to whatever we
think sounds good.
If we were to make a development, we might do something like transpose each note one step
higher than we transposed the previous note. Or we might change all upwards jumps to equal
downwards jumps (and vice-versa). (You might want to measure steps in your favourite scale, to
avoid getting wrong notes. Or you might like the sound of the wrong notes!)
The difference between variation and development, is that for development were using a defined
process over a period of time. You may also choose to think of it as a repeatable process. We
could take the process that we used, and apply it to some other tracks, or another section.
From those examples, you might already be thinking about some ways in which development may
be useful as an alternative to variation.
One advantage (that Ive already mentioned) of development over variation is that you can use
some process, and then apply the same (or a similar) process to other bits of music. For example,
you could perform some development on a drum track during a bridge section, and then do the
same thing on the bassline, or the chords, or whatever. Or you might make a development of the
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main melody, then perform and inverse or opposite development on the bassline.
Of course, multiple develpment doesnt have to be just in parallel you could do them one after
the other. For example, you might have a really dense drum pattern. You might have it plain once,
then for the next repeat you could use some process to remove some hits. Then for the next
repeat perform the same (or similar) process on the previous development, and keep doing that
until the drum pattern is empty.
Another interesting approach could be to apply a similar process across different lengths of time .
For example, you could come up with a process to let you thin out a drum pattern rapidly so that
at the start of the bar it is complete, but by the end of the bar there is nothing left. You could then
apply a similar process to the bassline, but across two bars. Then do the same thing to the pad,
but across four bars. Then the melody, across eight bars. or something like that.
While Im using typical traditional western music constructs (notes, metric rhythm, drums, melody,
chorus, etc) for examples, these principals are appropriate to almost all kinds of music.
-Kim.
2009/06/16 - Multiband compression

Multiband compression is a complex and subtle tool. Compression itself is one of the most complex
single processes commonly applied in mixing. Multiband compression multiplies that complexity
because it applies several compressors in parallel, each processing a different frequency range of
the audio. Because of the way the audio is split by frequency, multiband compression is best suited
to complex audio with varying dynamic behaviour across the frequency range. Typically, this would
be a full mixdown (either on the mix bus, or in mastering).
Multiband compression is best used for one of two purposes surgical problem solving, or subtle
leveling.
Multiband compression is ideally suited to some kinds of problem solving because it allows
compression to be applied to a specific frequency range without altering the rest of the audio. For
example, a mix with uneven bass guitar playing could be improved by using multiband
compression to reduce the dynamic range of the low frequencies. Another example could be a mix
where the vocal has not been compressed appropriately and alternates between being too quiet
and too loud. Depending on the mix, multiband compression can be used to even out the vocal in
relation to the rest of the mix.
In these examples, multiband compression would be used at the mastering stage only if its
impractical to revisit the mix. Of course it is better to fix these problems in the mix (or even
earlier) if at all possible.
The other common use for multiband compression is for subtle leveling. Rather than using a single
band to solve a specific problem, all bands are activated and are gently riding the gain. This
approach works best on weak mixes that are not balanced very well. It improves the overall tonal
balance and dynamic behaviour of the mixdown in a more subtle and less damaging way than fullband compression. Again, this approach is appropriate if it is impractical to return to the mix.
As always, the earlier these problems can be addressed, the more power you will have to apply
the appropriate solution.
Dont wait until mastering to fix things that should be addressed in the mix! Likewise, dont wait
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until the mix to fix things that should be fixed in recording or even composition!
-Kim.
2009/06/17 - Expectation
Expectation is what happens when a listener anticipates a future event in the music. Put another
way, it is when the listener has some idea of what will happen in the future of the music.
This is usually achieved through repetition. For example, if I present a pattern:
A A B C, A A B C, A A B ?
The listener would probably expect C to take place next (where the ? is).
Expectation can be a powerful tool for manipulating the experience of the listener. By being aware
of patterns and the degree of repetition in your work, you can have a greater understanding of the
expectations that the listener has as they are listening to the piece.
If you have a section of music where you think the listener will be expecting something in
particular, there are two things you (the composer) can do:
Fulfill their expectation.
Deny their expectation.
Of course, this is a very simplistic view, but will serve for the purposes of discussion. Feel free to explore the grey area in between on your own!
Theres not much to say about fulfilling the listeners expectation, only that it usually increases
stability and reinforces familiarity.
Denying the listeners expectation is much more interesting, because this is where the music
breaks the pattern and surprises the listener.
There are two special cases of expectation denial which are particularly interesting: that of
pushing back the expected material, and that of pushing forward the expected material.
What do I mean by this? Lets start with pushing back. This is when the expected material occurs
later than the listener thinks it will occur. Using the above example, pushing back might look like
this:
A A B C, A A B C, A A B B C
Notice that on the third repeat, the position where the listener would expect a C is actually
occupied by a second B, and the expected C actually occurs one unit time later.
Pushing back usually has the effect of suspending the progress of of piece. If done well, pushing
back can increase the expectation of the listener that is, make the expectation stronger. This is
common in pop music where there is a bar or two of something between the end of the second (or
third, etc) verse and the chorus. In this case, it makes the listener want the chorus more, and feel
more satisfied when they actually get it.
On the other hand, pushing forward means giving the listener what they expect, but earlier than
they expect it. Again, using the above example, pushing forward might look a little like this:
A A B C, A A B C, A A C
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2009/06/17 - Expectation
Notice that during the third repetition, the listener expects the C, but actually gets it one time unit
earlier.
Pushing forward usually has an effect of speeding up the pace of the music, and can also increase
the excitement of fulfilling the expectation.
-Kim.
2009/06/18 - Monitoring gain staging

The reason the commercial references are so loud is that they have very little headroom the
average level is so high that theres not much room for the peaks (which have been squashed
down). When mixing, however, you shouldnt worry about headroom on the mix bus. You need to
give yourself enough headroom that you can focus on the task of mixing getting the balance
between the different sounds right. Wait until mastering before you tackle the mastering
loudness problem.
If you try to mix at commercial levels (with extremely low headroom) by using a limiter on the mix
bus, youll have an extremely difficult time of it because every small change you make to a sound
will change the other sounds in noticeable and largely unpredictable ways. For example, if you turn
up the vocals, the bass might become quieter (because everything becomes quieter). Noticing the
bass, you turn it up, which might make the whole mix more distorted (particularly if youre using
saturating processors on your mix bus). It also causes problems because setting a channel to solo
causes it to sound very different to how it sounds in the mix (because its being modulated by the
other channels).
To make sure you have enough headroom at mixing, simply turn your speakers up. Turn the
volume up much higher than you would have it for regular listening. Dont use any processors on
your mix bus. Your mix will end up quiet (because its much further from 0dBfs than your
commercial references), but dont worry. Mastering is a separate process, and one of the purposes
of mastering is to bring the overall volume up to its final level.
By doing this, you are free to focus on the mix.
-Kim.
2009/06/20 - Peak vs RMS

Peak levels are the highest digital values that are in the waveform as it exists in the computer (or
other digital equipment). While peak levels arent directly related to how we hear the sound, they
are crucial for correct gain staging in digital gear. Most critically, peak levels must not reach 0dBfs
when recording or when preparing audio for distribution.
There are many factors other than raw level that influence the way we hear sound, which is why
peak level alone isnt directly related to how we perceive sound. For example, we perceive longer
sustained sounds to be louder than short transient sounds. Likewise, we perceive sounds in the
upper mid frequencies (around 2.5kHz) to be louder than sounds with extremely low or high
frequencies (such as 100Hz or 10kHz). So a 100ms sound at 100Hz will sound much quieter than a
1000ms (1s) sound at 2.5kHz, even if theyre both at the same peak level.
RMS is a way of measuring audio levels that more closely reflects how we perceive sounds.
Roughly speaking, RMS measurements average the level over time, so that short transient peaks
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2009/06/20 - Peak vs RMS
dont have as much influence as longer sustained sounds. This way the RMS measurement is less
jumpy, and better represents how the audio sounds to us.
-Kim.
2009/06/22 - Theory vs creativity

Some people seem to believe that theory and creativity are somewhat at odds with each other. It
seems the typical line of thinking is that a person who knows no theory is free to compose
whatever she hears in her head. Unhampered by preconceived notions of right and wrong, the
composer can get as close as possible to her ideal.
On the other hand, a composer who has studied theory is supposedly hindered by what is
supposedly right or wrong. Perhaps she came up with an idea, but (consciously or
subconsciously) rejected it because it didnt fit within certain rules.
This is not necessarily incorrect each person composes in their own way but it doesnt have to
be like this.
There are two kinds of music theory that a composer may draw upon - general composition theory,
and genre theory.
General Composition Theory is independent of style, instrumentation, size, etc. It is applicable
to all composition. The important thing to remember is that it is not a set of rules. General
composition theory is a set of tools, a set of techniques. Its not whats right or whats wrong. It
describes common practices and their effects upon the listener. Its up to you, the composer, to
decide whats right and whats wrong depending on your own context. Feel free to ignore
them, disobey them, break them. Feel free to embrace them, extend them, use them to make your
own set of tools.
In my experience, learning general composition theory hasnt limited my creative strength. On the
contrary, its definately increased it. I still come up with whatever ideas I want, and I still arrange
them according to whatever sounds good. But in addition to that, general composition theory has
given me ways to develop and extend my ideas to form works of much larger scale. Being
conscious of the tools and techniques has allowed me to arrange and develop the material so it is
stronger, more complete, and has greater impact.
Its commonly said that creativity is 10% inspiration and 90% perspiration. Theory helps you get
the most out of that 90%.
Remember though: as the composer, its up to you to learn from this. Its up to you to integrate
this knowledge into your own style of composition, into your own set of techniques. You have to
own it. Remember: This is art, not science.
The other kind of theory is Genre Theory. This includes how to write trance, or how to write
the perfect pop song. This also includes traditional theory as you may know it the rules upon
which classical music is composed. Genre Theory is much more often presented as a set of rules
and rightly so. If you want to compose awesome Trance music, youd better get out that TR909
and stacked supersaw lead (or whatever the kids are using these days). If you want to compose
classical music, youd better brush up on your scales and cadences.
Unfortunately, many people incorrectly believe all theory is classical theory. I imagine this comes
from some lower-school education, where this was the only type of theory that was tought.
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2009/06/22 - Theory vs creativity
Unfortunate, really.
-Kim.
2009/06/23 - Compressing vocals

Vocals are usually compressed to make the dynamics even that means that all the syllables are
roughly the same level. That makes it easier keep the vocal balanced with the rest of the
instruments. Otherwise the soft syllables will be lost in the mix but the louder syllables will stick
out too much.
Start with highest threshold, highest ratio, fastest attack and fastest release. All other special
features should be left at normal (eg hard knee, no sidechain, etc).
Now, lower the threshold until the compressor is reducing gain whenever the vocals are sounding,
but not reducing gain when the vocals are not sounding (for example, in between lines or when
the vocals takes a break to breathe).
You should hear the vocals being crushed pretty heavily. Now, how you reduce the crush depends
on how you want the vocals to sound:
Increasing the release time will make the compressor act slower, allowing each syllable or
word to follow a more natural contour.
Reducing the ratio will add dynamics back to the performance, increasing the difference
between quiet words and loud words.
Raising the threshold will allow the quieter syllables to pass uncompressed. The compressor
will then only focus on the syllables that were sung louder.
Increasing the attack time will make the compressor lag a bit when its compressing the
start of each phrase. This usually doesnt sound so good with vocals its more useful with
drums and other percussive sounds.
Thats the order in which I adjust my vocal compressors. Its very rare that I resort to advanced
features like soft knee, side-chain EQ, etc.
This approach to compression also works well on other sounds, try it on bass, guitars, synths,
effects, even drums.
-Kim.
2009/06/24 - Perception of time-speed

You may have noticed that the music listening experience is often not perceived as metric time.
That is, the speed of time seems to vary throughout a piece of music. Some parts seem race by as
if the clock were somehow accelerated, whereas other parts feels as if they last an eternity. This is
the speed of time.
The word perception is important here because, while we cannot change the actual speed of time,
we can (through music) change our perception of the speed of time.
Altering our perception of speed time can be done in many more ways than simply changing
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2009/06/24 - Perception of time-speed
tempo. But first we must ask the question: How do we perceive time?
Imagine for a moment that you do not wear a watch, and you cannot see any clocks or other
time-measuring devices. How do you measure time? Probably by remembering a number of events
for a particular time period. This is not exact events means anything that happens, and time
period is your short-term memory. Both are variable. Consider two situations.
The first situation is that of sitting down, doing nothing for five minutes (or even better watching
the clock!). Time seems to crawl past.
The second situation is that of cleaning a messy desk in five minutes. Very busy, moving
everything in its right place. The busy activity gives the appearance of time passing quicker.
In both cases, the elapsed time is five minutes, but the perception of time is different.
The same principal can be applied to music.
If you want to slow down your listeners perception of time, use less events and introduce less
changes per time period.
If you want to speed up your listeners perception of time, use more events and introduce more
changes per time period.
For example, we could focus on a section of music, and look at how many times the drum pattern
changes, or how many chords there are, or how many notes (or note events) are in the melody.
Its important to note that while changing the number of events is useful, controlling the rate of
change is most important. This is somewhat similar to the (more classical) notion of rate of
presentation of material.
Another interesting way of looking at it is: Instead of measuring events+change per time period,
look at time period per change. Approaching it from this angle, you might count the bars between
each change, or look at the length of each section. A faster bit of music may have more sections,
each shorter; whereas a slower bit of music mayb have fewer sections, each longer.
-Kim.
2009/06/25 - Buildups
Buildups often require particular attention when composing. A buildup section is one immediately
leading up to a point of high energy. Commonly this is the climax of the song the most
important part of the song. The buildup is critical because it has to lead up to the climax in a way
that maximises its effect. This is best done by enhancing the listeners sense of anticipation and
expectation.
Ive written about expectation in this post, but that alone is not enough. For a stronger effect, also
consider sequences, precedent, linear movement and transition.
Sequences are repeated patterns in music. As explained in the post on expectation, sequences
play an important role in setting the listeners expectations. Worth considering, though, is using
sequences at different levels. For example, you could use repeated patterns within the buildup to
create a cyclic effect.
Precedent applies this idea to a wider scope whole sections. You could also make the buildup
itself part of a larger sequence. By having a smaller buildup leading up to a smaller climax earlier
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in the song, you heighten the listeners expectation of a bigger climax at the end of a bigger
buildup.
Linear movement is important in a buildup. Many song sections are static they stay the same
throughout the section (the same level of energy, the same types of sounds, the same density,
etc). The buildup, however, works best if it is in motion. Typically, this works best if the buildup is
gradually getting louder, more energetic and more complex. The buildup section might start quite
subdued and understated, but at the end it might have enough energy to meet the climactic next
section.
Transition is related to linear movement. It might help to think of the buildup as a transition
section between the climax and whatever precedes the climax. Using the buildup as a transition
section also helps glue the song together because it links the two adjacent sections (rather than
sounding as a separate section on its own).
Another useful technique is to introduce a short gap in between the end of the buildup and the
beginning of the climax. As explained in the last section of the post on expectation, this pushes
back the climax and increases the sense of expectation and anticipation in the listener.
-Kim.
2009/06/25 - Volcano: Advanced Tactics

Ive had another article published on ProRec, titled Volcano: Advanced Tactics. Its a look into
some of the more advanced signal processing techniques possible with FabFilters Volcano plugin.
Lots of audio examples too.
-Kim.
2009/06/26 - The vibe of a session

I recently came across this article, with this great paragraph:
THE REALITY is that 90% of the time, the artist (and probably the producer) dont want to
sit around and watch you turn knobs and swap mics until you get your idea of the most
awesome sound. They want to record. Instead of the perception that you are doing your
job to the fullest, the actual perception will often be this engineer doesnt know what hes
doing, and then before youve recorded a single note, everyone has already lost faith in
your abilities, and the session vibe is blown. The most important thing in any session ever
is the VIBE. A great vibe will usually translate to great feeling takes, which is a bit more
important than the most amazing vocal sound. a bad vibe will equate to unusable takes,
even is sonically they are wonderful. VIBE. believe it.
And this gem:
The engineer is doing their job the best when they are transparent to the session. When
nothing they do is slowing down the creative process.
My personal view has long been similar to this: Technology is best when it stays out of the way. As
far as recording going, the engineer is part of the technology. The artist is in the studio to make
music. Any time they spend not making music is time they spend waiting to make music.
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2009/06/26 - The vibe of a session
Read the rest of the article. Its worth it.

-Kim.
2009/06/29 - Bit Depth

Occasionally theres a bit of confusion about bit depth, and about what the best bit depth to use in
different situations is. In the digital world, there are three bit depths that we might have to deal
with 16 bit, 24 bit and 32 bit.
Bit depth determines the accuracy of low-level details in the audio. This includes the subtle details
in the sound and the decay of notes or reverb tails.
16 bit
Digital audio at 16 bit is most commonly found in CDs. 16 bit audio allows the audio to have a
dynamic range of roughly 96dB thats the difference between the loudest possible sound and the
quietest possible sound. This is fine for a final delivery medium the vast majority of music has a
dynamic range well within this limit.
On the other hand, 16 bit is not so good as a recording format. Often when recording audio, the
nominal level has to be quite low so that accidental peaks dont distort (the distance between the
nominal level and 0dBfs in a digital system is the amount of headroom). Because of this, low level
signals (such as the decay of notes, or subtle details in the sound) may be recorded at a very low
level below 0dBfs. When recording at 16 bit, any audio below 48dB (such as the decay of notes or
subtle detail in the sound) is actually captured with less than 8 bits. This can give those low level
signals a crunchy or distorted sound. This may be exacerbated in the mix by further processing
such as compression and EQ.
24 bit
Professional analog-to-digital converters can capture low level details at higher resolution. This
means that the low level signals can be captured accurately without having to record with less
headroom. Recording at 24 bit allows the finest details to be saved. 24 bit recording provides a
theoretical dynamic range of 144dB (compared to 96dB at 16 bit), but no analog-to-digital
converter records with this much range (figures of around 110dB are typical). However, capturing
at 24 bit is appropriate because computers are more efficient at handling data in 8 bit chunks.
The problem with 24 bit audio is that it can be limiting when mixing. Mixing often involves
summing a large number of tracks, each with several stages of processing. In this scenario, small
errors can accumulate.
32 bit
Many software mixers convert audio to 32 bit internally during processing. This goes some way to
reduce the effect of low level errors accumulating, and also has the added bonus of being able to
have audio that excedes 0dBfs without clipping - as long as it happens internally to the software
(that is, before it leaves the mix bus).
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It is also sometimes worthwhile rendering audio at 32 bit. This would be a good idea if you intend
to further process the audio. An example of this is if you render a mix to a stereo file, intending to
import the stereo file into a mastering project. This means no resolution is lost between mixing
and mastering. 32 bit audio is not suitable for recording or distribution.
It might be a good idea to start with an approach of recording at 24 bit, mixing at 32 bit and
mastering to 16 bit for distribution.
-Kim.
2009/06/30 - Extending chords

Often, music that is based on scales and triads can sound harmonically simple. One way to make
your sound more complex is to extend your chords.
An easy way to do this is to keep stacking thirds and fifths on top of the existing chords. For
example, if you have a C-major chord the notes would be C, E, and G. To extend this, add B, then
D, then F all above the main triad. To keep it as clean as possible, dont let any notes be less
than a minor third apart add the additional notes in the octave above.
Another example youre working in F#-minor. Your triad is F#, A, C#. You could extend it by
adding E, then G#, then B.
As easy way to think about it is to just keep alternating between major thirds and minor thirds. In
the C-major example, C to E is a major third, E to G is a minor third, then G to B is a major third,
then B to D is a minor third, etc, etc.
At first it may sound a little strange, but youll get used to it.
This method is useful (I use it myself) because you still retain your tonal centre (your bassline still
makes sense), and the additional complexity is added gradually meaning you can control how
complex you want your chord to be. If you just want a bit of added complexity, just add the next
note above. If you want more, add another note. Or another. Or another.
You could extend this idea by having a different instrument play the extentions. For example, you
could have your favourite thick pad playing your triad, then have the extentions played by a thin
airy pad in the background. This gives you more ways to balance the simple with the complex.
Some synth pad presets in workstation keyboards do a similar thing automatically each note has
the main sound on the note and a lighter note a fifth above.
-Kim.
2009/07/01 - New Robot Child songs up

Just a quick post to say Ive uploaded two more Robot Child songs One Final Scream and It
Wont Last. Both are a bit rockier than their previous songs.
Im not in the band, but Ive mixed all five published Robot Child songs. Its not a bad sound for
what is essentially a single take in a rehearsal studio (plus a couple of overdubs). I just wish
drums didnt sound so much like buckets and tin cans.
-Kim.
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2009/07/01 - Sample Rate

As with bit depths, there are several different samplerates used for digital audio. While bit depth
determines the accuracy of low level details, samplerate determines the accuracy of high
frequency details.
Samplerate is actually the rate at which the digital audio is being processed, and where there are
multiple files or audio streams being processed simultaneous (such as in a DAW or digial mixer) all
the audio streams need to be at the same samplerate. For this reason, its best to choose a
samplerate before recording begins, and avoid changing mid-project.
44.1 kHz
This is by far the most common samplerate, as it is the samplerate used by audio CDs. Roughly
speaking, the highest frequency that can be represented is exactly half the samplerate so at
44.1kHz, the highest possible frequency is 22.05kHz. Seeing as most people cannot hear above
20kHz, this would seem like a good samplerate choice. The problem with this, however, is that the
accuracy of those high frequencies is quite poor. The closer you get to the highest possible
frequency, the worse the accuracy gets. As a result, the inaccuracies can sometimes be heard well
below the highest frequency. For this reason, many plugins oversample their critical processing
components meaning the audio is internally converted to a higher samplerate so the highest
frequencies can be processed with better accuracy.
48 kHz
This samplerate effectively has the same limitations as 44.1 kHz, except that its more commonly
used for film and other visual media. This is because it syncronises better with visual frame rates
(44.1 kHz doesnt divide evenly into 24 frames).
96 kHz, 192kHz
Most modern professional digital audio systems can operate at higher frequencies than 44.1 kHz or
48 kHz. This allows audio to be captured and processed with much higher accuracy, especially at
the highest frequencies. This usually results in a more open, natual sound. The trade-off is that
much more processing power is required. Working at 96 kHz will half your capability compared to
working at 48 kHz. That includes disk space (recording time), disk throughput (number of
simultaneous tracks) and CPU/DSP power (number of compressors/EQs/effects).
Working at 192 kHz cuts your capabilities in half again. Whether this trade-off is worthwhile for
you depends on the kind of work youre doing and your style of working. If you want to record the
clearest, purest sound with a minimum of processing, high samplerates might be appropriate. On
the other hand, if you want to do a lot of processing (especially if you regularly push your
equipment to the limit) then you might prefer the higher capabilities of working at a regular
samplerate.
Recording at these high samplerates also has an advantage for sound design and special effects.
Because there is so much more high frequency detail captured, slowing down a high samplerate
recording results in a much clearer sound than slowing down a sound recorded at 44.1 kHz or 48
kHz.
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If you work at 96 kHz or 192 kHz, you might need to convert back down to 44.1 kHz or 48 kHz
when preparing audio for distribution.
-Kim.
2009/07/06 - Writers block

Weve probably all experienced writers block at some stage. Sitting in front of the computer,
keyboard or guitar, wishing an idea or inspiration would come. Instead, no music comes. It brings
down our self-esteem, which further inhibits creativity. Its a horrible cycle.
Ive seen a a lot of advice about how to deal with this kind of situation, and it seems most of it is a
variation on the theme of doing something random. That is, bringing an unexpected or unfamiliar
element into the music. This ranges from using a new instrument, to limiting the song within
certain parameters (such as time, key, instrumentation, style, etc).
I disagree with this advice. In my experience, this is not the path to productivity.
For me, the first step is to get some distance. Get out of the studio. By physically removing myself,
I walk away from the (self-imposed) burden of having to force creativity. If the weathers good, I
like to take a walk. The fresh air combines with the physical activity, stimulating bloodflow and
brain activity. I use this time to reflect on my current projects. What progress has been made on
each, what further work needs to be done. I remind myself of the overarching creative direction
for each project what is the style of music? What is the style of working? What are the expected
outcomes?
If you dont have any projects, this is the time to begin planning one. Choose to embark on either
an album-length (12 songs) project or an EP-length project (6 songs). Think about some music
youve been listening to, and consider some aspects of the music that you find interesting or
inspiring. Think about combining different musical approaches or trying new musical approaches.
Think about a unifying theme.
If you already have a project that youre stuck on, think about the bigger picture. What are you
trying to achieve with the project? If youre stuck for creative direction, think about aesthetic
colour and texture. If youre stuck for lyrical ideas, think about the key message of the song. If
youre stuck for ideas for a new song, think about music youve always wanted to make.
Either way, dont return to the studio until you have a plan. Dont return until you already know
what youre going to do when you sit down in the big chair. Make sure that when you return you
know exactly what youre going to do.
-Kim.
2009/07/07 - Limiting vs Clipping

Limiting is an extreme approach to compression. Where compression reduces the degree by which
sounds can go louder than the threshold, limiting is designed to stop sounds from being any
louder than the threshold at all. Limiters usually have simpler controls to compressors, but are
functionally similar to compressors with high ratio and fast attack.
Limiters are useful for reducing peak level (the level that machines hear) of a sound without
affecting the average level (the level that humans hear). This reduces the headroom that the
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sound needs so that it can be made louder without distorting.

The downside the using limiters is that they reduce the level in the same way that compressors do
by applying gain. That is, they turn down the volume . Ideally, a limiter does this fast enough
that the transient peaks are reduced but the steady-state sound is not audibly affected. In many
cases though, the gain reduction is audible. It can give the sound a soft, wooly character, or even
a random tremolo effect if the threshold is too low. Often using a limiter reduces the power and
impact of a sound. This effect is sometimes hidden because the limiter also increases the overall
volume, making it more difficult to notice that the character of the sound is changed.
An alternative to limiting is clipping. Yes, this is the same clipping that usually engineers try to
avoid when recording and processing audio. Most of the time clipping is undesirable, but in some
situations it can be used deliberately and beneficially.
While limiting reduces the level of the transient peaks by turning down the volume (applying
negative gain), clipping reduces the level of transient peaks by distorting them. If you view the
waveform of a clipped sound, youll see that the waveform looks like its had the tops and bottoms
chopped off. This is distortion! However, if only the transient peaks are clipped, the clipping only
occurs for a very short period of time, and is not very noticeable.
When this happens, the excess level in the transient peaks is transformed into upper harmonics.
That is, the transients become noisier and dirtier. For some kinds of music, this can be a desirable
alternative to reducing gain. The power and impact of the sound is often retained (or even
enhanced!), but at the expense of fidelity.
-Kim.
2009/07/08 - Gain Staging

A gain stage is any point in the signal path where gain is applied where volume can be
changed. Gain can be positive (makes the sound louder), negative (makes the sound quieter), or
unity (doesnt change the volume but its still a gain stage!). Gain staging is the awareness that
there are all these gain stages, and its important to carefully adjust each one so that each
processing stage is operating optimally. This means balancing headroom and noise floor to keep
the audio as clean as possible.
The noise floor of an audio system is the level at which the background noise (hiss, etc) is. This is
not the hiss in the recording, but the background noise inherent to the system itself. Generally, its
best to stay as far away from the noise floor as practical. In analogue systems, the noise floor is
hiss or hum caused by the electrical components. In digital systems, the noise floor is crunchy
quantisation noise caused by a lack of digital resolution. In modern digital systems, noise floor is
not a big concern. Most professional analogue-to-digital converters (ADCs) have a noise floor
below 100dBfs.
The headroom of an audio system is the amount of room (in decibels) between the nominal level
and the saturation level. The nominal level is level at which the audio spends most of its
time. There is some flexibility in deciding what the nominal level should be. A low nominal level will
give you lots of headroom, but a higher noise floor. A high nominal level will give you less
headroom but a lower noise floor. The less headroom you have, the more saturation/clipping youll
get, and the more compression and limiting youll need to keep the sound clean.
Noise floor is less of an issue in professional digital systems (especially all-software systems such
as DAWs), but headroom is still critically important even more so in todays loudness war. If you
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dont give yourself enough headroom early in the signal path, youll find yourself hampered by
your need to reduce dynamics for technical reasons instead of focussing on sound.
-Kim.
2009/07/09 - Drum programming Expectation

and Excitement
This post is about drum programming, but these principals apply to all aspects of rhythmic
composition (including basslines, melody, etc). Additionally, these principals are applicable to drum
patterns of arbitrary (any) complexity, but for simplicity we will be primarily concerning ourselves
with the four-on-the-floor kick drum pattern often heard in popular club music.
A little more on drum patterns of arbitrary complexity. The important thing to remember here is
that everything is relative to the normal. That may sound somewhat obvious, but Ill explain
further. A static (looped) drum pattern can only be interesting for a limited amount of time. After
hearing the repetition several times, we (the listener) know what to expect. However complex this
drum pattern is, repetition makes it the normal. If, after a few iterations, we change the loop, we
(the listener) will be surprised in some way but if this variation is then looped, it becomes the
new pattern it becomes the new normal upon which we build our new expectations.
So basically, we will discuss two patterns the normal, and the variation. The normal is what has
been repeated, and what the listener expects. The variation is a new loop that is very similar to
the normal, but different enough to surprise the listener.
Expectation
We can create expectation by removing notes from our variation. The sense of expectation is
created because the listener expects (from the normal) a certain note to exist, but it does not. You
might say the listener wants something to be there, but it is not, so the listener is kept
wanting.
For example:
normal variation
1 2 3 4 1 2 3 4
* * * *,_ * * *
or:
normal variation
1 2 3 4 1 2 3 4
* * * *,* _ * *
If these examples dont make immediate sense, imagine that the first four beats (normal)
are repeated several times before the next four beats (variation) are played. If it still
doesnt work, turn up the volume.
We can take this idea further if we look at the concept that rhythmic patterns usually have a
hierarchy of strong and weak beats. Beats 1 and 3 are usually the strongest (at least in
modern popular music), then 2 and 4 are weaker. The rhythmic positions between the beats are
weaker still, etc.
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2009/07/09 - Drum programming Expectation and Excitement
Coming back to our discussion of expectation, we might observe that removing notes on strong
beats tends to (comparatively) emphasise the weaker beats. This enhances the expectation
because it creates more tension the pattern wants to resolve. Some examples:
normal variation
1 2 3 4 1 2 3 4
* * * *,_ * * *
or:
normal variation
1 2 3 4 1 2 3 4
* * * *,* * _ *
Or deviating from four-on-the-floor:

Code:
normal
variation
1 2 3 4 ,1 2 3 4
* ** **,* *_ **
Again, imagine that the normal pattern is repeated several times before the variation is
played.
Alternatively, we could remove notes on weak beats. Comparatively, this tends to emphasise the
strong beats, and thus doesnt create as much tension, and doesnt reinforce the expectation.
Examples:
normal variation
1 2 3 4 1 2 3 4
* * * *,* _ * *
or:
normal variation
1 2 3 4 1 2 3 4
* * * *,* * * _
Youll observe that creating expectation by removing weak beats is generally not as effective
as removing strong beats. In fact, removing weak beats is more effective at thinning the
texture, and this is what is more likely to be percieved.
Excitement
The flip side of expectation is excitement. Excitement in rhythmic patterns can be created by
adding notes in. Example:
normal variation
1 2 3 4 1 2 3 4
* * * *,* * ***
normal variation
1 2 3 4 1 2 3 4
* * * *,* * * **
The reason this creates excitement is that the listener is (from the normal) expecting
nothing, and in its place they get something. Another way of looking at it is that the listener
hears something before they expect it. We can extend this technique by observing that
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when an added note is close to an existing note, the added note can associate with its
neighbour.
To show an example of this, well need to double our resolution:
normal
1
2
*
*
3
*
variation
4 1
2
3
* ,* **
*
4
**
When an added note associates with an existing one, it can have an effect of reinforcing the
existing note. Additionally, the position of the added note (whether it comes before or after
the existing note) can also have an effect on how the existing note is reinforced.
If the added note comes before the existing note that it associates with (variation, beat 2), then it
tends to create the illusion that the existing note comes earlier than expected. This creates
excitement for precisely that reason the note comes earlier than the listener expects.
If the added note comes after the existing note that it associates with (variation, beat 4), the
effect is that of strengthening the existing note, or elongating it (making it longer).
-Kim.
2009/07/13 - Sections of variable length

Often Ive found that using sections of metric lengths (four bars, eight bars, sixteen bars) can
often give a piece a very rigid, predictable pace. No matter how exciting or interesting the actual
musical material is, sections of metric length can really weigh a piece down.
This is because the listener knows (or can guess fairly accurately) when each change will occur. In
her/his mind, the listener has heard a significant amount of the piece before its actually been
played.
Let me give you an example. Lets say that so far, every section has been sixteen bars long, and
its very obvious whether each section is static or transitional. Within a few bars of hearing a
particular section, the listener already knows what the rest of the section sounds like sometimes
to the point of not actually having to hear the remainder of the section . This is the point at which
the listener becomes distracted, starting to talk, or getting bored.
A particularly effective way to reduce this effect is to use variable section lengths. Instead of
making each section a metric length (four bars, eight bars, sixteen bars, etc), the idea is to make
them odd lengths. This has two implications:
The listener will not be quite so sure how long each section will be. In fact, (if done well)
sections will often end/change earlier than expected or later than expected. This can be
taken advantage of to highten expectation and excitement.
The internal structure of each section will be more fluid: In sections of metric length,
we tend to break them up into smaller bits of even length. For example, if we have a
section of sixteen bars, we might very easily put in eight chord changes, one every two
bars; or four chord changes, one every four bars. If we have a section with an odd
length, it forces us to be more creative with the internal structure. For example, if we have
a section that is thirteen bars long, we might split it into three groups of four bars, plus
one; or four groups of three bars, plus one; or three groups of three bars, plus four bars
or anything else.
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How you come up with the lengths is up to you. I composed a piece a several years ago where
each section length was a Fibonacci number the sections were all lengths like 5, 13, 21, 34, etc.
Another piece I composed had section lengths chosen by rolling dice.
Of course, it doesnt have to be random. You might choose prime numbers, or the date of every
Monday in the year, or anything else. You could even choose the lengths as you compose the
piece, depending on the flux in the piece.
Its really just about making the sections have lengths which arent even multiples of four or eight.
-Kim.
2009/07/15 - Composing for Kick Drums 1

Kick drums. Where would we be without them? They are the foundation of the rhythm section. In
most dance music, the kick drives the rhythm and groove of the entire song. Even in other genres,
the kick drum provides a grounding. It marks the most important beats in the rhythm pattern, it
helps us understand the rhythms of the rest of the drum kit, other percussion, and even other
instruments.
With such an important role, have you ever stopped to think about how you use kick drums? Do
you place them on every beat, four-on-the-floor style? Do you arrange them off-beat, with a more
funky style? Do you lay them thick with five or six every bar, or is one or two enough for you?
Even more importantly, how do these different approaches differ? What effect do they have on
your music?
Four On The Floor

This is the simplest kick drum rhythm, with one kick on each beat. Its also one of the most
popular. This is particularly useful in dance music or driving rock because its regular (meaning its
predictable, comfortable, and easy to dance to). Its also quite energetic because it emphasises
every beat. Even though a bar may consist of four beats, it almost feels like each bar is one beat
long. The shorter cycle length (the pattern repeats every bar) make the pace feel quick.
This approach is most useful where the creative direction for a piece (or section) is stable, yet
exciting. A prime example of this would be a climax final chorus of a song, or a section of
maximum impact in a dance track. The drawback, of course, is that its plain and not very
interesting on its own. The four-on-the-floor should not be the source of the excitement merely
underpinning it and reinforcing it.
First and Third

Using the kick drum on the first and third beats is a sparser variation of the four-on-the-floor
approach. By playing the kick only on the first and third beat, a lot of room is left for the snare
either for a big second and fourth, or for a busier, funker snare pattern. This is useful if you are
aiming for a more top-heavy drum kit rhythm, or if you want a sparser drum rhythm to leave room
for additional percussion or other instruments like vocals or bass.
The drawback is that this sparser approach does not reinforce excitement as much as a busier
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four-on-the-floor kick drum pattern. It can still be effective, however, because it is just as stable
and predictable. It can be a good alternative to four-on-the-floor if the song needs space to
breathe or otherwise doesnt need the relentless kick of more upbeat music.
More coming
-Kim.

Sparser Kick Drums
In general, sparser kick drum patterns will be less energetic. As with the First and Third pattern, a
sparse approach is generally useful for leaving space for other instruments. Taking this approach,
the kick typically only emphasises the first beat of the bar, and sometimes a secondary beat
(secondary in importance not necessarily the third beat). It can also be a very effective way of
giving a section or whole song a slower pace without slowing the tempo. With a busier snare or
other percussion, a very sparse kick can be very ear-catching because there may be implied beats
or expected beats that arent there.
Denser Kick Drums

In general, denser kick drum patterns will be more energetic. In the context of the whole drum kit
and other percussion, a lot more emphasis will be placed on the kick. This can be a problem if the
snare or other percussion is also big and/or busy. For a balanced approach, it might be better to
combine a dense kick drum pattern with sparser, smaller snare and other percussion. If If the kick
drum is particularly prominent (such as in many dance genres), the other instruments may need to
be thinner than usual to accommodate as well. On the other hand, a dense kick drum pattern is a
good way to emphasise a heavy sound with a strong rhythmic focus. The best example of this is
heavy metal, where there are extended passages with double-kicks (constant kick drums on 8th
notes or even 16th notes!).
Off-Beats
Most kick drums notes fall on the beat meaning they are played on quarter notes (also called
crotchets). The two patterns discussed last time (Four-on-the-floor, and First and Third) have kick
drums played only on the quarter notes. Sometimes, however, it sounds good to play the kick
drum on an off-beat in between the quarter notes. Notes played on off-beats are less stable
and (mostly) less predictable than notes played on the beat. If you have a lot of notes played offbeat, and not as many notes played on the beat, the whole pattern will feel more unstable, more
unbalanced, and more unpredictable.
With a careful balance of on-beats and off-beats, funkier patterns are possible. These balance
stability with instability on a moment-by-moment basis. Typically there will be a kick on the first
beat (the downbeat) of every bar (or only every second bar!) to ground the listener and begin
from a point of stability. In the middle of the bar, however, the kick may be played at various
points on or off the beat. This creates a constant push/pull between stability and instability, and
can make a pattern much more exciting and interesting to listen to. The effect is heightened when
the kick only plays on the downbeat every second bar so the other bars dont even start with a
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kick.
Swing
Some very interesting things can happen when introducing swing to kick drum patterns[1]. To
hear the swing on a kick drum, it already has to be playing off-beat (thats how swing works by
delaying the off-beats). When a kick drum is swung, two things happen:
1. The kick plays later than expected meaning the listener is kept waiting in expectation for
a (very) brief moment. This contributes to the push/pull of stability and instability, which is
also related to expectation.
2. The kick aligns closer to the coming beat meaning it emphasises the anticipation felt by
the listener.
This further emphasises the subtle push/pull of the kick drum pattern.
More coming
-Kim.
[1] Sometimes I rhyme, but not all the time.

Variation
Like for any other part, adding variation to the kick drum pattern adds interest and scope.
Generally speaking, there are two kinds of variation changing the timing of notes (keeping the
same density) and adding/removing notes (changing the density). These variations are most
effective when a regular pattern has been established (repeating for several bars) before
presenting the variation bar. This frames the variation pattern in the context of the regular pattern.
This effect does not last long though if the variation bar is repeated several times, it becomes
the new regular pattern. The effect of any change (such as excitement or anticipation) fades.
Pulling Notes Forward

This is changing the timing of a kick drum note so it plays earlier than expected. For example, if
the regular kick drum pattern is First and Third (kick drum plays on the first and third beats of
the bar), a variation might be to pull the second kick forward from the third beat to halfway
between the second and thid beats. This will add a sense of excitement for the listener, as they
hear the kick drum play earlier than expected.
Pushing Notes Back

The opposite of pulling notes forward is to push them back. This is where kick drum notes are
played later than expected. Using the same example (First and Third), a variation might be to
push the second kick back from the third beat to halfway between the third and fourth beats. This
will add a sense of heightened expectation and anticipation for the listener because the kick drum
doesnt sound when expected, but the effect is tempered by eventually providing the kick a little
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later.
Adding Notes
Adding notes as a variation is a more effective case of pulling notes forward. The added kicks are
heard as occurring earlier than expected, but the original kick is also heard. The added kick also
increases the density of the pattern, which also adds excitement.
Missing Notes
Missing notes is an extreme case of pushing notes back. Instead of simply changing the timing of
a kick so it is heard later than expected, the kick is removed altogether. This results in a sense of
anticipation that isnt fully resolved it is only partially resolved when the next kick hits.
-Kim.
2009/07/20 - Normalising
Normalisation is a process that changes the volume of a piece of audio. It does this by first
analysing the audio, looking for the highest peak. Then an amount of gain is applied to the entire
section of audio, so that the highest peak is at 0dBfs. Because of the need to analyse the audio
before applying gain, normalisation is an offline process meaning it cant be applied in realtime
(as a plugin, for example). Also, because static gain is applied, the dynamics of the audio do not
change. Its exactly the same as adjusting the fader on an audio channel, except that there is a
pre-calculation to determine how much to adjust it.
There are two problems with normalising:
1. You dont know or control how much gain is being applied. Thats because the amount of
gain is determined by analysing the audio.
2. The amount of gain being applied has nothing to do with how loud the audio is (as we
perceive it). Thats because the amount of gain is calculated from the peak level of the
audio not the RMS or average level (see here for more details about peak vs RMS).
Normalising audio ONLY makes sense if:
1. Your audio started higher than 16 bits; AND
2. Youre about to quantise to 16 bits (or similar) directly after normalisation; AND
3. You dont care what the average (RMS) level of the audio is after quantisation.
In other words, this is a process that makes sense where there are a series of offline gain stages,
and somewhere in the MIDDLE the audio is being quantised to 16 bits (but subsequent processing
is at a higher bit depth). The uncontrolled amount of gain is not a problem if later gain stages will
also be applied.
In these situations, normalising is a useful way to maximise the dynamic range of a low-resolution
digital system. This is because the audio is made as loud as possible before quantising so that the
higher noise floor (caused by the low resolution) is as low as possible relative to the audio. An
even lower relative noise floor is possible by using dynamic processing (such as compression or
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2009/07/20 - Normalising
limiting), but normalisation is the best solution that doesnt affect the original dynamics of the
audio. On the other hand, if your task doesnt meet all three criteria, then there are more
appropriate processes than normalisation.
-Kim.
2009/07/21 - Beginning, middle, end

Normally when we compose a piece of music, we are working on it in a non-linear fashion. That
means we can work a little on the start, then work on the end, then maybe add a new section in
the middle, whatever. Also, our perception of the piece is non-linear being so intimately involved
with the piece (and its construction), we usually know the entire piece by memory. That gives us
(the composers) the ability to compose parts of a piece in the context of the rest of the piece.
Your listener, however, will have a very different experience of the music. As an artform, music is
particularly interesting because it exists in time. You listener will listen to your piece by starting at
the start, listening through each moment once, and stopping at the end.
Consider that the listener will also have no (or at least, very little) knowledge of the piece before
listening. S/he will begin the listening experience knowing nothing, and gradually (and linearly)
learn more about they piece as it is experienced. I like to think of this as an unravelling or
unfolding of music as the listener experiences the piece, it is being revealed, opened up.
This observation has interesting implications for different sections of a piece.
The beginning is significant because it introduces the language of the music to the listener.
When you listen to a piece of music, the beginning is the first thing you hear and thus, it is what
influences the expectations that you have for the rest of the piece. It is what sets the context for
the remainder of the listening session. When composing the beginning of a piece, consider that
this is the first thing your listener will hear.
The ending is (in this respect) the complete opposite the listener hears it in the context of the
entire piece. By the time the listener gets near the end of a piece, s/he has travelled through the
journey of the music, and (hopefully) understands the language[1] of the music. When
composing the ending, consider that the listener hears this after hearing the entire piece through
once.
The middle of a piece is also interesting, because this is (usually) where the scene has been set
the listener has some idea about what the laguage of the music is, and what to expect for the
rest of the piece. Most well-written pieces use a/the middle section to develop and enrich the
listeners understanding and experience of the world you (as the composer) have created.
All this, of course, doesnt mean that this is the way it has to be, or that this is the (only) way to
compose good music. As the composer, you are free to subvert the rules or discard them
completely. However, understanding how a listener listens to a piece will (hopefully) help you make
better informed decisions during the composition process.
-Kim.
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2009/07/22 - Transition sections that are too long
2009/07/22 - Transition sections that are too long

If you have a transitional state between two sections that have similar rhythm, pace, tonality,
register, texture, etc; it doesnt take much time to move between them. However, if you try to
move between two very different sections, more time will be required (for the same rate of
change). The time required to move from one state to the other is somewhat proportional to the
distance (or difference) between the two states.
Sometimes its important to have a long transition in order to put some distance between two
sections.
The problem is that a linear transition gets boring very quickly. A linear transition is one that just
goes straight from A to B. For example, if you have a dark and resonant synthbass sound in
section A and a bright and harsh synthbass sound in section B, then a linear transition would be
one that (among other things) just gradually opens the filter, like a straight line slow and
predictable. And thats exactly why a linear transition is boring because its predictable.
If reducing the length of the transition is not an acceptable solution, another alternative is to break
it up.
Change the curve of the transition Rather than move predictably from A to B,
perhaps start the transition with a very low rate of change, and gradually increase (the rate
of change) This would have an effect of the transition section initially not sounding like a
transition but more static (unchanging). Depending on the context, this can either create
tension (possibly good) or boredom (probably not good). Slowly we hear more an more
changes happening (the changes speed up), climaxing with a very (or more) dramatic
change at the end just as the next section begins.
Put breakpoints in the transition Rather than simply starting at State A and moving
towards State B, you could add animation between the two points. For example, the
transition moves from A, but when it gets about halfway between A and B, it goes back to
A again. Then we start moving towards B again, but this time get about 75% before
moving back again. and maybe a third time we finally reach B. This can be particularly
interesting if the listener already has some knowledge of where the transition is going (s/he
has already experience B in some form). another interesting effect of this is that it can
distort the listeners sense of time as well, but this is more difficult to control and execute
well. This technique could also be extended by including fake transitions to a different
state (not A or B) this will also manipulate the listeners expectations.
Insert contrasting sections in the transition Four bars of transition, then four bars
of something completely different, then the four next bars of the transition, then another
four bars of something completely different, etc etc etc. Of course you can vary the length
of each mini-section, you could have each contrasting section be something relevant from
another part of the piece. You could effectively interleave two different whole sections
even have two transitions coming from different states but both moving to the same final
state.
Of course, these ideas arent restricted to transition sections you can use variations of these
ideas to add interest to any long section. You could even apply them to only some elements of the
arrangement (for example, make the synth parts go through a transition, but keep the drums and
bass consistent).
-Kim.
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2009/07/23 - Nested Structures
2009/07/23 - Nested Structures

Nested structures are quite simple to understand, but can add new levels of order and structure to
your music.
If we start with two basic structures:
Binary: A B
Ternary: A B A
Nested structures refers to the idea that each of the structure elements (A, B, whatever) can
actually be (or have) a whole structure in itself. This can be the basis for develping more complex
structures from simple ones. For example:
We could choose ternary for our overall structure (ABA). But if we split it up further replace A
with the binary structure ab, and replace B with the ternary structure cdc, then we end up with
the overall structure ab.cdc.ab. Read through this a few times if you didnt quite get it.
Now think about taking that another layer deeper. You can keep nesting structures until you get
down to individual phrases, gestures, motifs, even notes!
Also, consider that there are many more possibilities for basic (or primitive) structures. As well as
binary and ternary, theres also rondo (ABACADA commonly chorus, verse, chorus, verse, chorus,
etc), sonata (A B <development> A B)
Usually, theres two ways to approach this: top-down and bottom-up. A top-down approach would
be very similar to my example above start with an overall structure, and then split it up into
smaller and smaller pieces, stopping when you feel that you can easily populate a single piece.
This is a divide and conquer approach.
A bottom-up approach would be the exact opposite start with several very small pieces, then
arrange them into larger and larger structures. This is very easy to do in a sequencer, where you
can develop a few one or two bar sections, then copy and paste them in various orders and
configurations.
Personally, I usually use a combination of the two. I build the piece bottom-up, but when Im
doing it I have a mental plan of how I want the entire piece to turn out.
By approaching composition in this way, you can create a piece with a very high level of coherence
and order. Each section will fit exactly in its place, and repeated sections can give a certain unity
without having to resort to a simple verse-chorus-verse-chorus (or similar) structure. Its also an
easy way to add complexity by using relatively simple ideas.
Of course, the fun begins when you combine nested structures with techniques for subverting
nested structures. Build your piece as usual, but add interest with variations, interruptions, twists
and turns, bizzare trips to strange places. These kind of subversions are usually much more
effective when you start with something with very high coherence and order.
-Kim.
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2009/07/27 - What is saturation?
2009/07/27 - What is saturation?

Saturation used to be something that happened in the analogue world. Typically, this is when a
gain stage is overloaded the signal level exceeds the available headroom. When this happens,
the signal is saturated.
Basically, the sound gets distorted because you turned it up too high.
The result of this is that the parts of the signal that were going to exceed the available headroom
are waveshaped. If you could look at the waveform of a saturated signal, youd see that the
loudest parts of the sound have been clamped down theyre quieter than they should be. This is
similar to what a compressor does, except that saturation affects the shape of the waveform itself
not necessarily the perceived volume level (as we hear it). By changing the shape of the wave,
the sound changes too.
Transients
Saturation reduces the level of transient peaks by distorting them. However, because the transient
peaks are very short, the distortion is often not obvious. The excess level in the transient peaks is
transformed into upper harmonics. That is, the transients become noisier and dirtier. For some
kinds of music, this can be a desirable alternative to reducing gain using a compressor or limiter.
The power and impact of the sound is often retained (or even enhanced!), but at the expense of
fidelity.
Steady-state
Saturation of steady-state signals is often more noticeable because the audio is constantly being
saturated. This usually causes the sound to be brighter, as upper harmonics are being created. Too
much saturation will make the audio sound lo-fi or outright distorted. Used subtly though,
saturation can make audio sound more exciting, or even aggressive. In a dense mix, individual
tracks will sound less distorted than when listening to those tracks on their own (in solo).
-Kim.
2009/07/28 - Recording vocals

My process for recording vocals for songs is as follows:
0) (Write the song)

1) Record a guide track. This is usually a skeletal piano part that simply plays the chords for the
song. And simple means simple its usually block chords, one per crotchet (1/4 note). Sometimes
theres a particular riff or groove thats integral to the song, and this forms part of the guide track.
The guide track rarely makes it to the final mix its sole purpose is to provide the vocalist with
something to inform their pitch and timing. Sometimes the guide track doesnt represent actual
structure of the song I might record the sections separately and arrange them later while Im
recording the other instruments.
2) Record a scratch vocal part. This is performed to the guide track. Usually I only record one
or two takes of the lead vocal melody, and harmonies or backing vocals only if theyre particularly
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important. This scratch vocal recording only needs to serve as my own guide for writing for and
recording the other instrumental parts. As such, it doesnt need to be a great performance it
might even have some mistakes in it! The bulk of the time in this session is not spent coaching the
vocalist its spent working on song structure and melody before the recording takes place.
3) Record other instruments. This is done using the scratch vocal as a guide for song structure
and mix placement. For vocal music its important to start with the lead vocal and build everything
else around that. This is important not only for arrangement, but also for instrument voicing
(which notes, how high, etc) and mixing. Producing a backing track without having a vocal to work
with will easily result in an instrumental song that sounds great on its own, but will struggle the
accommodate the vocal once its added.
4) Record backing vocals. Once the arrangement is worked out and most of the other
instruments are recorded, its time to record the final vocal parts. Its important to wait until the
track is almost finished, so that the vibe and energy of the music can influence the vocal
performance. That way the vocalist can deliver a performance that best suits the song.
I usually have the vocalist record the backing vocal parts first. This is because theyre not as
critical as the lead vocal. This allows the vocalist to warm up and familiarise himself/herself with
the song and the studio. It gives us both a change to fine-tune the headphone levels and
monitoring (usually some compression and treble lift) whilst still remaining productive. It also gives
me a chance to learn how to work with the vocalist to get the best results. Some will respond well
to relentless pace, some respond better to a gentler approach. Some nail it in the first couple of
takes, others need six or eight takes to get it. Some respond well to micro-advice (That fourth
syllable is dragging again), some need more general encouragement (That was great, now do it
with more energy). It also helps me learn about the voice. How hard can it be driven? How soon
until it needs a rest? Where is the sweet spot between warming up and tiring out? Are there any
difficult transitions between chest voice and head voice? These are all important issues to be
aware of.
5) Record the final lead vocal. This is critical. The lead vocal is the most important part of the
song. As if that wasnt enough pressure, the vocalist only has a short period of time in the sweet
spot at which youll get the best performance. Youve got to know where this sweet spot is,
because going much past it will give you worse takes, and demoralise the vocalist. Coming back
another day often doesnt give you a better performance either (unless you screwed up and
scheduled the session when the vocalist is hung over or something).
My approach to recording lead vocals is the result of many years of working with vocalists.
Everyone will have their own methods, but this works for me:
5a) Run through the song once for practice. Often I see advice to record the practice takes. I
dont record them, because I know Ill get better later on. I try to minimise the number of takes I
record, because trawling through them later is a chore, and often doesnt actually get significantly
better performances. Some vocalists dont even need the practice take.
5b) Record one take of the whole song. This is the basic lead vocal. I only record one take of
this, unless there were any mistakes (in which case I delete the take and do it again). This is
usually a good fallback for syllables to comp[1] in.
5c) Record two takes of each section, in reverse order. After the first take, we record
section by section, in reverse order. So, well start with the coda, then the final chorus, then the
bridge, etc, finishing with the first verse or introduction. Each section is recorded twice on loop. Ill
only go more than twice if there were any mistakes. Recording each section in reverse order frees
the vocalist from thinking about the song structure, and instead focusses her/him in the moment
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the section being recorded. Recording each section twice on loop further enhances this focus. This
is sometimes the point at which the singer is in the sweet spot, and where youll get a good
balance between emotional performance and technical correctness. I record only two takes during
this phase in order to keep the momentum up (which keeps the singer motivated and interested).
By this stage, more than two takes rarely results in a better performance.
5d) Record one take of the whole song. At this point I have lead vocal thats three takes
deep, and is usually of a consistently high quality. I could use this material to put together a
decent composite. However, I ask the singer to do one more take the whole song through. This
time, however, I instruct the singer to focus on delivering an emotional performance at the
expense of technical correctness, perhaps pushing it a bit more than usual. I might even bump the
volume in the headphones by a decibel or two to assist. For some singers, this falls in the sweet
spot and results in a great performance. For others, its too much, so the take becomes a source
for the occasional emotional syllable. If this last take is not suitable, Ill usually use one of the
reverse order takes as the base for the comp. Most times, however, it is this final take that forms
the base from the comp.
-Kim.
[1] Comp = Composite. The process of assembling a performance from several takes.
2009/07/29 - Soft-knee compression

So, you think youre pretty familiar with compressors. You know how they work, what they do. You
know what the basic controls do attack, release, ratio and threshold. But maybe youre not sure
about knee. Something about being soft? What is knee, and more importantly what is it useful
for?
Normal compressors behave depending on the level of the audio. When the audio is below the
threshold, nothing happens. When the audio is above the threshold, the level is reduced by an
amount related to the compressor ratio. This is whats called a hard knee there is an instant
transition between unity ratio (1:1) and maximum ratio (whatever the ratio knob is set to). Soft
knee, by comparison, causes there to be a gradual transition from unity ratio to maximum ratio.
This means that some audio that is only just below the threshold may be compressed, but at a
lower ratio than audio above the threshold.
Its useful to think about soft knee as a kind of variable ratio. Its especially useful when you want
low-level signals to be compressed a little, but high-level signals to be compressed more
aggressively. A good example of this is a vocal performance where most of the audio is fairly even
but there are some syllables that are quite loud. If you use hard knee compression, youll have
three options:
1. High threshold, high ratio. This will control the peaks, but the rest of the performance will
be uncompressed. You might need a second compressor to apply some more gentle
leveling.
2. Low threshold, high ratio. This will bring all the levels into check, but may sound too
aggressive or choked especially if youre aiming for a more natural sound.
3. Low threshold, low ratio. This will give you the gentle levelling, but the loud syllables will
still pop out due to the low ratio.
Using a soft knee, you can apply some gentle levelling compression, while still controlling the
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2009/07/29 - Soft-knee compression
loudest peaks. Set the ratio to the maximum youll need, and gradually lower the threshold until
the lower-level audio is being gently compressed. That way youll have the gentle levelling with a
low ratio, but the louder parts will be compressed at a higher ratio. Its a little like having two
compressors in series (one reducing the peaks, the other just gently levelling the audio), but in a
single compressor. Its also easier to control because its less complicated, and its a little more
sophisiticated because the transition between low ratio and high ratio is smooth.
-Kim.
2009/08/03 - Dont fill the frequencies

Often I see advice given to fill up the frequency spectrum. That is, each instrument or part in the
mix should fill a particular part of the frequency spectrum and that they shouldnt overlap.
The problem with this approach is that most sounds especially natural sounds have a relatively
wide frequency spectrum. For example, a human voice might have most of its energy in the upper
mids (perhaps around 2.5kHz), but will also have useful information ranging from below 200Hz to
above 20kHz. Similarly, pianos, drums, guitars and other instruments have wide spectra. Filtering
this information out to keep only the most important frequency ranges will result in a sound that is
artificial and unnatural.
On the other hand, this might be a useful approach for sounds that have no relation to natural
acoustic sounds such as synthesisers. Audio generated by frequency modulation synthesis or
granular synthesis is nothing like any acoustic sounds, and so there is no expectation of what it
should sound like.
Regardless of the instrumentation of your mix, its ok for sounds to overlap. Consider a mix with
voice and piano. Both instruments share the same frequency ranges, yet we can hear both
instruments clearly. This is because there is much more to sound than frequency. There are
characteristics specific to the instruments, such as harmonic structure and envelope, and there are
characteristics specific to the composition, such as harmony and rhythm. It it these characteristics
that allow us to distinguish between different instruments not frequency range alone.
Problems exist when two instruments share the same characteristics. For example, if a song has
both an acoustic piano and electric piano, it may be difficult to distinguish between them. In this
case, the most natural way of addressing this problem would be to remove one of the instruments
(or at least only have one playing at a time). Simply filtering the sounds wont change the
characteristics enough, and doesnt actually change any of the characteristics that are causing the
problem.
A similar problem occurs when there are several vocal parts in a song. In this case though, the
effect of making the individual parts difficult to distinguish is deliberate. All the vocal parts are
designed to blend together. If there is one part that needs to stand out from the others (such as
the lead vocal), this part is mixed in the foreground, and the other parts and mixed in the
background. Rather than separating them by frequency, it is much more natural to separate them
by depth.
-Kim.
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2009/08/05 - Backing Vocals
2009/08/05 - Backing Vocals

Recording backing vocals is a little different to recording the lead vocals. Rather than recording
them forwards, then backwards, then forwards, I simply record them one section at a time
typically four or six takes for each part. I prefer a combination of syncronised harmony vocals (in
time and harmony with the lead vocal) and unsynchronised call and response-type backing vocals
(with different timing and rhythm to the lead vocal).
For bigger backing vocals, Ill take the two best takes for each part, and pan them hardleft and
hardright. The natural variance in intonation gives the part a very wide sound without being
messy. It also sounds much more natural than using a single take and making widening it using
artificial processes (such as delays or pitch shifting). When I want even more voices, I record
different harmony parts and apply the same process. Sometimes Ill go as many as three parts
deep. This results in six total harmony tracks three on each side.
The trick with harmony vocals is to go easy on intonation correction. Whether you use Autotune,
Melodyne, GSnap, or something else, find a way to use it extremely subtly. The more in-tune the
backing vocals are, the smaller the total effect is. Your job is to balance correctness with size. I
find even correcting the vocals 50% has a significant effect often too much! A lot of the time Im
happy to keep the backing vocals untuned, or tune one side and keep the other untuned. So long
as the singer can sing reasonably well, it shouldnt be too detrimental to the song. If the lead vocal
is appropriately in tune, the backing vocals only need to add size and thickness.
On the other hand, if the lead vocal is weak (tuned or not), the backing vocals benefit from being
much more in tune. In this situation, the backing vocals serve as a support for the vocal (and
should be mixed appropriately).
-Kim.
2009/08/06 - Mixing with reverb 1

There are many, many different choices when it comes to reverb. There are different types hall,
room, plate, spring, reverse, gated, etc. There are algorithmic and convolution reverbs. Each
developer and manufacturer has their own way of designing reverbs a Lexicon sounds different
to a TC. CSR sounds different to EOS. And even if you get this far, reverbs often have a lot of
presets and parameters a single hall reverb might have over a dozen different parameters, and
over a dozen different sounds.
Given all this choice, it can be easy to lose sight of the end goal to add ambience to a mix.
Thats not to say you shouldnt spend time learning your tools. Quite the contrary effective use
of any tool require spending a lot of time with it, exploring how it works, learning how it can work
for you. Its important to understand what the strengths and weaknesses of your tools are, and
when to choose one tool over another. In audio engineering, this is the time you spend playing
with your tool.
Back to reverb.
When it comes time to add reverb to your mix, stop and pause for a moment. Listen. I mean really
listen. Listen to your dry mix, and imagine the ambience of the song (this is why its important to
get the balance and tone right before you start adding reverb!). Start with the basics Does it
need short reverb or long reverb? Should the mix be lush or dry? Then start to ask the more
difficult questions Should be ambience be deep or shallow? Should it be natural or unnatural?
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You should know the answers to all these questions before you lay a finger on any reverb
processors.
-Kim.

Does it need short reverb or long reverb? Should the mix be lush or dry? Then start to ask the
more difficult questions Should be ambience be deep or shallow? Should it be natural or
unnatural?
The answers to these questions should be based on the song.
Short / Long: This decision should primarily be based on the pace of the song. Obviously, slow
songs will tend to need longer reverb and faster songs will tend to need shorter reverb. Keep in
mind that pace is not the same as tempo. A song with a slow pace may still have quick tempo, and
a song with a fast pace may have a slow tempo. The pace of a song depends on various factors,
such as the density and syncopation of the rhythms (particularly drums and percussion) and the
rate of change (both in the harmonic progression and overall structure).
Lush / Dry: This is more of a creative decision. Its a question of how much you want reverb to
be a part of the sonic signature of the mix. A lush mix is usually more dreamy and evocative,
whereas a dry mix has more clarity and immediacy.
Deep / Shallow: This is where things start to get difficult. The question of whether your mix
should have deep or shallow ambience is a question of depth, and its not directly related to the
depth of the other mix elements. A mix with a big distance between foreground and background
might still be best served with a shallow ambience. Similarly, a mix with a small distance between
foreground and background might be best served with deep ambience. Deep ambience enhances
the sense of depth and space in the mix, whereas shallow ambience enhances the softness and
blurriness of the sounds. Mixes that are dry and shallow will typically have very little reverb at all.
Natural / Unnatural: Natural reverb best compliments acoustic instruments. It doesnt have to
sound exactly like a specific room or acoustic space, but it should sound like an acoustic space that
might reasonably exist. A natural reverb would also be appropriate when integrating sounds such
as synths and samples into a more traditional instrumentation (such as vocal pop or a band).
Unnatural reverb is best suited to mixes where most of the instruments have no acoustic basis
(such as drum machines and synths), or where the sound of the mix is far from representing the
acoustic sound of the instruments (such as modern pop rock). Unnatural reverb takes a studio
production beyond a mere recording of an event to an artform in its own right.
-Kim.
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Does it need short reverb or long reverb? Should the mix be lush or dry? Then start to ask the
more difficult questions Should be ambience be deep or shallow? Should it be natural or
unnatural?
Short / Long: Obviously, youll need to adjust the reverb time. Thats not all though other
parameters can be used to change the apparent length of the reverb. Adjusting the reverb size
with the length can help keep the reverb sounding natural. Some algorithmic reverbs also have
frequency multipliers can change the reverb time specifically for low frequencies. How you adjust
these will depend on the mix.
A longer reverb time for low frequencies can be useful in warming up a thin mix. It can also make
an orchestral concert hall sound more realistic. A shorter reverb time for low frequencies would be
more useful in a mix that already has a busy low end.
Lush / Dry: A lush reverb treatment will require you to use more (wet) reverb than a dry
treatment. High frequency cutoff and high frequency reverb time also affect apparent lushness.
The more high frequencies in the reverb, the more noticeable it is. Some algorithmic reverbs can
have their attack shape adjusted too the parameter might be called something like shape,
build, or attack. Slowing the attack of the reverb can also affect its apparent lushness. A reverb
with a fast attack is often more invisible because the bulk of the reverb energy is actually
masked by the source sound this can make the reverb seem drier than it actually is. Pre-delay
can also serve a similar purpose in making the reverb more noticeable, albeit in a less refined
manner.
Deep / Shallow: This is where things start to get difficult. Often its not too difficult to decide if
you want to mix ambience to be deep (far away) or shallow (close). Its more difficult to hear this
depth, and most difficult to control it. Depth of ambience is the distance between the source
sound and the reverberation. For deeper ambience, hall reverbs are best. To go deeper, use a
larger reverb size. Lower diffusion settings make individuals echos more audible, which can help.
For extreme depth, use some pre-delay. Make sure the reverb is appropriately quieter than the
source sound (dont get too wet!). Conversely, rooms and plates are better for shallow ambience.
Use a smaller reverb size and higher diffusion. High frequency response can also help use darker
reverb for deep ambience and brighter reverb for shallow ambience.
Natural / Unnatural: Natural reverb best compliments acoustic instruments. It doesnt have to
sound exactly like a specific room or acoustic space, but it should sound like an acoustic space that
might reasonably exist. Convolution is an ideal choice for creating the illusion of a specific acoustic
space. Algorithmic reverbs, however, are better for creating a reverberation that is tailored to the
mix. Hall or room reverb algorithms are best, and should be configured within sensible boundaries.
Try some presets for ideas, and dont stray too far.
-Kim.
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2009/08/11 - Effects on a send
2009/08/11 - Effects on a send

Sends are an interesting component of mixer topologies. They allow a combination of mixing and
parallel processing. When several channels have non-zero gain applied to a send, they are mixed
together, sent through whatever processing is assigned to the send, and then returned on a new
channel. The processing on the send hears a mix of all the channels being sent to it. As the
output of the processing is returned on a separate channel, it does not affect the original source
channels. It also means this return channel can be managed separately to the other channels in
the mixer.
The most common uses for sends is to add ambience to a mix using delay and reverb. This works
particularly well for two reasons:
1. The ambience is added behind the sound, so that the original sound doesnt need to be
altered. This takes advantage of the parallel processing aspect of using sends.
2. Reverb and delay are usually gain-linear, meaning they do not change their sound with
different input levels. Sending a quiet signal to a reverb will produce the same reverb
sound as sending a loud signal to it (the only difference being the output level).
Additionally, sending two different sounds to a reverb simultaneously has the same result
as sending each sound on its own. This takes advantage of the mixing aspect of using
sends.
Of course, reverb and delay arent the only types of processing that can be used with sends.
Modulation effects such as choruses, flangers or phasers are also common. They work because
they also take advantage of the characteristics of sends they work by adding a sound to the
original sound, and they are gain-linear - they work the same way regardless of what the input
level is.
Increasingly, it is becoming more common to hear of people using non-traditional types of
processing with sends. Interesting things happen when using processing like compression and
saturation on a send, because these processes are fundamentally different to additive, gain-linear
processes like reverbs, delays or modulation.
The first thing that happens when using compression or saturation on a send is that the processed
audio is mixed in with the unprocessed audio. In the case of compression, this will get you parallel
compression which usually requires two duplicate tracks or a specially-designed compressor with
a wet/dry control. In the case of saturation, this adds some saturated sound to the original without
significatly damaging the integrity of the audio.
The other thing that happens is that you have an opportunity to use the send as a kind of parallel
bus. That is, you can send audio from several channels to a single compressor or saturator (which
is then brought back into the mix in parallel with the original sounds). Its important to remember
that it is a bus. For example, you might set up a compressor on a send, and send some kick and
bass to it. Unlike a gain-linear process such as reverb, the compressor will respond differently to
the kick and bass playing together than it would to the kick or the bass separately. The other thing
to watch is that the compressor will respond differently depending on how much of the audio is
sent to the compressor. Typically, the audio will be more compressed if more of it is sent to the
compressor. Similarly, the audio will be more compressed when there are more active audio
channels being sent to the compressor because the overall level sent to the compressor is higher.
This can make mixing rather complex.
-Kim.
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2009/08/12 - The case against compressed drums (articulation vs texture)
2009/08/12 - The case against compressed drums (articulation

vs texture)
Dont overcompress those drums!
When drums are compressed, the body of the drums is brought up in level (relative to the
transient). This creates the perception of longer sustain, making the drums sound bigger. By
bringing up the level of the audio between the transients, there is more sound overall. This makes
the drums sound fuller. Coupled with the right kind of envelope shaping from the compressor, this
results in a drum sound that is interesting and exciting!
In the context of a mix, however, this can just as easily work against you. Within the context of a
mix, drums traditionally serve as rhythmic articulation. That is, they are the spiky hits that rise
above the other instruments to establish the timing and the groove of the music. On a continuous
scale between articulation and texture the drums are almost entirely articulation, whereas the
other instruments are more texture.
When the drums are heavily compressed the longer, louder sustain between the drum hits adds
more textural sound. This leaves less textural room for other instruments. This might be
appropriate if the mix is quite sparse, but you want to make it sound thick and full. A heavily
compressed drum group might only need a bass and melody to sound like a complete mix. On the
other hand, it will be difficult to fit in a subtle layered pad or detailed background sounds. Theyll
have to be much louder to be audible, which muddies the mix and reduces its depth (because the
background is not so far away).
A subtle and deep mix will be better served by shorter drums with less sustain. While these drums
will sound weaker on their own, theyll be more appropriate in the mix. The space between the
drum hits will provide ample space for bringing in other sounds, allowing either a subtle textural
approach or a deep mix with a far background. The space between the drum hits is like a window
through which the listener hears the rest of the mix.
-Kim.
2009/08/13 - Mixing with multiple reverbs

One way to construct a subtle and complex ambience in a mix is to combine two different
approaches to reverb. Going about this in an informed, deliberate way will result in a much more
refined and appropriate sound than by simply stacking two different reverb algorithms (either in
parallel or heaven forbid serial).
One way to approach it is to think about foreground and background. Often using a single reverb
results in an ambience that sits primarily in the foreground (resulting in a shallower mix) or in the
background (resulting in a relatively dry foreground). Using two reverbs might allow a mix the
benefit of both the foreground ambience (for softness and blurriness) and background ambience
(for depth and spaciousness). One way to do this is to use a plate for the foreground ambience
and a hall for the background ambience. This will be most coherent if foreground sounds are
mainly (if not exclusively) sent to the plate, and background sounds are mainly (if not exclusively)
sent to the hall. This approach is useful if the mix calls for a lush ambience with a threedimensional quality to it.
Another approach is to combine short and long reverbs. This can be appropriate if the song calls
for a long deep ambience, but theres no middle ground between too dry and too lush for some
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2009/08/13 - Mixing with multiple reverbs
sounds. This way, some textural background sounds and feature sounds would use the long reverb
and other sounds (particularly more percussive/articulative sounds) would use the short reverb. A
hall or plate would be suitable for the long reverb, and a room or shorter plate might be suited to
the short reverb. For a more unnatural sound, use a thick modulated hall for the long reverb and a
non-linear reverb for the short reverb. This approach is useful for complex mixes that dont need
to have a particularly realistic acoustic sound, such as electronic music and studio music.
-Kim.
2009/08/14 - Alternatives to reverb

Reverb adds two properties to sounds diffusion and depth. While there are many ways of
changing the balance between diffusion and depth, there are times when a more extreme
approach is required. Reverb may not be the best solution if a sound needs a lot of diffusion but
very little depth, or a lot of depth but very little diffusion.
More diffusion, less depth

Diffusion is a way of blurring a sound, reducing its sharpness or distinction. A sound may need to
be diffused if it needs to be pushed to the background or to fit it into a mix that is generally quite
diffuse. This might need to be done in a way that doesnt add depth if the background of the mix
requires a lot of clarity or if the mix is meant to be very shallow.
In these situations, processes such as chorus, microshifting, slap delay or even true doubletracking
can be appropriate.
Chorus diffuses the sound by adding a copy with constantly-changing pitch and timing. This
can be appropriate if the sound will benefit from the added movement and the constantlychanging pitch is not distracting.
For situations when the movement or pitch modulation are not appropriate, microshifting
might be a better solution. This is commonly implemented as a pitch shift of a few cents
down on one side of the stereo space and a pitch shift of a few cents up on the other side
of the stereo space. This can give a very big sound that stretches across the stereo space,
but doesnt have the modulated sound that chorus adds, and doesnt have the added depth
or tail that reverb adds.
Slap delay is shorthand for any quick delay with a delay time roughly between 30ms and
150ms. The delay time should be determined by the nature of the sound the delay time
and level should be set so that the delayed sound blends smoothly with the original sound.
Slap delay can be useful when a sound needs less diffusion and more depth than chorus or
microshifting, but not as much depth as a reverb might add.
True doubletracking is a process of using two different takes of the same part being played
simultaneously. The natural, human variations between the two takes will make them
slightly different different enough to create a different sound when both takes are
combined. This is a popular technique for guitars and vocals because it can be used to
create a very big sound while still sounding much more natural than applying chorus or
microshifting.
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2009/08/14 - Alternatives to reverb
Depth, no diffusion
Depth is a sense of distance particularly a distance between the foreground and background of
the mix. A shallow mix will have very little distance between the foreground and background, a
deep mix will have a lot of distance between the foreground and background. Usually sounds are
pushed to the background by adding both depth and diffusion, but in some cases it is useful to
add depth without diffusion. A mix might need to be very deep, but also very sharp and clear
(which would require diffusion to be minimised). In other cases,a mix might already be quite
diffuse, and depth has to be created by using more obvious means (because regular reverb would
be lost in the general diffusion of the mix).
In these situations, delay is often the most appropriate tool. Longer delays (>150ms) should work
best. When tuning a delay for depth, rather than rhythmic complexity, its often worthwhile tuning
it by ear instead of snapping to the songs tempo. The sense of depth will come from hearing the
echos between the notes. This may be difficult if a tempo delay is causing the echos to be
perfectly timed to sound underneath foreground elements (so that the background echos are
masked by the foreground elements). Making the delay more audible by tuning it in between
tempo times will also allow the delay to be at a lower volume. This will enhance the sense of
depth in the mix.
-Kim.
2009/08/17 - Masking
Masking is a little-understood concept that is important to composers and mix engineers.
Essentially, masking is what happens when one sound makes it difficult to hear another sound. An
obvious example of this is two instruments playing the same note, with one instrument sounding
much louder than the other.
This can happen with notes or chords, where the voicing of one instrument covers up another,
softer instrument. It can also happen with frequencies, where an element of one sound covers up
an element of another sound. As with the example above, this happens when two instruments are
playing the same note or frequency range and one is much louder than the other.
It can also happen when the notes or frequencies are not exactly the same, but nearby. The effect
is particularly strong when both instruments are playing the same or similar parts, and the sounds
blend very well. A common example is of distorted guitars and distorted bass. On its own, the
distorted bass might have a heavy growl caused by a lot of energy in the lower mids and a
crunchy fuzz on top. Once the guitars are brought in, however, the bass is reduced to a lowfrequency rumble beneath the guitars. Even though the main energy of the guitars might be in the
upper mids, it masks the upper harmonics in the distorted bass.
Another example is vocal harmonies. A song might have a section where the main melody is sung
in parallel harmony perhaps a third or fourth apart. If both voices are similar (sung by the same
singer, in the same style, with similar processing), our ear will hear the upper harmony as being
much more prominent than the lower harmony. The effect is sometimes quite striking the lower
harmony simply blends into the upper harmony.
These are both cases of the higher sound masking the lower sound.
Sometimes masking is useful, as it allows a sound to be thickened or deepened by adding other
sounds to it. Other times it is undesirable as it makes it difficult for the listener to distinguish
between the different sounds.
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2009/08/17 - Masking
In the bass/guitar example, greater separation could be achieved by filtering or EQ so that each
instrument contributes a unique sonic component to the mix. Alternatively, each instrument could
be given a different depth. For example, the bass could be up front and the guitar further back in
the mix.
In the vocal example, greater separation could be achieved by instructing the singer to perform
each part differently such as whispering one part, or perhaps singing one part forcefully. Better
yet, have a different singer perform one of the parts.
-Kim.
2009/08/19 - What to do when you have too many plugins

The easy availability of plugins makes it easy and tempting to collect plugins resulting in a
plugin folder with many different compressors, reverbs, EQs, delays and other effects (not to
mention synths!). This can actually slow down the mixing processes because of a perceived need
to try out all the different options.
Rather than collecting plugins, a better approach might be to choose one plugin for each category
or processor one compressor, one reverb, one EQ, one delay etc. Be sure to choose a plugin that
is reasonably multi-talented a general all-rounder. Use it for a few projects. Get to know it
really get to know it. Through this process youll get to know your own taste in processors. Youll
get to know the full range of each processor, and youll know where youre pushing the device to
its limits. By this stage youll understand your requirements.
At this point when you start looking for another plugin to compliment your existing set, youll know
precisely what youre looking for. If its a compressor, youll know if you need something smoother
or something more aggressive. If its an EQ, youll know if you need something more flexible or
something with more vibe. Same for reverbs, delays and other effects.
-Kim
2009/08/20 - Tips for quiet recordings

When recording, its important to control the sound that youre trying to capture, but its also
important to control the sounds that youre trying not to capture. Background noise can reduce
your ability to process the sound appropriately and can frustrate your efforts to create a convincing
mix. At worst it can ruin a recording.
Its important to deliberately consider noise, because its easy to become accustomed to it and
ignore it. Remember even if you ignore it, the microphone will still capture it! There are two
approaches to consider when attempting to reduce background noise:
Avoid the noise source

This is done by either removing the noise source, recording away from the noise source or
recording when the noise source is quietest. Internal noise sources are often machines
computers, guitar amps, air conditioning systems etc. Turn them off as much as you can.
Sometimes you cant turn them off studio computers are an example of this. In these cases you
should record as far away as possible either place the computer in another room (with cables
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2009/08/20 - Tips for quiet recordings
going through a hole in the wall, or under the door) or record in another room (with long cables
for microphone and headphones). Sometimes the noise waxes and wanes studios in busy
neighbourhoods will be subject to traffic noise, for example. Learn the times that traffic is
strongest, and schedule non-critical activites for those periods. Backups, organisation, cleaning
and general maintenance can all be done during these periods. Schedule critical recordings for the
quiet times especially quiet or delicate sounds such as whispered vocals or finger-picked acoustic
guitar.
Reduce the noise being captured

Once youve done as much as you can to avoid the noise sources, you should then focus your
attention on reducing the extent to which the noise is captured on the recording. Start by
identifying the direction in which the noise is coming from, and find the position in the room in
which the noise is quietest. You might have to find a trade-off between a quiet position and a good
room sound (sometimes the quietest position doesnt have a good room sound!). Then, if you can,
put up barriers between the noise source and the microphone. This is easiest if the noise is
actually in the room (such as a computer or climate control). Then consider mic positioning. Most
microphones have a weak spot directly behind the microphone. Some microphones have different
patterns that can be selected these patterns change the sensitivity of the microphone at different
angles. Youll get the greatest signal-to-noise ratio by positioning the microphone so the weakest
spot of the microphone is pointing toward the noise source, and the strongest spot is pointing
toward the sound you are trying to capture.
On the other hand, sometimes background noise is useful. It might be desirable to capture the
background noise if its part of the vibe of the recording. And outdoor vox pop and a live band
both have (mostly uncontrolled) background noise that are part of the sonic identity of the sound.
-Kim.
2009/08/24 - Mastering versus mix-bus processing

Its a murky world, this mastering.
Mastering is a process by which a mixdown is prepared for distribution. Traditionally, this has been
performed by a dedicated mastering engineer with specific skills and equipment. The esoteric skills
and expensive equipment gave the mastering engineer a sort of mythical status. No-one outside
the mastering studio really knew what the engineer was doing, other than making it sound better,
or sprinkling magic dust on the record.
Today, music technology is affordable enough that almost anyone can start creating recorded
music with not much more than a computer. These recordings are often self-published online. In
many cases, the audio that it heard by the listener is exactly what came from the original
computer that recorded it.
Even though no dedicated mastering engineer is being used, there is still a mastering process.
Sometimes this mastering process consists of little more than rendering the mixdown and
encoding to MP3. Sometimes it might be an elaborate process of mix bus plugins, comparisons
with other songs, advanced multi-band processing and more.
The confusion lies with the delineation of processes. Mastering is a process performed by people.
It may also include modifying the audio, using means that are sometimes used in mixing. More
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2009/08/24 - Mastering versus mix-bus processing
confusingly, these means are sometimes used in mixing, but in a processing chain that is similar to
mastering (such as using plugins on the mix bus).
So, to clarify:
Mixing is a process of combining the individual elements/instruments and balancing them so they
all work together. The end result is a mixdown.
Mastering is a process of taking the mixdown and preparing it for distribution. The end result is
music that translates well to all the expected playback scenarios.
The mix bus is a way to apply some mastering-type processing while mixing. Not all processing
on the mix bus is actually mastering though it depends on the intent. For example:
Mixing into a bus compressor is not mastering when its done to help the different sonic
elements fit together.
Using an EQ and limiter on the mix bus is mastering if its used to balance the overall tone
and loudness so that the music sounds best in a mixed playlist.
Using a limiter on the mix bus is not mastering if its used to make the sound pump in time
with the kick drum.
While mixing and mastering are two different processes, the use of the mix bus makes it possible
to overlap them so that mixing and mastering are both done in the same environment.
Additionally, not all mastering processes can be applied on the mix bus. Trimming and fading is
usually done in an audio editor. Encoding to mp3 or burning to CD are best handled by dedicated
software and hardware. Preparing a collection of songs for an album usually cant be done in the
same environment that was used to mix them.
-Kim.
2009/08/25 - Automation and expression

Many acoustic instruments have a wide variety of expressive possibilities. A performer usually has
many ways in which the sound of the instrument can be subtly changed thoughout a performance.
For example, a guitarist often has more than one string available to play a particular
strings can be excited with a pick or with fingers. The pick or fingers can excite
various points along the string. The other hand can stop strings on the fretboard as
excited, or hammer the fretboard to simultaneously stop and excite the strings. The
can bend (stretch) strings and slide between notes.
note on. The

the string at
theyre being
fretting hand
An instrumentalist can spend years learning how to control these performance techniques and
then learning how to use them effectively. A seasoned performer will be constantly varying the
way in which the instrument sounds in order to better support the music.
Electronic instruments are even more versatile in their sound. A single parameter can dramatically
alter the sound into something completely different. Many synthesisers have real-time performance
controls, assignable parameters, modulation and pitch wheels.
Use them!
When adding a new synthesiser part to a composition, think about how you can change the timbre
of the sound throughout the length of the song. Try to do this in a way that supports the dynamic
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contour of the song. Make the tweaks in realtime if you can use a MIDI controller with knobs
anor sliders if youre using softsynths. If youre recording MIDI, you have the added flexibility of
being able to record the expression in multiple passes you dont have to do it all in one take like
acoustic performers have to.
The same extends to effects processing. Subtly adjusting delay or reverb parameters over time can
add drama and movement to song if it supports the overall contour. Alternatively, it can be used to
reduce the dependency on more obvious dramatic movement in foreground instruments (the main
instruments dont have to move as much because everything is moving). Automating insert effects
such as saturation, modulation (chorus, flanger, phaser), or more esoteric effects (such as ring
modulation or pitch shifting) can add movement to parts that are already recorded, or instruments
that dont have a lot of expressive range.
-Kim.
2009/08/26 - The answer to everythings been done But

what is the question?
Dont try to be original. Try to be good. Originality will come without trying.
Often I see artists (not just musicians or composers) exclaim that they dont want to follow trends
or sell out, and instead make original art. They see the defining character of their work as being
not something else. They see being different for its own sake as a worthy goal.
I disagree.
Originality is a cop-out. Its what people announce their goals to be when theyre afraid of
unfavourable comparison. Its what people try to do when they dont have the confidence to take
on something ambitious. Its their excuse when their work falls short of expectations.
Trying to be different is setting yourself up to fail. No matter what you try to create, your creations
will be the product of everything youve experienced in your life. At best, you can come up with a
combination of influences that hasnt yet been explored but your work will always be able to be
deconstructed revealing its influences.
Undoubtedly, these influences will be representative of your taste. They will all have components
that speak to you, that resonate, that describe your own personal understanding of music.
Using originality as a goal is not only a cop-out, but it is unnecessary.
Everything you create will be influenced by everything youve experienced in your life an unique
combination. Being original doesnt take a special effort its impossible to avoid!
Trying to be original results in flawed decision-making, where techniques or sounds are chosen
merely on their being different - without regard of whether they support the creative direction or
aesthetic of the song.
Instead, try to make creative decisions based on what works best for the song. If the right choice
is something different, this is good. If the right choice is something conventionaly, this is also
good. It doesnt matter so long as its the right choice.
-Kim.
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2009/08/30 - Emulations
2009/08/30 - Emulations
I actually dont use the T-RackS compressors much. When I do, though, I choose them based on
their sound. Personally, it doesnt matter to me what it was based on or inspired by or copied off
The only important thing is the sound. The 670 compressor could be called Thick Gooey
Compressor and have an original interface, and itd be the same to me.
Software is not in competition with hardware. There are many reasons for using hardware, and
sound is one of them but there are other reasons too like workflow and studio strategy. I dont
think anyones going cancel an order on a hardware Fairchild because they can get a software
version that sounds similar for $99.
Its great to have software thats modelled on classic hardware. The reason some hardware
equipment is classic is that studio engineers have found them to be particularly useful. Using this
gear as the basis for designing software gives us these same design principals that can make the
software useful in a similar way. Still, I judge any piece of gear (software or hardware) on its own
merits. It doesnt matter how well it models another piece of gear whats important is how it
sounds on its own. I have some very accurate emulations that I almost never use, and some notso-accurate emulations that I rely on for every mix.
-Kim.
2009/09/02 - Lost in Tweakville

Do you ever get lost in Tweakville?
Do you ever sit yourself in the studio intending to make progress on a project, but instead
spending hours playing and programming sounds or endlessly adjusting parameters? Perhaps you
spent the last three hours auditioning hundreds of kick drums, before realising that the one you
selected in the first three minutes was the best? Perhaps you wanted to add a synth part, but then
got lost adjusting the hundreds of parameters? Maybe you wanted to add a compressor, but
couldnt choose between the 30 different plugins youve got in your compressors folder?
Youve got too much gear.
There are too many options. Somewhere along the way you decided that the best way to improve
you music was to acquire more gear this is not always true!
There are two solutions: Use less gear and be more disciplined.
Youll be more productive (and have a better quality output) if you reduce your gear down to the
minimum that you need. A thousand kick drums are useless if you only need to choose between
the ten best. Dozens of plugins will hold you back as you spend hours browsing presets. Critically
examine your hardware and software, your plugins, your sample libraries, your presets etc. Ask
yourself if you really need that many.
The more options you have, the more time you spend evaluating those options, and the less time
you spend actually making music.
Discpline is also important. Even with the bare essentials, its easy to get lost in experiments. Keep
yourself moving. If you cant find the right sound in ten minutes, chances are you need to rethink
what you think youre looking for. If you find a sound thats almost there, chances are you wont
find anything significantly better, no matter how much time you spend looking. If you get 90% of
the way toward the sound you have in your head, youre doing pretty well. The remaining 10%
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can be achieved through processing and mixing. Keep moving. Dont get bogged down. Perfection
is the enemy of completion. Accept that good enough really is good enough. Stop playing and get
on with making music.
-Kim.
2009/09/03 - Dynamic range and headroom

Noise floor
The noise floor of a system is the level at which the background noise occurs. In analogue
systems, this will be the hiss and/or hum. In digital systems, this will be the point at which audio
has less than one bit to represent it (audio at this level sounds like a crunchy mess).
Saturation point
The saturation point of a system is the level at which audio becomes noticeably clipped or
distorted. In analogue systems, this is the point at which the system is overloaded and starts to
behave non-linearly (often its when the signal is distorted by 1%). In digital systems, its Full
Scale any louder and the audio is mercilessly clipped.
Nominal level
This is the measurement reference point. Its the level that we call 0dB (or sometimes, unity). In
digital systems, this is always at the same level as the saturation point. In analogue systems, the
nominal level is some distance below the saturation point: 18dB or 24dB for example.
The levels of the noise floor and saturation point are measured relative to the nominal level. For
example, an analogue system might have its saturation point 18dB above the nominal level and its
noise floor 72dB below ths nominal level. We say the saturation point is at +18dB and the noise
floor is at -72dB. A 16 bit digital system has its noise floor 96dB below the saturation point, and
because its a digital system, the saturation point is also the nominal level: 0dBfs. Because the
noise floor is 96dB below the nominal level, we say the noise floor is at -96dB. The level
difference between the noise floor and the nominal level is also called the signal-to-noise ratio.
Dynamic range
The dynamic range of a system is the difference between the noise floor at the saturation point. In
the above analogue example, the noise floor is at -72dB and the saturation point is at +18dB.
Thus the dynamic range is 90dB. In the above digital example, the noise floor is at -96dB and the
saturation point is at 0dB. Thus the dynamic range is 96dB.
The dynamic range of a piece of audio is the difference between the quietest level and the loudest
level. If the dynamic range of the audio is greater than the dynamic range of the system, it should
be compressed. This will reduce the dynamic range of the audio so that it can be adequately
processed by the system.
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Headroom
The headroom of a system is the level difference between the nominal level and the saturation
point. In the above analogue system, the saturation point is at +18dB, thus it has a headroom of
18dB. In the above digital system, the saturation point is at 0dB, thus is has no headroom - in the
traditional sense.
The headroom required by a piece of audio is the difference between the steady-state average
level and the maximum peak level. In an analogue system the gain is often set so that the average
level is at 0dB. In these cases, the headroom of the system should be greater than the headroom
required by the audio otherwise audible clipping will occur.
The situation is different with digital systems. Because digital systems have no headroom above
0dB, it is common practice to set audio gain as if the nominal level is actually much lower.
Unfortunately, there is no standard practice or agreement for what the in-practice nominal should
be. Bob Katz K-System attempts to, among other things, set three standard nominal levels: -20dB,
-14dB and -12dB. Each has a different trade-off- between available headroom and overall volume.
-Kim.
2009/09/07 - EQ cutting vs boosting

Never boost, always cut. Or not
EQ is one of the most important tools available to an engineer (second only the the volume fader).
It can be quite a complicated tool to use, and its not always easy to know how to apply it.
Sometimes advice is given that cutting (reducing the level of a frequency band) is inherently
better than boosting (increasing the level of a frequency band). Inevitably, the converse view is
the cowboy if it sounds good, it is good. Both camps rarely explain their reasoning, so how do
you decide for yourself which approach to take?
The fundamental role of EQ is to change the tone of a sound. Whenever gain is applied to an EQ
band, part of the sound is being changed. For the most part, this change only occurs at the area
around the EQ band the rest of the frequency spectrum remains unchanged.
When reducing the gain of band (cutting), the changed part becomes quieter.
When increasing the gain of a band (boosting), the changed part becomes louder.
Generally, reducing gain sounds cleaner because the changed part is de-emphasised in comparison
to the unchanged parts. As a result, the natural character of the sound remains more intact, and
the processing sounds more neutral and transparent. This is a useful approach to take when you
want to maintain the general character of the sound, and the EQ is mainly being used to fit the
sound in the mix. This works best when the original sound is well-recorded and already has an
appropriate character for the mix.
On the other hand, increasing gain makes audio sound modified because the changed part is being
emphasised over the unchanged parts. As a result, the changed part stands out and draws
attention to itself. This approach works best when you want to change the character of a sound.
Of course there are exceptions to the rule. Often its possible to boost the top end of a sound in a
way that sounds natural only brighter. Similarly, its common to use dramatic low pass and high
pass filters to make a sound radically different.
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Personally, I almost always find that boosting sounds wrong. The only exception is the top boost
mentioned above adding more high-frequency energy often doesnt affect the general character
of a sound. Still, I probably apply cuts about 80% of the time I use EQ.
Ultimately though, the question of how to apply EQ should be proceded by the question of what
you want to achieve.
-Kim.
2009/09/14 - Reducing the distance between idea and output

The purpose of a studio is to create or record music. Hence, it should foster creativity. Certainly, a
lot of creative work happens in the studio.
A lot of non-creative work also happens in the studio. Some of it happens out of session
upgrading equipment, cleaning the ashtrays, backing up files, getting to know new gear, etc. Some
of it also happens in session routing signals, setting up microphones, tuning up, auditioning
sounds, etc.
Creativity is an enjoyable and sometimes fleeting state of working. In order to get the most of
it, you should try to reduce the barriers to creativity. That means taking a good hard look at the
non-creative work that happens in session, and moving as much as you can out of session.
Technology works best when it stays out of the way.
The options available to you depends on your studio setup and your style of working. Try to reflect
on what sort of non-creative things you have to do in order to be creative. Here are some ideas to
get you started:
Physical Arrangement
Keep instruments such as guitars, keyboards, percussion, etc on hand. Within reach, if
possible. You dont want to have an idea for a part and have to get a keyboard out of
storage in order to realise it.
Have front-ends ready for instruments preamps, channel strips, even cables. Set up your
studio so you can plug in a single cable to your instrument and be ready to go. Of course,
you can adjust things if you want, but at least have something ready to capture that idea!
Ideally, have instruments always plugged in and switched on that way if you have an idea
you can simply arm a track and start playing.
Remove obstacles that you have to step over or walk around. Youre less likely to grab that
mic or patch that effects processor if you have to wade through piles of junk in order to get
to it.
Make sure your studio is a dedicated space. Having to share a space can make it difficult to
get working when inspiration strikes.
Software Arrangement
Set up a custom template for your DAW software, so when you start up a new project you
already have your favourite synths loaded up (if you use soft synths) and you have
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channels already available for recording from external sources.

If you use presets, make sure theyre organised by sound category. This is especially
important for samplers, which often have a tendency to group sounds by library instead of
sound type. That means if youre looking for a piano sound, you might have to look in
many different places to find the right one for the song. Its faster and easier to work if all
your pianos are together, all your basses are together, all your synth leads are together,
etc.
In the same vein, make sure your plugins are organised by category as well. If youve got
several compressors from different companies, youll find it easier to work if theyre all
together.
Reduce your choices. Youll work faster if you only have a few filter plugins instead of a few
dozen. Youll choose a sound and get on with making music if you have one or two main
synths and one main sampler instead of ten or twenty synths and half a dozen samplers
with their own libraries.
Keep your projects organised on your hard drive and move the finished projects to a
separate folder. Its easier to find the project you need if you dont have to wade through a
bunch of irrelevant files to get there. This is especially important if youve got multiple
projects active at any one time.
-Kim.
2009/09/17 - Four basic principles

1) If you dont know why you need it, you dont need it.
This applies to almost everything in making music Whether it be a lyric, purchasing an
instrument or other gear, a particular approach to processing audio, or choosing songs for an
album. Its shorthand for an approach towards a kind of minimalism of not using anything more
than necessary to achieve your goals.
Of course, this means you must know what your goals are. For example, you wont know if
distorted guitars are right for your song if you dont have a clear idea of what your sonic palette is.
You wont know if that extra bridge section of the song is helping if you dont know how long you
want your song to be.
This isnt about a zen-style nothingness though, its about knowing what you need. To do this you
need to be mindful of the barriers in your workflow. You need to know what it holding you back.
You also need to know what is available outside your project or outside your studio that may be
helpful. This requires an attitude of constantly evaluating your own work (including finished
products and workflow) and being aware of outside opportunities (whether they be artists, studios,
gear shops, workshops, courses, etc).
2) If you cant hear it, you dont need it.

This is a specialisation of the first point above, but intended to apply specifically to hearing the
differences between gear. Rather than asking other people whether Compressor A is better than
Compressor B, try them for yourself. If you cant hear the difference, you should leave it at that.
Trust your ears.
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3) The volume fader is the most powerful tool available to you.

This should be your first port of call for finding the right balance between elements in a song. It
sounds simple, but its true. Before you reach for any EQ, compression, saturation or anything else,
reach for the volume fader. Use it to position the sound where you want it in the mix. This should
get you about 50% towards a final mix. Then, think about adjusting the tone with EQ. Getting the
volume and tone right should get you about 80%. Then, think about adjusting the dynamics with
compression. Volume, tone and dynamics are the three main aspects of a mix. Of these, volume is
the most powerful.
4) It took you longer to ask the question than it would have to try it for yourself.
This is primarily in response to questions about specific usage of tools or techniques. Its actually
quite quick to try something out for yourself. Plug it in, twiddle some controls, and pay attention to
what you hear. If you dont know what to listen for, reconsider your reasons for trying it. See the
first tip (above). If you try it out and still cant hear what youre doing, see the second tip (above).
-Kim.
2009/09/28 - Limitations vs creative direction

It can be difficult to find inspiration in the face of unlimited options. How do you pick a kick drum
when you have a thousand to choose from (and are often told to layer a combination of kick
drums)? How do you start writing a bassline when you can start in any key, and use any scale or
mode? How do you choose whats right for your song when you can have every sound from
acoustic guitars to full orchestras at the click of a mouse?
Modern technology is great because it gives us so many options and possibilities for creating
music. Without a disciplined approach, however, its easy to become paralysed by indecision
spending hours trying out sounds or experimenting with different grooves instead of making
progress towards a completed piece of music.
An often-suggested solution to this paralysis is to impose limitations. This might be to write a song
using a particular scale or mode, or to force yourself to only use a certain type of instrument, or to
write a song within a certain time period. These are often good starting points to get quickly
yourself out of a rut.
These types of limitations can, however, feel unsatisfying. This is because these approaches create
a workflow that is defined by what it doesnt include it still doesnt provide much in the way of
direction. For example, giving yourself a limitation of only using a guitar as your sound source
doesnt give you any direction of what to do with the guitar. Its still the same problem as before.
An alternative approach is to think about creative direction. Rather than defining a project by what
CANT be done, instead define it by what WILL be done. Instead of providing boundaries, this
approach provides focus. This works best if the creative direction you set is independent of tools or
composition techniques. Dont think in terms of what gear you use or which notes you play.
Instead, think about colour, texture, pace, etc. Even better, think one level higher vibe, attitude,
mood.
For example, you might begin a project where the focus is on creating dirty electro rock. This
doesnt limit the composition techniques or tools you use you can use whatever you have at your
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disposal, so long as you use it in a way that evokes dirty electro rock for you. It could be
anything from pure synths to mangled samples to live drums and guitars.
Another advantage of this approach is that a larger-scale project (such as an EP or album) will
have a consistency and identity that makes sense to a regular listener. Non-geeks wouldnt know
or care if an album was only made with softsynths or hardware. Ten songs with the same guitar
could be as diverse as ten different genres. On the other hand, a collection of tracks all with the
same higher-level focus will sound as though they belong together even if the instruments
change, the harmonies change, or the musicians change. This focus, combined with your own
idiosyncrasies will form the sonic identity of the project. The stronger and better-defined the focus
is, the more coherent the music will be.
You dont need limits. You need focus.
-Kim.
(Inspired by this post)
2009/09/30 - Four songs published

Two projects Ive been working on have finally started to come to fruition.
Jarek
Windy Winds
Jarek is a rock band without a vocalist. With four guitars, a keyboardist and a drummer with only a
kick and a tambourine, Jarek play a kind of atmospheric instrumental rock that shifts between
evocative samples with ambient melodies and rocking out with heavy riffing. Their Myspace page
is here.
The band came to me having recorded an albums worth of material at another studio. I mixed and
mastered this single, and am negotiating to mix and master the rest of the album.
Erin Shay
1. Falling In Love
2. One More Last Kiss
3. Temporary Love
Erin Shay is a pop singer and songwriter. While her voice and melodies have a reassuring (and
impressive) familiarity, she has a characteristic approach to composition particularly harmony
and tonality. Her Myspace page is here.
Erin came to me having written a collection of songs, but in need of a producer as a third party
to advise on songwriting and composition, and to guide the recording and mixing process. The
drums were recorded at Debasement.
-Kim.
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2009/10/05 - Gaining motivation
2009/10/05 - Gaining motivation

There are two seeds to successful and prolific work creativity and work ethic. Work ethic
dictates how you apply yourself to your work and consists of a number of factors, including
motivation.
Motivation itself is desire that causes action. It is not mere desire alone. It is not simply wanting
to do something. It is a kind of wanting that causes action a kind of wanting that that makes
you do things.
So what does it mean when someone wants to do something but isnt motivated?
To me, that implies there is a root desire, but somehow the action is not happening. To transform
mere desire into motivation, there are two simultaneous strategies that must be taken 1. Address the things that inhibit action. These are the things that get in the way. They can be
psychological, such as a fear of failure or a tendency to be intimidated by large tasks. They
might also be physical such as not having the right equipment available on hand or not
having sufficient time. Addressing these things might involve facing your fears (Just do it!
Or start small!) or rearranging your lifestyle to accomodate.
2. Address the things that encourage action. These are the things that enable and improve
the action. They might be psychological, such as the good feeling of having finished a
project or the good feeling of positive feedback. They might also be physical such as
having a dedicated space and time for working. Its important to keep reminding yourself of
the good feelings that you get from working. Likewise, its important to keep the work
space/time sacred and uncluttered from other distractions.
Some more studio-specific tips can be found here.
-Kim.
2009/10/07 - Reverb on the mix-bus

Under most normal circumstances, using reverb on the mix bus is no different to using a send on
every track, with every send set to the same level. Usually this it not a good idea its better to
use sends to apply reverb in different levels to different tracks. Some sounds can take more
reverb than others. Some sounds need more reverb then others to emphasise the depth in the
mix. A send level of 0dB (unity meaning the reverb is the same level as the dry sound) might still
be not enough for sustained sounds like pads and organs. On the other hand, a send level of
-21dB might sound extremely wet for staccato sounds or hand percussion.
Having said that, there is a place for mix-bus reverb. While its not as refined or tailored as using
individual sends, it is much faster. Ive done it myself on occasion when Ive had a project thats up
against a hard deadline. Mix-bus reverb also sounds different to individual sends when its placed
after other mix-bus processing, such as compression or other dynamic effects (for example,
NOT eq). Whether this sound is useful for you and worth the greatly-reduced flexibility is up to
you.
Reverb in mastering is a slightly different matter. In this situation its too late to adjust the reverb
in the mix, so it can only be applied to the stereo mix. Reverb may also serve a slightly different
purpose when used in mastering to make all the songs in a release have a similar ambience.
This might be particularly important on compilation albums or albums with a wide variety of sonic
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approaches.
-Kim.
2009/10/15 - How to be more productive in the studio

Get off the internet and make more music.
-Kim.
2009/10/15 - How to reduce computer noise in the studio

Get an acoustically-designed computer
An easy way to do this is to use a Mac. The latest Macs are already whisper-quiet. And you can
also run Windows on them if you prefer to use Windows-only software.
If you dont want to use a Mac, another option is to use a purpose-built PC. There are companies
that build these, but they tend to be quite expensive (and cost is usually one of the biggest
reasons not to use a Mac).
If youd rather build your computer yourself to keep costs down (or to get more value for your
money), keep in mind that parts specifically designed for quiet operation can get quite expensive
anyway. Youll be able to build a quiet computer, but it wont be for rock-bottom prices.
The bottom line is: expect to pay more for a quiet computer.
Isolate the computer

The next thing to do is to isolate the computer. How you do this will depend greatly on the
physical layout of your studio. The best solution is to have the computer in a separate machine
room (studios that record on tape often have the tape machine itself in a separate machine
room). If you do this, make sure you get the highest-quality shielded extension cables you can
find. Depending on your audio interface, you might be able to get by with only three cables:
Firewire dedicated to the audio interface
USB for mouse, keyboard, MIDI, storage devices, etc
DVI for your screen.
Failing that, try to place the computer in a separate enclosure. Here the trick is to balance
quietness against airflow. Too little airflow may result in the computer malfunctioning from
overheating especially on hot summer days. Not a good look with clients! For home studios, you
might try using a cupboard or cabinet. For professional studios, custom-made enclosures are ideal
especially if they include acoustic dampening, easy access to CD drives, managed airflow
directed away from listening/recording areas, etc.
Obviously, the more you can start with a quiet computer, the less you need to physically isolate it.
Likewise, the more isolation you can provide for the computer, the less you need it to be quiet.
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Avoid recording it
by following these tips:
http://kimlajoie.wordpress.com/2009/08/20/tips-for-quiet-recordings/
-Kim.
2009/11/10 - ProRec Article Reverb Types Explained

Consider this an extension to this article Ive just had another article published on ProRec
explaining the different kinds of reverbs commonly used in recordings. Theres good coverage of
pretty much all common reverb types and good explanations, but the real jewels (in my view, at
least) are the comprehensive audio examples with detailed explanations of what to listen for in
each type of reverb.
Check it out here:
http://prorec.com/Articles/tabid/109/EntryId/345/Reverb-Types-Explained.aspx
-Kim.
2009/12/10 - How do individual tracks sound on their own

before theyre mixed?
When mixing, there are two different approaches to take when processing individual tracks
(channels, instruments, sounds, etc) 1. Try to make the track sound as good as possible on its own, and then fit it into the mix;
and
2. Pay no attention to the integrity of the tracks individual sound and ruthlessly filter and EQ
it so that only the most useful parts of the sound contribute to the mix.
Both approaches are valid. Which approach you take will depend on the type of mix youre working
on and your own personal style.
Approaching each track individually can be a useful approach if youre aiming for a naturalsounding mix. This way, each instrument can be closer to its original (or expected) sound. The
character of the sound it more complete and more nuanced. This approach would be achieved by
using gentle shelving EQ instead of filters, wide and shallow parametric EQ, and a tendency to cut
rather than boost. The downside to this approach is that it can make a mix sound very cluttered
and crowded especially if there are a lot of instruments or the instruments are badly-played.
Alternatively, you might approach each track as a collection of sonic characteristics to pick and
choose from. This will lead to aggressive filtering and more surgical/targeted EQ, with a tendency
to boost as well as cut. This way the mix can be very clean and controlled, and can be particularly
useful in modern highly-produced music such as electronic music. The downside is that the mix
can become too produced, with each instrument sounding quite unlike its natural self. It can also
result in mixes that sound thin, empty and gutless.
Personally, I take both approaches. Generally I try to keep foreground instruments as natural as
possible. As I work my way further back to the background instruments, I get more and more
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surgical and ruthless. The more produced a mix is, the more Ill tend toward aggressive filtering
to cut out the unwanted characteristics of each sound and keep the desired parts. The more
natural a mix is, the more Ill tend toward gentle shelving EQ to softly de-emphasise the unwanted
parts of the sound and emphasise the desired characteristics.
-Kim.
2010/01/04 - Sweetening your mix bus, and why you shouldnt

wait for mastering to do it
Theres a case to be made for sweetening your mix bus. Many mixes can benefit from some
subtle processing to bring out the best qualities of the tone of the mix and to use dynamics to give
the mix a more compact, controlled sound.
To bring out the best qualities of the tone of the mix, an EQ is the most appropriate tool. For this
task, however, dont reach for your highly-flexible ten band fully parametric equaliser. Instead, go
for something with character and vibe not just in sound, but in workflow. The idea here is to use
something with fewer controls, but where each control does something interesting. The recent
Pultec-modelled EQ plugins are a good choice. The reason for this is that this tonal adjustment
isnt a corrective task where surgical precision is required. Its artistic, impressionistic. Youre trying
to be creative, to add colour, to make it interesting.
To use dynamics to give the mix a more compact, controlled sound, compression is the most
appropriate tools. Unlike individual track compression, the best results here are achieved by being
subtle. You dont want to completely change the dynamic behaviour of the mix. Instead, focus on
less than 3dB gain reduction, and configure the compressor to simply ride the gain. Use high ratios
when you want a pronounced effect, particularly on mixes with very little dynamics (such as rock
music or dance music that is almost always at the same level). Use very low ratios for more
dynamic music (coupled with a lower threshold to catch the lower-level audio). Faster attack and
release times will produce a more pronounced effect, whereas slower times will be more more
gentle and transparent.
The real tip here, however, is to do all this at the mix stage not mastering. The mix is where
youre focussing on creative sound adjustments, on making the song sound special. Mix bus
processing clearly fits here. Mastering, by contrast, should be as transparent as possible
focussing on preserving the creative decisions that were made during mixing and translating that
sound to the target playback format.
The best time during mixing to apply this sweetening is at the very last stage after reverb and
panning, just before rendering or recording the stereo mixdown. This is when youll have the best
perspective to apply processing to the overall sound. Otherwise you may end up chasing your tail
in circles as further track-level changes necessitate mix bus changes.
-Kim.
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2010/01/11 - Five compression mistakes and how to avoid them.
2010/01/11 - Five compression mistakes and how to

avoid them.
Compressors are complex tools and, like most other audio engineering tools, there are more ways
to set them up wrong than there are to set them up right. If youre careful though, you wont fall
into these common traps:
1. Too much gain reduction. You know youve done this when youve got tons on gain
reduction and youre thinking to yourself: It sounds great but I cant get rid of this massive
click at the start of every transient. The click is from the attack time. Not only does it
sound silly, but it will rob you of your headroom. Clicks like that are similar to deep bass
theyre not very audible, but they can easily take up a lot of level. Solution: Either use less
gain reduction (you probably dont need that much!) or use a limiter instead of a
compressor. Another approach is to use a limiter after the compressor. Heavy-sounding
compression is often the result of fast attack and release times rather than a deep
threshold.
2. Using compression to fix non-dynamic properties of sound. You know youre doing
this when the sound youre compressing has no dynamics to begin with (such as a synth
bass/pad/lead). When you compare the sound with and without compression, the dynamics
dont change, but the tone or harmonic content changes. In this case, the compressor is
not the best tool for the job. Solution: Listen to the dry sound and consider whether you
actually need a saturator or EQ. Next time, get out of the habit of inserting a compressor
on every sound without first deciding if compression is what you really need.
3. Using mix bus compression as an alternative to mastering. You know youre doing
this when youre rendering your mixdown to a file that will be burned straight to CD or
encoded to MP3, and all you think you need to do is make it louder. Mix bus compression
has its uses, but its not the right tool for achieving raw loudness. Solution: If youre in a
rush and you dont care about quality, then use a digital limiter set to kill and call it a day.
If you care about quality, either take the time to do it properly, or find someone to do it for
you.
4. Using mix bus compression as an alternative to working hard in mixing. Dont be
lazy! You know youre doing this when youre trying to use your mix bus compressor to
change the sound of an individual element in your mix. Dont use mix bus compression to
address a kick or snare that is too loud it will have unintended effects on other mix
elements too. Solution: Dont be lazy. Go back to those individual tracks that need fixing.
5. Using side-chain compression to get two clashing parts to work together. This is
using a sledgehammer to crack a walnut. As above dont be lazy! Side-chain compression
can be useful as an effect, but its certainly not necessary for simple mixing tasks like
getting vocals and guitars to work together. Solution: Use tone and depth to separate
sounds. More on how to do this later.
If you can steer clear of these common mistakes, youll be well on your way to effective
compressing!
-Kim.
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2010/01/13 - Suicide Songs (plus bonus album) now free
2010/01/13 - Suicide Songs (plus bonus album) now free

Just a quick note to say that last years album Suicide Songs is now available for free. Ive also
released a bonus album of new songs and additional versions.
A whole album as a bonus?
Suicide Songs was a project that took over three years including writing, recording and postproduction. I wrote 25 songs, recorded 15 of those, and chose ten of those to be remade. These
remakes were not mere remixes they were complete re-imaginings of the original songs often
with very different tempo, instrumentation and vibe. Of the 25 recorded songs (15 originals + 10
remakes), 12 were chosen to form the final album. The remaining 13 lived in hiding for the last 12
months. Only now do they see the light of day.
Suicide Songs has been available for purchase since February 2009. Since then, Ive moved on
choosing to work on new projects rather than promote it. As a result, sales have been low. This is
a new year, and one of my tasks for the start of this year has been to retire Suicide Songs to
finally put it to rest (so to speak). This project is the past, and it is dead to me. Rather than take it
offline, Im putting it up on my website for free.
Grab it here:
http://kimlajoie.com/Site/Suicide%20Songs.html
-Kim.
2010/01/18 - How to use tone and depth to separate sounds

A common problem with poor mixes is a lack of clarity between sounds. Its as if all the sounds in
the mix are stepping on each others toes trying to get to the front. As a result, the mix is messy
and confusing.
This is often because the mix engineer could not decide which elements of the mix were more
important than others, or which elements of each track were important to the mix.
Tone
Ive written before about filling frequencies. Obviously that is a highly artificial way of separating
instruments. Avoiding that technique, however, does not forbid you from deciding which parts of
each sound are more important for the mix. Some sounds mainly contribute to the low end of the
frequency spectrum. Some mainly contribute to the midrange, and others mainly contribute to the
top end.
Listening to a sound in isolation (solod) can create an expectation that it should cover the entire
frequency spectrum. This is fine if that is the only sound in the mix (or its a very sparse acoustic
mix), but in a denser mix it results in unnecessary crowding.
Instead, focus on bringing out the aspects of each sound that are most useful for the mix. If its a
growly bass, make sure you can hear the growl in the mix. If its a bright synth lead or guitar, you
probably dont need much low-mid energy. If its small percussion, make sure it pokes through the
top of the mix. The best (and most natural) way to focus the tone of each instrument is to use EQ
to reduce the energy in the areas that are not so important. Sounds may become thin and/or
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caricatured, but often this is necessary to assemble a mix in which each sound plays its part.
Depth
Even after focussing on tone, you may find yourself with several instruments that occupy a similar
tonal region. Classic examples are kick and bass, guitars and vocals, drums and percussion. In
these cases where it is not appropriate to separate the sounds by tone, you must separate them
another way. Depth (distance from the front) is an excellent way of doing this (its a shame that
many poor mixes have no sense of depth at all). Skilful and artful use of depth can make many
midrange instruments work together beautifully.
Using depth well, however, requires the mix engineer (and often the producer) to make decisions
about which instruments will be featured (placed in the foreground) and which will be relegated to
the background. This is often difficult because the mix engineer and producer, having uninhibited
access to the most intimate folds of a mix, can hear the beauty in every sound. It is certainly a
tough decision to be able to polish a beautiful sound only to bury it deep within the mix where
almost no-one will notice it.
Perhaps an admirable trait of a great artist is the courage to throw away good ideas.
-Kim.
2010/01/25 - Eight ways to write effective backing vocals

Backing vocals are easily overlooked in the production process. After all, the lead vocal was hard
enough to record and mix, why would you want to record a bunch of more vocal parts? Backing
vocals are not always the best choice for a song or a production, but often they can add substance
and reinforcement to the songs message. They can also make a production sound more polished
and professional (a single vocals line on its own can sometimes sound lonely or underproduced).
When you want to use backing vocals, there are actually more options than simply telling the
singer to perform the lead melody with different notes
In sync
This is the simplest way to write backing vocals. When the backing vocals are in sync with the lead
vocal, the timing is the same and the effect is of harmony reinforcement. Use a backing vocal
separated by a third or a sixth to bring out a colourful harmony (the bridge is often a good place
for this). Use backing vocals separated by a fourth or fifth to add grounding and stability (the
chorus is often a good place for this).
Out of sync
This is a bit more involved, and how you go about it depends very much on the nature of the
song. When backing vocals are out of sync with the lead vocal, they break out and are heard as a
separate part with its own phrasing. There are many ways of approaching backing vocals like this.
One of my favourites is to identify some key words in the lead vocal and stretch them out over
several beats either before or after the word appears in the lead vocal.
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Non-word vocalisation
Another approach is to use non-word vocalisation (such as ah or ooh) as part of the
instrumentation. This can be very effective in bridging the textural/tonal divide between the lead
vocal and the backing tracks (ever had a song sound like karaoke? This is the fix!). Long sustained
notes can function like a pad especially with several harmony parts layered. Its like a vocal pad
or choir pad found on many workstation keyboards and synthesisers, but made from the voice of
your singer! Short staccato notes can be effective in reinforcing a rhythmic aspect of the song. Be
careful though less experienced singers can have real difficulty with hitting the right intonation at
the very start of each note.
Parallel motion
When writing a backing vocal to sit behind a lead vocal, the obvious way to contour the phrase is
to follow the melody. When the lead vocal rises, the backing vocal rises. When the lead vocal falls,
the backing vocal falls. This can be useful for reinforcing the shape of the melody, and is often
useful in the chorus of a song.
Unlinked motion
Unlinked motion is a bit more interesting this is where the backing vocal breaks away from the
main melody and presents its own melody. This can be as simple as a slight modification of the
main melody to add interest and melodic variety, or it can be as complex as a completely new
melody (even with different lyrics and rhythms!).
Opposite Motion
An interesting hybrid of parallel motion and unlinked motion is opposite motion. This is where a
backing vocal mirrors the lead vocal. When the lead vocal rises, the backing vocal falls. When the
lead vocal falls, the backing vocal rises. The effect can be ear-catching, but is difficult to pull off for
long passages. Its not always easy to find suitable notes for the harmony that retain the mirrored
shape of the melody and also hit notes that support the overall harmonic structure of the music.
Additionally, this approach can sometimes be constrained by the range of your singer. Despite
these difficulties, opposite motion can be effective in small sections even single motifs.
Intermittent emphasis
Backing vocals dont have to be sounding for the same length time as the main vocal. In some
situations, its appropriate for the backing vocals to come in occasionally for certain words or
phrases. This allows you to emphasise some parts of the main vocal over others. This approach is
particularly effective for long verses or complex choruses, where its easy for the listener to get
lost. The backing vocals add some delineation and punctuation to help make the song easier for
the listener to understand. Of course, its also useful for reinforcing particular words or phrases in
the song that have emotional significance.
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Call and response

This is a really good way of adding interest and energy to a vocal part with a lot of gaps in
between phrases. The simplest way to do this is to have the backing vocals fill the gap with an
echo of the main vocal part. Bonus points for using a different melody and different (but relevant)
words. Using different words can also give you an opportunity to expand on the lyrical themes and
add meaning. Dont fill in all the gaps, but do it in a way that supports the overall contour of the
song (such as adding them to the second and last choruses).
Just two more quick ideas:
1. Dont forget to combine these different approaches. These are all techniques available to
you. You should choose when it is appropriate to use them. Some songs wont require any
backing vocals. Some songs are best served by only using one of the techniques above.
Some songs will require a combination of these techniques in order to bring the best out of
them. Always remember to support the lyrical content and the contour of the song.
2. These tips dont only work for voices they also work for instrumental parts too! Even if
youre composing music without words, you can probably find use for these techniques. For
example, you might emphasise a techno lead synth with a second harmony part
underneath it for the most intense section of the song. Or you might have a guitar solo
being echoed and harmonised by a supporting keyboard part.
With these techniques in mind, try out some new ideas on your next song and see how they go.
Some ideas might work, others might not. Either way youll learn something new!
-Kim.
2010/02/01 - How to convince yourself to invest in

acoustic treatment
You need to acoustically treat your room.
You know it. Youve read the articles, youve had people tell you. You already know that its holding
you back.
The problem is that you havent done it yet. Despite you knowing how important it is, it hasnt
happened yet. Maybe youre not sure how to do it, maybe that money has mysteriously
disappeared into more plugins or instruments or other hardware. Maybe its just not sexy.
If youre not quite sure how to do it, relax. Its not that hard. For a basic studio, you should start
with some wall panels and some bass traps. The wall panels absorb and disperse the first
reflections from your speakers. Imagine mirrors on your walls anywhere you would see the
reflection of your speakers when you sit at your mixing position is where you should put a wall
panel. The bass traps hide in the corners and edges of the room. Thats it. That approach will get
you decent results for the first round of treatment, and will most likely be a noticeable
improvement on your current environment (you can get more sophisticated if you want, but wait
until youre designing your next studio for that).
If the money keeps mysteriously disappearing into more plugins or other gear, take a good hard
long look at your setup. Chances are, youve already got plenty of gear. Chances are, youve got
enough gear to last you the next few albums, at least. Dont kid yourself. How many more
analogue-modelling synths do you need? How many more kick drum samples do you need?
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Chances are, you need a new chair more than you need more music gear.
Despite what anyone else will tell you, acoustic treatment is sexy. It adds more sex appeal to your
studio than any plugin or computer upgrade. Acoustic treatment impresses people who dont even
know what it is, or why its important (youll recognise them as the ones who call it sound
proofing). Acoustic treatment is how people instantly know youre serious about your studio
especially if its a modern computer-based studio which isnt necessarily brimming with hardware.
Its also how you know youre serious about your studio. Acoustically treating your room will
motivate you and make you work more than you expect. It will make you excited to listen to
music, it will make you excited to work on your own music. It will actually make you more
productive.
And besides, theres nothing quite like telling people you spent $600 on foam!
-Kim.
2010/02/08 - Five EQ mistakes and how to avoid them

EQ is one of the most important tools available to audio engineers. Used correctly, instruments
sound great and seem to fit together effortlessly. Used incorrectly, the mix resembles a battlefield
with every instrument trying to destroy the others while fighting to be heard. One of the difficulties
of EQ is that it is relative the right settings depend entirely on the raw sound and the mix; there
are no specific settings that will work every time. The key to using EQ effectively is to learn how to
listen to the raw sound and identify what tonal changes will emphasise its best qualities and make
it work in the mix.
1. More of everything, everywhere. There is tendency among inexperienced audio
engineers to apply drastic EQ adjustments particularly large boosts. Generally, the pattern
is like this: I love this sound, but it needs more bass lets boost the lows. Thats great,
but now its not bright enough, lets boost the highs. Sounds great, but its a little hollow,
lets boost the mids. And so it goes. Obviously this does a lot of damage to the tone of the
sound and it also wastes a lot of time too. Solution: Try to listen to the sound and decide
what do you want to do to it before you apply any EQ. If adjusting the EQ in one tonal area
is starting to reveal (or cause!) problems in other areas, think carefully before you start
chasing your tail sometimes you just need less EQ (and sometimes in a different place to
what you initially thought). Always bypass your EQ from time to time and make sure youre
actually improving the sound.
2. Too much bass. This is often a symptom of problems with your monitoring environment
usually either your speakers or your room. Or maybe theres not much wrong with your
monitoring you just happen to like the sound of too much bass. How you approach this
situation depends on how much extra bass you tend to add. If its gentle, and it helps you
vibe with the music while you work, then you could consider changing nothing. Solution
1: Just make sure its adjusted when your mixes are premastered or mastered On the
other hand, your mixdowns might have a wildly uneven bass response. Youll know this is
you if the low end of your mixes sound strange and different when played on different
systems. Solution 2: Bring some commercial reference tracks into your studio and spend
some time comparing them with your mixes. If your monitoring environment is doing
strange things, get more accurate speakers, invest in some bass traps. If youre mixing in a
small room, look towards moving to a bigger room. If these solutions arent practical, invest
in a good set of headphones to use in conjunction with your regular speakers.
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3. Not compensating for your monitoring environment. This is a more general case of
the previous point. Be aware that youll have a natural tendency to mix with an overall
tonal shape thats influenced by your monitoring environment. For example, if your
monitoring is weak on bass, youll tend to mix bass-heavy. If your monitoring is strong in
the mids, youll tend to mix with the mids pulled back. If your monitoring has strong highs,
youll tend to mix dark. Solution: Be aware of this and make a deliberate effort to
compensate for your natural tendency. Use more than one set of speakers or headphones
for comparison. Listen to a lot of commercial music in your genre to learn how it sounds in
your studio. Bonus Solution: If mixing with a slight tonal shift helps you feel the vibe (or
in my case, I sometimes mix slightly dark because it helps me focus better and work
longer) then keep doing it. Just make sure you remember to compensate in pre-mastering
or mastering.
4. Using specific frequencies or settings just because someone told you to. Do I
really nee to explain this one? Those frequency charts are just guides. That helpful advice
is just one persons opinion, based on a monitoring environment you dont even know.
Those EQ presets are just an example of what it can do. No-one else knows your mix like
you do. No-one else knows the artist and the creative direction like you do. Solution: Use
your ears. Nuff said.
5. EQ even when you dont need it. This is an issue thats not often spoken about. In all
the flurry of trying to work out how to use EQ, its easy to forget to yourself if you need to
use EQ at all. Sometimes a part will sit perfectly in the mix without any tonal adjustment at
all. Solution: Interrupt your grab an EQ and start twiddling workflow. Pause before you
do it and ask yourself Do I really need EQ here? What does this track really need?.
Keep these tips in mind (or better yet print them out and stick them to your studio wall!) and
start to think about EQ more critically. EQs a great tool for an audio engineer; dont be afraid to
use it! Sometimes a track really does need some major surgery. Just be aware that it takes
discipline and restraint to use it where you need it, as much as you need no more, no less.
-Kim.
2010/02/15 - Your tools are not your competitive advantage

Its a war out there.
Were all trying to get ahead. There are too many of us looking for work and not enough clients or
listeners to go around. Well do anything to get our head above water even if it means pushing
down (or not holding a hand out to) our colleagues.
Or, alternatively, were all on the same team.
Theres a boundless and ever-growing number of clients and listeners who want to enjoy our
music. The biggest challenge is getting the music in front of them. By working together we can
reach more ears. By working together we can help each other improve our skills. We can
encourage each other to work harder, producing work that keeps getting better and better.
Which world do you live in?

If you live in the first world, you probably keep secrets. Youve worked hard to acquire your tools,
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develop your techniques. You might feel that it would be unfair to share your knowledge for
other people to be able to use your techniques or take advantage of your experience without
having to earn it themselves. You might even feel that sharing your techniques would diminish
your standing in the eyes (and ears) of your clients and listeners. Effectively, you want to hold
yourself up by keeping others down. Maybe you even live in a slight fear that someone else will
discover your secrets on their own after all, thats how you discovered them.
Here are two uncomfortable truths:
1. Your clients and listeners dont choose you for your particular techniques. You might use
something esoteric like multi-bus compression (multiple parallel compressors on sends),
and it might even be a significant contributor to your sound. If someone else started using
your technique, however, they wouldnt suddenly be able to steal your clients or draw
listeners away from you. The same goes for tools.
2. Even if someone knew all your techniques and had all your tools, they wouldnt sound like
you. They wouldnt somehow steal your musical soul, your originality or your creativity.
Theyd still sound like themselves and youd still sound like yourself. If your techniques are
useful to them, theyll use the techniques to get better at their sound.
Clients choose a producer or engineer based on many factors. The most important are not even
remotely related to your tools or techniques they are factors like your creativity, your availability,
your ability to understand their creative vision, your ability to capture (and improve) the essence of
their art, your ability to make them feel comfortable and creative. Its all creativity and
relationships, with a good smattering of feel-good thrown in. Having a well-stocked studio merely
helps them feel more secure in the decision theyve already made.
None of these factors are diminished by the guy across the road having the same
compressor as you, or the same preference for chaining three saturators in a row.
Of course, to be successful you must be good at what you do. This is not about techniques,
though. Its about skills and creativity. This transcends techniques, and certainly transcends tools.
Its about being able to understand creative direction and be able to choose the most appropriate
techniques and tools to translate that direction into sound.
So if your tools or techniques are not your competitive advantage, what is? What is going to keep
you ahead of the guy across the road?
A wide musical vocabulary. This makes it more likely that youll understand your clients
influences and musical language. It also allows you to be more creative and choose from a
wider variety of musical ideas. Of course, the greater your own musical language, the
better youll be able to come up with an idea thats perfect for the song.
An open mind. This not only applies to music, but in dealing with people. Do your artists
consider you to be someone set in your ways, or someone always willing to try something
new? Are you artists comfortable suggesting strange and weird musical ideas, or do you
have a habit of telling people they suck? If people know you to be flexible and fun to work
with, theyre much more likely to come back and work with you for their next project.
Work ethic. Do you deliver? Do you come up with the goods by the deadline? Are you
eager, focussed, hard working? A solid work ethic also rubs off on the people you work
with. If youre dedicated and disciplined, your clients will treat you professionally. Your
artists will take their own work more seriously (and theyll love you because working with
you makes them more productive). Youll find your whole operation runs smoother and
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more efficiently. Best of all, less time and energy wasted on chasing people means more
time and energy for creativity.
The skills that pay the bills. You have to consistently produce quality output. This is not
about using any specific technique or tool, but being able to choose the right tools and
techniques for each situation. Its about knowing your studio, knowing your tools and being
able to get results quickly without wasting time. Your artists arent going to be impressed if
you spend half an hour tweaking a kick drum in front of them you just killed their
creativity. They came to you to capture their artistic vision and instead spent 30 minutes
listening to thud thud thud thud. Your clients arent going to be impressed if they asked for
an orchestral track and they receive something that sounds like a mid-90s GM synth. You
need to know how to get the right sounds quickly.
So what of helping others? Will you still keep your secrets, or will you share them? Let me suggest
that theres nothing to lose by sharing your knowledge, but theres certainly a lot to gain. Sharing
your knowledge will help your friends, your peers, your teammates. By learning engineering
techniques, theyll get better at realising their sonic vision. The less mindspace they use trying to
figure it out, the more mindspace they have available for being creative. And that results in better
music for all of us.
-Kim.
2010/02/22 - Five secrets to making your mix louder

Dont dismiss this post yet! Even if youre in the more dynamics brigade, these tips will give you
clearer mixes that suffer less in mastering. That means better-preserved dynamics and higher
fidelity!
For those of you who really do want your mixes SUPER LOUD, this tips will let you push more
volume without your sound turning to mush.
1. Go easy on the bass. That includes sub bass, kick and melodic bass. It's always tempting
to turn them up, but the low frequencies really use up a lot of headroom (high peak level
for the same perceived volume). The more headroom your audio needs, the less you can
push it in mastering and the worse it will sound when its pushed hard. First try to compare
your bass levels with commercial reference songs. Listen carefully to the level of the low
frequencies in comparison to the rest of the spectrum you might find theres less than
you initially thought! Also consider saturating the kick or the bass.
2. Saturate those peaks. Take a look at your mix bus peak meter to see if any tracks are
poking out of the mix often it will be the kick or the bass. Used carefully, you can use
saturation to reduce the peak level of your kick or snare tracks without reducing the
perceived volume. Often peak level reductions of 6-9dB are easily attainable without
adversely affecting the audio quality. Limiters are usually not so useful here because theyll
tend to change the sound too much.
3. Embrace the background. Push some instruments further to the background. If you try
to put too many sounds in the foreground youll end up with an indistinct mush. This
indistinct mush will quickly become even worse when you apply heavy limiting in
mastering. Instead, try to identify the three or four most important elements of the mix
(typically the snare, kick, bass and lead synth/vocal). Be bold and push everything else to
the background! Youll get a mix thats more focussed and more powerful.
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4. Leave your stereo widener at home. Stereo widening tricks might be fun to play with,
but theyll rob your mix of punch and power. If you want those foreground sounds (snare,
kick, bass, lead) to hit as hard as possible, stay clear of any stereo width manipulation.
Some subtle widening is sometimes useful for special background effects, but remember
if you do it, do it in moderation.
5. Be careful of the lower mids. The region between 100Hz and 1000Hz is the cause of
many troubles. Its very easy to put a mix together that has a lot of mud build-up in that
area. To get the ultimate clear mix, get brutal with an EQ! Make some big dips in the lower
mids for all background instruments, and make sure you dont have any excess lower mids
in your foreground instruments. You need to keep some lower mids, because thats where
your body and thickness comes from. Heres a secret though a mix with body and
thickness only needs a few foreground instruments to have that body and thickness. To put
it another way, a few fat foreground instruments makes for a fat mix. A lot of fat
instruments makes for a flabby mix.
With these mixing tips you should be able to get a few more decibels of clarity in mastering!
-Kim.
2010/03/01 - The secret to full-sounding mixes

This applies to all the composer+producer+engineer types out there
Have you ever felt like your mixes were empty? That they sound a bit incomplete? Perhaps youve
compared your music to your favourite commercial references and realised that they somehow
sounded thicker and fuller? Youve got all the obvious parts in your mix kick, bass, snare, lead,
hats, pads, comp synths, etc the same as your references, but somehow it sounds like you dont
have enough.
What youre missing is the background.

The background is often made up of a lot of different sounds, each barely audible. On their own
they sound quite small and insignificant, but together they form the sonic backdrop for your song.
You may not have paid much attention to the background parts because theyre not sexy. The
sounds are small, thin and dont draw attention to themselves. Listeners dont comment on them.
Its understandable.
Sometimes its hard to spend time working on the background parts. Its much more fun to focus
on the big fat foreground for the same reasons that your listeners focus on the foreground. Its
naturally more interesting. Maybe you add some hats and percussion. Perhaps a synth pad or
piano or something and call it a day. Besides, those drums need a bit more tweaking
Heres a trick: Mute your foreground instruments.

Thats right. Mute your kick, bass, snare, lead vocals, main melodic instruments anything thats
supposed to be the centre of your listeners attention. Youre probably left with a somewhat
unsatisfying background texture made up of only a few sounds (with a lot of dead space in
between them!).
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Now, go about adding some more parts! Fill in the gaps. Make it interesting. Build a musical
texture that has character and individuality. Even if its made up of loops, your choices and the
combination of loops will make for a unique sound. If you want to add a bit more individuality,
break out some crazy effects. Not just your regular EQs and compressors this is the place for
those strange modulation effects, sequenced effects, random beatslicers and other strange and
wonderful contraptions. Its the perfect place to use that cool experimental effect thats too drastic
for a main part, but you kept in your plugin folder just in case.
This doesnt just apply to electronic music. If youre working on pop or rock, mute the drum kit,
guitars, bass and vocals. Theres lots of room for adding extra background parts. Perhaps add
some more clean or distorted guitars. Try a different approach to micing your piano. Have some
fun with rhythmic vocal growls. Create new percussion parts from kitchen utensils. This is your
opportunity to try out a new instrument or recording technique. These are the kind of touches that
give a song a unique character, a sense of individuality.
By adding in these background parts, your mix will become fuller and thicker. It will also have
more character and texture. Even though your listeners dont usually comment on background
sounds, theyll notice something different about your sound. Try it!
-Kim.
2010/03/08 - Making your song more dynamic

So, youve got a great groove going on. Now, all you need to do in order to expand those eight
bars into a full song is add a layered intro, bring the vocals in and out, and add an ending. Right?
Not so fast.
In order to hold a listeners attention for several minutes, a song must do more than simply repeat
the same ten seconds fifty times with different layers. Listeners are smart learners and theyll lose
interest pretty quickly when they realise this is what youre doing.
So, you add yet more layers, or change the processing, or add a section without the kick drum, or
something.
And its still not working. Youre looking for an engineering solution to a composition problem.
Youre trying to make your song more dynamic this requires thinking about variety and drama.
All this needs to be considered in context of the creative direction of the song. These are creative
decisions the engineering exists merely to serve the creative needs.
Variety
Variety works in conjunction with two other aspects of the song length and coherence. For a
given amount of variety, a greater song length will result in more coherence . Similarly, for a given
song length, more variety will result in less coherence . Finally, coherence can be either good or
bad. Lets unpack that.
A song without enough coherence will sound fragmented and unfocussed because there are too
many unrelated musical ideas in it. A song with too much coherence will sound static and boring.
For a given amount of variety, a greater song length will result in more coherence. You hear this
happening when you have a great 8-bar idea and try to expand this into a full song without adding
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new material. What sounded fresh and exciting as a 20-second snippet suddenly sounds boring
and repetitive as a 4-minute song. Similarly, a collection of different ideas will sound jumbled and
random when theyre squeezed together in a sketch; give them space and time to breathe and
develop, however, and you have the makings of an interesting piece of music that actually makes
sense.
For a given song length, more variety will result in less coherence. You hear this when you have a
20-second loops repeated for a few minutes straight. This is a song with too much coherence its
boring and repetitive. Adding more variety will reduce the coherence making the song more
interesting. Similarly, if a song sounds too compositionally unfocussed, it could be that theres too
much variety. Reducing the variety (for example, by replacing some sections with variations or
developments of other sections) will increase the coherence and make the song sound more
focussed.
Drama
Being able to judge the right amount of variety in a song is an important skill to develop, but alone
its not enough. If youre trying to make your song more dynamic, its important to consider adding
more drama to the song. This involves two things increasing the difference between the
sections, and drawing attention to the changes between the sections.
Increasing the difference between the sections increases the scope and breadth of a song. Rather
than simply adding or subtracting layers, think about giving some sections a very different texture,
thickness, colour or pace. This also makes the song feel bigger because it covers a lot more
territory.
Drawing attention to the changes between the sections means paying particular attention to the
transitions. For gradual transitions (such as builds to a climax), think about ways to increase the
excitement and anticipation. A good way to approach this is to increase the rate of change. A
section of music will be more exciting if a change happens sooner or faster than expected. Make
more of the change occur in the second half of a transition. On the other hand, anticipation can be
increased by making a change occur later than expected.
For sudden transitions, try to emphasise the transition for example, for sudden transitions from a
low-energy section to a high-energy section, try making the end of the low-energy transition even
lower in energy, and the beginning of the high-energy section even higher in energy. Likewise, for
sudden transitions from a high-energy section to a low-energy section, try making the end of the
high-energy section even higher in energy, and the start of the low-energy section even lower in
energy. Make the transition even more sudden.
So now youve got no excuse make more dynamic music!

And if you want some advice on a song, email me.
-Kim.
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2010/03/15 - Are you using ear-catching sounds effectively?
2010/03/15 - Are you using ear-catching sounds effectively?

Ear-catching sounds are pretty easy to make. Grab a snippet of audio, throw some extreme
processing on them, chop them up, and scatter the pieces around
Interesting sounds are fun, but if youre not thinking too much about how theyre used youre
doing yourself a disservice. Theres just as much impact to be created in placing the sounds as
there is in having them at all.
Or to put it another way Its not only what youve got, but what you do with it.
Many ear-catching sounds are quite short. Even if theyre a few bars in length, theyre still heard
by the listener as an event, rather than as a whole section. This means theyll work best to
emphasise the articulation in the structure of the song. In other words, use them to emphasise
and draw attention to the changes and transitions in the song. For example, a stab or hit sound
will have maximum impact at the start of a section especially a section with a higher energy level
than the section before it. Reversed sounds or sounds that build up will have maximum impact at
the end of a section leading up to the next section.
Another way of using short interesting sounds is in place of a melodic motif. This works especially
well when placed in between phrases in the lead part. For example, if the lead part is a vocal
melody, you can place an ear-catching sound at the end of each phrase. In this way, there is a call
and response relationship between the vocal and the ear-catching sound. If you do it once, it
draws attention to itself and signifies that there is something significant about that particular point
in time (such as an important lyric or a transition to an important section). Alternatively, if you do
it regularly it becomes a pattern and forms part of the musical language and identity of the song.
Longer ear-catching sounds, such as sustained sounds, work well to differentiate a whole section
either adding energy to it or taking the listener to new sonic territory. If youre only using it as a
layer in the section though, youre missing out on a lot of potential! Think about ways in which the
sound can change over time throughout the section. The simplest approach is to fade it in or out.
For example, you might have an interesting sound fade in throughout a verse. The verse starts as
normal, but as it progresses the interesting sound becomes more prominent.
Dont just leave it there though experiment with altering other characteristics of the sound
instead of (or as well as) volume. Go beyond basic filtering too think about changing effects
parameters or synth parameters throughout the section. Make the sound have certain
characteristics at the start of the section and different characteristics at the end of the section.
Then think about making it change in a way that supports the direction and flow of the rest of the
music.
Try these ideas out and keep them in mind and you should be able to give your music more
interest and excitement!
-Kim.
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2010/03/22 - When to separate sounds and when not to

When working on a song with multiple instruments, often you have to think about which parts will
be played by each instrument. With larger productions, youll tend to have more instruments than
parts. In these cases, youll need to think about when two different instrument sounds should be
combined, and when they should be kept separate. When combining the sounds of two
instruments, the effect is of a single sound that is a composite of both instruments.
How to separate
Separating instruments can be achieved in a variety of ways:
Different register (pitch range)
Different rhythms
Different tonality (notes in the scale)
Different volume
Different sound character
Different space (panning, depth)
For best effect, you should separate instruments using several of the above techniques.
How to combine
Quite simply, the techniques for combining instruments are the exact opposite to those for
separating them:
Similar register (pitch range)
Similar rhythms
Similar tonality (notes in the scale)
Similar volume
Similar sound character
Similar space (panning, depth)
And again, for best effect, you should use several of the above techniques when combining
instruments.
Of course, simply knowing how to separate or combine sounds is just part if the story you must
also know when to do it. When should you make two instruments more separate from each other?
When should you try to combine them?
When to separate
Youll get the best results in separating instruments when the parts played by those instruments
are already quite different. The best way to determine this is to think about the function each part
has what its contributing to the song or the mix.
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For example, you might have two melodic or harmonic parts in your song. You would be better off
separating them if one is playing long slow notes and is only heard during the climaxes of the
song, and the other part is playing small repeated arpeggios throughout most of the song. Even if
both parts are played with similar instruments, in the same pitch range and with the same tonality,
the two parts are definitely performing different functions in the song. To further separate them,
consider changing the instrument or sonic character, the pitch range, or perhaps the depth of one
or both parts. This will bring more clarity to the overall song. In other words you hear them as
different parts, so make them more different.
When to combine
The opposite is true when deciding when to combine instruments. If two parts are performing a
similar function in the song, theyre probably good candidates for being combined.
For example, you might have two parts that are playing short staccato rhythms (think of an
arpeggio with gaps between the notes). The two parts might be played by different instruments,
with different rhythms and different pan positions. Even still, they are both performing the same
function in the song. To combine them, consider making the pitch ranges, pan position, or sonic
character more similar. This will make your song more cohesive and and focussed. In other words
you hear them as similar parts, so make them more similar.
In applying these ideas, youll bring more focus and clarity to your music.
-Kim.
2010/03/27 - Dont be alarmed, its just a new theme

The old one was getting a bit tired, so Ive upgraded to The New Black.
-Kim.
2010/03/29 - Are your mixes too wide?

Its easy to go overboard these days.
Powerful computers and free plugins of every variety make for a very real embarrassment of
riches. Nowadays most home studios are limited more by experience and skill than any lack of
technical capabilities. And so, we have a tendency for people to overuse their tools. Many tools
(especially compressors, exciters, saturators, etc) effectively have a single control more. Turning
it up gives you more of the effect. The really diabolical aspect is that adding a little bit often makes
things sound better (at first, anyway). So if a bit is good, then more must be better, right? Of
course you know it isnt, but once you start playing with the controls, your mind recalibrates itself
to what sounds normal. Even if youre deliberately trying to be moderate, youll find its all too easy
to lose your bearings.
How many times have you wasted time trying to find the sweet spot, only to realise later that the
unprocessed sound was better after all?
Stereo widening effects are a common example of this. A little bit often makes a track sound more
impressive wider and more expansive. After hearing the stereo widener, bypassing it can make
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your mix sound suddenly smaller and (more) lifeless. But how much is enough? How do you know
when youve applied too much?
As usual, theres no single answer thats right for everyone. You need to consider where
your music will be played. Different targets and/or media will require different approaches.
For example, if youre expecting your music to be played in uncontrolled stereo spaces (such as
radio, shopping centres, or television) youd best take a conservative approach to the stereo space.
You dont know if people are going to be seated evenly between the two speakers, or if there even
will be two speakers. Ive had situations where my music was played back in mono by taking
only one side (not even by summing the two sides!).
On the other hand, if you intend your music to be enjoyed exclusively on headphones, or in
cinemas, installations, or other environments with a controlled stereo space you can afford to use
as little or as much stereo widening as you wish.
The difficulty comes when youre targeting a range of playback environments. You might have your
music available for download it might be the kind of music best enjoyed on headphones, but
youd also be happy for it to be played in cars, on computer speakers, or even iPod earbuds shared
with a friend. In cases like this, you need to find a middle ground where the amount of widening
doesnt compromise the audio quality in adverse environments, but is still sufficient to express the
creative intent of the song. Youll have to regularly check our mix in mono not just both sides
summed, but each side individually. Check your mix on headphones, on large speakers, small
speakers and earbuds.
Its a compromise.
-Kim.
2010/04/05 - Five ways to make space in your mix

Running out of space in your mix? Want to add more parts without being buried in mud? Simply
want a clearer, cleaner sound? Check out these techniques:
1. Reduce the mids and low mids. This area will add a lot of mud to your mix if you have
a lot of instruments. Its not necessarily that all your instruments have energy focussed
here (although they might!), but that having a lot going on in the mids and low mids gives
a feeling of mud. Having strong mids or lower mids in just one or two instruments can
produce a sound of warmth and body, but more than that is usually too much. If you want
to create space in your mix, clear out the lower mids especially, leaving only the essentials.
2. Dont squash the dynamics. Dynamic space is very important. Natural dynamics and
transients give instruments room to breathe. It also makes more space in the mix (for other
instruments, or just for space sake). Squashing the dynamics through overcompression,
limiting or saturation makes individual sounds bigger, but sucks the life and air out. Of
course, compression is often a useful effect, but be clear the more compression you use,
the less space youll have in your mix.
3. Push sounds further to the background. Ive written a lot about depth and effective
use of background. With a deliberate approach to depth, you can draw focus to the most
important elements of a song and still have a lot of space (or room for more instruments).
4. Use panning effectively. Personally, Ive not a big fan of panning, but its certainly a tool
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that, if used effectively, can enhance the space in a mix. Try mixing a song entirely in mono
(or at least with every instrument panned centre), and then apply panning at the very last
stages of the mix. Youll hear the space open up in front of you.
5. Consider composition techniques. Although this post is mainly focussed on
engineering, composition has as much to do with creating space as mixing. Rhythm in
particular can have a significant effect of the sense of space in a song. You wont have
much space if everything is playing all the time (the effect is similar to the engineering
approach of making everything louder than everything else). Instead consider restricting
some instruments to off-beats, syncopated rhythms or using rhythmic counterpoint.
Similarly, consider the pitch range of your instruments. Greater pitch range and mobility will
open up space.
So next time your song is sounding too crowded, try this techniques and youll be on your way to
adding more space.
-Kim.
2010/04/12 - How to add more excitement and energy to

your music
So, youve got your song planned out, the main parts are in place, its humming along but youre
just not feeling the push. Its not making you sit on the edge of your seat its making you sit
back (or worse, turn away).
What youre missing is excitement and energy.
If your first move is to reach for a compressor, or harmonic exciter (surely an exciter adds
excitement?), or another serving of high-frequency boosts pull your hand back. Youre on the
wrong track. Using these tools will make the song more exciting than it used to be, but if you
apply them throughout the whole track, it wont make any difference to a listener who isnt familiar
with the previous version.
Similarly, you might be tempted to add more 16th (semiquaver) hihats or other percussion. And
similarly, itll make the song more exciting than it used to be, but it wont make any difference to
the listener.
Why is this?
Its because your song still has the same energy level from start to finish. Or, it has the same
range in energy levels from start to finish. What happens is that in the first 20 seconds (or
thereabouts) the listener becomes accustomed to the energy level in the song. It sets their
expectation for the rest of the song. If the energy level of your song does not vary much, it will be
lacking excitement even if it has a high energy level.
What actually adds excitement? Change.
A dynamic song structure will add more excitement than any compressor or hihat rhythm. Think
about the highs and lows, the ebb and flow, tension and release. I wont go into too much detail
Ive already written plenty about structure here:
http://kimlajoie.wordpress.com/tag/structure/
Another way to add excitement is to use rhythm. A four-on-the-floor rhythm commonly used in
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dance music is about as unexciting as it gets. Even if you have to use this for your kick drum (due
to stylistic constraints), theres a lot you can do with the other instruments to add excitement. Add
excitement by making musical events (notes, phrases, sounds etc) come in earlier than the listener
expects. This can be in the form of accents that come before the beat, or repeating patterns that
shift and change leading up to significant moments in the song.
Drum fills are a good example of this they add excitement leading in to a significant moment.
They work because the listener hears the drum elements (typically snare, kick and crash cymbal)
earlier and more frequently than expected. They shake up the listeners expectation that the
previous rhythm would continue. Experiment with taking a similar approach with other
instruments too shake up the established patterns at key points in the song. Making them faster
and denser will help add excitement. Also, think about other techniques too change the pitch,
the timbre (brightness open that lowpass filter!), the harmony (minor/major/etc), the interaction
with other parts there are endless possibilities.
With a bit of practice, youll soon be adding so much excitement to your songs that your listeners
will have trouble sleeping at night
-Kim.
2010/04/19 - Whats wrong with transient shapers?

Transient shapers are processors that adjust the dynamics of a sound. Rather than changing the
dynamic range like a compressor, transient shapers operate only on the initial onset of the sound
the transient. The initial smack of a drum. The plink of a piano. The pick of a guitar or bass. They
dont work with sounds that dont have a sudden start, such as vocals, violins, or synth pads.
Transient shapers can either bring out the transient making it louder, sharper and more
prominent. They can also reduce the transient making it softer and duller.
The tricky aspect to consider here is that the psychoacoustic (perceived) effects of a transient
shaper can be similar to those of other tools.
For example, both EQ and compression can also be used to make a sound sharper or duller.
Depending on the tone and envelope of the sound, an EQ or compressor can also be used to
enhance or reduce the transients. They certainly can be used to make sounds more or less
prominent.
In fact, for most day-to-day mixing tasks, channel EQ and compression offer almost all the sound
shaping tools you need.
So why use a transient shaper?
If you only want to adjust the transient, EQ and compressors are blunt tools. Using a static EQ
setting to boost the upper mids might bring out the pluck of a guitar or smack of a drum, but it
will make the whole sound brighter. Similarly, using a compressor to adjust a transient will also
affect the decay and/or sustain of the sound as well. Compressors are also level-dependent,
meaning they process individual notes differently depending on how loud they are. This means
that a dynamic performance will be treated unevenly which is exactly what you want if youre
trying to control the dynamics, but not desirable if youre trying to control the transients.
A transient shaper, by contrast, will process the sound while keeping its tone and dynamic
behaviour intact. Most good transient shapers also operate independently of level, meaning they
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should apply the same amount of change to the transient, regardless of how loud or soft the
sound is. Transient shapers are a subtle tool, and are best used when regular EQ and compression
tools are unable to be subtle enough.
As always, a clear understanding of your tools will help you create the sound youre imagining.
-Kim.
2010/04/26 - Four ways to use mid/side EQ

Several EQs now have a mid/side mode. This opens up a lot of possibilities, but can be difficult to
use effectively. Instead of simply tweaking the sound or the range of the controls, mid/side mode
completely changes how the EQ behaves and sets new rules for how it can be useful and effective.
It helps to stop thinking about mid/side EQ as an equaliser but instead to think of it as a surgical
frequency-focussed stereo width adjuster. It works best on complex stereo material, such as
groups or the mix bus.
1. Mono bass. Not just bass, but lower mids too. Its easy use a highpass filter or low shelf
(with negative gain) on the side channel. If youve mixed well, this wont actually reduce
the level or impact of your low frequencies (especially the ever-critical kick and bass).
Instead, it will add focus and tightness in a way that doesnt detract from the overall
perceived stereo width of the mix. Experiment with the frequency youll find you can
probably go a lot higher than you might have expected. Unlike simply collapsing the kick
and bass channels, using a mid/side EQ (particularly with a higher filter frequency) will also
catch the lower mids in other instruments. And instead of making space in the mix by
reducing their level, the mid/side EQ maintains their energy by simply collapsing them to
mono.
2. Top end dimension. This is achieved by utilising a high-end boost on the side channel.
Usually only a small amount is required less than 6dB. Doing this to a mix can add
dimension and air without the harshness of other tools (such as harmonic exciters or other
saturation). It can also help open up a small mix without losing the focus in the lows and
mids. Some mixes will benefit from a more balanced approach instead of adding 6dB to
the top of the side channel, try adding only 3dB to the top of the side channel as well as
reducing 3dB from the top of the mid channel. Not all mixes will benefit from this it will
sound more like a regular EQ boost if the top of the mix is already quite wide.
3. Focussed vocals. This can be done by reducing the width of the midrange. As with the
above two tips, the most transparent way of doing this is by adjusting the side signal (by
applying a dip using a parametric band) while keeping the mid signal untouched. Doing this
can reduce a lot of clutter surrounding the vocals, helping them to become clearer and
more focussed. If youve got access to the mix, however, its obviously better to do it the
old-fashioned way. Consider using a mid/side EQ for this job as a magic trick that you
might resort to when your other options have run out.
4. Giant lower mids. This ones great for special effects try boosting the lower mids in the
side channel. Its an easy way to make something sound huge, without the associated
headroom problems or (as much) mix mud. Of course, this technique is often as delicious
as it is inappropriate, so have fun with it but remember to go easy in the final mix. A little
bit goes a long way.
Youll notice that all these tips focus on making changes (either boosts or dips) in the side channel
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while leaving the mid channel (mostly) untouched. This is deliberate it allows the width to be
changed in a way that doesnt destroy the overall balance of the mix.
With these tips and a bit of practice, youll be soon finding your own uses for mid/side EQ.
-Kim.
2010/05/03 - How to get out of a rut and rediscover inspiration

Weve all been there. Halfway through a project, maybe even halfway through a song. It seemed
like a good idea at the time, but right now it feels like the well has run dry. Nothings grabbing
your attention, nothing you try sounds good. You keep coming up with the same tired clichs and
youre over it.
What do you do? Throw in the towel? Give up? Browse some forums again? Read up about
defeating writers block? Maybe. Heres what works for me:
1. Dont take a break. No, really dont do it. You want to make music? How are you going
to make music when youre on a break? Taking a break is shorthand for distract yourself.
It might feel good, but its not going to get you back up to speed. Heres a secret if you
want to produce great work, you have to work.
2. Get a good nights sleep. I cant stress how important it is to be well rested. Being
creative in the studio is a process of inventing new music. In order to do this effectively,
your brain needs to be working at full capacity able to recall, synthesise, transform and
create new thoughts. Similarly, its best not to be too stressed either try to reduce other
causes of stress in your life.
3. Listen to different music. A common cause for writers block is that youve exhausted
most of the musical ideas in your head. This is often a result of only listening to a limited
variety of music. To refresh yourself with new musical ideas, seek out new music to listen
to. It doesnt mean that you suddenly have to join a metal band if you were previously a
lone dance music composer (or vice versa!), but bringing in even a few cross-genre
influences can breathe a lot of life into a project. A large proportion of the most interesting
music out there is influenced by a wide variety of sources.
4. Force yourself to finish that song. Yes. Force yourself. Bring it to the point where it can
pass as a completed piece of work. It doesnt matter how follow a formula if you have to.
It doesnt matter if youre not inspired, or not feeling it. It doesnt matter if it sucks. Just
go through the motions. The important thing here is to establish a workflow, a pattern of
finishing work. Dont let yourself leave unfinished ideas lingering. Real artists ship. You
think creativity breeds productivity? Think again productivity breed creativity. Once you
establish a pattern of actually following through on songs and projects, it becomes easy to
feed in your creative ideas. It becomes a conduit (not a barrier) for creativity.
5. Take on a small project (and complete it). Sometimes writers block can be caused by
the intimidation of a large project. An album is a huge undertaking. No matter how much
you want to make an album, no matter how many good ideas you have, it can be almost
impossible to take the first step. Its daunting. Instead of procrastinating, take on a smaller
project. Set yourself a 6-song EP, or even a 3-song demo. Set yourself a month, or a week,
or a weekend, or a day. Set your goals, and then follow through on them . Get used to
completing smaller projects before you take on big ones.
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6. Get intimate with a neglected piece of gear. These are good times for musicians
instruments are more affordable and accessible than ever before. Chances are, youve got
an instrument that you havent explored as fully as you could whether it be a physical
instrument like a guitar or hardware synth, or a software instrument. Set yourself the task
of getting to know that instrument through and through. Compose some music using only
that instrument. Find creative solutions for sounds that the instrument isnt naturally good
at. Guitars can make percussive sounds. Monosynths can be overdubbed and layered to
form chords. Any sound can be completely transformed through effects processing.
7. Buy new gear. Or dont, and say you did. Yes, I said it. New gear is inspiring. The
more different to your current gear, the better. A good gear acquisition will actually
challenge you to think about making music in a different way. Its not just different
limitations and different possibilities, but a new way of navigating the musical space of
rhythm and harmony. The more you challenge your existing ideas about how to make
music, the easier it is to create new thoughts, new ideas and new music. Trying out new
gear is also fun and motivating. Even if you cant afford new equipment, you can still try to
imagine what your music might be like if you had an exciting new instrument. Try to push
your current gear to the limits while you try to recreate the sounds youre imagining.
By following these steps you should be refreshed and invigorated, ready to produce your next hit.
-Kim.
2010/05/10 - Whats holding you back?

Whats holding you back?
Whats your limiting factor? Your limiting factor is the single thing thats in your way the thing
thats stopping you from progressing and developing your skills.
Chances are, you know what this is. In most cases, its not whats spoken about most (tools). Its a
great time to be a musician or an engineer tools are more affordable and accessible than ever.
More likely, your limiting factor might be one (or some) of these:
Time - This ones easy to identify. You probably find yourself muttering to yourself If only I
had more time. Or maybe If only less of this life stuff got in the way. Or If only I didnt
have to sleep.
Discipline - The is the alternative to time, for those people who have lots of time but still
cant seem to get much work done (measured in finished projects!). Youll recognise this in
yourself if you spend more time fooling about than you do actually making progress on
musical projects.
Workflow / physical space Do you have to work in a cramped studio? Or maybe your
workspace is actually shared (not a dedicated music-making space)? Bedroom studios are
prime offenders here. Worse are situations where you have to actually unpack or set up
gear at the start of each session and pack it up when youre done for the day.
Interesting musical influences Youll know this is a problem if you keep coming up
with the same tired clichs in your music. Take a look at the last few albums you bought. If
theyre all loosely in the same genre, you should think about branching out.
You get the picture. Tools are easy to get right (or at least adequate), but its what a lot of people
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talk about the most. Try to move beyond the talk and take a good hard look at your work
environment, your workflow and practices. Be honest with yourself. Chances are, buying another
compressor or reverb isnt going to help you finish that project earlier or improve the quality of
your output. If youre serious about your music, you might be better served by spending some
time organising your studio space, or listening to fresh music, or simply spending more time
working (and less time watching TV, or browsing forums, or whatever your particular timewaster
is).
Another way of looking at it is this: If you have to ask someone else whether your tools are
adequate, your tools are not your limiting factor. If you cant tell whats wrong with them, then
theyre not holding you back.
The better you are at identifying your limiting factor, the better youll be able to push past it and
make better music.
-Kim.
2010/05/17 - Why randomising is not humanising

How often do you see the terms humanising and randomising being used interchangeably? Or
maybe youve seen someone ask how to make something sound more natural or human, and
someone else suggests adding random variations to timing and/or velocity? Perhaps youve tried
adding random variations yourself, only to end up with something that doesnt sound any more
human just sloppy.
Of course, variations to timing and timbre are key to a natural human performance. The lack of
variation is one of the very defining characteristics of samples and drum machines (when
compared to human performance).
The important difference, however, is not merely that a human performance has variations but
that these variations have a pattern. Theyre not completely random.
If you analyse a human drum performance, for example, youll find that some notes are always
louder than others, some notes are always earlier than others. Other notes are always quieter,
others are always later. This is groove. Its the complex combination of note emphasis, push and
pull of timing, and rhythmic mode (which beats in the bar are usually sounding, and which beats
are usually not sounding).
Of course, there will also be random variations as well a human is not a machine! The variations
will not only be in timing and velocity, however. There will be tempo variations. There may even be
pattern variations (where some bars have a slightly different note pattern). These random
variations, however, are not the defining characteristic of a human performance, and are often not
the desirable characteristic we are looking for when we want to create the illusion of a human
performance.
If not random, then what?
So, if were going to add some deliberate variations to timing and velocity, what are we going to
do? This is very much a choice that depends on personal taste and the needs of the song.
Generally, I find that the following work for me:
Stronger velocity on the beat (and weaker velocity between the beats). This works when a
part needs to be stable and predictable, supporting the song.
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Stronger velocity on off-beats (between the beats) for foreground parts or transitions (such
as drum fills).
No timing offset on the first beat. This just makes it easier to think about where the bar
starts.
No timing offset on the beat (1, 2, 3, 4). This provides a solid, stable beat.
Notes between the beats to be slightly late. You might already recognise this as swing or
shuffle, but Im talking about doing this much more subtly.
My usual groove within a beat is [0,10,20,10] assuming 120 ppq[1]. This means that instead of
every 16th note (semiquaver) being 30 ticks, the first two semiquavers are 40 ticks long, and the
next two are 20 ticks long. This means that theres a bit of lag between the beats. The effect of
this is that:
1. Strong notes on the beat have rock solid timing.
2. Strong notes on the beat have a bit of extra space after them, making them sound a bit
bigger.
3. Weak notes lead up to a strong note on the beat sound like they speed up leading up to
the strong note, adding excitement and emphasis.
4. Strong notes off the beat have a bit more funk and groove.
Combined with lower velocities for the offset notes, this is usually not audible as an obvious swing
or shuffle. For me, it adds just enough groove that I often dont feel the need to add additional
variations including random variations to make a part sound human.
Humanising is more than just adding random variations to timing and velocity (volume and tone).
The changes must be musical.
-Kim.
[1] PPQ: Pulses Per Quarter. One beat (crotchet) is 120 ticks. Half a beat (quaver) is 60 ticks. A
bar (semibreve) is 480 ticks.
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2010/05/24 - Frequency analysers and mastering
2010/05/24 - Frequency analysers and mastering

Sometimes frequency analysers can be used in mastering. Of course your ears should be the
ultimate decision maker, but an analyser can be useful as a second opinion. It can help sway you
one way or another if youre unsure about something.
There are, however, some issues to keep in mind when using frequency analysers when mastering:
1. There are differences between analysers. Different analysers have different options
and defaults for frequency tilt, time constants, resolution, etc. What one analyser shows as
a straight line may look like a gradual rolloff on another. One analyser might show show
short-term peaks differently to average level, whereas another might only show the peaks,
and yet another might smooth everything out to show only averages. Configurations
options might appear similar in some cases, but it can be difficult to know exactly how
theyre implemented behind the scenes. Solution: If youre going to use a frequency
analyser (or, really, any kind of analyser) make sure you pick one and dont use any others.
Get to know how it responds to different signals. Dont get distracted by comparing its
readings to the readings from other analysers.
2. There are differences between songs. Just because your reference song has a certain
shape in a frequency analyser, it doesnt mean your song must have the same shape.
Different voicings and dynamic behaviour will cause two songs to sound different with the
same frequency balance, and sound the same with a different frequency balance. Further,
non-technical aspects of music (such as structure, pace, harmony, etc) will also have an
impact on how the audio sounds, which affects the frequency balance that is required in
order for the song to sound balanced. Solution: Recognise that frequency analysers only
measure some technical aspects of audio, and that music is much more than what can be
revealed by a frequency analyser. The analyser is not a source of truth.
Ultimately, the only analyser you should trust is your ears. Your tools can be helpful in some
situations, but only if you understand their limitations.
-Kim.
2010/05/31 - Five ways to deal with an ugly vocal

Every once in a while as a producer or engineer, a project will come your way
singers. With an unconventional voice. Maybe theyre inexperienced. Maybe
like that. Maybe theyre doing it deliberately because they like it. Whatever
recognise this kind of project by that feeling you get when you hear the voice
am I going to do with this?
with one of those

their voice is just
the reason, youll
What on earth
This is not to say that ugly vocals are bad theyre ugly in the sense of being unconventional,
interesting and unique. The challenge is that it can sometimes be very difficult to make them work
in a mix. And its easy to get stuck or waste a lot of time with techniques that dont work. So next
time youve got some ugly vocals to deal with, try think about these tips:
1. Pitch correction. No, dont turn your singer into a robot. Its worth trying, however, using
stronger pitch correction than you normally would use. It wont make a bad singer any less
bad, but it can help fit an instrument into the mix in a way that EQ and compression
(obviously) cant.
2. Low mids. Pay attention to the lower mids anywhere between 100Hz and 1kHz.
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Problems in this range can sometimes be quite difficult to identify. Sometimes all thats
needed is a dip at 250Hz. Dont overlook (or overlisten?) the possibility that you might need
more lower mids. This can be particularly true for thin or strident vocals. Sometimes a
subtle bump in the lower mids can bring back some much-needed warmth or weight.
3. 2.5khz. I almost always try a dip here. Be careful this is where a lot of the voices
character is. Sometimes, however, theres a bit too much character in a singers
voice. Dipping around 2.5kHz can make a voice sound smoother. Too much, however, will
make the voice disappear into mix itll blend too well and lose definition.
4. More compression. Another characteristic that a lot of ugly vocals have is dynamic peaks
the problem not being the tonal balance, but the strong peaks or wide dynamic range. In
these cases its worth trying stronger compression lower threshold, higher ratio, faster
response. It might make the compression more obvious, but it might not be a problem if
the voice already has an unusual character.
5. Learn to embrace it! In trying to reign in an ugly vocal, dont lose sight (or sound) of the
context. Try to capture, rather than suppress, the unique character of the voice. Dont get
carried away in trying to conform the vocal youll end up destroying the sound, destroying
the mix, and wasting your time. Instead, approach the character of the vocal as a critical
contributor to the character and identity of the song, the album or the artist.
With these techniques up your sleeve, you should be able to do something with any singer that
comes your way.
-Kim.
2010/06/07 - Tuning the kick drum to the key of the song

Its sometimes said that its important to tune the kick drum to the key of the song.
While its commonly said in relation to electronic music, its certainly not restricted to that genre.
Drummers tune their acoustic drum kits, no matter what genre they play. Often the individual kit
pieces are tuned together so they sound consonant as a whole, similar to the way each string on a
guitar is tuned in relation to all the others. Many other (membrane-impact) percussion instruments
can be tuned as well.
When a drum kit is tuned, however, it is often tuned for tone, rather than any particular note or
key. A drummer in a rock band doesnt retune the entire drum kit in between songs if there are
two songs in different keys. Similarly, the drum kit doesnt change its tuning if there is a key
change in the middle of a song, or if there are several different chords in the song.
Of course, there are different possibilities with electronic music. You could, if you wanted, change
the tuning if the key of the song changes midway. You could even change the tuning of the kick
drum every time there is a chord change.
But just because we can, doesnt mean we should
As with an acoustic drum kit, the tuning of an electronic kick drum is more about tone than note.
Certainly there is a consonance that occurs when the kick and bass are tuned similarly, but the
tuning of the kick drum has a much bigger effect on its tone its character and how it fits in the
mix.
So, by all means consider the key of the song and the notes played in the bass when choosing and
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tuning your kick drum but keep in mind that your choices shouldnt be solely based on this! In
other words, dont let the kick or the mix suffer for the sake of tuning!
The other important thing to remember is not to hold yourself back from using a variety of chords
or keys in your song. Being too tied to the tuning of the kick might cause you to avoid this to the
detriment of the song. Its more important to express yourself musically using all the compositional
techniques at your disposal than it is to keep the kick in key with the bass all the time.
So next time youre thinking of tuning your kick drum, think about why youre doing it and make
sure you dont get carried away!
-Kim.
2010/06/14 - Do you have enough contrast?

Contrast is essential in composition (and production and engineering too!). Any musical or sonic
statement only makes sense in comparison with (or relief from) something different.
Of course, you know this.
Light and dark, smooth and harsh, quiet and loud, happy and angry, dense and sparse, consonant
and dissonant, etc Youre nodding your head, but are you really implementing this?
Listen to (or think about) the song youre working on RIGHT NOW. Whatevers open in your
sequencer (or at the top of the recent files list). Whatever youre just about to spend your next
session working on. Whatever youre writing in your sketchpad.
Is there enough contrast?
If theres scope for more contrast, dont be lazy think up some ways to make the contrast more
striking and more definite. Look at each section of the song and ask yourself What am I trying
to achieve here? What is this section doing?. How can I give it more of what it wants to be?
Be bold. Push yourself. You might even have to push past your fears.
Dont settle for making the best music you can. Strive to do even better.
-Kim.
2010/06/21 - If your song a jumble of noise?

No, this post is not about mixing its about composition.
Do you have too many unrelated musical ideas in your song?
While sometimes the problem is a lack of variety, other times the problem is too much variety.
Youll know you have too much variety when you have sections in your song that sound unrelated
to each other as if your song were made up of bits from other songs.
The problem with this is that it becomes confusing for the listener to understand the music. People
are very good at finding patterns and relationships. Music lacking in patterns and relationships can
easily end up sounding like a jumble of noise.
To make sure youre not falling into this trap, think about the links and common elements tying
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together all the sections of your song. To improve coherence, consider aspects such as these:
Instrumentation (sounds)
Tonality (key, chords, scale)
Groove (timing, rhythmic modes)
Melodic ideas (recurring motifs and melodies)
Contour (relationship in the overall structure in the song)
Of course, you need to strike a balance! Too much coherence will bore your listener, just as too
little coherence will confuse your listener.
The next step is to be able to deliberately vary the coherence in a song. Not just randomly but to
deliberately choose different levels of coherence at different points in the song.
For example, you might choose to have a high level of coherence at the beginning of the song, in
order to establish the musical language of the song and familiarise the listener with the principal
musical ideas. Similarly, you might want to have a lower level of coherence in the middle of the
song (or two thirds in such as the bridge), in order to surprise and provoke the listener, and
develop the song in a new direction. You might want to return to a higher level of coherence at
the end of the song in order to create a satisfying conclusion and provide a sense of arrival or
return for the listener.
-Kim.
2010/06/28 - Dont be lazy!

Are you taking shortcuts? Are you glossing over the details? Are you ignoring the intimate depths
of your music, thinking no-one will notice?
Think again they will notice.
Maybe not right away. Maybe they wont be able to articulate what theyre hearing. Maybe
even knowledgeable listeners wont quite be able to put their finger on it.
But they will notice. It makes a difference. Even if its a small difference, its this small difference
that separates the great from the mediocre. Its the difference between liking to make music and
truly deeply caring about the music you make.
Laziness in composition
Laziness in composition manifests itself in a lack of variation, a lack of contour, a lack of movement
and detail.
Sure, its ok to use loops. Loops are a great way of fleshing out the structure of a song to get
the length and pacing right once youve established the initial musical ideas, and to try out
different arrangements or instrumentations.
But to leave the loops unmodified is laziness. You song wants to develop over time, to gain
momentum, to move forward so why are your loops static and unchanging? Even minor
variations can make a difference. At the very least, include some variation leading into significant
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changes and transitions. Otherwise theres no difference between what youre doing and what the
Garageband kids are doing.
Its tedious. Sometimes its not much fun. But if you want to make the best music you can, dont
be lazy. Roll up your sleeves, get your hands dirty, and get stuck in. Start by setting aside an hour
or two just for getting into the nitty gritty. Do it.
Laziness in production
Laziness in production tends to manifest itself as a lack of creativity. Youll see this when a
producer (such as yourself) makes the same choices for all the songs in an album the same
instrumentation, the same song structure, the same playing style, the same creative direction.
Sure, there needs to be some significant unifying factor across the songs, but it needs to be
balanced with a degree of exploration and creative freedom.
A lazy producer will also fail to push the artist and musicians to give their very best. An engaged
producer will often record several takes, including individual sections and punch-ins, all the while
providing specific guidance and coaching to the performer in between each take. A lazy producer
will capture a couple of takes and say its fine. Mediocre.
If you are the producer in this situation, take a good hard look at yourself. And put some effort in.
Do something interesting. Get engaged. Youre there to provide creative direction, to make
creative decisions. So make them. Make decisions, and make them creatively. And follow through
on your decisions. Dont be satisfied with mediocre performances. Dont stop when you hit good
enough. Stop when you hit the best we can get. Take no prisoners.
If youre the artist in this situation, pluck up the courage to tell your producer what your
expectations are. Tell her/him that youre expecting to be pushed, challenged, guided. By someone
competent. Otherwise, you may as well produce yourself.
Laziness in engineering
Yes, weve all been there. Let me count the ways.
Using the same chain of processors, no matter what the sound source is.
Presets.
Making edits without crossfades or filling in gaps.
Automatic pitch correction without note-by-note tweaking.
Presets.
Speaking about slapping on a processor, or playing with the controls.
Its my favourite microphone, it sounds good on everything.
Not backing up the session files at the end of every session.
Presets.
Stop cutting corners. Start caring.
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Are you being lazy?

Ask yourself. Be honest. Think back to your last session were you being lazy? Could you have
pushed yourself, pushed the music to be even better? Did you settle for something less than what
you could have achieved? Remember your thoughts and words when you were being lazy, and
remember to catch yourself next time when you recognise those thoughts.
Now get back to work.
-Kim.
2010/07/01 - Mastering article on ProRec

It seems ProRec is back online, and theyve published a new article Ive written. Its a step-by-step
explanation of the mastering process, using a specific song as an example. Its an account of a
day in the life - Two And A Half Hours(including lunch) To Master A Single.
10am-10:30am - Finding Reference Music
10:30am-11am Technical Preparation
11am-11:30am Technical Audio Analysis
11:30am-12pm Fine-Tuning Level, Tone, Width and Headroom
12pm-12:20pm Rest Ears, Have Lunch
12:20pm-12:30pm Final Check, Trim and Fade, Export
Bonus: Tips For A Better Mix Next Time
If youre interested in mastering your own music, check it out:
http://www.prorec.com/index.php/articles/mastering/item/56-mastering-workshop.html
-Kim.
2010/07/05 - Effects presets

Effects presets
Almost all effects processors come with presets. Most have more than a dozen, some even have
hundreds. The number of presets is sometimes even used as a promotional line as if its a selling
point. Surely if some presets are good, then more is better? Right?
Effects presets have their uses. They can be good for quickly exploring the range and scope of a
processor, to hear what its capable of doing. In some cases theyre a good way for the
manufacturer to demonstrate the processors best features. In some cases they can speed up the
production or engineer process if the engineer finds a preset thats close to what s/he is after, and
adjusts it from there to reach the final settings.
So whats wrong with effects presets?
Effects processors, by their very nature, rely on the input signal for their sound. Their output
depends entirely on the sound coming in. The effect that an effect processor has on the sound is
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relative to the sound itself. It makes no sense for the settings to be determined by someone
without hearing the input signal. To drive the point home:
1. Its like adding salt to your food without tasting it first. How do you know how much salt to
add, or if it even needs salt?
2. Bright Snare preset? What snare? What style of playing? What song? What mix? Oh, itll
sound good with any snare? Really?
The exception here is for effects that change the sound so much that they effectively become just
as important as the source sound. The obvious example of this is guitar amp simulators, but
equally applies to a lot of creative distortion, filtering and delay effects. These types of effects are
as much a part of the sound as the original sound source, and their presets function similarly to
synthesiser presets there is often as much artistry in how its played as in how the sound is
designed.
Ultimately, you have to do whats best for the music. Using presets will only get you partway there.
-Kim.
PS. As a side note, a lot of fun can be had by by incorporating presetless effects into your
workflow! The best example of effects without presets is guitar pedals particularly analogue
pedals. Or things like this and this and these.
2010/07/08 - Obsession
This is a post about Obsession not the personality trait, but the project!
http://kimlajoie.bandcamp.com/album/obsession
Over the last year and a half I ran a project called Obsession. Its purpose was to showcase
several of the artists I work with and explore the grey areas between genres. It features twelve
artists most of which are singers and songwriters. We spent the whole of 2009 writing and
recording the album, and the first half of this year preparing for a live show (which was performed
in May this year).
From a production perspective, working on Obsession was an interesting process. There was a
wide variety of collaboration and working styles. Some artists wrote the whole song and then gave
me free reign to do what I liked with it. Others came only with a few ideas and we developed
those ideas into full songs together. Some artists were fairly hands-off, only coming to a few
sessions to record parts and keep track of where the song was at, other artists came to every
single session (either to contribute to the production process or to just watch and learn). Some
artists were very clear about the creative direction they wanted, some gently guided the process,
and others trusted my judgement and let me drive.
For me personally, it was a great change from working on my solo album. Where my solo album
was 100% my own creative direction, Obsession was a deliberate effort to hand creative control to
other artists, to make every song a collaboration. Id worked with other artists on projects before,
but not on something this big, and not on something where I was taking personal responsibility for
the outcome.
From an engineering perspective, this was a particularly interesting project to work on because it
was so diverse. There was everything from rock/metal to hiphop to folk to electronica and there
were some really inventive sounds too! It was a challenge to bring it all together and give the
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album a consistency despite all the different influences.

Listen to the album here: http://kimlajoie.bandcamp.com/album/obsession
Some interesting things to listen for:
What If The giant 808-style kick combined with the light electronic percussion and NO SNARE
(!) gives this track a really floaty feeling. Not to mention the synth pads and the great vocals by
Jayne. When I was mixing this, I thought Id drenched the vocal in far too much plate reverb, but
listening to the song later I think I could have made it even more lush by adding delays too.
Interesting how perceptions can change over time.
Addictive Personality The extended guitar solo at 2:50 goes through a lot of processing and
augmentation to really blur the line between live performance and synthesis.
All I Wanted I love how the chord progression for the chorus changes slightly and develops
each time we hear it. I especially like the double-time changes in the last chorus. The reversed
guitars and subtle vocoder are great too.
By Calvin Klein This was a really odd collaboration. The vocalist is Randall Stephens, who is
primarily a poet and spoken word performer not a rapper. It was actually quite an involved
process to fit his words into musically-useful patterns!
Here I Go Again The acoustic guitar solo at 3:01 was me playing my old beat-up acoustic
guitar with dead strings. It was a real struggle to fit it in the mix by keeping the dynamics and
noise under control. The pre-echo background vocals in the last chorus work really well too!
When Night Passes I bet you cant guess what the solo instrument at 1:57 is! If you listen
carefully in the quiet sections of the song, you can hear the sound of people talking. Its a
recording of people in a shopping centre that I made years ago, and adds a really interesting
ambient texture to the song. That sound at the end of the song is reverb feeding back on itself
The Cloak Of Night We were planning to add a cello part to this song. It was a great idea at
the time (and listening to the song now, its still a great idea!), but the cellist we used wasnt
gelling with the song. Just because you record it, doesnt mean you have to use it!
Stay With Me I love the dirt in this song! The noise from the guitar, the saturation on the
vocals and piano Its certainly not a conventional pop sound, but it works really well to give the
song a real sense of character. The flutes were a last-minute addition at the request of the artist,
but ended up fitting in quite well.
Kissless The drum loop is sent through two spring reverbs at 0:39. On one side is a a physical
analogue spring reverb, the other is a digital model. I cant remember which side is which. Theres
also a sequenced Juno106 bassline throughout the whole song, though its mixed so low I think
Im the only one who can hear it.
What Have I Become Katie is one of the most dynamic singers Ive worked with. Shell often
go from a whisper from a scream in the one performance. This is often a real challenge for
compression to keep the whole vocal sitting well in the mix without undercompressing the quiet
parts or overcompressing the loud parts, while keeping the whole thing sounding natural.
Beautiful Deception So many words! Maxine kept running out of breath during the vocal
recording session, and we had to make some edits to the lyrics just to get enough air in! There are
so many lyrics that there wasnt time for a guitar solo or other instrumental break.
Perfection The vocal effect at 2:43 is really interesting. Its based around an envelope139
follower but where envelope followers are commonly used to drive compressors and filters, this
one was used to drive a pitch shifter (mod delay actually)! The main vocal is compressed (so its all
the same level), but the effect was triggered by the uncompressed vocal. You can ear the syllables
that were sung loudest were pitch shifted the most.
I Love You Baby I dont know where to start with this one. There are so many layers, so many
cool tricks. I just went crazy here lots of pitch shifted vocals, lots of live-performed distortion and
filtering. I even indulged in some trance stutter synths! The Guitar solo at 4:20 is one of my
favourite sounds. Ive used it on a few projects (hear it on Star at 1:37 for example). Does anyone
else use this sound?
World Order I almost didnt include this on the album, thinking it was too avant-guard. Turns
out a lot of people liked it, and it worked really well live! Loving the feedback it almost sounds
like a didgeridoo (especially at the end).
http://kimlajoie.bandcamp.com/album/obsession
-Kim.
2010/07/12 - Development and momentum

Development and momentum are two concepts in composition and production. They make longer
term structure effective. They are the difference between a collection of sections in a logical order
and a complete unified song that tells a coherent story.
Development
A song having a sense of development means that the listener hears the song grow and unfold as
it progresses. This makes for a more compelling and engaging experience for the listener because
there is a level of intrigue and surprise, simultaneously with a feeling of being taken along for a
ride. When there is new musical material, it is not like changing the channel it builds on previous
material, appearing as the next extension. In some cases, this can come across as the original
material growing out and becoming larger or more complex than before. In other cases, it can
come across as additional detail being revealed as if the listener is zooming in and seeing more.
To give your music a sense of development, you need to think beyond musical structure being a
collection of sections in a logical order. You need to think about each musical element. Not
necessarily instruments or tracks but musical elements. This includes:
Characteristic sounds
Melodies
Rhythms
Chord progressions
Think about ways in which they can be extended or expanded, and see how those extensions work
as developments of the original material.
Another approach is to take a musical element thats already quite complex, and reduce its
complexity. The reduced version becomes the original the form in which the listener first hears
it. As the song progresses, bring the complexity back in.
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Momentum
Momentum is a sense of moving forward. Think of it as using development with a deliberate rate
of change. The rate of change is key here.
Beginning composers often make music where the rate of change is too slow. This can be the case
if each section is too long even if the song has a good contour, and even if theres a good sense
of development. When the sections are too long, the listener gets bored and stops anticipating the
next section. In other words, you lose momentum. This happens regardless of how exciting
rhythms or loops are. Even if its 150bpm high-energy techno a minute of the same bar over and
over again has no momentum.
At the other extreme, a rate of change thats too fast will confuse and disorient the listener.
Instead of excitement, youll end up with randomness. If the listener cannot understand the music,
theres no anticipation and no momentum.
What rate of change is right? This is a matter of judgement, and different sections of a song will
require different rates of change depending on the contour of the song. As a composer (or
producer), you have to develop your own sense of pace.
With a bit more work in giving your music a greater sense of development and momentum, youll
make your music more compelling and keep your listeners coming back.
-Kim.
2010/07/19 - Contour
Contour is the overall shape of a song. While structure refers to the order and length of sections
within the song, contour refers to how those sections relate, how they react to each other, and
how they flow.
Contour includes the rises and falls in energy level, the establishment and return to main themes,
and the development of musical elements. When a song has a well-defined and sensible contour,
the listener will better understand the music and feel the anticipation and excitement as intended.
When a song has a poor contour, the listener will feel lost and alienated.
Energy level
A song with a good contour will have variations in energy level. Periods of high energy energise
and excite the listener, whereas periods of low energy provide relief and anticipation for the
listener. Effective placement of high energy sections and low energy sections is an important
consideration when designing the structure of a song. If the changes are too slow, you lose
momentum and the listeners attention. The changes are too fast, you dont give the listener
enough to recognise and latch on to.
Main themes
Musical themes give your listeners a way to remember parts of the song not just after listening
to the song, but during it. By establishing one or two main themes at the beginning of the song,
you can then guide the listener through familiar material and unfamiliar material. A good song
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needs both, for similar reasons as needing different energy levels. Familiar material provides
reassurance and recognition for the listener, whereas unfamiliar material provides excitement and
development. Of course, too much of either will make for a weak song (too much familiarity
becomes boring, too much unfamiliarity sounds like randomness). A good contour will require
effective placement of familiar and unfamiliar material to guide the listener through the song.
Traditionally, musical themes are entirely melodic (or harmonic) recognisable motifs, melodies,
chord progressions, or other such material. Depending on your own approach to music, however,
thematic material may also include characteristic sounds, or even distinctive effects processing.
Development
A song with good contour will unfold and grow over time and take the listener along with it. Not
only that, but the development of the song will occur in a deliberate way throughout the song
working together with the flow of energy and the placement of musical themes. Ive written more
about development here:
http://kimlajoie.wordpress.com/2010/07/12/development-and-momentum/
With a good understanding of contour, youll be able to make your music more engaging and
enjoyable for your listeners. More than simply being a collection of musical ideas, good contour will
give your song shape and cohesion.
-Kim.
2010/07/26 - Bouncing to audio

Bouncing to audio is a process of rendering realtime generated audio to audio files. Typically,
realtime generated audio is software synthesisers, samplers, hardware sound generators, or even
audio files being processed by plugins or hardware effects processors. After bouncing, these audio
sources are turned into audio files on your hard drive. The audio files are a snapshot of how those
sources sound the same way a tape recording is a snapshot of a performance.
There are a number of different terms for this. Often youll see it referred to as rendering or
exporting, or even loopback recording. The term bouncing harks back to multitrack tape
recording systems, when the process involved re-recording audio from some tape tracks onto one
or more other tracks. The audio was bounced from track to track on a tape system.
Doing this can be a good idea for a number of reasons.
It can help conserve resources. In a DAW environment, it can allow you to conserve
CPU (by rendering a track that uses CPU-hungry plugins, then deactivating those plugins).
In a hardware environment, it can allow you to use a specific piece of equipment either
an instrument or an effects processor on many tracks at once.
It can make a project more portable. By rendering tracks, you can bring the project
files to another studio even if that studio doesnt have the same plugins or hardware that
you do. It can even allow a project to be shared between different DAW platforms or
studios based on harware/software (and mixtures of both).
It can help you make decisions. Rendering tracks locks you in to a particular sound and
performance. While realtime generated audio allows you to continually adjust the track
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(and for MIDI the performance), rendering those tracks to audio files creates a snapshot
that cannot be changed much (or without difficulty). This can be made part of a project
workflow to mark the end of one stage and the beginning of the next stage.
Obviously, there are a couple of downsides. One is the track space. In a DAW environment,
rendered audio files take up additional hard drive space. This is usually not an issue, because hard
drives are cheap and high-capacity. Its more of an issue with hardware recording systems,
because some have some very strict restrictions on how many simultaneous tracks are available at
once.
The other downside is that it prevents further editing of the track both the effects processing
settings and (for MIDI) the performance. This is usually mitigated by keeping a deactivated copy
of the original realtime generated track.
Personally, I use track rendering at two points in my workflow:
1. When the artist brings their demo to my studio. My artists work on a variety of
platforms, so I ask them to render each track to bring them into my studio for further work.
2. When using hardware instruments, hardware effects processors, or CPU-heavy
plugins. Obviously, this is to allow these tools to be used many times in a project. It also
allows projects to be recalled at later sessions (I use some hardware devices that are very
complex and have no presets). I also use a CPU-heavy amp simulator, which I routinely
render to audio as its being recorded because I prefer not to have restrictions on how
many guitar parts I use (and its no different to recording an audio file of a physical amp).
The decisions and if and when you render tracks to audio depends on your project workflow, your
studio resources and your preferred style of working. Obviously, there are no generic rules just
what works for you.
-Kim.
2010/08/02 - 5 remix ideas for an a cappella vocal

An a cappella is, put simply, singing without instruments (or a backing track). When remixing,
often an a cappella track is provided to the remixer. This is usually a track consisting only of the
vocals from the original song, minus all the other instruments. Its also incorrectly spelled as
acapella, a capella, acapela, or any number of variations.
Oh, ok. You have an a cappella track to remix. Or maybe youre working on a song and its just not
working. Or maybe you just want to have some fun. There are many ways of taking an a cappella
recording and transforming it into a new song.
Get active with pitch changing and timestretching. Modern pitchshifting and timestretching
algorithms are excellent and, in a lot of cases, transparent in sound. This opens up a whole
world of creative processing. You can change the melody or timing in a natural way and
make as if the song was always sung that way. You could make extreme changes (or use
inappropriate settings) and make the changes audible making the processing part of the
character of the sound.
Find a new hook. Approach the lyrics and performance as raw songwriting material. Pick
out a different line or section and use it as a hook or chorus. Rearrange the lyrics to give
the song a different angle, or a different twist. Doing this you can create a new song thats
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based on the old one, but stands on its own not in the originals shadow.
Chop it up into little pieces and throw it to the winds (granular synthesis). Use the vocal
recording as sonic material to be transformed into something completely different. This
applies to any extreme processing. Create new sonic textures or other musical material that
isnt melodically related to the original performance. This can be particularly powerful if the
processing retains some character of the original sound so that the resulting sound is
familiar but not recognisable.
Change the time signature. This can be a good idea if youre feeling low on inspiration or
direction. If the original is 4/4, recast it as 3/4. Or 6/8. Or 5/4 if youre feeling daring!
Taking this approach will instantly open up new musical ideas and provoke you to create
something inventive.
Record another performance of it. This is verging away from remix territory into cover
territory, but can be particularly effective if the new performance is combined with sonic
elements of the original song either original vocal snippets or other sounds and
instruments. Interesting things can happen if you blend the boundaries between remixes
and covers
These ideas should kick start a few of your own ideas. Experiment! Be creative! Whatever you do,
dont simply add a dance kick drum and call it a day! Theres a whole musical world of
transformations and recomposition go exploring!
-Kim.
2010/08/06 - Understanding Practice

(With apologies to Joe, whos actually a pretty cool guy)
Learn to smoothly and seamlessly practice your parts into that polished performance youre
looking for.
You work so hard on your songs spending hours tracking, mixing and mastering your songs.
Whats missing? PRACTICE.
Your mixes sound pretty good, but the timing just isnt as tight as you wish it was. Youd like you
fix some of these issues, but youre not sure how.
Why would I want to practice my parts?
As a musician (or producer, if youre directing musicians) youre creating a performance. Your job
is to make the performance sound as good as you possibly can.
As an engineer, youre capturing a performance. Your job is to capture it as truthfully (and as
flatteringly, har har) as you possibly can.
As a producer directing musicians, unrehearsed musicians play out of time occasionally. When that
happens, you have three options:
1. You can accept a mediocre performance.
2. You can educate your musicians about the wonders and joys of learning to play their
instruments.
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3. You can get better musicians.

Some people have a real issue with using practice to improve performances. They think its hard
work. I agree. Its really freakin hard. And thats why itll set you apart from the thousands of
mediocre musicians who resort to technology to make up for their weak performance skills.
Im a musician as well (no, really, I am), and Im not ashamed to say Im actually a really good
musician. Two decades of music will do that to you. That said, I regularly make mistakes when I
dont practice. Sometimes I can record a part over and over and over, and the timing is still a little
off.
What do I do? I step away from the record button and actually practice the part. I focus on the
difficult sections and train my fingers to work with precision and expression. Do I think its
cheating? Absolutely. Im making myself a better musician through hard work. Using technology to
fix bad performances will still result in bad-sounding music. However, practising a part to
eventually put on a good performance makes sense. I view practice as helping the tracks sound as
I intended for them to sound.
Ok, seriously
Practice is really important. More important than you think it is. And you think its pretty important.
Well, its more important than that. Ill go into more detail about how to practice effectively in a
future blog post.
-Kim.
2010/08/09 - Its not amateur, its just undeveloped

Sometimes I work with amateur artists.
No, its fine. It really is. Theyve often got some very interesting ideas about music (in a good
way). Their fresh approach is fun.
Obviously, there are the downsides less experience in performance, limited music theory
knowledge, weaker work ethic, unrealistic expectations, etc. These are the kinds of aspects that
separate a amateur artist from a more experienced artist. But this post is not about the artists. Its
about the music.
Music is different. The difference between amateur music and more refined music is production.
Not sound quality but old-fashioned production. Artist development. Compositional analysis.
Creative direction. When I hear music from an amateur artist, its usually quite obvious. Its not the
sound quality that gives it away, its the music itself. The difference is in the crafting of the song.
An amateur song usually sounds like a collection of good ideas. Sometimes arranged in a structure
that makes sense.
A more refined song sounds like a piece of work. Well-crafted. Integrated. Clear creative direction
and execution. With character. With finesse. This kind of song has every second of sound every
note deliberately supporting the creative direction, with not excess fat.
This difference is development. Amateur songs are usually called finished when all the musical
ideas have been arranged into some kind of structure. To rise to the next level, the song must be
developed and refined. This is where a good producer adds value, and this is a large part of the
work I do.
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Often amateur music requires more focus and coherence with regard to main themes.
Development and momentum are lacking. Theres not enough contrast or dynamics. The contour is
not clear. The balance between stability and instability can be improved.
Its not that amateur artists are bad composers. It takes skill and experience to know how to hear
(let alone control) all these different aspects of composition. Theyre subtle more subtle than mix
engineering in many cases. But they are as subtle as they are powerful. And its this difference
that sets the more refined music apart.
-Kim.
2010/08/16 - Does your song need a hook?

Does your song have a hook?
Does it need a hook? Why / why not?
What is a hook?
A hook is a short musical motif thats easily remembered and unique to the song.
As a short musical motif, a hook can be almost anything. It can be a distinctive melody. It can be
an interested or arresting lyric. It can also be an instrumental phrase. Or even a silly sound. Any
kind of short musical motif can be a hook.
A hook must also be easily remembered. In compositional terms, this starts with verbatim
repetition throughout the song. Development should be minimised the listener will learn to
recognise it better if it appears in exactly the same form every time its heard. Better yet, having
the hook appear at the same sequence point (for example, always directly following the chorus)
will help establish its role in the song. This gives it a clearer identity, which helps with recognition.
A hook must also be unique to the song. The hook forms a big part of the songs identity. At best,
its used by the listener as a handle for the song the defining element that triggers the listeners
memory. For this to be effective, the hook must be unique to the song. It cant be obviously similar
to another songs hook.
Does your song need a hook?

Not every song needs a hook. Many well-formed songs dont have any element that functions as a
strong hook. For some music, its entirely appropriate for there to be no hook. A lot of film music
fall into this category. It is primarily textural, and composed to support the visuals. A film cue may
even be dramatic and vocal without needing a hook. Longer atmospheric songs may also function
very well without a hook. For these songs, their defining characteristic is the sonic texture itself
and the dramatic (or otherwise) contours.
Whether your song needs a hook or not depends on how you want listeners to remember it. If it
needs to cut through the radio or iPod playlist, or if you want people to be humming it for hours or
days after their listen, the song should have a hook. On the other hand, if none of these things are
important, you dont need to worry about it.
-Kim.
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2010/08/23 - Dont make better mixes. Make better music.

Stop it.
No really, stop it.
Stop focussing on the mix. There are more important things to focus on. Your mix is fine anyway.
Newsflash: The mix isnt really that important. Sure, a good mix helps the listener understand and
enjoy the song. But a good song is still a good song regardless of the mix. And a terrible song is
still terrible no matter how good the mix is. And listeners can tell the difference.
Making music is not all about mixing. Dont hide behind the technology. Theres so much more to
do:
Creative direction
Dont work on your mix. Work on your creative direction.
Come up with new ideas for projects. Dont just work on individual songs embark on
something big. Something ambitious. Compose three songs (a demo) or six songs (an EP)
to express a musical idea or feeling.
Invent! Try out a new idea. Take a different direction to what you normally do. Invent
something new. Combine two or more unlikely musical elements.
Composition
Dont work on your mix. Work on your composition skills.
Focus on what the listener will hear. No-ones going to care how analogue your kick drum
sounds if your song is boring and uninspired. It doesnt matter how tape-like your mix
bus chain sounds if the singer sounds like she just woke up.
Melodies. Doing interesting things with sound doesnt count for much unless youre also
doing interesting things with the notes. Learn how to compose an interesting melody. Dont
just read a few online articles practice! If you spent half the time writing melodies as you
do reading internet guff about plugins, youd be coming up with beguiling and captivating
melodies without trying.
Harmonies. Dont just choose four chords and repeat them forever. Develop them. Let them
grow and evolve throughout the song. Extend the chords. Use substitutions. Use slash
chords. Vary the pace for dramatic effect.
Rhythm. Enough four-on-the-floor. Disco is over. DJs have enough music to last until the
sun spectacularly devours us all. Do something interesting. Thats not enough. Now do it in
7/8. Alternate between 6/4 and 4/4. Seamlessly move between straight and shuffle. Vary
the amount of syncopation for dramatic effect. Use composite time signatures. Juxtapose
them. Some of the suggestions are silly, some arent and you wont know the difference
until you try them.
Preproduction
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Dont work on your mix. Work on preproduction.

How will it all fit together? Think about all the elements in your song and reflect on what
value theyre adding to the song. Be clear about the creative direction of the song and cut
out anything that doesnt support it. Have the courage to throw away good ideas.
How can it be strengthened/improved? Dont stop when you have all your material
arranged into a structure that makes sense. How can you continue to improve the music?
Pay attention to the contour of each section. Make sure each transition (from one section to
another) is clear and deliberate not just one section after another.
Rehearsal
Dont work on your mix. Rehearse your parts.
Physical instruments. Yes, I know weve got Elastic Audio and Autotune and endless disk
space for multiple takes but theyre no substitute for a good performance. Editing can
turn a sloppy or lazy performance into a competent one. It cant, however, turn even a
competent performance into an inspired one. Editing cant add expression or feeling or
excitement to a performance. No technology can it comes from the performer. And the
performer can only do it after hours of practice and honing the craft. So get on it.
Virtual instruments. Oh, you thought virtual instruments are different to physical
instruments? Take a look at those black and white keys under your fingers. Take a look at
those assignable knobs. Make a performance of it. Put some expression into it.
Oh yeah. That sounds like a lot of work. Making music is a lot of work. Cry me a river. You think
you can become successful by being lazy? Yes, you do want to be successful. Success isnt a
record label contract or a sold-out stadium. Success is honing your craft. Success is becoming
insanely good at what you do. Success is shipping.
And if you see yourself exclusively as a mix engineer? Make sure your clients do all the above.
-Kim.
2010/08/26 - Come into my Kitchen

Some of you who have been paying close attention may have noticed some references to a project
called The Kitchen.
Those who have subscribed to my email list (theres a form at the top right of this page) were
given the full details about this a couple of months ago.
The rest of you might at this point be wondering What is the Kitchen?
Essentially, the Kitchen is a way for me to help you with your music projects. My help. Your music.
You and me. Detailed and specific assistance. Its a little bit like hiring me as your producer. Except
its online. And it costs less (more on that later). And its a small community of friends.
Think of it as:
A private community that is serious about making better music.
A way for me to give you direct, personal assistance on your projects.
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A place to discuss music making without trolls, distractions or bad advice.

A small group of trusted friends, not a public forum.
What are the possibilities?
Having difficulty mixing a tricky song? I can mix it and tell you what I did.
Feeling confused about something? I can write a detailed tutorial just for you.
Having trouble writing a bassline or chord progression? I can write parts with you.
I can give you feedback on your work at multiple stages composing, mixing, mastering,
etc.
And thats not all There are some PDF documents at the Kitchen as well. Some of you have
asked for a downloadable (and printable) PDF version of this blog. The PDFs at the Kitchen are
better! Theyre based on some blog posts, but theyre better-written and integrate concepts
together to give you a better understanding of how different techniques work together.
The Kitchen has been running privately for several months and over a dozen people have found it
valuable.
How much does it cost?
This is the internet in 2010. You are from all over the world, with different capacities to afford this
kind of help. You might have fluctuating needs bunkering down to work alone one month,
followed by intense co-writing or co-mixing with me the next month. I might provide help every
few days, or you might be happy to read the PDFs and casually chat about the music industry.
Everyones needs are different.
The Kitchen works on a monthly pay-what-you-want model. This means the Kitchen is as
affordable or valuable as you want it to be. That means youre not tied to a yearly membership.
That means you can dip your toe in the water and get a taste if you want.
If you want to be part of it next month (and I hope you do!), simply follow the link below to make
your payment. Further details will be provided by email.
https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=SMS2L5QH5UNWA
Signups are now open for September. See you at the Kitchen!
-Kim.
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2010/08/30 - Five ways to build energy
2010/08/30 - Five ways to build energy

Buildups are important in many styles of music. Essentially, buildups are transition sections that
gradually change from low energy to high energy. Theyre often useful for creating anticipation
leading into a high energy section.
There are many ways of making this transition from low energy to high energy, although its easy
to always resort to using the same tired methods over and over again. Without a wide enough
variety of buildup methods in your musical vocabulary, your music will tend towards the
uninspiring and predictable. This is particularly true in styles such as electronic dance music and
rock.
So, if you want to shake things up a bit, try some alternative ways to building energy:
Use syncopation. This means making use of rhythms that emphasise the off-beats. This
is especially powerful if you change or remove the instruments that are playing on the beat
(such as the kick drum). What this does is increase anticipation especially if the texture
is also thinner for most of the buildup.
Gradually add other instruments or sounds. What this does is increase the density
(and energy). By doing it gradually, it allows the listener to expect and anticipate the
increasing density.
Use unusual effects processing. This can really take a song in a new direction
particularly useful if the buildup section also functions as a bridge (adding new material or
building on previous material, rather than returning to familiar material). Of course, this is
particularly effective if the added effect sound gradually rises in intensity or pitch.
Take it in a different direction (bait and switch). This can be a good way to surprise
the listener. Construct a section that seems to build up to a particular section or texture,
but then switch to something different at the last moment. One common example of this is
when a buildup appears to lead up to the songs climax, but instead of reaching the climax
the texture suddenly becomes sparse and subdued.
Speed up (tempo or pace). This is another technique that can be extremely effective if
done well. Its important to understand that tempo is different to pace. Tempo is a technical
measurement of how fast the beats (quarter notes) are in a song, wheras pace is a
subjective judgement of how fast a song feels. Pace can be increased without having to
change the tempo by increasing the density of notes and increasing the rate of change.
And a bonus sixth do all the above at the same time! The more techniques you use at
once, the stronger the buildup effect will be. You can use this to make a buildup extremely
dramatic (useful leading into a songs climax), or to use each technique more subtly
(creating a more subtle effect).
Hopefully you can use these techniques to kick-start your own experimentation and exploration of
ways to build energy. The more tailored and unique your techniques are, the more interesting your
music can be.
-Kim.
2010/09/06 - How to make space for the vocals in the mix

Dont!
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Thats right dont make space for vocals in the mix. When assembling a mix, there are roughly
three scenarios you might encounter when working with vocals:
The vocal is the main foreground instrument. In this case, the best results will be had
by starting the mix with the vocal. If youve already got a mix that youre trying to
shoehorn a lead vocal into, its too late. Start again. Make the vocal really shine. Make sure
it sounds exactly how it needs to, and then bring the other instruments back in around the
vocal. The vocal is the most important part of the mix and the song dont compromise it
by jamming it into a sans-vocal mix.
The vocal is a background or supporting part. In this case, the vocal is not the most
important part of the song. It might be background vocal harmonies, or inconsequential
samples in an otherwise-instrumental dance track. For these situations, dont carve up the
mix to accommodate the vocal instead you should carve up the vocal to fit in the mix.
Often this means reducing the low mids (to make the sound smaller) and applying stronger
compression (to flatten the envelope).
The vocal actually doesnt fit in the mix, or isnt appropriate. In this case, the vocal
is probably masked by another foreground instrument. Dont waste your time trying to
perform an impossible task youll wear yourself out and destroy your mix in the process.
Instead decide whether the vocal is important enough to keep (that is, it falls into one of
the above scenarios). If it is, you need to identify and remove the elements of the mix that
are masking the vocal. This is usually quite easy to do mute the tracks one at a time and
listen for which tracks make the vocal clearer. Once you remove the elements are masking
the vocal, you can then follow the approach in one of the first two scenarios above.
Vocals are an important part of many songs, and have a distinct recognisable quality thats unlike
any other instrument. When mixing a song with vocals, its critically important to understand the
role of the vocals in the song. This understanding will guide you toward the best approach to
making them work in the mix.
-Kim.
2010/09/13 - Six ways to get bigger beats

Who doesnt want bigger beats?
Well, maybe your neighbours. But maybe you dont like your neighbours. Who am I to judge? I
just supply the tools. Its up to you to use them ethically.
Here are some quick tips:
Depth. Separate your drums into two groups main foreground drums (kick and snare)
and secondary background drums (hats and other percussion). Keep the rhythm of the
main foreground drums simple, but make the secondary background drums a bit more
complex. Make sure the foreground drums are MUCH louder than the background drums!
Tone. Big sounds occupy a wide frequency range. Use EQ to make your foreground drums
tall. Pay particular attention to snares they can have energy ranging from the lower mids
all the way up to the highest audible frequencies. Making sure your main snare drum has
energy across a wide frequency range is an important part of making your drums sound
huge overall.
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Compression. Yes, drums love compression. Everywhere else has written about this, and
theres no need to repeat it all here. Try out a bunch of compressors and see which ones
you like the best.
Dynamics. This is not about compression. Of course youve read elsewhere about using
compression on drums. Of course compression is important, but dynamics is more than just
compression. Dynamics is the difference and changes between quiet and loud. Making sure
youve got a good balance of quiet and loud sections in your song is key when the loud
sections come in, theyll be very effective. If everything is loud all the time, it will be much
less effective.
Reverb. Its not just for pushing sounds to the background. Use a programmable reverb
and set it up with the biggest size, but shortest length. This will give you a great giant sized
reverb that doesnt muddy up the mix. You wont need to add much to the drums just
enough to give them some space. If your reverb processor is particularly good, use more of
it and compress the lot use a reverb->compression chain on a kick&snare group.
Space. Make sure the drums arent competing for space against the rest of the mix. A few
huge instruments (such as a bass and lead) are ok, but if everything in your mix is big the
drums simply wont cut through with enough power. Remember if everything is huge,
nothing is huge.
Theres really not much more to it. If you can abide by these guidelines, youll have beats as big as
you want every time. Sucks to live next to you.
-Kim.
2010/09/16 - (Dont tell anyone)

Shh
Ill be giving out a free PDF mixing tools guide to everyone on my mailing list next week If youre
interested, sign up in using the Email Subscription section at the top right of this page
-Kim.
2010/09/20 - The #1 reason your song isnt exciting enough

You could be on the verge of a truly great musical idea. You can feel it coming, you know its going
to rock
And then, it comes out. And nothing happens. Youve got a great 10 seconds of music, but after
looping it for a few minutes you get that sinking feeling you start to feel as if your exciting idea
is actually not all that exciting. You might even have a few different sections taking turns in the
song, but somehow the excitement isnt there.
Youre just not feeling it. It doesnt move. Youre missing momentum.
Momentum is a sense of moving forward. Think of it as using development (directed change and
variation) with a deliberate rate of change. It is the rate of change that produces momentum.
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It is a common mistake to make music where the rate of change is too slow. This is often where
sections are too long even if the song has a good contour, and even if theres a good sense of
development. When the sections are too long, the listener gets bored and stops anticipating the
next change. In other words, you lose momentum. This happens regardless of how exciting
rhythms or loops are a minute of the same bar over and over again has no momentum.
At the other extreme, a rate of change thats too fast will confuse and disorient the
listener. Instead of excitement, youll end up with randomness. If the listener cannot understand
the music, theres no anticipation and no momentum.
The appropriate rate of change is a matter of judgement it depends on the creative direction,
the musical material, and the expectations of the listener. Additionally, different sections of a song
will require different rates of change depending on the contour of the song. Faster rates of
change will add excitement and momentum, slower rates of change will provide relief.
-Kim.
2010/09/27 - Are you making this common EQ mistake?

Often beginning mix engineers are told to use the boost and sweep method to find and remove
problem frequencies.
Essentially, this method consists of:
1) Making a sharp narrow boost with a band of parametric EQ
2) Sweeping the frequency of the band (this sounds a bit like a wah wah), listening for any
spots that are particularly unpleasant
3) Changing the gain of the band from positive (boost) to negative (cut).
Theoretically, this is a way to improve the sound especially when you can hear something
wrong with the sound, but cant identify it with your ears alone. This technique on its own is not
necessarily bad. I find it useful sometimes too. Of course, its becomes less necessary as you hone
your listening skills. Even less so if youre using well-recorded audio or samples.
The problem is when people make the assumption that since one band of boost and sweep is
good, more bands must be better. And so the fourth step is often added:
4) Repeat until you run out of EQ bands.
This is a really great way to butcher a sound! This approach will inevitably produce an EQ curve
that looks like the sonic equivalent of Swiss Cheese full of holes. This is because looking for bad
frequencies by boosting and sweeping will almost ensure you find something to cut. Strong boosts
with a narrow bandwidth will make anything sound bad. Theres no point at which boosting and
sweeping will stop finding bad frequencies.
The end result will sound very unnatural because the tonal shape of the sound is so warped. In
addition, this kind of EQ curve can create resonances dramatic tonal features that are constant
and dont change with pitch. These kinds of tonal features are also common in recordings made in
small untreated rooms. Its ugly! Dont do it!
Boosting and sweeping is one of several techniques that a mix engineer can use to identify a
trouble spot. But it wont tell you if there is a trouble spot. For that, you have to use your ears and
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listen to the sound in context in the mix. Sometimes the problem really is an ugly resonance that
should be reducing using a notch EQ but more often its something to do with the way several
sounds are interacting together. And these problems are most often caused by inadequate
monitoring or a lack of direction and focus.
-Kim.
2010/10/04 - What a good dance track has in common with

pop music
So youre making dance tracks and think you want nothing to do with radio pop? Or maybe youre
making pop songs and think club music has got nothing to do with you? Think again. Both styles
of music share common elements: they make an emotional connection with the listener, they take
the listener on a journey, and both must maintain a sense of forward movement throughout the
song.
The emotional connection is particularly important. In pop songs, this obviously happens primarily
through the lyrics and lyrical delivery. The lyrics in great pop songs strike a balance between being
specific, vivid and unique on one hand, and being universal on the other. In dance music, the
emotional connection relies much more on the sounds and composition. It is often an effective
melody or chord progression that makes the difference between a good dance song and a great
dance song.
Both genres also take the listener on a journey its not enough to simply come up with a hook or
loop and repeat it for several minutes. The listener should be guided through ups and downs,
peaks and troughs. As with the emotional connection, pop songs often do this through lyrics. The
verses set the scene and tell the story, the chorus emphasises the underlying message, and the
bridge adds depth and perspective. Conversely, dance music can often be much more dramatic
ranging from extended quiet spacey moments to fast and dense textures. This is where the songs
contour is so important.
Forward momentum is also important both pop music and dance music should have enough
change and variation to keep the song moving forward. Momentum is often enhanced in pop
songs by quick changes between sections. Dance music often takes longer forms than pop songs,
and often has longer sections. While this can often work against dance music (momentum is more
than just fast/exciting loops its forward change), it also an opportunity for more sophisticated
development and more elaborate structures. Of course, this sophistication shouldnt come to the
detriment of the songs dancability (dance music is just as structurally constrained as pop music
just in different ways).
-Kim.
2010/10/11 - How to make great music without vocals

Whoever said great music needs vocals? Of course vocal songs are plentiful and popular, but
singing isnt necessary for good music. Vocalists (either singers or otherwise) dont have a
monopoly on listeners ears.
Vocals are, however, particularly compelling often more so than other instruments. This is
primarily because our human hearing is specially-tuned to respond to the sounds of other humans.
This is important to be aware of, but it shouldnt stop you from composing music without vocals.
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Making instrumental music just as interesting and exciting is certainly possible. You just need other
ways of telling a story and keeping the listeners attention. Without vocals, you just have to work a
bit harder.
The first thing you need to get right is the structure of the music. A lot of vocal music follows
common song form (verse1-chorus-verse2-chorus-bridge-chorus), but instrumental music doesnt
have a default structure youll have to come up with it yourself. This requires consideration of
contour, proportion and coherence. Contour is the overall shape of the music how the energy
and the texture changes over time. Proportion is the relative lengths of each section. Coherence is
the balance between musical material and the time you have to express it.
The other important factor to consider is development. This is how the musical material evolves
and changes. If the musical material doesnt develop, the listener quickly becomes familiar with it
(and then gets bored). In order to maintain interest, the listener should be guided through a
musical journey. This is similar to a good film, where the characters grow and become more 3D as
we learn more about them, and as they themselves change in response to their situation. In this
way, your musical material are like characters.
Youll also need to make conscious decisions about focus. Most vocal music typically has a lead
vocal part in the foreground this is what is placed at the front of the mix, and what the listener
focusses on. If your music doesnt have vocals, youll need to think about what other musical
element is going to be the focus for your listener. This is more than just choosing something and
placing it in the foreground it has to be a part that is interesting enough to maintain the
listeners attention. This might be a melody, but it can be anything so long as it is interesting
enough to attract and hold the listeners attention. Obviously, clever development plays a big role
here.
Ive written in more detail about some of these considerations here:
http://kimlajoie.wordpress.com/2009/05/16/what-makes-structure-work/
-Kim.
2010/10/18 - Mastering doesnt make your song sound good

Thats right.
Mastering will not save your mix. It certainly wont save your song. Forget it. But you knew that
already. Common wisdom is that mastering will only make a good mix better. Well, it doesnt.
And if it does, youve either got problems with your mix that your mastering engineer has
generously offered to smudge, or youve got wool in your ears. Probably both, actually.
Dont believe the hype. Mastering isnt about making your finished mix sound better. Not at all.
Mastering is about making your finished mix translate.
Its about taking a mix that sounds great in your studio, and translating that into a mix that sounds
great on your chosen target distribution medium (which usually means everywhere). That usually
involves controlling two aspects of the sound tone and headroom. The tone is adjusted to make
the overall spectral balance comparable to other music on that medium. Unlike popular mythology,
tone isnt sweetened in mastering (it might be during the mix though!). This tone adjustment
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should be as subtle and transparent as possible. The idea is to do as little damage to the creative
decisions that were made in the mix. The headroom adjustment is to ensure the sound is at an
appropriate level within the dynamic range limitations of the chosen medium. Obviously this
usually means making it louder, but also remember that not all music needs to be crushed to the
point where the character of the mix changes. Like tone adjustments, this should do as little
damage to the mix as possible.
The relationship between a good mix and a good master is similar to the relationship between a
good performance and a good mix. A good performance will still shine through a bad mix.
Likewise, a bad performance isnt elevated at all by a good mix. A good mix doesnt improve any
performance. Its just a clear presentation of that performance. And its the same for mastering a
good master doesnt improve the sound of the mix, its just a clear presentation of that mix.
Mastering cant make a good song better. It cant make a good mix better. And it certainly cant
make a bad one into a good one. Ive written more about mastering here:
http://kimlajoie.wordpress.com/tag/mastering/
-Kim.
2010/10/25 - How to practice effectively

Every skill requires practice. No matter what it is you do composing, performing, producing,
engineering you need to practice in order to get better at it. Whether youre learning how to play
an instrument or learning how to use reverb, there are four things that you must do in order to
practice effectively:
Practice regularly. Its important to put in regular practice not just ad-hoc. And it has
to be frequent too. It might be ok to practice for half an hour once a week when youre just
starting, but if you want to take your craft seriously, youll have to quickly move to three
times (and then five times) a week. Without setting aside regular time each week, you
wont be able to consistently put in the hours required to improve your skills and progress.
Progress slowly. In other words, dont try to take on too much all at once. When learning
to play a new song for the first time, practice playing it slowly so you can really feel your
way around the notes before you play it at full speed. If youre working with artists, try just
one song at a time before attempting a whole album. If youre engineering, learn how to
get the best out of your basic compressor before starting to collect many different varieties.
Focus on trouble areas. Dont just gloss over them. It can be fun to avoid the aspects of
your craft that you find difficult, but this avoidance will let you down in the future. Many
songs have a difficult section or two focus on those difficult parts to really bring them up
to standard. If youre having creative differences with your artist or collaborator, dont skirt
around the issue address it head on. If you dont really understand the theory behind
headroom and dynamic range, read up!
Build your capabilities. This means doing exercises that arent directly related to any
projects or songs you have in progress. Instead of full-length songs or
projects, exercises are short and intense and focussed. For musicians and composers, this
means working on short pieces of music that are specifically designed to develop a certain
area of your craft. For producers, this means taking on smaller side projects to explore
certain aspects of music production. For engineers, this might mean mixing a particular
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song using only one kind of tool to really learn the ins and outs of it.
Whatever you do dont assume that talent will get you by, or that a lack of talent will hold you
back. A natural aptitude or enjoyment will motivate you to work harder, but its the hard work that
will really push you forward.
-Kim.
2010/11/01 - How to get faster without speeding up

Youre working in a sequencer, and you have a fixed tempo for your song. Think youve got a
perfectly regular grid of time events? Think that with everything neatly arranged, that the speed
stays the same throughout the song?
Think again.
Dont get confused! What Im referring to here is the difference between tempo and pace.
Theyre not the same thing, and youve probably noticed it yourself. For example, a song might
have a very fast tempo, but feel slow (for example a lot of electronic dance music). On the other
hand, a song might have a slower tempo, but feel quicker (for example, a lot of pop or hip hop).
Tempo is a familiar concept to anyone with musical experience either as a musician or as an
electronic music composer. Its the speed at which beats are counted. Faster tempos mean more
beats in a set period of time, and less time between each beat. Pretty straightforward.
Pace is a related but distinctly different concept. While tempo is about how fast the grid is, pace is
all about how fast the music feels. There are several factors that influence pace, such as groove
and rate of change.
The most obvious example of this is half-time feel. This is where the tempo might be quite fast,
but the song feels like its actually at half speed. Instead of the snare drum sounding on the 2nd
and 4th beats, it only sounds on the 3rd.
So how do you get faster without speeding up? Keep the tempo steady! For the section of
your song that you want to feel faster, use composition techniques that increase the pace. Use
rhythmic/groove elements that emphasise the upbeat or give a double-time feel. Also increase the
rate of change not just by making sections shorter, but melodic/harmonic elements too (such as
chord progressions or harmony parts).
Deliberate changing the pace independently to the tempo is a great technique for emphasising the
contour of the song. Sections with a faster pace increase anticipation and excitement and sections
with a slower pace provide relief and contrast. Read more about contour here:
http://kimlajoie.wordpress.com/?s=contour
-Kim.
2010/11/08 - About preproduction

Preproduction is an interesting topic. If youre a solo composer/producer, you might never have
encountered it. If youre a singer/songwriter about to record in a studio, you might be wondering
what it is and whether you need it. If youre a producer working with an artist, either you know
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2010/11/08 - About preproduction
this or you need to know this.

Put simply, preproduction is what happens after compositiong/songwriting and before recording. It
might cover one or more of the following:
Polishing lyrics
Tightening the structure
Clarifying instrumentation and creative direction (sound and feel!)
Enhancing expressive performance
Directing rehearsals
Essentially, this is the point at which the songwriter has written the song and taken it as fas as
s/he can alone. Its at this point that an experienced third party (a producer!) approaches the song
with a fresh set of ears and provides advice and assistance to take it to the next level.
For a lot of music requiring live performances (such as bands), this is the perfect opportunity to
make these kinds of improvements. Sometimes its possible to to things like changing the structure
or a few lyrics after recording, but its usually difficult to make it sound natural.
For composers and producers working on electronic music (electronic performers?), this line is
blurred. Often composing, performance, recording and mixing all happen in parallel all together.
For these kinds of projects, taking time out to devote to preproduction probably seems archaic and
unnecessary.
However, even electronic music benefits from the advice and guidance of an experienced third
party even if that role isnt called a producer anymore. For the electronic music workflow, its
usually more appropriate to bring in the third party toward the end of the mix. This is when the
composer/producer has taken it as far as s/he can alone. For a traditional recording workflow, this
is too late because audio recordings of live performances are not easy to change but for the
electronic music workflow (especially when using MIDI and software instruments) even drastic
changes such as changing the chords or key of the song can be made after the mix is finished.
While this is essentially the same preproduction that traditional songwriters and producers know,
the name itself can be misleading!
Maybe we need a new name. Any ideas?
-Kim.
2010/11/15 - Preproduction: Polishing lyrics

Last weeks post mentioned polishing lyrics as one aspect of preproduction. Typically, an artist will
present a song to the producer, and the producer will work with the artist to improve the lyrics.
Often artists get precious about their lyrics and for good reason because theyve worked long
and hard to come up with sixteen structured lines that rhyme and tell a story. Its not easy! The
last thing they want is for some outsider to rip up their hard work and make them feel inadequate.
Its important to remember that a good producers role is (usually) not to reinvent the artist in
their own image (or fantasy). A good producers role is to help make the artist sound more like
how s/he wants to sound. Its not about personal preference or taste its about looking at ways
to make the existing song more effective in expressing the artists intent. This is why experience is
so important.
I often start conversations with my artists along the lines of I see what youre trying to achieve
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here, and Ive got some ideas for how we can do that even better.
When working on lyrics, often improvements fall into these categories:
Themes. Sometimes an artist will present lyrics that are unclear or confusing. This is often
the result of the lyric being pieced together from multiple scraps, having been written in
several sessions (often with big gaps in between!), or coming up with a great line and not
having the courage to throw it away if it doesnt fit the song. Often the artist doesnt (want
to) realise the song is confusing because s/he understands the intent perfectly the clarity
is lost in translation from the mind to the paper. Improving lyrics along thematic lines
require identifying the primary (and secondary) themes of the song, establishing the
thematic arc of the song, and shaping the lyrics to focus on those themes and fit within the
arc. Most of the time, this doesnt require much change a few strategic cuts and shifts is
often enough to break through.
Structure. Sometimes an artist will have great lyrics for a song, but the song suffers due
to too much repetition or not enough repetition. In some cases its just one section that
meanders aimlessly and loses momentum. In other cases the lyrics tell a story that doesnt
seem to go anywhere. Once structural issues are identified, its usually quite easy to
remedy. Its not about making a song conform to the standard verse-chorus-verse-chorusbridge-chorus structure its about assessing and understanding the song on its merits and
developing a structure that tells the story in an effective and memorable way.
Flow and melody. In a lot of cases an artist will have slaved over the lyrics for a song,
but the flow and melody appear to be an afterthought. The giveaway is when there are
unimportant words emphasised and important words de-emphasised, or there are awkward
moments where a lot of syllables have been squeezed into a short space of time.
Sometimes the solution is to simply change the melody. Other times the lyrics need to be
rearranged slightly. Not all words in a songs lyrics are equally important some words are
pivotal, some are emotional, some words are merely passing words necessary for clear
grammar. The pivotal and emotional words should be sung with more emphasis by given
them more time and giving them higher pitches in the melody.
A lot of the time, a songs lyrics dont need to be changed much. On the occasions that the lyrics
need a *lot* of work I usually spend a session with the artist identifying and discussing the issues
and tell her/him to rework the lyrics and present them again another day. As a producer, I avoid
writing lyrics for the artist. I sometimes suggest changes, but it is always up to the artist to make
the changes. Ultimately, the lyrics are the artists voice and s/he must be absolutely comfortable
delivering them.
-Kim.
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2010/11/22 - Preproduction: Tightening structure
2010/11/22 - Preproduction: Tightening structure

Another important aspect to consider in preproduction is the structure of the song. For vocal
songs, this is often addressed when working on the lyrics. Sometimes this is enough, sometimes it
isnt. Approaching structure separately is often necessary when there is a strong instrumental
component to the song. This includes vocal songs that have distinctive sounds or textures. This is
where the vocal is not the only driving force or characteristic feature of the song.
In assessing the structure of the song and identifying ways it might need to be improved, its
essential to understand concepts such as contour, proportion, development and coherence. Ive
already written about these here:
http://kimlajoie.wordpress.com/2010/07/19/contour/
http://kimlajoie.wordpress.com/2009/05/16/what-makes-structure-work/
Usually artists present demos that have some good ideas, but are undeveloped. They might range
from a collection of ideas (sometimes even in the same key!) vaguely arranged in a structure, to
fully-realised compositions that are just a little loose around the edges.
Sometimes I need to do a lot of work with the arist to present their musical ideas in a way that
flows and makes sense. In extreme cases, I need to rerecord parts just to make sense of the
structure. This is often because the sections are in different keys or tonalities in a way that doesnt
make musical sense, or because individual tracks are too heavily processed (typically compression
or distortion) in a way that cant be undone or pulled back.
When its only a nip and a tuck required, its because there are sections that are too long they
spend too much time without contributing much to the story of the song. In other cases additional
parts are recorded or rearranged to give the song a more defined shape (contour) and progression
(development).
-Kim.
2010/11/29 - Preproduction: Clarifying creative direction

Creative direction can be a real gotcha when working as a producer with an artist. First of all, its
absolutely critical to be clear who is the creative director for the project. As a producer, my
projects roughly fall into two categories:
1. The artist is the creative director. For these projects, the artist has a clear idea of how
s/he wants to express the songs. The artist will choose the genre and approach to
instrumentation for the project. The artist is the visionary. For these projects, the artist is
hiring me to make those dreams into reality. I leave my own personal taste at the door, and
I must adopt the taste of the artist. Working on these projects, it is essential to understand
the difference between effective composition/production and personal taste. When I make
a suggestion to improve the music, it must be a suggestion that is consistent with the
artists own tastes and goals for the project. That sometimes means accepting (or even
making suggestions for) musical choices that are not to my taste. Where the artist
disagrees with me, it is my role to educate the artist and help them understand why my
suggestion will help them sound more like how they want to sound. Obviously, this requires
a high degree of sensitivity, understanding and mutual trust.
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2. I (the producer) am the creative director. For these projects, I am in charge. I call the
shots. I get to make music that excites and challenges me. Where I use other collaborators
artists and musicians they are coming along for the ride. Where the previous scenario is
of the artist hiring me for their project, this scenario is more like me hiring the artist for my
project.
Once its clear who is driving the creative direction for the project, its then important to establish
what the creative direction is for the whole project, and for each song. This is a discussion that
need to be had in terms of colours, textures, feelings, instruments, etc. Sometimes this is quite
clear and direct, other times the artist is less clear either s/he doesnt know, or has difficulty
expressing it.
When establishing the creative direction for a project or song, its important to share common
ground common reference points so that you both know that youre understanding each other.
Often an easy way to start this process is to present some musical references I often ask the
artist to bring in some favourite CDs that capture some of the essence of what s/he wants to
achieve.
Another good resource for establishing common vocabulary is the AMG mood
list: http://allmusic.com/explore/moods. I like to choose a selection of words from this list that
captures the creative direction of the project. This selection of words is also a useful resource
when working with other contributors - such as session musicians and graphic designers.
Once the creative direction is established and agreed upon, the artist and myself can intelligently
and constructively discuss various aspects of the instrumentation and other musical aspects of
each song. I can make suggestions that the artist hadnt thought of but still support the creative
direction of the song. The artist can more easily explain the intent of the song. It gives us a
framework to decide whether ideas are appropriate or not. It helps give us the courage to discard
good ideas that dont fit.
Without establishing the creative direction for the song or the project, confusion and
miscommunication is inevitable. It makes it difficult to tell the difference between effective
composition/production and personal taste.
After all, how can you take the artists music to the next level if you cant agree on what the next
level is?
-Kim.
2010/12/02 - So, Im on Twitter

Yep, there I am @kimlajoiestudio - http://twitter.com/kimlajoiestudio
My focus will be:
Ill be expressing thoughts about making music that dont need a full blog post.
Ill be posting and discussing links to other peoples websites and blog posts.
I wont be announcing my blog posts there. Its a totally separate thing.
I wont be linking to my own blog posts or music projects (unless someone asks me to).
Ill be happy to answer questions or talk about anything interesting.
Itll be a bit more personal, a bit more informal. See you there!
-Kim.
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2010/12/06 - Preproduction: Enhancing expression
2010/12/06 - Preproduction: Enhancing expression

Music is expression.
It is a way of expressing ideas, aesthetics, and emotions. There are things that can be expressed
through music that cannot be translated to any other medium (including written language).
When I speak with an artist about expressive range, Im referring to the range of variance in a
particular aspect of the sound. For example, the expressive range of the human voice can be
thought of in terms of volume (soft to loud), pitch (low to high) and tone (smooth to harsh). And
then there are also factors relating to articulation and melodic composition.
All instruments have some degree of expressive range. Some more than others. For electronic
musicians, synths can have a huge expressive range. Even stock loops have an expressive range
through the use of editing and effects processing.
The expressive range of each part of the song can be used very effectively when it supports the
overall structure and contour of the song. For example, the chorus (or recapitulation) of a song
might need to have high energy. As well as density to the mix by adding more parts, also look at
the parts that are already there:
Drum parts can get more complex and syncopated

Basslines can become more sustained or more animated
Background rhythm parts can become more regular
Melodies can get higher
Harmonies can be thicker and fuller
Often an artist will bring in a demo recording using loops that are static (unchanging) throughout
the whole song. Even if the loops sound great and perfectly capture the vibe of the song, they can
make the whole thing a bit uninteresting to listen to. Verbatim repetition has an effect of flattening
the contour of the song.
Exploring and enhancing the range of the song requires exploring and enhancing the range of
each individual part in the song. Its not enough to simply add more layers at the high points and
remove layers at the low points. Its easy to fall into this trap because it works. Really. Simply
adding and removing layers is an effective way to shape the contour of the song. But theres so
much more that can be done. And the producers role is to dig deeper and go further than the
artist, in order to better realise the potential of the music.
-Kim.
2010/12/13 - Preproduction: Rehearsals

Practice. Seriously. Do it.
You wouldnt believe the number of times an artist has brought in an unrehearsed musician to a
recording session. Its a time-waster to be sitting in the studio with a bunch of people waiting
around while the guitarist figures out what chords to play.
Ditto for singers: Know how to look after your voice. Know your lyrics. Know how youre going to
sing each part of the song. Know your harmonies. Come prepared.
Whats this got to do with producers and preproduction?
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A producer can help the artist with the rehearsal process. In many cases, the artist is quite capable
of organising musicians, working out parts for them and conducting rehearsals. In some cases,
however, the artist needs a little help.
Organising musicians is something that a producer can naturally help with. Quite often, an
experienced producer has a wide network of musicians to draw upon wider than most artists
group of friends. For specialised tasks, a producer can often find the right musician for the job.
Writing parts for musicians is also something that a producer can assist with. This can range from
scoring string sections to jamming with a bassist. The producers experience in working with a
wide range of music provides the perspective and knowledge of how to make best use of
musicians for a project. A producer with classical music training is especially useful if classical
musicians such as string players are to be used on the project. Classical musicians often
require notated music to be provided. Alternatively, an arranger can be hired to score the parts.
Conducting rehearsals is another activity that a producer can do well. The producers skill and
experience in project management makes a big difference to the smooth and effective running of
a rehearsal. Rehearsals involving several musicians also has the added complication of having to
coordinate mutually-available session times and booking rehearsal studio time. Again, having the
producer take care of this allows the artist to focus on the song and the performance.
-Kim.
2010/12/16 - Who wants a Christmas present?

Ill be giving away a Christmas present for all the good people on my mailing list Its a another
PDF guide in the same vein as the Mixing tools reference guide.
This ones called Using space in the mix, and it covers a wide range of ways to use space. It
includes:
Width (panning, stereo width, mid/side balance, delays, other stereo processing)
Depth (volume, tone, diffusion)
How to use space in the mix (foreground, background, super foreground, narrow, wide,
super wide)
Putting it all together
Some of you might recognise a few of the topics that Ive written about before. There are also
some new topics that I havent yet written about. The whole thing isnt just a re-hashing of blog
posts its been written from scratch as an integrated guide. All the topics relate to each other,
and work together in a way that I dont do in individual blog posts.
-Kim.
(P.S. if youre not yet on the email list, simply use the EMAIL SUBSCRIPTION section near the topright of this page).
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2010/12/20 - Are you cheating?
2010/12/20 - Are you cheating?

You dont need talent (or hard work) to make music any more. Computers and keyboards make
songs by simply pressing a key. Autotune means singers dont have to be good anymore. Loops
have made session musicians obsolete. Presets allow anyone to be an engineer
Really?
Or is it all cheating? If you use loops, is that cheating? If a singer uses Autotune, is s/he cheating?
Does your computer do all the hard work for you?
Really? What is cheating? Do you have to play all the parts yourself? Do you have to sing perfectly
on key without Autotune? Do you have to design your own compressors and equalisers?
Making music is a fundamentally human activity. It is the act of expressing emotions and ideas
through sound. How far would you go to express yourself?
Build your own instruments? Or use someone elses sounds?
Record acoustic instruments? Or use samples?
Compose your own musical parts? Or use loops?
Adjust your compressors and EQs? Or use presets?
Do it all yourself? Or enlist professional assistance?
Is there a difference? Do we have to choose one or the other?
Somewhere in the haters psyche is the belief that music that was easy to make (or required little
apparent blood/sweat/tears) is not valid. Conversely, there are musicians/composers/producers
who deliberately do things in a difficult, convoluted way in the belief that amount of effort
expended in creating the music somehow makes it more authentic or genuine.
Using samples is just as genuine as hiring an instrument. Using loops is just as genuine as using
session musicians. The end result might be a little different, but the process is just as fake or
manufactured.
Sometimes my artists express concerns that by editing their vocal, they are somehow cheating. I
usually assemble a composite vocal part from multiple takes and run the composite through
Melodyne. This is always done in the presence of the artist theres no magic.
Recorded music is a construction. An invention. Its based on an idea of reality, but it isnt actually
reality. A common analogy I use is that of movies. Film is (was) a recording medium as much as
tape is (was). But movies are fiction. No-one complains that actors performances are somehow
faked or compromised as a result of editing and ADR. Movies are to live theatre as recorded music
is to live performance. Theyre not the same thing. They used to approximate each other, but they
have different strengths and weaknesses.
So, are you cheating?
Or are you inventing?
-Kim.
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2010/12/27 - Different types of limiters
2010/12/27 - Different types of limiters

Occasionally I see people confused by all the different kinds of limiters. Words like brickwall and
Maximiser can confusing especially when marketing material is heavy on hyperbole and light on
substance.
Its quite simple really.
A limiter is at its essence a compressor with a very high ratio and a very fast attack. While
their technical design is similar (reducing the gain when the signal rises above the threshold level),
their intended use is somewhat different. Compressors are generally used to reduce audible
dynamic range the difference between loud sounds and quiet sounds. Limiters, on the other
hand, are designed to transparently reduce peaks. When a limiter is correctly used, it should not
audibly change the sound (including the dynamics of the sound). Limiters are purpose-designed
compressors that are specially tuned to transparently reducing peaks.
By reducing the peak level without changing the sound, limiters are ideal for reducing the
headroom required by the audio. Limiters allow a hotter signal to be recorded with a lower relative
noise level (signal-to-noise ratio).
Brickwall limiters are a specific kind of limiter that is designed to prevent digital clipping (signal
going over 0dBFS). They usually have instant attack and infinite ratio.
Clipping is a process sometimes used in mixing and mastering in place of limiting. Instead of
reducing the gain of the peaks, the peaks are clipped (cut off or distorted). As you can imagine,
its a much more extreme approach than limiting. Ive written more about clipping and limiting
here:
http://kimlajoie.wordpress.com/2009/07/07/limiting-vs-clipping/
The term maximiser doesnt have a specific meaning. Its most often used as a marketing term to
refer to a brickwall limiter that incorporates a blend of clipping to make the signal very loud.
Sometimes maximisers also employ other processes such as tonal adjustment (such as bass
maximisers), phase shifting or exciting (sonic maximisers), analogue modelling (tube
maximisers), etc.
Dont assume that the marketing material is a literal description of what goes on under the hood.
Not to say that manufacturers lie, but sometimes the people who write the marketing material
arent the people who design the algorithms.
-Kim.
2011/01/03 - Music is open source

Just a quickie
Music is open-source. What does this mean? It means that there are no secrets to what the
components of a song or mix are. Its possible to hear exactly what goes into a piece of music
whether it be composition techniques or engineering techniques.
So, why are there so many people asking what sound is that or how did s/he do that?
Theres a catch! Its only possible to hear what someone else did if you understand the tools and
techniques that might have been used. For example, if you have no concept of extended harmony
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2011/01/03 - Music is open source
and chord substitution, youll have a really hard time trying to understand the harmonies used in a
lot of music. Similarly, if you have no idea how a compressor works, you wont know why the
drums sound so upfront and powerful.
This is why is so useful to be able to ask for advice from more experienced people. They can hear
what you cant hear, and are able to explain what you need to know. This is why its so important
to find a platform (such as a community or online forum) that allows a lot of different people to
exchange ideas, and for more inexperienced members to learn from those with more experience.
-Kim.
2011/01/06 - The best of 2010

Phew. That was a busy year! Just while Ive got a few moments to pause and take a breath, I
thought I might take a look at the top posts, comparing my favourites with yours.
Your favourites:
Five secrets to making your mix louder
This was an interesting one. I remember starting to write this as a joke Everyone seems to be
publicly denouncing the Loudness Wars, but secretly wanting to make their mixes louder than
everyone elses. So I thought some really good link bait would be some actual real tips to making
louder mixes. I called them secrets because most of the tips are actually the opposite to a lot of
free advice being given out.
Sweetening your mix bus, and why you shouldnt wait for mastering to do it
This was another interesting one. I havent seen much written about this people seem to be
either applying massive processing to their masters or on their mix bus (or both!). I wrote this in
response to a change in my own personal workflow. I found a way to use compression and EQ on
the mix bus without destroying a subtly-balanced mix, and without corrupting the purity of the
actual mastering process. That purity in the sense that I treat mastering primarily as a technical
process, not a creative one.
Five ways to make space in your mix
No surprise here just a nice neat collection of a few good concepts to keep in mind when mixing.
The secret to full-sounding mixes
Heres another one-of-a-kind. Most of the advice Ive seen about full mixes are all about using
multiband sidechained mid/side compression to get massive drums and subsonic bass (or so it
seems). My advice is the opposite the secret to full-sounding mixes is all about paying attention
to the smallest sounds. You cant fill a jar using large stone alone you need to add smaller
stones, sand and water too!
Four ways to use mid/side EQ
Some more good, simple advice. Often people talk about using mid/side EQ, but rarely do I see
actual practical advice on what mid/side EQ can do for a mix.
My favourites:
The preproduction series
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Ok, so its not a single post, but I couldnt fit them all in otherwise! Seriously, preproduction is
really important no matter what kind of music youre making. Unfortunately its all too easy to
forget about putting the time and effort into preproduction when fun and exciting gear calls!
Preproduction isnt sexy, and I think it doesnt attract much attention and discussion. It could also
be because it doesnt rely on gear, so gear manufacturers arent drawing attention to it in the
same way they do to more gear-heavy activities such as mixing or playing live.
Dont make better mixes. Make better music.
Cranky Kim came out here, and while the tone was a bit acerbic the message was true. Theres so
many different aspects to making music, and so much discussion seems to be about just a small
slice of it. Its important to remember that theres a lot more to it, and to think about some of the
aspects that you might not have been paying much attention to lately.
Development and momentum
A lot of composers and producers need to improve here. Structure is much more than regular
forms
(intro-verse-chorus-verse-chorus-bridge-doublechorus-outro,
or
intro-beat-melodybreakdown-build-melody). Its about the subtle balances of all the elements that make up the
music and the structure. Two songs could have the same rough structure, but have very different
feels and listener experiences. Its not an easy topic to get your head around, and Im trying to
make it easier to understand and more importantly, put into practice. In fact, email subscribers
will be getting some more PDF guides this year focussing on structure
How to get out of a rut and rediscover inspiration
Not much to say here just a great collection of tips and advice to get back to work when
everything seems to fall apart. My favourite is the first tip (Dont take a break). Seriously, if you
want to produce great work, you have to work. Taking a break is a great way to stop producing
great work (or any work at all).
Your tools are not your competitive advantage
This one seems to have flown under the radar (no comments really?). Maybe its because it was
a bit too long, or because it wasnt about which compressor makes the biggest kick drums. Maybe
both. Seriously though, check it out if you havent already read it. Read it again. And then quit
squabbling over whos got the biggest subbass, or pretending that the reason youre not successful
is because you havent discovered the right limiter yet.
Thoughts:
Seems all your favourites are about practical advice for mixing. Seems all my favourites are about
why theres more to life than mixing. Notice anything? Im trying to show you something. Hang
around this year and well both achieve amazing things.
-Kim.
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2011/01/10 - Make your synths bigger!
2011/01/10 - Make your synths bigger!

Everyone wants bigger synths, dont they? Whats the secret? Is there some miraculous plugin or
hardware device that the Big Names know about (and keep secret from all the anonymous internet
jerks)? Or maybe its a special combination of side-chained multiband mid/side compression
alongside fully parametric dynamic EQ and three different limiters is series (in the right order!).
Actually, its quite simple. You probably already know how to do this. Most of the time, all it takes
is three things:
Wide frequency range. This is just what it sounds like prominent highs and lows.
Depending on your mix, you might not be able to extend the highs or lows as far as youd
like, especially if youre cutting off the top end with a lowpass filter or your bottom end is
competing with your kick and bass. Still, keep this principal in mind and youll be on the
right track.
Unison. Whats bigger than one synth voice? Many synth voices. This technique is hardly
new orchestras often have ten or twenty violins playing the same part and choirs achieve
a huge sound through many voices. Remember that the more voices you add, the less
definition will be present in the sound. As always, you will need to find a balance, and it will
depend on the part and the mix.
Spacious reverb/delay. Dont think wet think long (pre)delay time, wide stereo
image, high diffusion. This is not to make the sound reverberant, but to give it a dramatic
sense of space. Of course, the specifics will depend on the part and the mix. Sometimes
delays can be useful even in a reverb-heavy delay-light mix itll add ambience and space
with more definition.
But really, take a step back.
Really.
What are you doing?
Be careful that youre not just making things messy. Big synth sounds often dont need much more
than wide frequency range (prominent highs and lows), unison, and spacious reverb/delay.
In fact, your synths are probably big enough already. The real questions is what are you really
trying to achieve? Are you trying to beef up your synths to compensate for something else (no, not
that something else!)? Or are you avoiding having to address other issues? Are you distracting
yourself from the bigger problems in your track?
Bigger synths will not make your music amazing.
They might be an essential ingredient in expressing yourself musically, but what are you
expressing? Does it even matter? Are you copying your idols, or are you creating something
uniquely you? What are you expressing that no-one else has expressed in that way?
What is your contribution?
-Kim.
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2011/01/13 - Who wants my feedback on their song?
2011/01/13 - Who wants my feedback on their song?

Hey hey.
This year Im relaunching the Kitchen. Its basically the same service as before, but now the price
and results are a bit clearer. You can read about the details here:
http://kimlajoie.com/site/kitchen.html
To promote the Kitchen, Ill be giving away ten free consultations to ten people (each consultation
is a third of what youd get for $50). That means ten people will receive my analysis and guidance
for one of their songs.
The track and my written response will be posted here in public one per month for 2011. I can
keep you anonymous or provide a link to your website, its up to you. Obviously, paid consultations
will be conducted in private.
If youre interested, simply send me an email to [kitchen at kimlajoie dot com]. There are only ten
places available, and theyll be given to the first people to email!
-Kim.
2011/01/17 - What it takes to write a killer bassline

Ever had trouble coming up with a bassline? Maybe youve got a beat going, or maybe youre
starting with a chord progression. Maybe youve already got the start of something going, but
youre not quite satisfied and you want to take it to the next level.
Generally speaking, there are three main aspects to laying down a bassline: choosing a sound,
composing and performing. Ignoring any of these will make it very difficult to realise the potential
of the music youre working on.
Choosing a sound is important no matter what kind of music youre working on. Whether
youre producing a teenage punk bands first EP or composing an epic orchestral dance film
soundtrack, you shouldnt skip this step. Make this deliberate take the time to think about
the sonic character of the bass. Is it loud or subdued? Clean or dirty? Heavy or funky? Pbass or Stingray? Sawtooth or squarewave?
Composing the bassline is also something that need to be done deliberately. Dont fall into
the trap of settling for something simple just for the sake of it. Sometimes a simple bassline
is the right choice, but not always. Dont be lazy! Think about how rhythmically complex
the part needs to be (how much syncopation, how much groove). Think about how
melodically complex the part needs to be (how many notes, how consonant/dissonant).
Every song has its own balance, its own sweet spot.
Performing the bassline is just as important as choosing a sound and composing the part.
Pay attention here whether youre the performer or youre directing someone else. The
performance is the difference between yeah and meh. If the song calls for electric bass,
sometimes its worthwhile hiring a decent session player especially if you need groove!
Even if your bassline is sequenced (and meant to sound that way), there is performance in
adjusting synthesis/effects parameters. Dont just draw the changes with your mouse as
automation grab some knobs and perform it!
With practice and study, youll be able to rely on your experience and music theory knowledge to
reliably and consistently come up with good basslines.
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2011/01/17 - What it takes to write a killer bassline
The experience part is being able to hear in your head the main features of the bassline the
timing and groove, and the harmony and melodic movement. Its a skill in being able to say oh,
this song goes like *this*, it needs *this* kind of bassline. It requires having a wide range of
musical taste and knowledge, and being able to draw upon that in a musical context.
The music theory knowledge comes in when its time to choose the individual notes. Its a skill in
being able to work out what the harmony context of the song is (what the chords are, the
scale/mode, the melodic language of the song, etc) and using that to know what notes will work
well and best support the music.
-Kim.
2011/01/24 - How do you know when a mix is finished?

Have you ever felt like a mix session would never end? As if you could forever be making minor
adjustments to levels, EQ or effects settings? Do you sometimes find yourself unable to decide
over a 0.5dB level change for a channel? Do you wonder if anyone will notice, whether it even
matters?
Creative direction
One of the biggest reasons people get lost in the mix is a lack of creative direction.
The term Creative direction might sound obtuse, but its really quite simple. Creative direction is
the vision for the song. It is the idea (or set of ideas) that set the direction for all the creative
decisions in the production process. It can be defined in terms of adjectives (such as dark, dry,
urgent, mysterious, etc), or it can be defined in terms of musical reference points (such as
Beatles-esque vocal harmonies with Lady Gaga instrumentation and a lead singer like Thom
Yorke).
Without creative direction, all youve got guiding you is does it sound cool?. And if youre in this
hole, its no wonder youll never finish. Theres always another cool sound around the corner.
There always another way to make anything sound cooler.
Exploring tools
Another reason people take forever to finish a mix is that they waste too much time exploring their
tools. Heres a bad analogy:
Your toilet is broken.

One plumber has a truck filled with tools, and feels the need to try every tool for every task
just to see which tool might work the best.
Another plumber has a smaller toolbox filled with a few hand-picked items that are
versatile. This plumber also knows every tool in the toolbox extremely well and knows
exactly which tool to use for each task.
Which plumber would you choose to fix your broken toilet?
Of course, theres a time and place for exploring your tools. But this isnt when youre trying to Get
Things Done. You need to separate work from play. Exploration time is important, but its just as
important to do it in a (mind)space separate from actual projects and productivity. That way you
free yourself from the expectation of making any progress on project work, and your project work
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2011/01/24 - How do you know when a mix is finished?
isnt bogged down by exploration.

Adjust once
Do you ever find yourself setting and EQ for a channel, then coming back to it over and over
again? Or maybe its a compressor. Or reverb. If you keep coming back to revise your settings, it
means you didnt get it right the first time. And you probably didnt get it right the first time
because you didnt understand what settings would be needed to make the track work in the mix.
Unfortunately, theres no easy fix to this. Not even a change in attitude. All it takes is experience.
The more mixes you do, the better youll be at predicting what you need to do on each channel in
order to put the mix together.
It might help to think of mixing as having a conversation with the music. Like any conversation,
the more you listen the more effective your own words (mix settings) will be. The more you talk
(adjust settings), the greater the risk that your words will be irrelevant to the other person (the
music).
-Kim.
2011/01/31 - Pan how you like

I dont think panning is an essential mixing tool.
This is because in my opinion it doesnt cause any problems, and it doesnt solve any
problems.
I dont think bad panning is the cause of any mix problems. Try to think of the craziest approach
to panning imaginable say drums hard panned one side, lead vocals hard panned another side.
Bass off-centre, etc The opposite of common practice. Now listen to Sergeant Peppers Lonely
Hearts Club Band. The mixes are great! The bizarre panning doesnt let the music down. I dont
think unconventional panning makes for a bad mix.
In addition, I dont know of any production problem (including composition and engineering) that
is best solved with panning. Sometimes I see panning proposed as a solution to instruments
clashing or something like that, but that sort of problem is actually better solved through tonal
adjustment (such as EQ). The existence of that kind of problem is usually caused earlier in the
process a lack of decision-making around what elements of the mix are most important, and a
lack of courage to thin out and push back less important elements. A good stereo mix makes for a
good mono mix. If a mix doesnt work in mono, chances are itll be pretty dismal in stereo too.
Panning is also something thats commonly understood. I dont see people asking questions about
how to use panning. Anyone with headphones or two speakers instantly understands how
panning can be used to best support a song. The only time Ive heard panning used in a way that
didnt support the song was by an artist of mine who had made some demos using only her Mac
Minis built in mono speaker. And as you can imagine, the bizarre panning was the least of my
worries. In all the many amateur mixes Ive heard (from people who actually care about mixing),
panning has never been a problem.
The only way panning can be a problem is if people rely on it to solve problems that are better
solved using other tools or techniques. In which case panning is not actually the cause of the
problem and neither is it the solution.
So feel free to pan however you like you wont do anything wrong. Youll know if what youre
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2011/01/31 - Pan how you like
doing doesnt support the song. And if you think its ok, it most certainly is.
-Kim.
2011/02/03 - Kitchen consultation: Larry Seger Think Of Me

This
consultation
has
been
published
Seger: http://www.reverbnation.com/larryseger
with
the
kind
permission
of
Larry
Download or listen to the song Think Of Me here:

http://www.reverbnation.com/larryseger#!/artist/song_details/6978981
Composition
Structurally, the song could do with some greater contour definition. At the moment the song is
almost five minutes long, but there isnt much dynamic range or shape to the song. Theres the
climax section at around 3:10, but aside from that theres not much give and take throughout the
rest of the song. Another way to hear this is to pay attention to the lack of distinction between the
sections most of the song has the same instrumentation and performance throughout.
To address this, I suggest starting by giving each section a bit more of its own character. Just
because youve got a couple of guitars and a piano doesnt mean you have to have them playing
all the time. Just because youve got a basic rock drum kit doesnt mean you have to have the
same basic rock beat throughout the whole song. A really easy way to start is to establish a full
instrumentation for the chorus, and pare it back for the verses. Not just by pulling out instruments,
but by changing what the existing instruments are playing. Then you can further develop the
contour of the song look at ways to give each chorus a bit more energy than the last, allow the
first verse to suggest more than it provides, give the climax even more of soaring character, etc.
Another way to improve the contour of the song is to look at the vocal melodies. At the moment,
the vocal melody range is quite limited. A greater vocal range would do a lot to give the whole
song more shape. If the singer cant sing much beyond the existing recorded melody, its even
more important to explore the expressive range of the other instruments. It might also be worth
exploring other ranges for the lead vocal quiet to loud, soft to harsh, etc.
The lyrics can also help to give a song more shape. Repeated words and phrases serve as aural
landmarks for the listener. Simplifying the lyrics of the chorus and including more repetition will
help give the listener a sense of how the song is progressing. In its current form, the song almost
sounds like it should be called Ill Be Home For Christmas instead of Think Of Me.
Mix
The mix is functional but it lacks in character. It comes across as a straight acoustic-style mix
almost as bare as an all faders up mix.
A mix for this style of song could possibly go in two directions either a more spacious acoustic
sound or a more modern dense sound.
A more spacious sound should focus on increasing the sense of depth. The mix is currently quite
shallow and not very ambient. To increase depth, start by bringing the vocals and drums forward
and pushing the guitars and other instruments back. Increase the sense of ambience by using
more reverb particularly for the background instruments. A single good hall or large room reverb
should work well.
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2011/02/03 - Kitchen consultation: Larry Seger Think Of Me
A modern dense sound should focus on a more compact scooped sound. Start by bringing forward
the bass guitar and dipping the upper mids in the guitars. Make sure the bass guitar and drums
are as compressed as possible (without starting to sound silly). More noticeable mix bus
compression will also make a big difference to the overall vibe of the mix. Id suggest fast attack
and release times with a low ratio.
Which direction you take with the mix will depend on the creative direction of the project.
==
This is an example of a single Kitchen consultation. If you would find this kind of feedback useful
for your own music, get in touch with me.
- $20 will get you one consultation (basically the same as this example, but in private, with your
music).
- $50 will get you three consultations or one studio demo (where I do an exmaple edit or mix of
your music to better demonstrate how some concepts would apply to your music)
- $100 will get you seven consultations or two studio demos.
The consultations can be for multiple songs or multiple revisions of one song. Its up to you.
When youre ready, send me an email to kitchen at kimlajoie dot com.
-Kim.
2011/02/07 - Why you need direction and focus in your mix

Every mix needs direction and focus. Like almost everything else in life, you need to have a pretty
clear idea of what youre about to do *before* you do it. You have to go into it knowing what you
want.
If you dont know what you want, how are you going to get it?
A mix is no different. Before you even start adjusting EQ or patching in compressors, you need to
know how you want to end result to sound. Not necessarily the exact settings (although ballpark
would be good!), but you certainly need to know the following:
Which sounds will be in the foreground? Ive written a lot about depth already. Without a
clear focus in the mix, youll end up trying to make everything louder than everything else
with predictably bad results.
What will the overall tonality of the mix be? (eg light, deep, thick, saturated, acoustic,
etc). Unless you know this, your mix will likely end up mediocre (even if its a decent
functional mix!)
What ambience does the mix need? (eg short/long, lush/dry, deep/shallow,
natural/unnatural). This needs to be decided in the context of the speed, depth and tonality
of the mix. Rather than loading up a reverb and twiddling the controls until it sounds good,
take the time to think carefully about the ambience of the mix before you reach for any
reverb.
-Kim.
173
2011/02/14 - What makes a good melody?
2011/02/14 - What makes a good melody?

Most music uses melodies. Often theyre sung by the lead vocal but can also be played by other
instruments, such as s synthesiser or guitar. Melodies play a big role in how memorable a song is
its usually what listeners hum to themselves after hearing the song. Melodies also form a big part
of the songs identity and character.
But not all melodies are created equal. Some seem to effortlessly soar or speak for the music.
Others aimlessly meander or get stuck in a loop and go nowhere.
If youre composing a melody, you should keep the following guidelines in mind:
Variety
Maintain the listeners interest by keeping the melody in motion. Momentum and development are
key here. Make sure it feels like its going somewhere not just repeating the same loop over and
over again. A repeated two-bar loop is not a melody its an ostinato pattern. While Ive written
about development and momentum in the context of overall song structure, it applies equally on
the smaller scale of melodies (and on the larger scale of EPs and albums!).
Contour
As important as variety is, a melody that is constantly changing can easily feel as if its aimlessly
meandering. Its just as important to give the melody some shape. An example is melodies that
follow the traditional advice of starting at a low pitch and peaking at the highest pitch about twothirds of the way through. Not all melodies need to follow this shape, however. As a composer,
youre free to choose any shape up, down, mountain, valley, wiggle, etc but you must choose a
shape! Often it makes sense to divide your melody up into segments called phrases and give
each phrase its own distinct contour. This will help the listener follow and understand the melody,
which in turn helps in recognising and remembering it.
Something special
A good melody doesnt just follow the rules. A good melody brings something quirky or special to
the song. It doesnt have to be totally unique but it does have to have some character and
identity. This could be musical such as an accidental from a borrowed scale/mode, or an
interesting rhythmic motif . It could also be in the sound itself such as an unusual instrument or
a distinctive synthesiser patch.
and if youre thinking to yourself that your music doesnt have melodies maybe its hip hop or
abstract IDM These guidelines apply to any foreground part. It can be spoken word vocals,
chopped up samples, additive spectral noise, or anything else that you want your listeners to focus
on.
If you want your listeners to be interested in it, you have to make it interesting to listen to!
-Kim.
174
2011/02/17 - Interview with me on The Home Recording Show
2011/02/17 - Interview with me on The Home Recording Show

For anyone who thinks my Aussie accent is funny, listen to me talking about music production
here:
http://www.homerecordingshow.com/2011/02/show-106-interview-with-kim-lajoie/
The interview starts at about 15 minutes in, and goes for about an hour.
-Kim.
2011/02/21 - How to tell if you need more gear

Isnt new gear great? Dont you love that feeling of getting stuck into a new piece of gear
exploring the range of sounds, cooking up new dimensions or additions to your usual sound,
feeling inspired to make music?
New gear feels great its almost like a hit. So much so that it even feels good to browse for gear.
You know what Im talking about Blogs posting news of the latest gear announcements. Hi-res
images and manuals from manufacturers websites. Youtube videos of gear demos. Forum
discussions about picking the best of each category.
The internet is a wonderful thing, but it can also be a colossal waste of time. And new gear can be
a huge waste of money if you dont use it to its potential. And if you get caught up in GAS (dont
pretend youve never heard of it), it actually gets in the way of making music. Its a trap. Really.
Bet you didnt see that coming.
To avoid getting stuck in the gear trap, its important to know when you need new gear without
anyone (especially gear manufacturers!) telling you.
Knowing when you need to gear doesnt start on manufacturers websites or forums or blogs. It
starts in your studio. Nowadays music technology is so available that youre probably not lacking in
tools. Whatever you need, you can probably find a version for cheap or free (in the case of
plugins). The real deciding factor is workflow. Pay attention to your workflow and pay attention
to any tasks that can be streamlined or improved. More specifically, look for these:
Tasks that are time-consuming or repetitive. This is where you need to improve first.
New gear is sometimes the solution, but not always. For example, if you always waste time
fiddling with an eight-band fully parametric EQ, maybe you need to learn to listen, or
maybe you need an EQ with fewer controls (My regular track EQ doesnt have many
controls). Similarly, if you find yourself getting bogged down drawing notes in a piano roll
editor, its probably time to buy a MIDI controller.
Tools that make it difficult to express yourself. Youll know this if you feel like youre
battling with a particular tool (or set of tools) and you never really get the sound that
youre after. Obviously, you should first make sure youre using your tools to their full
potential. Buying more compressors isnt going to help you if you simply dont know how to
use the ones youve got. But if youve pushed your current compressor to the limit (no pun
intended!) and you still dont get the smack youre after, you probably need a different
compressor.
Gaps in workflow. This ones pretty easy its when you want to use tools that you dont
have, and you make do with what youve got. For example, if youre frequently running
guitar samples through amp simulators, it might be time to buy a guitar and learn to play.
Similarly, if youre always using sampled drums or pianos, its probably worth saving up for
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2011/02/21 - How to tell if you need more gear
the real thing.

Ultimately, this is about deciding what you need, based on your actual work. It sounds simple, but
how many times have you caught yourself dreaming about gear that you dont actually
need? When you know how to decide when you need new gear, youll find it easier to resist the
urge to waste time daydreaming or waste money indulging.
And that means you can make more music.
-Kim.
2011/02/28 - How foreground sounds shape the character of

the mix
The character of a mixs foreground elements shape the overall character of the mix.
Sounds obvious, doesnt it? Clearly, the sounds that are loudest and most prominent in a mix will
contribute the most to the overall sound of the mix. Likewise, the sounds that are quietest wont
contribute much.
In practice, what this means to you will depend on what stage of production youre involved in
performing, recording, mixing, etc.
If youre recording a song, you should pay careful attention to the sound of the main elements of
the song. For example, if youre aiming for a crunchy lo-fi sound, youll get most of the way there
just by tastefully treating the vocals and drums (assuming a regular pop-style song). If youre
careful (or bold), you could even process the audio on its way in. Similarly, if you want a slick clean
sound, you should focus your efforts on making your front end as hi-fi as possible including
instruments, mics, preamps and recording interfaces. You can probably get away with a bit of
grunge in the background or incidental instruments, so long as you get the foreground instruments
spot-on.
The same goes for mixing. If the foreground tracks already have a strong character you should go
with it. Work with it, not against it. Similarly, if the foreground tracks are quite raw, you have some
freedom to shape the sound of the mix even if the background or incidental sounds have some
more character.
Keeping this in mind, youll realise that you shouldnt spend too much time on establishing the
character of the background instruments. Every little bit helps, but remember to focus your time
on getting the foreground instruments exactly how you want them. Dont waste time getting
carried away tweaking a sound to perfection, only to bury it under layers of more generic-sounding
tracks.
Focus your time on where it will make the most impact.
-Kim.
176
2011/03/03 - Kitchen consultation: Jeroen Kerstens Rise

This
consultation
has
been
Kerstens: http://www.justj.nl/
published
with
the
kind
permission
of
Jeroen
Download or listen to the song Rise here:

http://dl.dropbox.com/u/8068578/Kitchen/J-Smyls-Rise.mp3
Composition
There are two aspects of the composition that should be looked at: Melody and Structure.
The main melody could do with a lot more shape. I understand the way the low plateau is followed
by the steady ascent. The low plateau, however, consists of only three notes. This actually makes
it feel restricted and unexpressive. Even adding a fourth note a flat seventh below the tonic
could make an appreciable difference. Itd give you the scope to give that low plateau a bit more
shape and movement and colour without substantially changing the function of the plateau
(setting up for the steady ascent).
The other aspect of the melody that could be improved is the timing of the notes driving the
vocoders carrier. A lot of these notes are actually behind the melody. The singer is using a lot of
syncopated rhythms, but the vocoder notes are on the beat. This gives an awkward effect where
articulation of the melody is unclear. Youll find the melody comes across much stronger when the
notes driving the vocoders carrier are exactly following the singer. In practice, that means bringing
some of those notes forward so that they start at the same time as the singers notes.
The structure already has a good contour and overall shape. What can be improved, however, is
the intensity of the second peak (towards the end of the song). At the moment, the second peak
feels just the same as the first. Youll create more excitement and development if the second peak
is more interesting or intense than the first. There are a lot of ways to achieve this. For example:
Adding some double-time percussion

Adding a melodic or vocal harmony to the main melody
Making the main synth part harsher or noisier
Introducing a second countermelody (this will work best if you hint at this countermelody
earlier in the song).
Also, the buildup at around 2:39 could be more dramatic. Some panned swishes or other motion
elements would add a lot especially if they can be automated to rise or speed up over the
duration of the buildup.
Mix
Overall, the mix is not bad. Theres nothing inherently wrong with it, and you should be
comfortable mastering this mix as it is. However, its width and depth can be improved. At the
moment, the overall mix sounds closed narrow and shallow.
The width can be increased by adding some extreme-panned background instruments or wider
pad/reverb elements. This will be most effective if it follows the contour of the song; rather than
being super-wide the whole time, the wider elements should be brought in during the most intense
sections (such as the peak at the end).
The mix could also be improved with more depth. At the moment its quite shallow with most of
the instruments sounding in the foreground. This is much like watching a movie or TV show
comprised entirely of close-up shots! Think about adding some smaller sounds in the background.
177
Also consider paying more attention to ambience.

This kind of music lends itself well to ambience that is long and deep. You can use reverb or delay
use your personal preference. A little bit of ambience goes a long way. You shouldnt need to
apply gobs and gobs of the stuff all over the place a conservative amount should have the
desired effect. You might find that a blend of reverb and delay will work best. Too much reverb can
make the mix sound cloudy and undefined, and too much delay can make it sound cluttered and
messy.
It might also be worthwhile backing off your mix bus compressor. Mix bus compression can often
make a mix sound more shallow especially if applied heavily.
==
music).
You can read more about the Kitchen here: http://kimlajoie.com/site/kitchen.html
-Kim.
2011/03/07 - How long should your song be?

This is a deceptively simple question. Will some of you will answer 3:30 without hesitation? Do
you even have a standard length that you aim for?
Nothing wrong with having a standard length, by the way. Some genres call for it. Hard to have a
club hit thats 2:30 (unless you have an extended version just for DJs). Hard to have a pop hit
thats ten minutes long (unless its the extended video version). Chances are your saga about
wizards and dragons wont fit in less than five minutes (fifteen if youre wearing a cape).
But even within stylistic constraints, you need to pay attention to length. This is because the
length needs to be considered together with the quantity of musical material in the song. This is
called coherence. Basically, its the trade-off between musical material and time.
A song has low coherence when it has a lot of musical material squeezed into a short time.
A song has high coherence when it has not much musical material stretched over a long
time.
You should aim for a balance between the two.
A song with not enough coherence will have too much material and not enough time to develop it.
The song will sound fragmented and unfocussed. Listeners will be confused and disoriented.
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Conversely, a song with too much coherence will have too much time and not enough material (or
development) to use it effectively. The song will sound boring and undeveloped. Listeners will be
bored and will probably not wait to listen through to the end of the song.
Whats the right balance? You have to be the judge. You have to use your experience and
judgement to decide what the right balance it. Fortunately, finding that balance isnt difficult
after a lifetime of listening to music you should have a pretty good sense of what level of
coherence to aim for. If you havent got it right in the past, its probably because you simply
havent been aware of it.
So what if the song youre working on isnt quite there yet?
If your song is sounding fragmented or there isnt a clear musical language, you probably need to
increase coherence. You can either increase the length of the song (to let the material develop a
bit further) or you can remove some of the musical material (which in turn gives the remaining
material more time for development).
If your song is sounding boring or your musical material is dragging on, you probably need to
reduce coherence. You can either reduce the length of the song (to make it tighter) or you can
add new musical material (which adds more breadth and variety).
-Kim.
2011/03/14 - Everything louder than everything else

Are you trying to make everything louder than everything else?
Maybe youre constantly frustrated that all your sounds arent coming through with the clarity that
you want. Or you cant decide what level each sound should be at. Or maybe you sometimes feel
like youre chasing your tail:
1.
2.
3.
4.
Turn up the drums. Now the bass is too quiet, so turn that up
Now you cant hear your pads, so they come up too
Now the vocals are drowned out, so bring them up too
Now your drums arent punching through any more, so go back to step 1
Its a common beginners mistake. Youve lovingly crafted each sound, so of course you want every
sound to be heard clearly and appreciated by your listener. The problem is that most mixes dont
have enough space to feature every sound (the exception is very sparse mixes that only have a
handful of instruments).
What your mix needs is focus. You need to swallow your pride and make some hard decisions.
Some sounds must be placed in the foreground, other sounds must be placed in the background.
In most kinds of music, the vocals, drums and bass are in the foreground. Thats all. Other sounds
sit behind them, and may be partially masked by them. Ive written about this before its called
depth.
What if you still want to draw your listeners attention to your lovingly crafted background sounds?
You can do this be having pauses or breakdown sections in your music. This is where some of the
foreground instruments are not playing, allowing the listener to hear the sounds behind them in
more detail.
-Kim.
179
2011/03/21 - Dont make good music. Make amazing music.

Anyone can get sidetracked.
Sometimes it happens quite naturally. The distraction is easier, faster, more gratifying than putting
in the hours of work to get a result.
When I speak to a musician or composer or producer, I can usually tell how connected they are to
their work by how much they talk about gear.
The good ones dont talk about gear.
If you make music, gear is a distraction. If youre thinking about gear, youre not thinking about
music. Of course gear is necessary, but gear is like any technology its working best when it stays
out of the way.
When I meet some people who make music, the first thing they talk about is gear. It excites them.
It challenges them. It gets their juices flowing. Im sure its the same in other fields there are
probably plenty of photographers who endlessly compare lenses or lust after other gear but never
think about taking breathtaking photographs. Or filmmakers who are more concerned with having
the right equipment than telling a compelling story. Personally, I find a lot of gear boring. Theyre
tools. Thats all. Gear is important if you want to make good music.
But gear isnt important if you want to make amazing music.
Whats important if you want to make amazing music?
Creativity. Hopefully this should be self-explanatory. You need the ability to generate new ideas.
You need to be able to synthesise and combine ideas. Its not important that what you create is
necessarily different to everything else the important part here is the act itself of creating.
Without creativity, youll be stuck teaching high school kids and playing in cover bands.
Work Ethic. This is more important than most people realise. Work ethic is what gives you the
ability to Get Things Done. I usually think of it as a combination of motivation, commitment and
discipline. Motivation is the willingness to do the work. Commitment is the belief and courage that
form the promise to do the work. Discipline is the stamina and mental strength to follow through
on what you promised to stick to the plan. Without work ethic, youll be known as that person
who has high hopes but never achieves anything.
Resonance. This is the real magic. This is the ability to tell a story that connects with people. At
one end of the scale, this could be as simple as making upbeat happy infectious songs that make
people dance and feel good. At the other end of the scale, this can be music (and a persona) that
taps into a collective subconscious whether it be to tell us what were thinking but not saying, to
expose our fears or to fill us with wonder and amazement. Without resonance, your music wont
move your listeners to support you and fall in love with you.
Some people are naturally good at one or two of these things. There are people who are
extremely creative but are stuck in their own world and never get anything done. There are people
who are high achievers but are more comfortable following the rules than writing their own. There
are people who know how to make their audience laugh or cry but shrugged off any expectation of
artistic integrity long ago.
Think about your own strengths and weaknesses in terms of creativity, work ethic and resonance.
If youre strong in some areas but weak in others, you might consider partnering with someone
who has complimentary abilities. For example, a person with strong work ethic could partner with
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a person with song creativity and resonance. Or, a person with strong creativity and work ethic
could partner with someone with strong resonance.
Also consider that your weaknesses arent fixed. You can become good at something that you
were previously not very good at. Even though it might appear that some people are naturally
good in some areas, theyre actually skills youre not stuck the way you are. Of course, like all
skills, it takes a lot of hard work (years!). The improvements may seem unmeasurable at worst
and incremental at best. But it can be done. Just remember theyre not innate superpowers
theyre skills. And like all skills, they can be learned and acquired and developed.
No-ones holding you back.
-Kim.
2011/03/28 - Recording raw or with effects on the way in?

Do you record your sounds with effects processing? Or do you record the raw sound and process it
afterwards? Or maybe you do a bit of both, recording some instruments processed and some raw.
Or maybe you record with some processing, but apply additional processing later on?
Or maybe youre wondering what it all means.
Recording instruments raw (without any processing) means you dont have to make an
immediate decision about how the instrument will sound in the song you defer that
decision until later. This might take the form of recording drums and vocals without
compression or EQ, or recording guitars and bass direct (to be re-amped later), or
recording synths with the onboard effects bypassed.
Recording instruments with processing means you make a decision at the time the
instrument is recorded, and youre (mostly) stuck with that decision. This might take the
form of recording drums and vocals with outboard compression or EQ, guitars and bass
from a microphone and amplifier, and synths with onboard effects.
The advantage to recording the raw sound is that you give yourself the flexibility to tailor (or even
change) the sound of the instrument as the arrangement takes shape and the song comes
together. This is often referred to as keeping your options open.
The disadvantage of recording the raw sound (which is also the advantage of recording only the
processed sound) is that it often increases the time required for post production (editing and
mixing) and can reflect a lack of focussed creative direction.
Generally speaking, making music consists of a series of steps. It will vary depending of the
projects workflow, but an example might be:
1.
2.
3.
4.
5.
Establishing the concept / creative direction

Composition
Recording
Mixing
Mastering
In most cases, it makes sense to try to be as specific and make as many decisions as possible
early in the process. This reduces the options available in later stages. This is a good thing. By
locking in decisions early, later stages of production require less time because there are fewer
possibilities. The later you defer a decision, the more time and effort it takes to resolve it.
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2011/03/28 - Recording raw or with effects on the way in?
Consider the question of recording raw or processed audio. On one hand, mixing can be a long
and arduous process there decisions to be made and various options to consider. In extreme
cases, there might even be many more tracks recorded than are needed for the song (recorded
and kept just in case).
On the other hand, mixing can be relatively quick and painless if all the tracks are pretty close to
how they need to sound in the final product.
The interesting thing is that it doesnt take much extra effort to lock in a decision early in the
process, but it takes a lot more effort to resolve indecision later on.
Of course, its possible to make bad decisions early on and be stuck with them later in the
process. This is most likely to happen to inexperienced producers and engineers. Theres no easy
way to get past it inexperience is beaten only by experience. Make lots of music. Keep in mind,
however, that deferring decisions until later wont allow you to avoid making a bad decision. Youll
still make a bad decision, youll just take longer to make it.
Dont be afraid of making bad decisions! Be bold! Take risks! Make music!
-Kim.
2011/04/04 - The importance of getting it wrong

School trained you to fear failure.
You probably grew up with everyone around you saying there are two ways of doing things: the
right way and the wrong way. And youd better do the right way. If you do it wrong, youll fail and
Bad Things will happen. And youd better do whatever it takes to avoid failing. Even if that means
not trying.
You need to unlearn this.
Stop worrying about success and failure. If you want to greater success, dont bother trying to do
better. You already did your best! Instead, focus on learning more. Improved knowledge will
unlock your potential. And the best kind of knowledge is practical knowledge.
Explore! Try things out! Learn from experience!
Dont worry about getting it wrong. In fact embrace it. The more you fail, the more you learn.
The more you learn, the less you fail. In face, lets redefine success. The greatest success isnt
measured by the quality of the thing you built. The greatest success is measured by how much
you learned while you did it. Likewise, the greatest failure is the failure to learn from your
experiences even if you built a good thing.
Theres a brilliant quote by Samuel Beckett that has earned a permanent place in my brain:
Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.
Dont fear failure. Indeed, seek it out. The challenge is not to avoid failure the challenge is to
learn as much as possible from it, so that next time you can fail a little less. Fail better.
-Kim.
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2011/04/07 - Kitchen consultation: Yair Hollander Alive

This consultation has been published with the kind permission of Yair Hollander.
Download or listen to the song Alive here:
http://dl.dropbox.com/u/8068578/Kitchen/1011_yairhol_Alive.mp3
Composition
Compositionally, this song is pretty straightforward. Theres not much to fault here, but I think
theres some potential to take it to the next level. At just under three minutes, theres scope for
extending the song and exploring wider musical territory.
One approach you could take is to add a second verse. As you probably know, this is quite
common for songs of this kind. The second verse allows you to build upon and develop the lyrical
themes or story introduced in the first verse. Having a second verse also establishes a solid V-C-VC base from which to launch the bridge. Youve already got a verse and a chorus, but having two
verses and two choruses before the bridge more firmly establishes the verses and choruses as the
musical home the norm. Launching from this, the bridge more clearly comes across as a
departure for a new direction. It also make for a stronger sense of stability when we finally return
after the bridge to the final chorus.
You might prefer not to use a second verse thats ok, its a valid choice. If this is your preference,
you can extend the song by introducing a second bridge. In this way, the song moves away from
regular song form (verse-chorus-verse-chorus-bridge-chorus) and closer to classical rondo form (AB-A-C-A-D-A). The first bridge in your song features a guitar solo pretty standard stuff for this
style of music. A second bridge can push the boundaries a bit further perhaps featuring some
more of the synths youre using in the background. You could do a melodic synth solo (similar to
the guitar solo), or perhaps tone it down a bit and have a synth-based chillout/breakdown section.
Mix
Overall, the mix isnt bad, but the kick and bass overall are quite weak in your mix. In addition, the
lead vocal is quite sibilant. Rather than approach these two issues individually, I suspect theyve
both resulted from the same cause It sounds as if you might have been mixing in a monitoring
environment thats bass-heavy and not very detailed.
There are two strategies for getting better at judging the right balance making your monitoring
environment more versatile, and checking against commercial references.
Making your monitoring environment more versatile is something thats very important if you want
to take mixing seriously. Its also something that doesnt have to be very expensive to start with.
In your situation, Id recommend adding another monitoring source such as headphones or a
second pair of speakers. The trick is getting a second source that compliments your existing
source. For example, if your source (perhaps your current speakers) are bass-heavy and not very
detailed, it might be worthwhile getting a smaller pair of speakers that a light on bass but have a
lot of clarity in the sound. If its your room thats making your sound bass-heavy (or otherwise
difficult to judge), it might be better to get some headphones. Again, lean towards headphones
that have a lighter, more detailed sound. Make sure you frequently switch between your
monitoring sources to maintain as neutral a perspective as possible.
Checking against commercial references is just as important as improving your monitoring
environment. This is how you know how the sound youre crafting will compare to your listeners
expectations in the real world. You could have access to the best monitoring environment in the
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world but youll still be mixing in the dark unless you know how real-world music sounds in it.
music).
-Kim.
2011/04/11 - Develop complimentary skills

If everyones doing the same thing, youll all be competing against each other. Take a look around
your musical community whether it be your town, your group of friends or an online forum. Is
everyone doing the same thing? What if, for example, youre a guitarist in a town full of guitarists?
Or if youre a singer and all your friends are also singers? Chances are, theres more supply than
demand meaning your skills wont be valued as highly as youd like (because there are so many
other hungry people with the same skills).
When you do the same thing as your peers, they devalue your work and you devalue theirs. You
might not see it at first if youve grown up with it. Consider, however, why managers and
promoters and labels are in high demand, yet instrumentalists and bands are a dime a dozen. A
good instrumentalist may have spent a couple of decades honing their craft, a band might have
some great songs but if theres one promoter for every 200 bands in town, whose work is going
to in greater demand?
Rather than trying to compete, try to support and assist. Rather than doing the same thing as your
peers, find out what they cant do for themselves and become the person who can do that. By
developing complimentary skills, you can create bigger work and achieve more. People who would
otherwise be your competitors will instead be your clients and partners.
For example:
- If your town is full of guitarists like you but no bassists, why not learn bass?
- If your online community is full of people hell-bent on conquering mixing and mastering but
couldnt write a song if their sex life depended on it, why not become the person who is good at
songwriting?
- If all your friends can play instruments and have lots of bands but dont know how to manage
their online presence, why not figure it out and help them?
Find out what people need, and become the person who can help.
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2011/04/11 - Develop complimentary skills
Or take it a step further what if, instead of trying to take opportunities, you become the person
who creates opportunities? In other words, dont be lining up for the jobs create the jobs that
others line up for
-Kim.
2011/04/18 - My industry contacts wont help you

Dont ask me for my industry contacts. Im not selling them.
I dont do everything myself I partner with other people and businesses in order to achieve more
than I could on my own. Some of these partnerships are open and available to anyone you or
anyone else can partner with these people in the same way I do. You can also find them in the
same way I did theyre not secrets.
Other partnerships are based on a history of mutual trust and respect. These are partnerships that
have been built over a number of years. Actually, its more accurate to refer to them as
relationships. In these relationships both parties have demonstrated reliability, competence and
good judgement.
If I recommend that they work with someone, that recommendation carries some weight. The
weight is my reputation and the trust that person has in me. You know it yourself youre much
more likely to check out a website or online video if it comes from a trusted friend (rather than
someone you dont know).
My reputation influences the recommendation, but it works the other way too the
recommendation influences my reputation. Reputation and trust dont come from nowhere, they
are developed with consistent demonstration of good judgement. This is how reliability and
trustworthiness are developed. Again, you know it yourself youre much likely to check out a
band from someone with a track record for finding and recommending good bands, rather than
someone with a track record for recommending anything regardless of quality (or someone with a
track record of accepting payment for recommendations).
Knowing the right people is not a silver bullet. Its important, but its not the difference between
success and failure. It might have been in the pre-internet era, but these days anyone with a
laptop and an internet connection has worldwide reach. The tools are out there. Even better, the
knowledge is out there. Industry contacts can help either by guiding and advising you or by
finding the right professional assistance. It speeds up the process and can make it easier, but it
doesnt make it possible.
The only thing that makes it possible is your own creativity, work ethic and resonance with your
audience. If you have those things, career advancement is inevitable.
-Kim.
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2011/04/25 - Poetic devices

Who here writes lyrics? Who here works with lyricists?
If so, you might have experienced the difference between functional lyrics and poetic lyrics.
Functional lyrics tick all the boxes they make sense, they rhyme in all the right places, they tell
the story, etc. But somehow theyre boring. They dont move you. Theyre not special. Poetic lyrics,
on the other hand, are special. They speak with a unique voice. Theyre fun or witty or profound.
Theyre not just words theyre magic.
Sometimes you might be working with some lyrics that need a touch more poetry. But what is
poetry? What makes lyrics poetic? You need to employ poetic devices. Broadly speaking, poetic
devices are writing techniques that make the text more musical by crafting the sound and rhythm
and the way the words form meaning in our minds. If youre working with lyrics that need a bit
more magic, try these techniques:
Imagery Evoke the senses! Dont just write about what happened write about how it
felt, how it smelled, how it looked. How did it taste? What did it sound like? Engage the
listeners imagination and prompt them to imagine with their senses. The more you do this,
the more evokative and immersive your lyrics will be.
Metaphor Write about a subject as if its something else. This is a way to add a lot of
nuance and meaning to a passage without getting overly wordy or bogged down in
description. Also, by linking two otherwise-unrelated ideas, your listeners mind will be
more engaged and stimulated.
Simile This is very similar to a metaphor, except that with a simile you are making the
comparison or likening explicit. As a simple example, your love is the ocean is a metaphor,
and your love is like the ocean is a simile. Similes often work well on a smaller scale just
a line or two, whereas metaphors can be effective for whole sections or even whole songs
(or more!).
Personification Give a non-person entity human characteristics. Non-person entities can
be objects, emotions, locations or even ideas. These can be given human characteristics
such as desire, speech, or even emotions. This gives a greater sense of life and fantasy to
the lyrics.
Point of view Tell the story from another angle. Often a story can be completely
transformed by simply telling it from another point of view. To give a boring story an
interesting twist, try telling it from an unconventional point of view. Including multiple
points of view within a single song can easily make it too fragmented, but can be very
exciting if done well.
Juxtaposition Putting two unlike or unlikely things together. This can be in the content
of the story for example by combining themes. It can also be done musically for
example by combining different composition techniques or singing techniques.
Juxtaposition works in a similar way to metaphors the unlikely combination of ideas
engages and stimulates the listeners mind.
Alliteration Repeating the first consonant. Alliteration allows words to affect a listener
by always drawing attention and asserting the added instances of a sound (sorry!). This is
particularly effective for significant lines such as those in a chorus. Alliteration emphasises
strings of words and helps make them more memorable.
Rhymes Rhymes are the most common poetic device used in songs. Most songs have s
clear rhyming pattern commonly the last syllable of a line will rhyme with the last syllable
of the next line. Also common is the last syllables of lines 1+3 rhyming, and the last
syllables of lines 2+4 rhyming. Try to go beyond this try different rhyming patterns, or
even multi-syllable rhymes. Rap music is known for pushing the boundaries of how rhymes
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can be used.
Youre probably already be familiar with some of those techniques, but hopefully this list will give
you some ideas for taking your lyrics to the next level.
Also, keep in mind that good lyrics arent always necessary! Its possible to get away with poor
or unimaginative lyrics if other aspects of the song are strong.
-Kim.
2011/04/28 - Another interview

My old friend Mr Tunes interviewed me for his podcast Wobble Tech.
I talk a bit about project workflow, collaboration and producing artists. I also get strong-armed
into talking about some of my mix plugins too.
Mr Tunes also plays a prerelease single for one of my upcoming projects and I talk a bit about the
project team.
Check it out here:
http://mrtunes.ca/blog/544/wobble-tech-4-kim-lajoie-talks-shop
I come in at about 7 minutes.
-Kim.
2011/05/02 - Does your music sounds good on all systems?

It seems a common problem people have with their mixes is translation. That is, their mixes dont
translate well between different playback systems. A mix might sound great on one system, but
awful on another. Just because your mix sounds great in your studio doesnt mean itll sound great
everywhere!
Often, people are advised to overcome this by listening to their mixes on a variety of playback
systems in the studio, in the home cinema, on the bedroom alarm clock, in the car, at the club,
etc. This can be useful, but its quite time-intensive. You have to render the mix and put it on an
iPod or CD and take notes on what you think might need fixing. And you need to keep repeating
the process until either you get the mix right, you cant figure out what else is wrong or you get
tired of listening to your crappy mix over and over again.
Another approach you might want to consider is to focus on your own monitoring environment.
This requires two activities: improving your monitoring environment, and knowing your monitoring
environment.
If youre serious about mixing, you need to be serious about your monitoring environment. You
need to understand that your monitoring environment is more than just your speakers and that
improving it is more than just buying better speakers. Your monitoring environment consists of all
your playback devices and their acoustic surroundings. For a studio, this will consist of the space,
speakers and headphones. Improving the monitoring environment doesnt necessarily mean
getting better versions of what you already have. It might mean adding a second (or third) pair of
speakers. Or adding some good headphones. Or investing in acoustic treatment. To make these
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kinds of decisions, however, requires that you understand your monitoring environment and
appreciate the way the different components interact.
Having a great monitoring environment is necessary, but not sufficient. To use it effectively, you
need to know what it does to music. You need to know how to use it. Doing this is easy simply
listen to a lot of music! Listen through your full-range speakers. Listen through your small
speakers. Listen through your headphones. Listen in different positions in your room. Listen to
different artists, different styles, different sounds. The more you do this, the better youll be at
gaining an intuitive sense for what sounds right in the space. It is this intuitive sense that will
guide you in your own mixes.
Ill leave you with one question: Does your music really need to sound good everywhere? What are
some circumstances where it might not need to sound good everywhere?
-Kim.
2011/05/05 - Kitchen Consultation: Marat Schacht

Winding Roads
This consultation has been published with the kind
http://www.facebook.com/pages/Hysteria/242762105127
permission
Download
or
listen
to
the
song
Winding
http://dl.dropbox.com/u/8068578/Kitchen/Winding%20Roads.mp3
of
Marat
Schacht:
Roads
here:
The mix and instrumental composition is competently executed. I think its a little unimaginative,
but that could be just your chosen style and creative direction. I wont fault you for deliberate
stylistic artistic choices.
The lyrics, on the other hand, could do with some work.
Some of the lyrics and delivery are a bit awkward. For example:
- I left behind the city/That used to be so pretty. The city/pretty rhyme feels forced. The first line
is fine, but the second line appears not to add anything significant to the story there arent any
other lyrics referring to the city being attractive (in fact, the song seems to be about the city not
being attractive). Hence, the line seems to be added in for the sake of the rhyme (and not a
particularly interesting one at that). Im sure you can find some more interesting and relevant
words that rhyme with city.
- Sneaking through the back door constantly hiding. This line makes no sense. Theres no other
reference in the story to anything related to sneaking, back doors or hiding. And the line itself
contradicts itself sneaking is an action, whereas constantly hiding implies motionlessness. Its
not clear at all what youre trying to say with this line, or what it contributes to the story. I suggest
thinking about what you want this line to contribute and think of some ways to do it that are more
relevant and consistent with the rest of the song.
- To be someone else. This line in the second chorus has an awkward delivery. The emphasis on
the second syllable of someONE is not how most people pronounce the word when speaking
naturally. Normally wed say SOMEone with the emphasis on the first syllable. I understand why
youve done this the melody works quite well like this (and wouldnt work as well if you
emphasised the first syllable). I suggest replacing the word or modifying the line to something that
more naturally fits the melody. someBODY might be a good substitute.
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2011/05/05 - Kitchen Consultation: Marat Schacht Winding Roads
Another weakness of the song is the ever-changing chorus. As this song only has two choruses
(songs with three or four choruses are more common), its important to make the choruses as
memorable as possible.
In your song, the first chorus establishes the two lyric groups (Winding roads and All I see).
In the second chorus, however, things start to get a bit confused. We start halfway through (All I
see), then we get a totally new lyric group (To be someone else), then we return to the
original two groups. This might make sense if there were a narrative or poetic point being made,
but that doesnt seem to be the case here.
I suggest rearranging the second chorus in a way that makes more sense musically and lyrically.
Simply repeating the first chorus twice is the easiest solution, and would work, but by far isnt the
only (or necessarily best) solution. Some other potential approaches are:
- Include the two lyric groups from the first chorus, but then write two new lyric groups to follow
on. The new lyrics should extend the story and add depth and meaning to the first chorus.
- Convert the first two lyric groups into their own bridge section (similar to what youve started to
do with the first lyric group). Here you can use the same lyrics as the first chorus, but perhaps
pare them back a little by reducing the word density.
Either way, try to focus on the narrative the way the story is told through lyrics and the way it
develops throughout the course of the song.
==
music).
- $50 will get you three consultations or one studio demo (where I do an example edit or mix of
-Kim.
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2011/05/09 - How to get the right amount of bass in your mix
2011/05/09 - How to get the right amount of bass in your mix

Just a quickie today
Getting the right amount of bass in a mix seems to be a common problem that a lot of
inexperienced mix engineers have. People often have too much or too little bass in their mix and
dont actually realise it until they get an outside perspective. If this is you, try to do these three
things:
1) Listen to references. As Ive spoken about in the past, you need to know your monitoring
environment.
2) Resist the urge for more bass. More bass sounds cool and can get you excited and
inspired just remember that you might be overhyping your mix. Dont be disappointed if it comes
back from mastering sounding thinner than youre used to.
3) Adjust your monitors. If your mixes regularly have too much bass, try turning the bass up in
your monitors. Likewise, if your mixes are regularly weak in the bass, try turning the bass down in
your monitors. Dont be dramatic here even 3dB can make a big difference to your perception.
-Kim.
2011/05/16 - What is creative direction?

The term Creative direction might sound obtuse, but its really quite simple. Creative direction is
the vision for the song. It is the idea (or set of ideas) that set the direction for all the creative
decisions in the production process. Decisions based on the creative direction of a song have a
wide range as broad as choosing the instrumentation and as detailed as the type of distortion
pedal used on a background guitar part. Anything that has an impact on the musical expression
should be based on the creative direction.
Creative direction can be articulated in a variety of ways. The two most common ways are as
adjectives (written/verbal language) and as references to existing recordings (sounds like).
Adjectives are useful because they can be applied across many different kinds of decisions. For
example, rough and raw can be used to guide anything from lyrics and vocal performance
through to compression and reverb choices. They can also be adapted to suit different contexts.
For example, smooth and clean means different things in a pop-rock song versus a downtempo
electronic song.
The downside to using adjectives is that they can sometimes be vague and subjective. For
example, different guitarists may interpret spacious and expansive differently. Skilled and artistic
interpretation is a large part of the value that dedicated instrumentalists bring to a session, but
difficulties can emerge when everyone on a session has their own individual interpretation of what
initially appeared to be common language.
References to existing recordings are useful because they are much more specific. For example, a
particular drum tone might be difficult to describe in a specific and non-ambiguous way, but
playing a recording of something similar will very quickly bring everyone onto the same page.
Regardless of the different terminology and reference points, the artist, producer, drummer,
engineer, etc will understand the reference because it is a concrete expression of a sound. Theres
much less interpretation required.
The downside to referencing existing recordings is that they allow much less interpretation. If you
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2011/05/16 - What is creative direction?
approach music as a process of creation rather than recreation you will probably find such
references to be inadequate in describing your creative direction. Also, if you draw your influences
from a wide variety of styles and sounds, you might find concrete references to be misleading. For
example, a rap/electronica hybrid isnt necessarily a Tupac / Chemical Brothers mashup. Some
adaptation of each element will be required to make it work with the other elements.
Clearly, a lot of situations will require a combination of adjectives and reference recordings. The
important thing is that you have a creative direction no matter how its expressed. Without
creative direction, all youve got governing your decisions is the question does it sound good? You
might like the sound of an instrument or song element, but that doesnt mean its appropriate for
the song. If youre just going by what you like the sound of, the end result is likely to be
unfocussed or haphazard.
-Kim.
2011/05/23 - The difference between mixing and mastering

Are you still confused about the difference between mixing and mastering?
Do you think youre mastering when you use a limiter on your mix bus? Do you avoid the term
mastering because youre doing it yourself? Do you have trouble explaining what you do when
youre finished mixing? The difference between mixing and mastering is becoming more and more
blurred.
In simple terms: Mixing is what youre doing when youre balancing the individual elements of a
song. Mixing starts with several individual tracks (usually one track per instrument or sound), and
finishes with one (usually) stereo track the mixdown that sounds like a combination of all the
individual tracks.
You know youre mixing when youre working with the individual sounds within a
song.
Mastering, on the other hand, is what youre doing when youre preparing a mixdown for
duplication or publication. This is often within the context of a release a collection of several
songs that are published as a package. Mastering starts with a mixdown for each song, and
finishes with audio that is ready for the world to hear.
You know youre mastering when youre making the final adjustments to a mixdown
before the audio is considered final and ready for your audience.
Notice that I didnt mention tools. The tools you use dont define the process youre not
mastering just because youre using a mastering limiter. Youre not mixing just because youre
loading plugins into a mixer window. Instead, the process defines the tools its the intent of what
youre trying to achieve the counts. Choose whatever tools are necessary to get you there,
regardless of how theyre labelled.
For example:
Sometimes a single is ready for publication as it comes out of the mixer (perhaps with the
help of a limiter on the mix bus ). It doesnt matter that the whole process happens within
the mixing environment mastering is choosing the start and end points and applying the
mix bus processing. Hopefully it also included a reference to other comparable commercial
releases.
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2011/05/23 - The difference between mixing and mastering
Sometimes a song requires some compression on the mix bus. This can make the individual
tracks gel together, and even produce a distinctive pumping sound. It doesnt matter that
this is achieved by processing the mix bus (or even the stereo mixdown) mixing is
focussing on the sound of the instruments to make them blend well and express the
creative direction of the artist and producer.
Sometimes a song needs to be converted to MP3 (or other lossy format) for online
distribution. The processing that happens as part of the conversion is a part (hopefully the
last!) of mastering because its goal is to prepare the audio for distribution. It doesnt
matter whether this is achieved by an external program program or your built into your
softwares export function.
If you confuse mixing and mastering, youll lose focus of what youre trying to achieve. If you try
to master when your mix isnt finished, youll waste trying to solve problems on the mix bus that
are best addressed in balancing individual elements within the mix. Youll also be waste time finetuning a treatment (processing chain) for a mix that will later change. On the other hand, if you
try to adjust the balance of instruments when youre mastering, youll find it difficult to do it
effectively without unintentionally changing other parts of the mix. If you try to mix into a
mastering chain, youll easily find yourself chasing your tail in an infinite loop of adjusting the mix,
adjusting the mastering chain, adjusting the mix again to compensate, adjusting the mastering
chain again
Its important to separate the two processes not necessarily by using different tools (although
that helps), but by being clear in your own mind where mixing ends and mastering begins. It will
help focus your workflow goals and ultimately make your work more efficient, effective and more
fun!
-Kim.
2011/05/30 - The relative importance of mixing tools

Not all mixing tools are made equal. Some tools have a greater effect on the mix than others.
Sometimes it helps to consider four types of tools volume, tone, dynamics and ambience.
Volume is the most powerful mixing tool the humble channel fader. If you only had one tool to
do a mix, itd have to be volume. Even in a more complex mix, its the most critical tool. No
amount of EQ or compression or reverb can help you if the basic relative volumes of each track are
wrong. Volume control of each track is essential to achieving an effective balance between
foreground sounds (the focus on the mix) and the background sounds (the filling and depth of the
mix).
Tone is the next most powerful tool. The tone of each channel is usually adjusted using EQ or
filters. Tone control can be used in two ways correcting problems in the sound of a track (such
as unwanted resonance or treble/bass tilt) and supporting the depth in the mix (helping sounds
appear closer the the foreground or further in the background).
Dynamics are almost as powerful as tone but not quite. The dynamics of a channel can be
adjusted using compression (for controlling loud parts of a recording) and gating/expansion (for
controlling quiet parts of a recording). While powerful, dynamics are less useful than tone. While
compression in particular can be useful for shaping the transients and the feel of a sound, its less
effective than volume and tone for adjusting the relative balance between the tracks in a mix.
Ambience is the least powerful of the four it is the ephemeral cloud and subtle reflections that
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2011/05/30 - The relative importance of mixing tools
we use as cues to tell us the shape and size of the space. Ambience is often added with reverb
and delay, but can also be manipulated by using dynamics processing to emphasise or deemphasise the natural ambience in the raw recordings. Even though ambience is at the end of this
list, it is still a very powerful tool. Like compression, it can often have an influence on the feel of a
mix affecting the emotions rather than the function of a mix.
-Kim.
2011/06/02 - Kitchen consultation: Stu Lewis Stay Free

This
consultation
has
been
Lewis: http://stulewismusic.com/
published
with
the
kind
permission
of
Stu
Download or listen to the song Stay Free here:

http://dl.dropbox.com/u/8068578/Kitchen/StayFree.mp3
Composition
The structure of this song is slightly confusing. Opening up a song called Stay Free, Im expecting
the line Ive got to stay free to be the chorus. Considering the structure of the song, however,
the lyrics Maybe I will maybe I wont just why we disagree work better as a chorus. Similarly,
the line Maybe Ive got to stay strong stay free makes more sense as a pre-chorus. While this
makes sense structurally, the harmonic progression is confusing. The first half of the pre-chorus
moves to the minor, which makes sense, but the second half (with the title lyric) comes across as a
strange nether-region between the pre-chorus and the chorus.
An easy approach to resolving this is to make the chorus more distinctive. A different guitar and
drum pattern would make a difference. An additional instruments such as a synth or piano would
also work well.
If you want to go further, have a good think about the creative direction of the song. You could
remove the stay free line entirely and change the title of the song to something like Maybe I Will
Maybe I Wont. Another approach is to incorporate the stay free line into the end of the chorus
and make sure its on the end of *every* chorus.
The dramatic end to the song works well, but its quite unexpected. A common way to make it
more of a statement is to build up to it as if its a climax. For this style of music, it would be worth
considering making the drums busier, adding backing vocals, adding the synth back in, etc.
Mix
The mix isnt bad, but its held back by the guitars fighting with the vocals. Id suggest pulling the
guitars much further back. Not just in volume, but also mellowing the tone and diffusing the sound
a bit. A dip around 2.5kHz would probably be a good start, along with some additional subtle delay
or reverb.
The bass could also do with a bit more body and weight. Depending on how the mix turns out
after the guitars a pulled back, you could either boost the bottom of the bass or dip the mids.
Some subtle saturation would also give the bass more strength. In this kind of mix, the bass can
probably take a lot more saturation than you might first guess listening to the bass on its own.
While this is a pretty dry mix, there sounds like theres some room on the hihats (although I dont
know if its part of the drum room or you added it later). Youll probably find the mix comes
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together a bit more if you add a small amount of the same (or similar) reverb to the other
instruments. If the reverb is part of the drum room, an algorithmic reverb (rather than a
convolution/impulse reverb) will allow you to craft a reverb sound that will match it in the mix.
Depending on the creative direction for the song, some more synth would give the song a more
individual character and identity. You might want to explore doubling the guitars with a similar
synth part, or perhaps adding arpeggiated chords under main vocal in the chorus.
==
music).
-Kim.
2011/06/06 - Hierarchy of production, and why mastering

is overrated
Mastering is the least influential part of making a recording. It has the least effect on the
effectiveness of your creative expression your sound.
It might sound obvious, but if you want a particular kind of sound, it starts early in the processes
as early as possible. Every subsequent stage of production has a smaller and smaller influence on
the end result. The most influential part of making a recording is the initial concept and
composition. A great song will shine through mediocre production, but a mediocre song will bore
even with great production.
A hierarchy might look something like this:
1. Concept. This is the initial set of decisions around what the recording will sound like. The
decisions at this stage are (or should be) the driving force behind the direction taken at
every subsequent stage. This is where the creative direction is established.
2. Composition. Call it songwriting, call it beatmaking, call it programming. This is the stage
where the individual notes are chosen.
3. Performers / collaborators. These are the people who play the music. Sometimes there
is one person that plays all the instruments who is the same person that composes the
song. Other times the composer might not perform any of the instruments on the
recording.
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4. Instruments. Now we start getting into the sound. Notice that the first three items are all
about the notes and the performance. Its only after these have had their effect that the
sonic choices start to matter. The choice of instruments includes the choices of which
family of instruments to use (e.g. guitars vs keyboards) and which variety of instruments to
use (e.g. Strat or Tele).
5. The recording engineer. The recording engineer is the person who is responsible for
capturing the sound of the instruments. This includes making creative (and practical)
decisions such as room acoustics, mic choice, mic placement, initial processing chain and
recording medium.
6. Recording tools. The relationship between the recording engineer and her/his tools is
similar to the relationship between the performers and their instruments. While it is the
tools that we ultimately hear, the decisions around which tools to use and how theyre used
are more important. Recording tools also include the recording medium (e.g. 44.1k vs 96k
or disk vs tape).
7. The mix engineer. The mix engineer is the person responsible for balancing the sounds
captured by the recording engineer. As a reader of this blog, you are probably a mix
engineer (possibly one of your many hats). Even though there are some neat tricks (like
reamping or pitch correction) at the mix engineers disposal, ultimately this job is limited by
what was captured by the recording engineer and what was played by the performers.
8. The mix tools. Noticing a pattern here? The relationship between the mix engineer and
the mix tools is just like the relationship between the performers and their instruments and
between the recording engineer and the recording tools. In this case, the mix tools include
the console/DAW, outboard/plugins and mixdown media.
9. The mastering engineer. Once the mix is done, the mastering engineer prepares the
mixdown for distribution. This requires a different set of skills and different way of listening
(compared to mixing). In many cases, it also requires different tools. The mastering
engineer is the person who makes decisions around how the mixdown is prepared usually
involving changing the tone and level (and sometimes, dynamic behaviour) of the mixdown
so that it compares favourably with similar commercial releases.
10.The mastering tools. And this is the end. The mastering tools are the least influential
part of the production process.
In this context, you can see that if you are responsible for making creative decisions, your efforts
are best spent on having a clear creative direction, guiding (or participating in) the composition
process, and ensuring the performers are all contributing their best.
Trying to achieve a certain type of sound through mastering is approaching it from the wrong end.
-Kim.
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2011/06/13 - Work quickly capture the lightning!
2011/06/13 - Work quickly capture the lightning!

Its important to work quickly!
Not to rush, of course, but to know when to stop tweaking and move on to the next task.
You probably already know what happens when you work too slowly you easily get get bogged
down in the details. You start to lose focus and objectivity. In your mind, your job silently shifts
from making a song to trying out all my compressors (or something like that). Time starts to lose
meaning and you get lost in the tweakhole
The other problem with working too slowly is that youll start to get sick of your own music.
Listening to the same 8 bars over and over again will numb your sense of taste. Working on the
same song for hours with little progress is demoralising.
On the other hand, working quickly will keep your ears fresh and your mind excited about the
song. Making frequent measurable progress is motivating! The key here is momentum - not in the
musical sense, but in the workflow sense. Its important to recognise that spending extra time
working a certain detail is not going to appreciably contribute to the final product. Its important to
know when to move on.
But move on to what?
If your production process blurs conception, composition, recording, mixing (and hopefully not
mastering), you might not have a sense of the production process being a series of discrete steps.
If this is the case, it might not be clear what the next step is. When youre done adjusting an EQ
or compressor, do you adjust the next track? Or record another part? Or compose another part?
How do you know when youre finished?
On the other hand, if you have a clearly-defined workflow, youll know how much time to spend on
each individual task. Youll know when to move on. Youll know when youre finished.
Ill be discussing workflow in more detail in future blog posts
-Kim.
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2011/06/20 - Why mastering is so delicate
2011/06/20 - Why mastering is so delicate

Mastering is no playground. Of the entire production workflow, mastering is the most critical and
fragile stage. Its also the easiest to screw up. I dont mean that to discourage you or put you off,
but to warn you to be careful. Generally, there are three reasons to be careful about mastering.
Intense listening
Of all the production stages, mastering requires the most intense listening. Its the most
demanding of your cognitive capabilities and the most draining. Youll probably find that you get
tired faster when mastering, compared to most other production activities (such as recording or
mixing).
Keeping this in mind, I suggest scheduling mastering work in the morning. This is when your ears
are fresh and clear. Its also when you have the most energy to devote to the task. If youre
mastering when tired, youre more likely to overlook details that normally wouldnt escape your
notice.
Detailed work
Mastering also requires the most detailed work. You might not worry about 0.5dB when adjusting
the EQ on your guitar amp, but in mastering a 0.5dB change might require very careful
consideration. This is because theres no such thing as an isolated adjustment in mastering
every change to a mixdowns tone or dynamics affects multiple instruments (and psychoacoustic
aspects) of the song.
Because of this, I suggest approaching mastering in the same way a doctor approaches a patient
First, do no harm. Start by listening. Then listen some more. Think about what you might adjust,
but keep listening. Make the adjustment, and then listen more. Also, try to keep the adjustments
subtle. Mastering is not the place for dramatic processing.
No safety net
Mastering is the most critical stage of production its the very last stage of processing that your
song will undergo. Its the last chance to make it sound good. Or conversely, its the last chance to
screw it up. Once mastering is complete, thats it. You cant smooth over any mistakes without
going back and doing it again. Theres no opportunity to fine-tune the sound any further. When
you finish mastering, what you hear is what your listeners will hear.
This is why its so important to be careful when mastering! You must do everything you can to
make the finished product the best it can be. That means taking the time to get it right. Dont take
shortcuts, dont settle for good enough. Theres no safety net this is where the buck stops.
-Kim.
197
2011/06/22 - Free guide for email subscribers Texture, Dynamics and Structure
2011/06/22 - Free guide for email subscribers Texture,

Dynamics and Structure
Just a quick heads up to my email subscribers next Monday/Tuesday (depending on your
time zone) youll be receiving another free guide and asking a favour from anyone in London or
Berlin.
The guide is called Texture, Dynamics and Structure, and covers a *lot* of ground:
Texture
Harshness / Smoothness
Denseness / Sparseness
Heaviness / Lightness
Stability / Instability
Foreground / Background
Intensity
Dynamics
Structure
Exposition
Development
Recapitulation
In Use
Variation
Contrast
Buildups
Excitement
Taking
It Further
Contour
Development
Momentum
Expectation
As with my other guides, the content is not a simple rehash of my blog posts its been written as
a whole, designed to go into more detail than these blog posts and link the various concepts
together.
-Kim.
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2011/06/27 - Dont just play with yourself
2011/06/27 - Dont just play with yourself

Theres a lot of value to be gained in working with others. Even if youre a solo artist, you dont
have to limit your musical expression to just whats in your head. Collaborating with other people
can bring a number of benefits over working strictly on your own.
Covering each others weaknesses. Ive written about this before. There are many
tasks and activities involved in music production. Surely there are some you enjoy more
(and are more skilled at) than others. What if you could spend more time doing the tasks
you enjoy and less of the tasks you dont? Youd probably enjoy the overall production
process more. What if you could spend more time doing the tasks that youre best at, and
someone else did the tasks youre not so good at? The end result would probably be of a
higher quality overall.
New fresh influences. Im not just talking about styles and instrumentation theres a
lot you can do to expand your musical horizons by exposing yourself to a wide variety of
music. Actually working with someone, however, takes it to another level. Not only do you
explore each others taste in music from the perspective of the end result, but you are also
exposed to each others work style and processes. With a good partnership, not only will
you expand the way you think about music, but youll expand the way you think about
making music.
Create something you wouldnt have created on your own. This is related to the
previous point. Not only will you learn new things about making music, but youll also
create a new kind of end result. This will be new music that neither of you would have
created on your own. Sometimes this can take the form of a combination of two clear
styles. For example, if your main style is hard house and you collaborate with someone
whos main style is funky house, youll likely end up with something between both,
containing elements of each. Sometimes, however, the end result can be something that
neither of you could have predicted. This is especially true when one or both of you have a
wide range of musical skills and stylistic appreciation.
Reach a new audience. A collaborative release will be of interest to fans of all the
collaborators. If theres not much crossover already, theres a great potential to reach new
listeners whod appreciate your music. Of course, this depends on how different your style
is to your collaborators style. You can expect a greater fan influx from a hard house / funky
house collaboration than an acoustic folk / abstract electronica collaboration. It also
depends on how open-minded the fans are. Most people arent just interested in one style
of music. Its a bit fuzzy, but you can get a sense of how open-minded an artists fans are
by the degree of genre-pigeonholeing that happens to the artist. The less defined-by-genre
or defining-of-genre an artist is, the more receptive their fans will be to new musical
experiences.
Hopefully thatll give you some ideas and inspiration for working with other people! Go on pick
up the phone, open up your email. Reach out and make contact!
-Kim.
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2011/07/04 - Get the plan right at the start
2011/07/04 - Get the plan right at the start

Know what youre doing, before you do it.
Actually, its a bit like seeing into the future. Except you get to choose what happens in the future.
Ok, seriously, its called project planning, and any undertaking of more than a few hours can
benefit from having a plan. A project plan can range from a single to-do list in a text document to
a sophisticated methodology with complex dependencies and dimensions.
But Im an artist! I work organically! I take a new approach for everything I do! Well, first you
have to separate (in your mind) the creative work from the workflow. Its quite possible to be
creative and innovative while working within a clearly-defined project structure. Having a project
plan doesnt have to stifle your creativity. In fact, it can allow you to be more creative because
youre not worrying as much about other things. For example:
A project plan allows you to use your time more effectively. It can help you make sure you
get your work done on time and avoid wasting hours (or days or weeks) on tasks that
wont make a significant impact on the final song that your listeners hear.
A project plan also helps you make and keep reasonable promises. This is particularly
important when youre working with other people. Knowing what progress youll have made
at any point in the future will enable you to easily coordinate your work with a
collaborators work or availability.
Without a project plan, you run the risk of the following death traps:
Losing track of your goal. This is common for long projects especially projects that are
longer than anything youve previously worked on. Without clear direction and tracking, its
very easy to find yourself halfway through making something different to what you set out
to do.
Endless revisionism. This is a real sink-hole for time and creativity. Even the slightest
perfectionism is amplified by digital technology the ability to tweak and adjust and
update, and the always-available instant recall of computer DAWs. When you get lost in
endless revisionism, whos going to tell you when enough is enough?
Constant crisis. Without taking the time to clearly establish the scope of a project at the
beginning, its easy to keep adding more and more tasks without thinking about how it will
impact the timeline or resources. This results in crunch time when you realise youve
committed to more than you can comfortably achieve.
Lower quality work. This can easily happen if you set yourself a deadline but dont plan out
the in-between work with enough detail. In these situations, its common to get about 60%70% through before realising that theres too much work to do in the remaining time. In
this case you can either extend the timeline, work harder, or reduce the scope of the work.
Ill go into more detail about project plans and workflow in later posts.
-Kim.
200
2011/07/07 - Kitchen Consultation: Matthieu Michaux El Nio
2011/07/07 - Kitchen Consultation: Matthieu Michaux

El Nio
This consultation has been published
Michaux: http://nonnativespeakers.net/
with
the
kind
permission
of
Matthieu
Download or listen to the song El Nio here:

http://dl.dropbox.com/u/8068578/Kitchen/Non-Native%20Speakers%20-%20First%20Words%20%2001%20El%20Ni%C3%B1o.mp3
==
Composition
I like the spacey vibe in this track. It reminds me of some of my own sonic art explorations from a
few years back.
I think, however, that it could do with a bit more compositional organisation. At the moment it
comes across as a collection of good ideas that meander about somewhat aimlessly. Part of the
problem is the melodic themes you use are not very prominent they come across as background
parts because they are cyclic and repetitive (also because the sound is quite diffuse, but Ill discuss
that later).
One thing I think you could do to improve the track is to make sure it has a recognisable main
theme. You wouldnt need to add anything new youve already got enough material there. Youd
just need to present it in a way that makes it clear.
Youve got some good melodic patterns and motifs try to develop them into something longer,
with a sense of shape (contour!) and purpose (direction and momentum!). It doesnt have to be a
full-blown Andrew Lloyd-Webber melody, but something that is a bit more substantial than what
youve currently got.
The melodies at 4:28 and 4:49 are prime material for developing into something bigger.
Mix
It might sound strange to hear, but I think your mix could do with more depth. At the moment, its
got a lovely ambience, but there doesnt seem to be much distinction between the foreground and
background. There are a few bits and pieces in the background, but it seems most of the
instruments are roughly the same distance from the listener.
Part of the confusion could be reduced by bringing the melodic elements further forward (consider
both the level and treatment). Make room to hear the background parts through the gaps in the
foreground. Adding some appropriately-treated delays would work well to add a sense of distance
and space.
I also feel the need to point out the stereo width of the gnarly synth bass. I realise its a key part
of the character of the track and its the kind of sound that is often restricted by genre choice. Still,
I suggest reconsidering the stereo width not for technical reasons of mono cancellation or phase
coherence, but of listener focus.
If the synth bass is a foreground part, it will have more focus and punch if it is mono. If it is meant
to be a background part, it should be much more diffuse. I think its current stereo width actually
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detracts from the sense of space and make the whole mix feel smaller. Think of it as there being
no space around the synth bass no matter how big the synth bass is, the whole mix is not
(much) bigger than it.
It also makes the synth bass sound itself quite empty (more so on headphones than speakers). If
you want the sound to be important, put it upfront and make it focussed and punchy. You wouldnt
make a kick drum or snare drum super-wide, so why do it to your bass?
==
music).
-Kim.
202
2011/07/11 - Endless revisionism
2011/07/11 - Endless revisionism

Whats the difference between making one change and making twenty changes after a song is
finished?
Heres a hint: Its a smaller difference than the difference between making no changes and making
one change.
Endless revisionism is a killer for productivity. Most commonly, its a killer for completion. Every
now and then Ill see a project (thankfully not my own!) get dragged out way beyond the planned
completion date because someone in charge doesnt know when to stop. Its a lack of discipline
theres a discipline is making yourself do the work, and theres also a discipline in making yourself
stop. Without that discipline, its all too easy to make one more change. Tweak one more thing.
Make one more adjustment.
Heres the trap: Theres no such thing as just one more adjustment. Never ever. As a musician or
producer or engineer, youre always developing your skills. Youre always getting better. Youll
always be able to improve on past work.
If you allow yourself to break your workflow to make one more adjustment, you open the
floodgates of endless revisionism. Youll allow yourself to make the second change for the same
reason you allowed yourself the first change.
Endless revisionism can have disastrous effects on projects:
Projects seemingly go on forever. They turn into the project management equivalent of an
amorphous blob with no clear size or shape. If you dont know when this project will end,
you cant schedule any following work such as marketing or further production projects.
Projects lose creative direction and focus. The longer you direct a project, the more likely it
is that your tastes in music will shift and evolve. You can quite easily find yourself working
to a direction and creating music that youre no longer excited about. This is insidious
because the shift is usually gradual, so youll think you can shoehorn the project into a
*slightly* different creative direction. This creates more work, which lengthens the project,
which widens the creative direction gap, which triggers the cycle again
Career goals shift. You might start a project as a solo album, but by the end of it you might
really want to work on collaborations with other people. Or you might join a band, but later
realise you want to go solo. If projects take too long, you can easily find yourself being
held back by commitments you made twelve months ago (or longer!).
Maybe its not such a problem if youre a hobbyist who just wants to have fun playing around with
plugins, but its a different matter if youre trying to get things done and build a career.
In order to avoid the trap of endless revisionism, you need to accept that any recording is a
snapshot in time. It will never be the state of the art its a record. Its a record of a point in time.
You also need to have a clear workflow so you know how much time to give yourself on each task.
-Kim.
PS. Also, be aware that some cases of endless revisionism are actually the result of deeper
psychological issues particularly low self-esteem and a compulsion to impress others. I cant
offer any generic psychological advice on this blog.
203
2011/07/18 - What is workflow?
2011/07/18 - What is workflow?

Workflow is a term I use a lot, and I use it with a quite specific meaning.
When I use the term workflow, Im usually referring to project workflow - a series of processes or
stages that a piece of work goes through from initiation to completion.
For example, a typical workflow for a song might be something like this:
1.
2.
3.
4.
5.
Preproduction + Initial vocal demo recording

Instrumentation (bass and drums)
Instrumentation (guitars and keyboards)
Final vocal recording
Edit + mix
Each stage is clearly-defined, having a purpose and outcome. Some stages require particular
equipment or people.
With experience, you can establish the needs of a project and determine what workflow is best.
Not all projects will require all the above stages. Some projects will require other stages. Some
projects are particularly complex and require long workflows for each song. Other projects might
be simpler and require fewer stages.
Once a workflow has ben established for each song on a production project, the next steps are to
determine how much time each stage requires and to schedule each session. If your plans are
realistic, you should be able to spell out exactly what tasks are being done, when theyre being
done, and when the whole lot will be finished.
If you do this well, youll bring a high level of predictability to your work (your project outcomes
not your music!). In turn, predictability gives you much better control over your projects. With a
well-established project plan, you can suddenly provide reasonable answers to these kinds of
questions:
How much later will I finish if I want to record more instrumentalists?
If I get sick for a week, how long will it take for me to catch up and get back on schedule?
If I want some extra help with post-production (editing, mixing, mastering, etc), when can
I start asking for that help?
If Im likely to find some extra time in a couple of months, how can I schedule my work to
be able to take advantage of any extra sessions?
What compromises do I need to make if I want to add another song to the album without
pushing out the release date?
Magic!
-Kim.
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2011/07/25 - What artists need
2011/07/25 - What artists need

What do you think artists need? As a producer, this question should be at the top of your mind.
Before I go on, have a guess
Do they need time to practice and hone their craft? High quality instruments? A record label to
provide funding and expertise? A good rhyming dictionary? Oh, I know they need a producer to
guide and organise them!
Ahem.
Im going to ask you to take a step back. Ask yourself why is your artist making music at all?
Why even embark on this journey? For most artists, its because music is enchanting. Its because
listening to their favourite songs has compelled them to use express their own stories through
music. Its because theyre inspired.
And so your artist is sitting or standing in your studio and theyre about to sing or play something
thats quite personal. And, quite often, unfinished. If youve been in this situation yourself, youll
know how nervous and intimidating you can feel.
The first thing artists need is belief and support.
Sometimes the most powerful thing you can do for someone is believe in them. Standing where
you are, it might be so obvious that youve overlooked it, but any journey, any career, any
recording project starts with (and is enabled by) self-belief. A lot of it. If your artist doesnt have as
much belief in the project as you do, your first job is not to start reassembling lyrics or setting up
microphones. Your first job is to develop your artists belief in themselves and in the project.
You can do this in a number of ways, for example:
Show that her/his personal expression is valid and legitimate
Allay any fear that the songs are not good enough (after all, your job as a producer is to
make them shine!)
Take the time to really understand what the artist is trying to express and how their
personal taste is shaping the way they do it
Provide constructive guidance and advice that helps their music sounds more like how s/he
wants it to sound.
Be positive focus on what s/he is doing well and what s/he can do to make it even better.
Remember if youre working with artists, youre working with people. Artists, just as much as
anyone, want to be loved and nurtured and taken care of. If you can create a working environment
that feels like this, youll create a positive working relationship that will allow you to create
amazing music together.
-Kim.
205
2011/08/01 - Developing work ethic
2011/08/01 - Developing work ethic

If you want to do big work, youll need a good work ethic.
Ive touched on work ethic previously. Its your ability to get things done. Having a good idea is a
start, having a plan is great, but the real difference is in doing the work. Thats what separates the
dreamers from the achievers. I see motivation as the combination of three things:
Motivation. This is the willingness to do the work. Its the bright light that drives you
forward and fuels you.
Commitment. This is the promise to do the work. Its more than just saying it
commitment is the belief you have in yourself and in you ability to do the work. Its also the
courage to allocate the time and money and mindspace to make it happen.
Discipline. This is what gives you the power to follow through on your commitments. It is
the stamina and mental strength to keep doing what you said youd do even if you dont
feel like it on the day.
It can be pretty frightening to see it spelled out like that. It can be confronting to think about the
necessity for work ethic. It can be discouraged to think that if you havent done big work yet, its
probably because you dont have what it takes in the work ethic department.
Yet.
Work ethic is like most productive activities not a talent. Its a skill (or actually, a set of skills)
that can be learned and practiced and developed over time. If you want to get better at it, just
simply have to do it. Put your mind towards practicing it and developing a body of experience.
There will be setbacks. There will be discouraging moments. There will be times that you feel like
it too hard and its better to give up Dont give up. Keep going. Keep doing it. Keep the faith.
Expect the setbacks. Expect the failures. Look forward to them as learning experiences.
You can have your dream come true, but youll work harder for it than you ever imagined. Work
ethic is how you get there.
-Kim.
206
2011/08/04 - Kitchen Consultation: Hayling Price The Rhythm
2011/08/04 - Kitchen Consultation: Hayling Price

The Rhythm
This consultation has been published with the kind permission of Hayling Price.
Download or listen to the song The Rhythm here:
http://dl.dropbox.com/u/8068578/Kitchen/Hayling%20Price%20-%20The%20Rhythm.mp3
==
Composition
Overall, this song hangs together pretty well. The first two verses and choruses maintain
momentum and give the song a clear contour.
Where I think you could direct your focus is to the bridge/outro after the second chorus. This is
where the song seems to fall apart a bit we suddenly lose the structure and shape of the first
half and instead meander off into unknown territory. At first it feels like a regular bridge that will
return to a final third chorus, but it just seems to lose its way.
Of course, this is very much a creative decision, and Im not suggesting you conform to a regular
pop song structure just for the sake of it. Instead, I suggest you carefully consider what youre
trying to do here. From my perspective, you have a few options:
1) Frame this section as a regular bridge by closing it off with a return to a final third chorus. This
will feel satisfying for the listener, but might not be creatively satisfying for you.
2) Extend this section, and make it into something quite different. If your intent is to use this
section to take the song into new territory, do so more clearly. If you want to introduce new
musical material, do so dramatically. If you want an extended freeform jam, give it a fresh driving
rhythm section. What Im saying is: Make something of it. Make a musical statement dont just
let it limp away into the distance.
3) Combining both those approaches can be very powerful. Make something special of that
extended section and then either return to the chorus as it was presented earlier or express the
chorus using the new musical language of the extended section.
Mix
Overall, the mix is not bad. Its got a good sense of depth and focus.
To improve it, the first thing Id address is the lead vocal. Its just a bit too heavy, and could do
with a bit less energy in the bottom octave (below about 250Hz). You dont have to be as drastic
as to use a highpass filter a low shelf EQ will be fine. You probably only need to take it down by
about 6dB-9dB. Thinning the vocal like this will help it blend with the mix better, rather than
feeling like its tacked on top.
The lead vocal could also do with some stronger compression in the chorus. This is because the
mix becomes thicker and some of the quieter syllables are getting a bit lost. The verses could take
a bit more compression too, but its not as necessary because the verses are sparser, allowing
even the quieter syllables to come through easily. I dont know what compressor or settings youre
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already using, so I cant give you specific settings to use. The approach Id recommend taking is to
lower the threshold, increase the ratio, and lower the release time. Again you dont need to be
dramatic about it you just need enough to make the level of each syllable more consistent.
==
music).
-Kim.
2011/08/08 - Workflow for collaborative projects

Workflow for collaborative projects is different to workflow for solo projects. When youve got two
or more people involved, you need to be more careful about how you balance the workload and
manage the sequence of tasks. For example, a typical workflow for a collaborative project might
look like this:
1.
2.
3.
4.
5.
6.
Preproduction / demo
Initial vocal recording
Instrumentation
Instrumentation
Edit+mix
You will need to know ahead of time whether you need your collaborator for the
preproduction/demo session, and whether this can be combined with the initial vocal recording.
Youll also need to know whether the final vocal recording will take a whole session for the song. If
it will only take half a session (or less), there might be an opportunity to save time by recording
final vocals for two songs in a single session if you can sequence your sessions correctly.
The same considerations apply if youre using other musicians to assist you in the instrumentation
sessions. It might make sense to record guitars or percussion for several songs in a single session.
To make this work, however, you need a good estimate of how much work is required for each
song. Youll also need to sequence your sessions so that you have the songs available at the
appropriate stage when your musician comes to the studio.
Working on each song in parallel
For particularly complex projects, it can make sense to work on every song in parallel, and
progress them in lock-step. This mean, for example, that youd do the preproduction and demo
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recording for all the songs before starting to recording initial vocals. Then youd record initial
vocals for all the songs before moving forward to record additional instruments.
This can be particularly effective if you are coordinating several people and they are only available
to you for a limited period of time. There are, however, some drawbacks to this approach. Firstly,
the rate of progress at each stage is limited by the least-productive team member. That means you
(and any other faster workers) will be sitting on your hands while you wait for the slower
member(s) to finish their bit. This can be particularly significant when musicians or artists need
several weeks (or more!) to rehearse a song before recording it.
The other drawback is increased existential risk to the project. Quite simply, working in this way
means there might be much less to salvage if a key team member leaves the project partway
through. If production of an album stalls halfway through, would you rather have twelve halffinished songs or six finished songs?
Working on each song in series
The opposite approach is to work on each song one by one. This means that youre not waiting on
one song before you can progress another one. It also means your musicians and artists can have
a comfortable period of time between recording sessions for rehearsing and preparing.
This approach works particularly well when you are working with people who need considerable
preparation between sessions either because the demands of the contribution are high (eg
writing evocative lyrics or performing expressive lead vocals), or because your collaborators have
other projects and life commitments that prevent them from devoting large blocks of intensely
focussed time.
Where this approach falls short, however, is that your collaborators need to be committed to the
project for the long haul. Your whole project relies on your artist or musicians showing up every
week, having done their homework. Someone taking a surprise overseas trip for several months
(yes, it happens!) can disrupt everything.
The other drawback is consistency. If youre in constant practice, your skills and abilities are
constantly improving. For a project that spans twelve months or more, you might have an album
that sounds disjointed or fractured. Your vocalists abilities are improving. Your recording and
mixing skills are improving. Your musical taste and creative direction are evolving.
So which ones best?
In most cases, it makes sense to choose one approach in line with the broad project constraints
and desired outcomes. Dont forget, however, that either approach can often be strengthened by
incorporating elements of the other.
-Kim.
209
2011/08/15 - Dont build a structure by just muting/unmuting parts
2011/08/15 - Dont build a structure by just

muting/unmuting parts
Its pretty tempting.
Youve spent days developing your utterly brilliant eight-bar loop.It sounds full and thick. All your
EQs and compressors are perfectly set. It almost makes you want to get up and dance.
But its only sixteen seconds long.
And you didnt want to make a sixteen second song. You want to stretch it out over five minutes.
So first you duplicate your eight bars until it fills five minutes. Thats almost twenty repetitions.
And your eight bars already has a lot of repetition in it. So you start muting parts. Let the intro be
pretty sparse. Then bring in some more synths. Then the kick drum. Then drop it all away for a
bit. Then build up and suddenly drop everything in. Sit on that groove for a minute or so, then tear
back the layers until the track ends.
Thats how it goes, doesnt it?
Except the end result is a bit lacklustre. You cant quite put your finger on it, but its not *special*.
Maybe add a few whooshes, a few risers, tweak things a bit here and there And then what?
The problem is that youre still thinking in layers. Youre hearing the music as a stack of
simultaneous components. Youre arranging your musical ideas by layering them on top of each
other. Most listeners, however, hear music as a sequence of sections or landmarks. They prefer to
hear musical ideas one ofter the other. In other words, youre thinking vertically and your listeners
are thinking horizontally. You think youve got five minutes of music, but your listeners are hearing
the same sixteen seconds twenty times.
The solution is not in how you mute or unmute your parts. Its not in where you added your
whooshes and risers. Its not even in the way you set your EQs and compressors. The solution is in
changing your workflow of building a track by stacking musical ideas on top of each other.
Try to build your initial musical ideas side by side. Think about developing sections (you dont have
to worry about the order at first). Give yourself more than sixteen seconds to express your musical
ideas. Develop several different ideas, and then put them in the blender. See what happens when
you mix and match them. Build some transitions from one section to the next.
And then once youve got some reasonably well-developed musical material you can start to
assemble the structure of the track. Pay particular attention to the contour of the track. This is the
time to think about rates of change, primary and secondary themes, listener expectations,
momentum, etc. The key difference is that if your starting with a lot more musical material, you
have a *lot* more scope for doing interesting things with your track. Your ideas are the building
blocks. You dont have to use all of them, but youll be glad you gave yourself the options.
-Kim.
210
2011/08/22 - How to develop a melody from a simple idea
2011/08/22 - How to develop a melody from a simple idea

Sometimes youve got the beginning of a good melody. Just a few notes that seem to work well
with the chords or bass line or other parts in y our song.
Dont just loop it!
Turn that little melodic motif into a melody! Develop it into something that grows and moves and
pulls the listener forward. Make something of it. Its unfortunate that so many great-sounding
songs are let down by their lack of melody. A melody is not just a one-bar monophonic line voiced
above middle C. Melodies span several bars. They have contour. They have phrases. They interact
with the other parts of the song.
So how do you turn your few notes into a melody?
If youre stuck for ideas, you can start with the duplicate-and-vary approach. Quite simply start
with the short idea youve got duplicate it so it plays twice. Then change the duplicate so that its
recognisably different and also recognisably derived from the original idea. Simple, eh?
Of course, that wouldnt get you very far if thats all you did. The trick is to take it further. For
starters, you can create multiple variations and sequence them in a way that makes musical sense.
If youre not sure what to do, think about contour. Some variations will be busier than others.
Some will be high-pitched than others. Some will be more recognisable than others. Think about
the ways in which you can make variations and organise them into a sequence that makes sense
to you.
This might take a bit of practice. Dont worry if your first few attempts sound a bit weird.
Once that makes sense and youve got a good grasp of how it works, you can start to start
thinking about other factors as well, such as:
Using more than one original idea. Start with two or three different melodic ideas, create
some variations and then explore what happens when you combine them in interesting
ways.
Dividing your melody into phrases. Rather than creating a long string of constant notes,
divide your melody into shorter sections (try 4 bars) with each section separated from its
neighbours by a beat. This can make a melody feel more natural if it loosely mimics the
length of time a singer can hold a note or phrase before needing to take a breath.
Harmonic complexity. Think about where your melody uses the tonic (the same note as the
key of your song). Phrases that use the tonic a lot will feel more stable than phrases that
dont use the tonic much (or at all). Use the circle of fifths to understand how
stable/unstable different notes are.
Rhythmic complexity. This is very similar to harmonic complexity. Think about how many
notes are on the beat and how many notes or off the beat (or in between beats). Phrases
that have a lot of notes on the beat will feel more stable than phrases that have more
offbeat notes.
And heres a little secret: This approach works on more than just melodies. Its a valid approach to
take for basslines, drums, background parts almost anything. Just keep asking yourself: How can
I take this further?
-Kim.
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2011/08/29 - Balancing time and money when planning projects
2011/08/29 - Balancing time and money when

planning projects
With a project plan, you have an overview before you begin. You know how long its going to take,
how much itll cost, whos involved and what the outcome is going to be. Delving one level deeper,
you know which parts will take the least time, which parts will take the least money, which parts
will take the most time and which parts will take the most money.
With that overview, you can quite easily see if you have the right balance. And if you need to
adjust the balance, youll know how to do it. But sometimes it wont be clear. Sometimes youll
have several competing priorities that arent even a simple either/or scenario. If you need more
clarity, consider the following questions:
Can I hire people? Hiring extra help can allow you to translate money into time. Itll cost
more, but it can save you time either by allowing some work to be done in parallel, or by
using an expert who can get the job done faster than you.
Must I hire people? Sometimes you want to achieve something that you simply cant do
on your own. Maybe you need a drummer who can play better than you can program
samples. Maybe you need a mix thats a whole level above what youre personally capable.
Maybe you need a mentor or guide (a.k.a. producer) to hold your hand through a bigger
project than youve previously attempted.
Can I do it myself? This is the opposite of the first point. With todays technology, tools
are readily available for almost every stage of production. And with a bit of hard work, you
can quickly become competent at almost any stage of production. If you have a project
where money is tight but you have plenty of time (and/or friends willing to help), think
about opportunities to avoid outsourcing by developing the capabilities yourself.
Will hiring a better studio help? This can be an important question to ask yourself if
youre recording an ensemble of musicians. If you try to record them one at a time in your
home studio you might have to fight suboptimal room acoustics and inexperience at
recording complex instruments (such as strings or drums). Hiring a properly-equipped
studio can make a big difference. Youll also get the extra vibe from having everyone
playing together at once.
Will purchasing new equipment for this project help? Sure, new gear is fun and you
dont need me to give you an excuse to buy more. However, the right project can be an
opportunity to make a purchase that youd find useful but keep putting off. Im talking
about unsexy purchases like extra SM57s, acoustic treatment, headphones, multicore
snake, etc. Im talking about things that will increase your capabilities in future projects as
well but arent usually at the top of the things to buy list.
Can I reduce my time commitment by collaborating? If time is tight, you can gain a
lot by teaming up with someone else. If you plan out the workflow and divvy up with work
you can achieve a lot more in the same time. This is also a great way to create or enhance
relationships and open up other opportunities further down the track. Remember
collaborators can have a variety of motivations. Some people are happy to take part just to
be part of something exciting. Some people are happy to donate their time in return for
some help on their own project. Some people will ask for payment but reward you with
high professionalism.
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Most importantly, you need to always consider the creative outcomes of the project. Dont lose
sight of the goal and dont introduce efficiencies for their own sake. For example, if might not
make sense to hire extra help if youre recording your solo album and you want to do it all
yourself. Similarly, it might not make sense to record a band in your living room if they want a slick
professional sound. On the other hand, you might have an artist with not much cash but a lot of
creativity and willingness to experiment and quite happy to get a bunch of friends together in
your living room for a few weeks.
Ultimately, as the producer, youre in charge. Its your call. But dont be afraid to make the wrong
decisions. Get in there, roll your sleeves up and make some mistakes. And have fun doing it!
-Kim.
2011/09/05 - How to use group busses

Group busses are a feature of many mixers (physical and virtual). Theyre often just like regular
track channels, except they dont receive their audio from a disk file, tape channel or live
instrument. Instead, they receive their audio from one or more other channels within the mixer.
Group busses are sometimes also referred to as submixes.
Group busses are useful if you want to apply any processing (including gain) to several
instruments as if theyre one. The most common types of processing to use on group busses are
similar to what youd use on a single channel:
Gain. More common known as the volume fader. This allows you to adjust the volume of a
group of instruments all together. This is most useful when the grouped instruments all
serve a similar function in the mix, or are even perceived as a single sound source. Stacked
backing vocals or synth pads are good examples of this. Even though you might have a
complex pad sound that is made up of four or five layers, the end result is that they
combine to form a single sound source. Adjusting their volume as a whole (rather than
each individual track individually) is faster and maintains the relative balance of all the
layers.
EQ. This allows you to adjust the tone of a group of instruments. Because EQ is
(theoretically) a linear process, applying an EQ change to a group bus is the same as
applying the same change individually to each of the individual channels. This can save a
lot of mixing time when you have a stack of instruments that have a similar tone. Stacked
backing vocals are a good example of this. You might have as many as a dozen different
backing vocal parts all recorded by the same singer in the same room with the same mic. If
all the tracks need a 3dB dip at 2.5kHz, its much easier to apply this tonal change once (at
the group bus) instead of a dozen times.
Compression. This is where it starts to get tricky. Group bus compression is spoken about
a lot but often misunderstood. Its often used to gel several instruments together. When
one instrument in the bus triggers the compressor, the subsequent gain reduction will apply
to the whole group. That means the other instruments will be compressed even though
they didnt trigger the compressor. This can be as subtle as some gentle gain riding through
to dramatic and deliberate ducking. This can be effective in helping instruments to gel
because the uniform gain reduction tells our brains that the sounds are behaving in sync.
Theyre acting as one, thus should be listened to as one. Keep in mind, however, that this
works best when the instruments are quite dynamic and work the compressor. The more
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the compressor is working, the more audible the effect will be.
With this in mind, you should be able to make effective decisions around when and how to use
group busses.
-Kim.
2011/09/08 - Kitchen Consultation: Galen Conroy

Turnstile Pottery
This consultation has been published with the kind permission of Galen Conroy.
Download or listen to the song Turnstile Pottery here:
http://dl.dropbox.com/u/8068578/Kitchen/Turnstile%20Pottery.mp3
==
Composition
For this song, the basic structure of the song is pretty good. The amount of material is wellbalanced with its length. Its also got a clear contour that can be easily followed.
I think the two ways the composition of this piece could be improved are in the transitions
between sections and the buildups.
At the moment, most of the transitions between sections are just clean cuts. While clean cuts are
sometimes the best choice, using a variety of transition types can give a track a greater sense of
scope and finesse. Also, by making some of the transitions softer or more gradual, the instant cuts
will become more effective and noticeable.
Its also important to think about buildups. Buildups are different to transitions between sections
because a buildup is usually longer and more dramatic. It often makes sense to think of a buildup
as its own section (not just a transition between two sections). Turnstile Pottery has a bit of a
white noise buildup in there, but I think theres an opportunity here for much more.
For this kind of music, it makes sense to explore the expressive range of each synth sound. Dont
just keep the programming static automate some internal parameters. Alternatively, automate
some effects. Explore ways of making each sound bigger or smaller, thinner or thicker, narrower or
wider. If youre mainly using samplers instead of synths, look at ways to add similar layers
underneath the main sound. Bring in (or crossfade between) those similar layers to change the
tonality of the sound without it sounding like two separate instruments.
Its not about adding more just for the sake of it, but about giving the music a greater voice
letting it speak more clearly.
Mix
The mix itself has an interesting aesthetic quite dry and knocky. I wont suggest it needs to be
wet and lush, but the mix itself is somewhat two-dimensional. Theres not much front-to-back
depth.
Because the sonic aesthetic is quite dry, its probably not appropriate to add depth by adding
reverb or ambience. Instead, focus on pulling instruments back by making them duller, narrower
and more diffuse.
Making a sound often means using a lowpass filter. This usually works, but sometimes its too blunt
a tool. If you need a more subtle way of using tone to pull back an instrument, try an EQ cut
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around 2.5kHz. This will subdue the character of the sound in a different way, and might be more
appropriate in context.
Making a sound narrower will also help pull an instrument to the background. The smaller and
more masked it is, the less attention the listener will pay to it. Of course, this works best when the
overall volume is reduced as well.
Making background instruments more diffuse is another technique that may work well with this
mix. Obviously, this is not a lush mix so extreme or obvious modulation wont be appropriate
instead focus on more subtle diffusion. Try a single-voice chorus, or slight doubling.
==
music).
-Kim.
2011/09/12 - Whats the difference between workflow and

project management?
As concepts, project management and workflow are similar and related concepts, but theyre not
interchangeable. Theyre not the same thing.
When I discuss workflow, Im discussing the order or tasks required to reach a goal such as
recording a song. Usually a workflow is short and general enough that it can be applied over and
over again. For example, a workflow for a recording song might be used ten or twelve times for an
album. Its often a repeatable series of steps that has worked in the past and is likely to work in
the future.
Workflow is extremely useful because it provides a degree of measurability and predictability to the
production process. It allows you to determine how long itll take to complete a piece of work. It
will help you schedule the work so that you have a high degree of confidence that itll be complete
within the expected timeframe.
Project management, on the other hand, is about taking care of the bigger picture. I see it as two
sets of activities:
1. Planning and coordinating. This includes balancing cost and time requirements for
different components of the project, recruiting and coordinating people, negotiating
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arrangements with partner businesses and tracking progress against the plan. Planning and
coordinating needs to be done in full knowledge of the time and resource constraints of the
project. This is the easy part.
2. Responding to changes. All projects have hiccups. Humans are beautiful and messy and
often unpredictable. Responding to changes can include activities that are primarily
mechanical such as rebalancing resources, readjusting schedules and even changing the
scope and outcomes of the project. Its important to understand, however, that responding
to changes often requires a human component too. Your artists and collaborators and
partners are human beings and have feelings and desires and fears and you need to be
mindful of this at all times. When plans change, people can feel hurt or disappointed. They
might feel responsible (whether real or imagined). They probably have a different
impression of you than you do of yourself and the less you communicate the greater that
difference will be.
-Kim.
2011/09/19 - Examples of using group busses

Group busses are a versatile and useful mixing technique. Theyre often used in a variety of
different situations:
Distorted guitar stacks. Its quite common to layer or doubletrack (or tripletrack or
quadrupletrack) distorted guitar parts in order to make them sound bigger. Sometimes the
layers are all recorded with the same setup (same guitar, same amp, same mic position,
etc), but its just as common that the layers are recorded with different setups. The layers
blend to form a composite guitar sound that the listener hears as a single diffuse part.
Because all these layers function as a single part, it often makes sense to treat them as a
single channel when mixing the bigger picture. By using a group bus, the layers can all be
treated as one. This means that when youre fitting the guitars in the context of the rest of
the mix, you can set the level and tone of the guitars as if theyre a single part.
Backing vocals. Much the same as distorted guitars, its common to treat layered backing
vocals as if theyre a single sound source. This is especially useful when there are several
layers that are singing the same words with the same rhythm. Unlike layered distorted
guitars, its also common the different layers of backing vocals to be singing different
harmony parts. Another difference is that backing vocals often benefit from some
compression (distorted guitars often already have flat dynamics due to the distortion).
When dealing with backing vocals, its often useful to compress each individual channels as
well as the group bus. That way, each compressor can work gently while still resulting in a
smooth and consistent sound.
Pads. While not as commonly spoken about, grouping pads can be very useful for the
same reasons as distorted guitars and backing vocals. Some particularly interesting effects
can be created by combining several layers of different pulsing pads and then compressing
the group. Done well, this will produce a texture that is more consistent in level but is
constantly changing in tonality.
Drum kit. This is a huge topic! The way drums and compressors interact can be quite
complex. The sound is influenced by a variety of factors, ranging from the way the kit is
played to the selection of kit components to the choice of miss and recording medium to
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the design and settings of the compressors. Like backing vocals, its common to compress
individual drums in addition to compressing the drum group bus. Used lightly, drum group
compression can give the whole kit a sense of glue and life and density. Just remember not
to overdo it too much compression will flatten your drums and make them difficult to
work into the mix!
Kick and bass. This is a technique that has been used subtly for some time, but has
recently become more fashionable with modern dance music. By grouping the kick and
bass and applying strong compression to that group, the bass will duck slightly when the
kick is sounding. This will make the low end of the mix more compact and solid. This is
now commonly taken to extremes with the use of side chain compression instead of
using a group bus, the bass is processed with a compressor that is keyed (side-chained)
from the kick.
Group busses are most useful when you have several tracks that all perform a similar function in
the mix and you want to either glue them together or otherwise treat them as a single unit. Of
course, you can group anything you like. Its important, however, to keep in mind that sometimes
it doesnt make sense to use group busses. Often it doesnt make sense to group tracks that arent
related to each other or need to remain separate.
On the other hand, you might find some interesting sounds by using group busses in unusual
ways
-Kim.
2011/09/26 - How to start a collaboration

Ive written before about some of the benefits of collaborating with other musicians. In order to
start a collaboration, however, you need someone to collaborate with.
Your first choice should be your friends. You already know each other and, more importantly, you
already trust and understand each other. Trust and understanding is essential to any successful
collaboration. If you have good friends, youre already halfway there. Even if you dont share the
same taste in music, there are ways to make it work. You might need to be creative!
If you dont already know any musicians (or theyre not available to work with you), youll need to
look elsewhere. Go to where the musicians are in your community. Small-scale gigs are often ripe
with musicians looking for opportunities. It could be open mic on a sunday afternoon at a local
cafe. It could be an indie album launch. Put yourself out there. Soak up the music, make a
genuine effort to understand and connect with the music. Think about how a musicians skills
might compliment your own. If you think there might be an opportunity with some musicians,
approach them after the show!
Dont be afraid of rejection. Dont be surprised if you get knocked back. Not everyone has the
time. Not everyone has the inclination to start something new. Not everyone likes your style. Its
not personal. Humans come in many different varieties and flavours. Itll take a few approaches
before you find someone who might be interested. Itll take a few collaboration before you find
someone who really clicks with you. Not every seed grows, but we plant so many because we
dont know ahead of time which seeds will grow. Dont let it get you down just keep planting
seeds.
When you start working someone, its pretty easy to get ahead of yourself. Youre both excited,
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youre both keen to create something amazing. Great! Keep that feeling! But dont be ambitious
start small. Just commit to working on a single song together. Maybe even a small contribution to
an existing song. You need to establish a workflow. You need to settle on a common language.
You need time to explore each others personal taste. So take it slow. Take it easy. Dont put too
much pressure on yourselves to write and record an EP or an album just yet just have fun and
get to know each other.
So fast-forward a few months. Youre still going strong, youve got a few songs behind you, and
youre both itching to take on something bigger. Before you embark on a larger project together,
youll need to sit down together and agree on a few things. It doesnt have to be a legal contract,
or even a formal written agreement. It does, however, have to start with a conversation and a
shared understanding of what youre about to do. At the very least, you should consider these
questions:
What will be the creative direction for the project? What will it sound like?
What will be the creative contribution of each person? What will be the non-creative
contribution (equipment, studio space, time, other skills, etc)?
How much music are you going to make? Will it be an EP? An album? A drip feed of
singles?
What timeframe are you working towards? How long will it take? When do you expect to
complete it?
Whats going to happen when its finished? Will you perform it live? Will you sell it online?
If there are any costs, whos going to pay for them? If theres any income, what will
happen to it?
Its usually a good idea to write down what youve agreed. It doesnt have to be anything formal
even just a plain text file is fine. Even better if you email it to each other so youve both got a copy
to refer to. The agreement is not set in stone you can always change it later on if you want (so
long as everyone agrees to the changes!). Having it written and distributed, however, will avoid
misunderstandings and faulty memories.
Now, get to work!
-Kim.
2011/10/03 - Do something different with rhythm

Break out of your usual rhythms.
Think about all the usual assumptions you make when youre programming drums and rhythms for
other parts. People often speak of breaking the rules what happens when you break your own
rules?
Take the kick drum for example do you only ever place the kick drum on quarter-notes? See
what happens when you place some kicks on eighth-notes between the quarter-notes. Syncopate
them.
Too easy? What about placing the kick drum on the first beat of each bar? Find out what happens
when you start each bar without the kick drum. Dont just do it once or twice do it for a whole
section. Maybe a few sections. Maybe make it a feature of your next song or track.
Same goes for the snare. How often do you place a snare (or snare-like sound, such as a clap) on
the second and fourth beats? Do you ever think about why youre doing it? What happens when
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you shake it up a bit? Put that snare somewhere else. Listen to how the other instruments
respond.
Some of these explorations might sound wrong when you listen back. Some might make you feel
uncomfortable. Some might be weird, or even interesting. Rhythm plays a critical role in
establishing the way the music feels. Is it quick and nimble? Slow and lumbering? Solid as a clock?
Wobbly and unpredictable? Its right there in the rhythm.
Even if you try out a bunch of ideas and eventually return to your comfort zone, youll have a
better understanding of why your comfort zone appeals to you. Youll be in a much better position
to deviate even if only slightly in a way that makes musical sense, rather than simply making
random variations.
Drums are usually the main contributors to a songs sense of rhythm. But dont limit yourself.
Break out of the usual rhythms you use for basslines, accompaniment parts, even melodies.
Still too easy? Try some less-common time signatures. Try 6/8. 5/4. Alternate between 6/4 and
4/4. If youre feeling adventurous, go for 7/8 or 7/4. This kinds of time signatures will force you to
shake up your usual rhythms. And youll invent something fresh.
-Kim.
2011/10/06 - Kitchen Consultation: Fred Akerstrand

Lies Remix
This consultation has been published with the kind permission of Fed Akerstrand.
Download or listen to the song Lies Remix here:
http://dl.dropbox.com/u/8068578/Kitchen/Fred%20Akerstrand%20-%20Lies%20Remix.mp3
==
Overall, this track has a lot of potential. It wouldnt take much to make a significant improvement.
Composition
The main compositional weakness here is that the track is simply too long. Its over seven minutes
long, but probably has enough musical material to sustain it for perhaps four minutes.
In particular, there are three sections which take a long time to present very little. They are the
intro (0:00-0:57), the second verse (1:52-2:49) and the ending (5:10-7:17). Both the intro and
the second verse are almost a minute long but dont contribute much to the overall contour of the
track its as if the listener is stationary for those periods.
The intro plays an important role in introducing the track. By taking so long to do so, however, the
energy and anticipation simply dissipates. The second verse in particular makes a musical
statement that only requires about eight bars not a whole minute. Like the intro, the ending
plays an important role in the track, but taking over two minutes to wind down makes it likely that
the listener loses interest before the track has ended.
Fortunately, its not difficult to address these issues. Simply condensing these sections down to
more appropriate lengths will do wonders for the momentum and contour of the track as a whole.
There are two other ways in which the composition of the track could be improved, but these are
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relatively minor. The first is in the vocals in the breakdown section (3:18-3:46). The harmonies
work well most of the time, but occasionally the two vocal lines sing the same note in unison. This
has the strange effect of making two voices suddenly and briefly sound as a single voice. Its
distracting and unsettling. If you were to address this, Id suggest changing either the melody or
harmony so that they dont have any unison notes.
The second relatively minor issue is the timing of the side chain compression. Compared to the
other rhythmic elements, the side chain compression feels like its swinging too much. A little bit of
swing is often beneficial to a tracks groove, but in this case it feels inconsistent with the other
instruments. I suggest changing the timing of the side chain compression so that it swings a little
less, or alternatively you could modify the groove of some of the other instruments (especially the
hats) to swing more consistently with the side chain compression.
Mix
Overall, the mix isnt too bad. The only two issues are the vocal sound and the subbass level.
Generally, the vocals lack intelligibility. This could be because your monitoring environment is very
forward in the mids or because you simply went too far in smoothing the vocal by cutting the
mids. The fix here is simple bring back the mids. This is where the character and intelligibility
resides. You can still keep the soft and smooth sound you dont need to boost so much that it
becomes honky.
The other issue is the subbass level. Its slightly too loud. This is most likely a result of your
monitoring environment having relatively weak subbass. In the short term, you should be more
active in referencing your mixes to commercial releases while you work. Over the longer term, you
can improve your monitoring environment. Depending on your studio, this might include acoustic
treatment, adopting full-range monitors or adding a sub.
==
music).
-Kim.
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2011/10/10 - Different types of workflows (with examples)

When planning a workflow for a song or other recording project, it helps to approach the
production process as three distinct stages:
1. Preproduction. This includes writing, rehearsing and refining the song. It also includes
setting the creative direction and making decisions around sound and feel. It can also
include deciding on matters like who is playing each part, and choosing a studio and
engineer. Essentially, preproduction includes everything up to the point where the recording
engineer hits the Big Red Button.
2. Recording. This is the process of capturing the sounds that make up the song. Creatively, it
includes the performances themselves as well as the decisions made by the producer and
engineer to capture the sounds in a certain way. Choices around instruments, room
treatment, miss, mic positioning, processing and recording media all play a part.
3. Postproduction. This is the process of taking the recordings and presenting them as a
stereo (or surround) sound that people can listen to. It includes editing, mixing and
mastering.
Obviously, these lines are often blurred by the proliferation of accessible equipment and
knowledge. While in the past each stage required different people with different skills and
equipment, Its now common for a single person to undertake all three stages with the same set of
equipment. Whats more, the stages may not follow sequentially any more for example, new
parts can be written after others have been recorded, mixing can begin even while the song or
track is being written and parts can be recorded as part of the writing process or even after
mixdown.
Todays tools are much more flexible, allowing our workflows to be much more flexible. Clearly this
brings increases the freedom with which we express ourselves.
On the other hand, it becomes much more important to clearly define our workflow. Without
having a clear workflow, its too easy to get lost in the processes. Most commonly, one of two
things happen:
The process descends into endless revisionism. Even after a song is finished, its easy to
make further edits, record more parts or even substantially change the structure of the
song. By getting trapped in endless revisionism, a song is never done, and youll always
feel insecure that it may not represent your best work.
Decisions have little weight. When anything can be fixed later, its easy to postpone
decisions. This can take the form of keeping dozens of takes or recording dry and never
committing to a sound. This actually erodes your problem-solving capabilities. Each time
you defer a small decision early on, you actually make your future selfs job more difficult.
Its like housework the longer you put it off, the bigger and more difficult it gets.
So what kind of workflows are there?
Each artist is different and each project is different. To design an effective and appropriate
workflow for a project, you need to consider the steps you want to take in producing a song.
Example 1
You might want to create a recording that has a live, organic feel. To achieve this, youll need to
focus on writing and rehearsing, but you wont need to spend much time on postproduction. Such
a workflow might look like this:
1. Initial writing (on paper!)
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2.
3.
4.
5.
Preproduction with producer or band

Rehearsal with band or instrumentalists
Recording
Mixing
Notice that 60% of the production process happens before anyone start recording. By keeping the
song in your head or scrawled on paper, you retain a fluid flexibility and openness to development
thats different to what happens when a song is recorded.
Example 2
You might want to take more of a remix-style approach to writing your tracks. To achieve this,
youll want to start recording early so that you can chop up and rearrange performances as part of
the composition process. Such a workflow might look like this:
1.
2.
3.
4.
5.
Initial idea sketch in sequencer

Vocal recording
Composition and instrumentation
Instrumentation (perhaps with further recording)
Mixing
Notice that this process makes use of the sequencer right from the beginning. If its being mixed in
the same environment, some plugins or settings may be retained from the initial sketch all the way
to the final mix. Also consider that with this workflow, the vocalist is not performing to the final
track s/he is singing without knowing what the end result will sound like. Normally this might
result in a weaker performance, but that doesnt matter here because the vocal recording will be
chopped up and rearranged. This rearrangement will be a significant characteristic of the final
product.
Example 3
You might have some external constraints on how you organise your time. For example, you might
have access to your vocalist for only a short period of time to record several songs. In this
situation, a workflow like this might make sense:
1.
2.
3.
4.
5.
Initial songwriting
Rehearsal with instrumentalists/band
Recording instrumentalists/band
Recording vocals
Mixing
In this scenario, sessions 1-4 would be completed for all songs before the vocalist would be
required. Then the vocals could be recorded for all the songs in a focussed series of sessions.
Example 4
You might be working with an artist that is quite capable of writing and recording their own songs,
but they need your help with composition advice. S/he might also wish to have the final mix done
by a professional in a properly-treated room. In this situation, this kind of workflow would make
sense:
1. Preproduction
2. Mixing
For this situation, the workflow (for you, as a producer!) is much shorter because the artist will be
writing and recording in their own time. This approach often makes sense when youre working
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with a particularly capable artist (or a low-budget artist).

Example 5
You might be working with an artist that has some very elaborate ideas but needs your help to
realise them. S/he might already have the song written, but wants to explore different ideas and
approaches with your guiding hand. In this situation, a workflow like this might makes sense;
1.
2.
3.
4.
5.
6.
Initial demo vocal recording

Instrumentation
Instrumentation
Instrumentation
Editing / mixing
In this situation, the initial vocal recording is used as a guide and template. The following three
sessions would consist of writing and recording different instrumental parts. The vocals are
recorded again in session 5 so that the vocalist can deliver an emotional and well-prepared
performances that responds to the almost-final version of the song.
Hopefully that provides some more detail about how workflow planning can work in practice.
Obviously, these five examples are just starting points its up to you to figure out how you will go
about producing a song. And as always, dont be afraid to make mistakes. Youll get it wrong
before you get it right. But youll only get it right if youre not afraid to get it wrong.
-Kim.
2011/10/17 - Proportion and variety

Its a funny word, but its critically important.
Proportion in music best understood as the relationship between the amount of musical material in
a song and the length of time that the song goes for. By musical material, Im referring to the
unique ideas not counting repeats or slight variations. Another way of thinking about proportion
is as the amount of variety in the song. There has to be a balance too little variety will result in
the listener getting bored and too much variety will result in the listener getting confused.
With too little variety, a song will have too much repetition. This is a common problem among
beginner dance music composers. Youve probably heard it before a seven minute track that only
has eight bars of music in it. Its just different variations and combinations of the same material.
If youre working on a track like this, you probably have very little source material and youre
trying to squeeze it for all its worth. The most effective solution will either be to introduce some
more original material (not just variations or developments of whats already there) or reduce the
total length of the track.
With too much variety, a song will have too many different ideas, with little connection between
them. Youve probably heard this as a song that has a lot of good ideas in it, but seems to have a
weak identity or doesnt seem to have anything that binds it together. Instead of being heard as a
single focussed piece of music, it comes across as a collection of different ideas.
If this sounds like one of your songs, you probably need to separate the ideas out into two or
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three (or more!) individual songs. Focus on getting more mileage out of fewer ideas. By varying
and developing fewer ideas (instead of simply adding more fresh ideas) your song will sound much
more focussed and cohesive.
Of course, the goal is to find the right balance. This is where judgement and experience play such
an important role, and why its important to listen for proportion in your own music and others
music. Try to identify when youre listening to music that feels like its repeating itself a bit too
much (like a sense of not knowing how long the song will go for) or when youre listening to music
that keeps switching between different ideas (like switching the TV channel or radio station).
Theres no magic ratio here. It depends on your personal taste and your listeners expectations.
Listen to a lot of music and youll know it when you hear it.
-Kim.
2011/10/24 - Visual feedback in plugins

When youre starting out, its useful to use plugins that have numeric values and visual feedback.
Big frequency graphs in EQ and transition diagrams on compressors are extremely valuable in
helping you understand how these tools work. Bonus points if the tools have animated meters and
graphs that dance along with the music. Its a great way to learn how the sound is being changed.
Its a great way to learn how the parameters control how the sound changes.
But if youre doing real work? Forget it.
Unfortunately, our eyes trump the ears. We hear what we see. Our perception of sound is so
strongly influenced by our sight that sometimes even being aware of it doesnt counteract the
effect. Its true.
Its bad enough that your listeners dont have a studio exactly like yours. They hear your sound
differently to how you hear it. And thats just considering the physical space. Now factor in the
difference between what youre seeing and what theyre seeing. Not only is their physical listening
environment different to yours, but their visual stimulus is different to yours. Not only do they hear
your sound different, but they perceive it differently.
Its a losing battle, but we fight anyway.
We treat our studios acoustically. We purchase ridiculously expensive and over-engineered
speakers and headphones. We do this even though our listeners will hear hear it differently
anyway. No matter what we do. But we do it anyway to try to hear the sound as plainly and as
truthfully as possible. And sometimes it works pretty well.
But we should also strive to perceive the sound as plainly and as truthfully as possible. And that
means controlling the visual stimulus in our studios.
We already attempt to create monitoring environments that are as neutral as possible. Maybe we
should make our studios look as neutral as possible as well? Drab grey walls or sterile white
doesnt sound like much fun. Our studios are our workplace, and they should be comfortable and
inviting. They are a place to be relaxed and focussed and creative. There should be a balance. And
for the most part, its ok. Our studio environment is mostly static it becomes a constant factor
that our brains adjust to.
Dynamic visuals, however, are different. When your compressor is telling you that your kick drum
is being compressed by 12dB, youll hear those 12 decibels. And youll be strongly influenced by
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how that 12dB looks. If the gain reduction scale goes from -15dB to 0dB, those 12dB will look like
a lot of compression. And itll sound like a lot of compression too. On the other hand, if the gain
reduction scale goes from -30dB to 0dB, those same 12dB will look like much less. And theyll
sound like much less too if youre watching the gain reduction meter.
The same goes for EQ. That 6dB cut looks (and sounds) like a lot when the frequency analysers
graph scale is +/-9dB. Change the scale to +/- 24dB and suddenly everything changes.
But doesnt the same apply to on-screen controls (such as knobs and sliders)? Certainly but to a
much lesser extent because the controls dont respond to the music. Without visual feedback, you
perceive the music with your ears only. Theres nothing visual thats telling you what the music
sounds like. To go back to the monitoring analogy, your perception will be plainer and more
neutral.
Theres certainly a place for visual feedback. Ridiculous dancing graphics probably help car lovers
enjoy their sound system. Full-screen iTunes visualisations are great for parties. Visual feedback in
plugins are good for learning how they work and identifying what to listen for (its hard to listen for
compression if your threshold is too high!)
But if youre doing real work? Forget it.
-Kim.
2011/10/31 - 6+ ways to get bigger bass

This is about basslines, not (necessarily) the frequency range. The bassline is the harmonic
foundation of a track. A solid mix often needs a solid bassline. So how do you get there? How do
you stop your basslines from sounding weak or flabby? Here are some techniques to consider:
EQ. This is the big one. A lot of the time, EQ is all you need. The trouble is, each situation
is different. I cant tell you where to boost and where to cut without hearing your track.
Because EQ is relative, the right settings depend entirely on the sound of your bassline and
the direction of the mix. Pay close attention to how the kick and the bass interact. In some
cases, it makes sense to have a bass with character voiced above a deep kick; in other
cases it makes sense to have a deep bass voiced under the kick. Good monitoring is crucial
here, because youll have to balance the tone across a wide range sometimes all the way
from subbass up to the top of the mix. And most lower-budget monitoring environments
are pretty bad at accurately representing the critical range from the bottom through the
lower mids.
Layering. You cant boost what isnt there. Often a bass sound will have a great character
in the mids but doesnt have a solid bottom end. Similarly, its common for a bass sound
with a solid bottom end to be missing character in the mids. By layering
two complimentary bass sounds, you can have the best of both worlds! Be careful though
effective layering can very easily take over the whole mix. When layering bass sounds, it
often helps to filter the layers. For example an upper layer that adds a lot of character in
the mids may have a weak or inconsistent low end. By using a high pass filter to cut out
that low end, a lower layer can be much more focussed and provide a stronger sound.
Similarly, it often makes sense to use a low pass filter or dramatic EQ to take the mids out
of the lower layer so that the upper layer can punch through more effectively. Lastly, dont
forget to pay attention to the relative levels of each layer. Often a mix needs one layer to
be dominant the other layer(s) usually can be much quieter and still provide enough
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definition and size.

Saturation. This is a magic trick for making almost any sound bigger not just bass.
When using saturation, its important to keep in mind that you dont need much for it to be
effective (unless youre going for a fuzzy distorted bass). A little bit goes a long way. Also,
different saturation tools respond very different to bass. Its often useful to have several
different options. Some saturation tools will rob you of low end, others will get too fizzy. A
technique that often works well is to mix a saturated version of the bass with the original
clean version, and to apply a low pass filter after the saturation. This will avoid the high
end fizz produced by some saturation tools, and will often thicken up the lower mids.
Stereo width. Simply, wider sounds are often perceived as being bigger. Its important,
however, to find the right balance too much stereo widening will reduce the body and
foundation of the sound. It often makes sense to widen the mids and/or top end, while
keeping the low end narrow.
Chorus / unison detuning. Similar to stereo widening, the use of chorus and unison
detuning can make a sound bigger. And again the balance is in using enough to make the
sound bigger without reducing the body and foundation. Applying chorus or unison
detuning to the mids and/or top end will avoid the bottom getting washy.
Sidechain compression. This is a popular technique especially when triggered with the
kick drum. This allows the bass to be louder when the kick drum isnt sounding. By making
the kick and bass take turns, the overall low end of the mix can be more consistent and
powerful. Its a distinctive sound, however, and isnt appropriate for all kinds of music
particularly when the bassline has a distinctive rhythmic pattern. If in doubt, try it out.
Bonus technique: Bass amp / cabinet. Amp sims arent just for guitars! Processing a
synth bass with a simulated bass amp can provide a dramatic tonal change.
Saturation/overdrive and compression are also often included as part of the package. This
technique isnt subtle though dont reach of an amp sim if your bass is already pretty
close to what you want. Amp sims are great when you have a weak or lousy bass that
needs some major transformation. The sound of the cabinet can also help keep the energy
of the bass consistent across a wide range of notes this can be handy if your bassline is
melodic or jumps around a lot.
Bonus technique: Compression. I think compression on synth bass is overrated. Most
synths can be set up to provide a consistent level and punchy envelope without
compression. Where compression shines, however, is on electric (or even acoustic) bass
when performed by a musician. When working with recordings like this, applying the
compression first will make the sound more consistent and help later processes especially
saturation.
With these techniques and some practice, you should have no trouble getting your bass to support
the rest of your mix.
-Kim.
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2011/11/07 - Find a big room
2011/11/07 - Find a big room

Find a big room and go record something in it!
It doesnt matter where it is, or what you record just find a large space and record something in
it.
Large spaces usually have a very distinct sound to them. They also often have a noticeable
reverberation. If youve chosen a public place as your big room, youll also have the benefit of
having something interesting happening in that space too.
Use your imagination! Even if you dont have a large room in your home (or even if you do), you
can probably find somewhere large with an interesting sound. A shopping centre close to
midnight? An underground railway station? A school hall? A cafe? A lift lobby?
You can choose to record the sounds that you find there or you can make some sounds of your
own and record them. Dont get stuck on preconceived notions of what is or isnt a musical
instrument use this as an opportunity to break free and experiment!
And dont worry too much about having to purchase equipment to do it. If youve got a
professional field recorder, thats great. If not, you can always use your mobile phone or borrow
someone elses gear. Again break free of the notion that you must record with accuracy and high
fidelity. The goal is to produce something interesting, not necessarily to document reality.
And then, make a point of incorporating the sound into your next project. Be creative. Use it as a
background texture. Chop it up and turn it into percussion. Play it backwards for an eery
atmosphere. Load it into a sampler, change the pitch, process it Maybe that distant door slam
can be subtly layered with your kick to make it sound huge. Maybe that train horn can be sampled
and filtered to become a new synth lead. Maybe you could bring your vocalist and record some
backing vocals in the subway. Or busy shopping centre.
Whatever you do, do something. Dont just reiterate the same old approaches be creative!
-Kim.
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2011/11/14 - Using chorus to increase stereo width
2011/11/14 - Using chorus to increase stereo width

Just a quick tip today use chorus to make a sound extremely wide without changing the
character of the sound. A simple digital chorus is often ideal for this the one that came bundled
with your DAW or a basic freeware plugin should be fine.
Use these settings as a starting point: 100% wet, 0% feedback, LFO rate below 1Hz, Depth 100%,
Delay 0ms. You might also need to set the relative phase of each LFO to 180 degrees this will
make sure the left and right LFOs are cycling out of phase with each other. To reduce the pitch
modulation, reduce the LFO speed.
Using a chorus like this is a little like using a Haas delay (delaying one side by less than 50ms) to
increase stereo width. Its better, however, because the choruss relative delay is constantly
changing (whereas a simple delay is fixed). This means the illusion of direction (the Haas effect,
caused by short delays) is changing, rather than static. This is more pleasant and less distracting
to listen to.
I do this most often with pads and background synths when I want them to be ultra-wide
especially in situations where the source sound is mono. Ill even use it when a stereo sound is
already very wide but the left and right sides are too different for my taste, Ill collapse the sound
to mono and the re-stereoise it using a basic 100% wet chorus.
-Kim.
2011/11/21 - What makes a successful collaboration

Successful collaborations are amazing. You can create something that neither of you could have
created alone. You can learn a great deal about music, each other and yourself. You can build a
close friendship thats unlike any other.
But successful collaborations dont just happen. You have to do them. You have to create them
deliberately.
Successful collaborations almost always share the following characteristics:
Communication
This is the big one. If youre going to work with someone, you must communicate. Probably more
than you think you should. You both need to be open and honest about expectations, creative
goals and working processes (workflow). You need to be open about personal preferences for
everything from your favourite tea to your favourite reverb.
This also means being unafraid to offend or upset. If youre holding back an opinion because you
think it wont be accepted, youll develop a dissatisfaction which can easily grow into resentment
and disengagement. If you think your opinion wont be accepted, you MUST talk about it. Being
unafraid to offend, however, isnt an excuse to be disrespectful. Its possible to voice an unpopular
opinion while being respectful and constructive. Sometimes its not easy, but its an essential skill
for building strong relationships.
If your collaborator has a habit of overruling you or dismissing your contributions you need to
address it and turn that attitude around. It might sound weird or feel uncomfortable, but opening
such a conversation should start with something like I feel uncomfortable when you ___. If this is
going to work, we need to ___. Itll feel awkward (it always does) and its hard to strike the right
balance between being assertive and being respectful. But you have to do it. If you dont, Bad
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Things will happen. Trust me.

Shared creative direction
You both have to be rowing in the same direction. You have to agree on where youre going and
how youll get there. Youll run into all sorts of problems if you have disagreements about what
end result youre both working toward. Youre in for a nasty surprise if for example you think
youre recording an album and your collaborator thinks youre recording an EP. Or if you want to
make dance songs and your collaborator wants to go more experimental. Youll get caught up in
numerous minor disagreements before you realise that theres a fundamental difference in what
each of you are trying to achieve.
Having a shared creative direction, however, means youll both need to compromise. To achieve
something together, you both need to believe in the outcome. And that means giving each other
enough creative space. As a simple rule of thumb: youll need to compromise just as much as
youd expect your collaborator to compromise for you.
Complimentary skills
For a collaboration to be effective, each person should have complimentary skills or at least
make complimentary contributions. For example:
You might be a great producer and mixer, and your collaborator might be a great singer
and songwriter
You might be a great songwriter, and your collaborator might be a great singer or
instrumentalist
You might be great at coming up with new ideas and sounds, and your collaborator might
be great at refining and organising them
You both might be great at post-production, so you agree for one person to mix and the
other to master.
There are many different ways to cut and dice the responsibilities. The best way of negotiating and
agreeing on this is to start with an understanding of workflow. Once youve worked out each step
that youll (collectively) take to complete each song, you can then assign each task to each person.
You should do this together with your collaborator keeping in mind what skills and capabilities
(and available time) each person has.
Having done this, it should be quite clear who is responsible for what. There should be very little
ambiguity about when each person needs to make a contribution (and what that contribution is).
Just as importantly, there should be very little ambiguity about when each person needs to cede.
For example, you might be a great songwriter in your own right but working on a collaboration
where the other person is writing the songs. You need to accept that you can (respectfully!) make
suggestions, but the final songwriting decisions are ultimately made by your collaborator. Dont get
precious about it let the other person flex their musical muscles and express themselves.
Appropriate equipment
This should be pretty self-explanatory. Between the two (or more!) of you, you need the
equipment to actually do what you want to do. Itll be hard for a laptop composer to collaborate
with a pianist if theres nowhere to record a good piano sound. Youll run into trouble trying to put
together a great rock mix if you dont have a good monitoring environment. Good luck recording
an intimate vocal performance if you live next to a freeway or airport.
If youre reading this blog, it should be pretty obvious to you. Most ideas are achievable
especially with modern technology. Be aware, however, that acquiring capabilities that you dont
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already have can take time and money. Look out for unrealistic expectations in your collaborators.
They might have great ideas and if theyre passionate and charismatic, they can drag you along
with them. If youre not careful, though, you could end up halfway through a project before you
realise youve committed to much more than you initially thought. The extra time and expense to
acquire capabilities that you dont already have can be painful. It can put you in a difficult position
if youve both already invested your time and money into the project.
By conscientiously addressing each of those four factors at the start of a potential collaboration,
you should be able to create some interesting music with a minimum of bruised egos or black
eyes. Of course, there will always be disagreements and misunderstandings (were human after
all!), but they can be managed and worked though if you put in the groundwork ahead of time.
-Kim.
2011/11/28 - Everything you wanted to know about de-essing

but were too afraid to ask
Simply, de-essing is a process for reducing the level of sibilance in a vocal recording.
What is sibilance?
Sibilance is characterised by sss and ts sounds (and, to a lesser extent, t and k and z sounds)
in the English language. Unlike vowels, sibilant sounds have a relatively low (in volume) pitched
component and a high (in volume) unpitched noise component. The unhitched noise is also
focussed strongly in the higher register (unlike shh sounds).
Why would you want to reduce it?
Sibilance is essential for intelligibility. That is, we need to hear it in order to understand the words
delivered by the vocalist. Too much, however, can unbalance a mix. Some singers naturally deliver
sibilant sounds loudly (this often applies to singers who arent classically trained). Sometimes EQ
or compression can enhance the sibilance in a vocal recording (especially when the high
frequencies are boosted).
When listening to the voice on its own it can be difficult to know if the sibilance is too strong. This
is because our brain naturally compensates for the difference in volume between the vowels and
the sibilance. In a mix, however, youll notice when the sibilance is too strong. Youll raise the vocal
level until the vowels are at the right level but the sibilance is too sharp and sticking out of the
mix, or yourll reduce the vocal level until the sibilance sits well but the vowels disappear under the
mix. Sometimes strong sibilance can excite the vocal reverb, making the reverb much more
noticeable.
How does de-essing reduce sibilance?
De-essers are usually set up as simplified compressors with a bandpass or highpass filter in the
sidechain.
Most de-essors do not have the full compliment of compression controls (attack, release,
threshold, ratio, makeup). Instead, there is usually just a threshold (and sometimes a ratio
control). The other controls are tuned to work with sibilance and the human voice. De-essers are
among the most specialised studio tools they dont need a lot of controls or a wide range of
operation.
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2011/11/28 - Everything you wanted to know about de-essing but were too afraid to ask
The filtered sidechain changes the compressors behaviour so that it only reduces gain when there
is sibilance in the audio. The filter is tuned quite high (usually above 5kHz) so that the compressor
doesnt respond to energy in the low or mids (where most of the vowel energy is). The
compressor, however, applies gain reduction to the whole signal not the filtered version. This
means that when the sibilance is being reduced, the actual tone of the voice is not changed. Its
just made quieter.
Some de-essors use dynamic EQ instead of a compressor. Theyre usually designed so that instead
of reducing the gain of the whole signal, they only reduce gain to the high frequencies. Imagine a
high shelf or parametric cut that only comes in when the voice is sibilant. This kinds of de-essers
require more care when theyre being set up because they work by changing the tone of the voice
(rather than just the level). If not configured well, they can make the vocalist sound like s/he has a
lisp.
How do I set up a de-esser?
I usually wait until the mix is almost completely finished before applying a de-esser. Ill make sure
the level of the vowels in the vocal are balanced well against the other elements of the mix. Ill
then use the de-esser just enough to bring down the sibilance to an acceptable level. Usually, I
aim for the lead vocal sibilance to be at a similar level to the hi-hats, snare or other prominent
high-frequency sound in the mix.
I almost almost insert the de-esser after EQ and compression (but before any time-based effects
such as delay or reverb, of course). This is because I use the de-esser to slightly modify a sound
that Im already happy with. Applying compression after a de-esser can actually counteract the deessing, as the rull-range compressor can bring the sibilance level back up.
What else is a de-esser useful for?
De-essers can be very useful for backing vocals. There are some situations where backing vocals
(especially stacked backing vocals) are a little messy. Most of the time its fine, but its most
pronounced in the sibilance. A de-esser will bring the sibilance right down, making the backing
vocals sound less messy. Use this way, a de-esser can be applied much more heavily the
intelligibility and articulation is carried by the lead vocals. Just watch out for any sections where
the background vocals are exposed heavy de-essing will make them sound weird without the
lead vocal.
De-essing can sometimes be useful on drum kits particularly on overheads when balance of the
kit is right but the crash cymbals are too loud. A de-esser can sometimes be effective in reducing
the level of the crash cymbals while still retaining the sense of room and space. Again subtlety is
the key here. Too much de-essing will suck the air out and make the drums sound unnatural.
-Kim.
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2011/12/05 - Interesting things to do with delay

Ok, this time a few quick tips to try out
You probably all know about the delay-> filter technique to make the repeats darker and sink back
into the mix. Its so common that most delays have a built in lowpass filter to gently push the
repeats into the background. But theres a lot more you can do with a delay. If you havent
already, try out the following techniques in your next project:
Delay -> reverb. Set up a send channel with a delay (100% wet, of course) followed by a
reverb. The goal here is to slightly diffuse or blur the repeats, so aim for a short reverb
without much sense of space. A plate or other special effect reverb (such as reverse
reverb algorithms) will probably give you the best results. This will work especially nicely if
the main reverb in your mix is particularly long and deep. The contrast will make the short
reverb sound more like a subtle diffusion than part of the background ambience.
Double delay. Use a delay with two taps or set up a send channel with a 100% wet delay
followed by a 50% wet delay. Synchronise both delays to the project tempo, but make one
short (e.g. 1/8th or shorter) and one long (e.g. dotted 1/4 or longer). If the first delay is
the shorter one, it will add depth and complexity to the dry sound, while the longer delay
provides a cleaner echo. On the other hand, if the first delay is the longer one, the shorter
delay will be closer to the echo than the dry sound, making the echo more complex (and
keeping the dry sound cleaner by comparison).
Delay -> 100% wet chorus. If your delay doesnt have any modulation built in, you can
use a 100% wet chorus to add a little instability and subtle pitch variation to the repeats.
Depending on the features available in your chorus, you can also use it to increase the
stereo width of the repeats as well. Increasing the stereo width in this way is another way
of adding some subtle diffusion to the delays to help them sit further back in the mix. If the
delay is followed by the chorus (delay->chorus), each repeat will sound slightly different as
it fades away. If the chorus is followed by the delay, however (chorus->delay), the amount
of modulation will be the same but the repeats wont change as they fade away. Its worth
trying both to see which approach will work best in your song.
Insert delay -> compressor. You might have heard of ducking delays these are
delays that automatically turn down the volume of the repeats when the original sound is
playing and turn the repeats when the original sound has stopped. This is particularly
useful with vocals and other load melodies the repeats dont interfere with the lyrical or
melodic content but add depth and fullness at the end of (or in between) phrases. Usually
this is achieved with a delay that has a built-in compressor. The compressor processes the
wet output of the delay, but its sidechain is fed with the original dry sound. If your
favourite delay doesnt have this feature, however, you can still produce a similar effect by
using the delay as an insert effect (not on a send channel) and following it with a
compressor. Make sure the wet level of the delay is quite low, and the compressor has a
low threshold, medium ratio and medium-long release. Youll also have to be careful that
the compressor doesnt adversely affect the dynamics of the original sound too much you
might need to back off any track compressors earlier in the signal chain.
Automate feedback amount. This is fun set the feedback amount pretty low (fewer
repeats), but automate the feedback to 100% for some sections of the song. For those
sections, the repeats will stay at the same level (until the feedback level is brought back
down again) instead of naturally decaying away. This is particularly effective at the end of
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phrases or leading into section changes. For an even more dramatic effect, use a delay that
allows its feedback to be set above 100%. This will cause the repeats to get louder (instead
of staying at the same level or decaying away). If the delay has a saturation stage, the
repeats will also get more overdriven and distorted as they get louder. Dont keep this
going for too long, but for short periods its great for buildups and leading into section
changes.
-Kim.
2011/12/12 - Are singers more sensitive than

other instrumentalists?
Have you worked with singers?
Have you worked with other musicians?
Have you found that singers generally are more sensitive than other musicians? Have you
found that they respond differently to criticism? Perhaps they take it more personally?
If youve spent any serious time as a producer or engineer working with other musicians, this is
probably the experience youve had.
And you might have assumed that its something unique to singers.
Thats kind of true, but not quite. Its not because theyre singers. Its because we usually see
singers in the studio much earlier in their careers. Its quite common to get a singer wanting to
record some songs having only been seriously dedicated to their craft for a few years (oh, they
may have been singing their whole life, but ask how long theyve been taking lessons for)
On the other hand, a session musician probably has about 5-10 years of playing in bands and
gigging before they get anywhere near a studio. Even when recording bands (unless youre
working with teenagers).
Another difference, of course, is that singers are often singer their own songs. Song which
represent their self-expression. And unfortunately many singers interpret criticism of their
technique as criticism of their musical expression (which, by extension, is criticism of themselves
as people). And again, experience is key. A singer/songwriter with ten years of experience is less
likely to take criticism personally than one with two years of experience.
So what does this mean?
You probably need to be more sensitive with singers. But not because theyre singers. You need to
be more sensitive with any inexperienced musician. And you need to be more sensitive with any
musician that is expressing themselves in a very personal way.
-Kim.
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2011/12/19 - How awesome is doubletracking?
2011/12/19 - How awesome is doubletracking?

Its pretty awesome.
Which is why its used so much. Chances are, you probably use it yourself. Doubletracking makes
things sound bigger and thicker. Who wouldnt want that?
Do I need to count the ways?
Guitars. Especially overdriven guitars. And distorted guitars. And overdriven distorted
guitars. The more the merrier. And by merrier, I mean BRUTALLER. Bonus points for
tracking each layer with a slight variation pickup selector, amp EQ, speaker, mic position,
etc.
Synths. See that unison button hidden in the corner? Yeah, that. Try to use enough
detuning that it doesnt just sound like a big silly flanger. But dont use so much that your
sound is an angry swarm of bees. Unless you like that sound. Bonus points for adding a
sub oscillator in there somewhere. And distortion. Dont forget distortion.
Strings. Solo violin vs string ensemble. Need I say more? Bonus points for actually knowing
how to score for a string ensemble. Bedroom producers who havent had any theory
lessons in their life, Im looking at you.
Claps. Where would hip hop be without ridiculous unison claps? Doubletracking giant claps
is like doubletracking giant baggy shorts. Too much is never enough. Bonus points for
running the clap stack through a stereo ring modulator with a square wave carrier. And
distortion. Dont forget distortion.
Backing vocals. Do it. I usually hate doubletracked lead vocals, but its wonderful on
backing vocals. Bonus points for compressing each layer individually but EQing them at a
group. And distortion.
On the other hand, doubletracking diffuses the sound as well. Doubletracking will make your
instrument sound more blurry and indistinct. It reduces clarity. Thats awesome when you want
your double tracked instrument to be a supporting part in the background (or middle ground).
Giant walls of guitars fill all the frequency gaps left by the vocals and drums. Unison is a great way
of softening synth pads and rhythmic comps.
When isnt it awesome? Probably any time you want the instrument to be front and centre. Of
course, there are some stylistic exceptions (have you ever heard a trance lead that
wasnt massively detuned?) but generally doubletracking will push a sound further towards the
background, and thats often not something youll want to do for a foreground instrument.
-Kim.
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2011/12/26 - So whats the point of expansion?
2011/12/26 - So whats the point of expansion?

Youve used gates, right?
If youve ever recorded something with a microphone, youve probably had a situation where the
background noise was just a little too high (or the acoustic sound was just a little too quiet) and
the background noise was bugging you in the mix.
So you reached for a gate, eh?
Set the threshold, maybe adjust the attack and release (I usually prefer an instant attack and fairly
gentle release) and call it a day. Bingo! No noise in between playing!
That usually works fine for busy mixes where theres always something going on, or there is a rich
background texture. But in sparser mixes, you might notice that the difference between the silent
and non-silent sections of a track is rather uncomfortable. When the instrument is playing, you get
a rich subtle ambience (or refrigerator hum, if thats how you roll). When the instrument stops, the
life gets sucked out of the track.
Pure digital silence.
What an expander does is reduce the level of the background noise without killing it entirely. It
makes the quiet stuff quieter. It helps you push the background noise out of the way when its not
needed, but doesnt totally suck the life out of your track.
Just be careful that youre not using heavy compression after the expander. Expanders can be
quite subtle in their effect, and compressing the resulting sound can destroy your careful balance
of threshold and ratio. If you like following your tail in circles, lower the threshold of the expander
to compensate for the heavy compression. In general, though, its not a good idea to have two
processes fighting each other. If you want to use an expander, its probably because subtlety is
important to you. Use a gentle compressor.
-Kim.
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2012/01/07 - My blog has moved!
2012/01/07 - My blog has moved!

Ok, Ive finally done it. Im closing my blog here on wordpress.com and continuing it on my own
website:
http://blog.kimlajoie.com
New directions
Im going to keep writing about technique and maintaining the blog as a reference for
composition, production and engineering tips. Ill also be writing a bit more about my own projects
and experiences. Hopefully this will illustrate some of the more practical aspects of the techniques
I write about. There might also be some surprise goodies coming in the future.
What you have to do
Youll have to resubscribe. Sorry.
Email subscribers: I cant take all your email addresses and sign you up for something new. Not
allowed.
RSS subscribers: I cant reach into your reader and reconfigure it. I can only perform miracles on
sound.
Fortunately its pretty easy to resubscribe. Head over the the new blog site and check the righthand side. If you like email, use the Subscribe by email section. If RSS is more your style, check
out the RSS feeds section just below. Its pretty easy.
So, what are you waiting for? Head over there!
Also, theres a new blog post about why I bought a new iMac and installed Windows on it.
-Kim.
2012/01/07 - I got an iMac to run Windows in my studio

Well, it was almost time for a new studio computer anyway.
First, however, a bit of background.
Ive always used Windows in my studio. It dates back to childhood weve always been a PC
family since before Windows. I remember knowing the difference between DOS 3 and DOS 5. I
remember hacking together BAT files before I had ever heard of Bash. I taught myself assembly
language programming in DOS. And Ive used almost every version of Windows from 3.0 to 7
(although by that stage I wasnt doing much programming anymore). So when I started dabbling
in music software, it was on a Windows machine.
It feels strange writing that, because I dont have any loyalty to Microsoft. I had a long affair with
Linux and various other flavours of Unix (including non-x86 architectures) at University. Some
people experiment with drugs. I experimented with system architecture. Linux wasnt ready for the
desktop, and eventually I tired of endlessly configuring and maintaining systems. I wanted to
actually get some work done.
Enter the Mac. This was back in the G3 days. OS X was still fresh and it offered a fascinating
transition from the arcane world of Unix to a streamlined and designed desktop environment. I still
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2012/01/07 - I got an iMac to run Windows in my studio
use a Mac for running my business and day-to-day life.

But in the studio, it was always Windows.
Ive always known Macs were common in studios, but I had (and still have) a bunch of Windowsonly software that suits my workflow. Whatever works, eh? Regular readers will know that Im not
one to follow trends for their own sake.
In addition, Ive always used custom-built PCs. Ive always been able to get the best price for the
performance I need and didnt mind putting it together myself.
Well, my latest studio computer started acting up and I realised that Ive changed in a couple of
important ways:
1. Im really sick of putting computers together. Actually, Im sick of caring about the minutia
of internal components. Just thinking about researching motherboards and CPUs makes me
feel gross.
2. I no longer need to scrimp and save to get the best performance/price ratio. My business is
doing well enough that Im not as price sensitive as Ive been in the past.
Actually, theres one more thing too. Performance is no longer the deciding factor. Noise level is.
Ive had various elaborate cooling systems in the past (including keeping the tower in the adjacent
room and running long cables a pretty neat solution actually). In my current studio, the tower
has been living in a cupboard-like wall cavity with acoustic treatment on the inside and around the
door openings. Even still, I still havent been satisfied.
So I did a bit of looking around, and most computers arent designed for almost-silent operation.
Pretty much anything designed to run Windows is noisier than what Id accept. Even the Windows
PCs running in studios more upmarket than mine.
Enter the Mac. For my needs, it was a toss-up between a top-line iMac and a lower-mid Mac Pro. I
went with the iMac because the Mac Pro would have been overkill for me much more expensive
with very little benefit. I dont need multiple large hard drives (I dont do much sample streaming)
and I dont use internal expansion cards (native DSP and external audio interface).
So why not run OS X? Still the software. A few reasons There are a few plugins that I love that arent available on OS X and there arent any direct
equivalents.
There are a few Windows-only utilities that I like.
Cubase (my DAW of choice) supposedly runs better on Windows.
Apples scorched-earth policy regarding backwards compatibility doesnt work well for a
machine that I like to set up and keep pretty much the same for its three-year life. On a
Mac Id go through a couple of OS upgrades in that time.
Ive been pretty busy with other work lately so I havent fully set up the new computer yet. Ill
have to fit it in around my other scheduled work over the next week or two.
-Kim.
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2012/01/09 - The role of pads
2012/01/09 - The role of pads

Nope, not the switch on your microphone preamp.
Pads are generally soft sustained notes in the background. Most synths have a preset category for
this. They often sound impressive (or silly) when playing big two-handed chords.
Theyre most commonly used to support the current chord and fill out the harmonic (and spectral)
texture. For example, if your bassline is sitting mainly on the tonic (root note of the current chord)
and your melody is mainly hovering around the dominant (fifth above the root note), a pad can
add richness by bringing in the mediant (3rd) and even the subtonic (7th). You can also use a pad
to bring in other other degrees (such as the 4th, 6th, 9th or even 11th) in a subtle way. While this
can add a lot of harmonic richness, you have to be careful not to make it too obvious otherwise
the harmonic structure will be too dense and messy. It might be useful for an occasional effect,
however, so dont rule it out entirely.
Pads are also useful in filling out the spectral texture of a mix. By having a relatively broad spectral
bandwidth, pads can fill the sonic gaps left between the foreground instruments. Like the
harmonic structure, this can add richness and depth to the sound. Pads often sit naturally in the
background because theyre quite diffuse, soft and slow-moving. They can be particularly useful
for adding stereo width to an other-wise narrow mix. Theyre prime candidates for subtle stereoenhancing processes because as a background part the mix wont suffer too much if the pads
disappear a bit when collapsed to mono. If anything, it could be beneficial because itll make the
mix more focussed in mono, reducing the effect of having all the instruments stepping on top of
each other.
Pads arent just for electronic music! In rock and pop, distorted guitars and backing vocals often
take the role of a pad providing a diffuse background texture to support foreground instruments
and fill out the sound. Orchestral strings (or string-like textures) are often called upon to fill this
role too.
-Kim.
2012/01/10 - Ways to create interesting mixes

Audio-issues has a new post up with a few good ideas for creating interesting mixes. Theyre
pretty straightforward, and mainly focus on adding new elements (including pads) to a song.
Personally Ive used all those techniques and Ill continue to do so.
To add to that, Id also suggest using unconventional processing. For example, in a recent guitardriven rock project I often used sequenced filter/gate effects to add a modern edge while still
retaining the essence of the guitar-based texture.
Another approach is to use some strange experimental effects in the background create an
unconventional ambience. The Sister Freak album I produced in 2010 has a lot of this. We had a
lot of fun chipping things up, turning them around and transforming them into bizarre mechanical
noises and alien atmospheres. Sometimes its not very obvious but it always creates a subtle (or
not-so-subtle) sense that the mix is playing by different rules.
-Kim.
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2012/01/12 - Using subtractive EQ
2012/01/12 - Using subtractive EQ

Petri Suhonen recently posted some good pictures explaining the boost and sweep technique for
finding and reducing troublesome frequency ranges. The images are a great way of describing the
technique quickly and easily. I do, however, take issue with this statement:
Boosting increases the volume levels of frequencies and it will easily lead to distortion,
muddy mix and cause other unwanted artifacts [sic] if you overdo it. Cutting instead
leaves more room for the instruments and sounds to breathe.
Theres nothing inherently wrong with boosting.
Distortion can occur if the EQ boost increases level (i.e. the overall level isnt turned down to
compensate) and theres a non-linear saturating device further downstream. If youre reading this
blog (and Pertis blog), youre probably working in your DAW and the only distortion youll get is
deliberate (or foolish).
Muddy mixes usually occur if theres a buildup of lows or low-mids. Yes, youll get a muddy mix if
youre inappropriately boosting a lot of tracks down there, but the mud isnt from the positive gain
on the EQ band. Its from the positive gain and the centre frequency for that band. You wont get
any mud by boosting above 1kHz (you might get honky or harsh sound though).
-Kim.
2012/01/13 - A sense of movement

Mark Strauss:
One of the most valuable production techniques an electronic musician can learn is the
sense of movement or subtle variation applied to individual sounds of a given track.
Subtle variation is what brings sounds to life. Its why live performance is so interesting. Its why
complex flawed compressors have vibe and mojo. Its why naive digital algorithms sound boring.
An envelope/LFO generator can go a long way toward adding some life to your tracks, but I
suggest that focussing more on performance will produce better results. Map a bunch of knobs or
faders to controls on your synth or effects and do some takes the whole way through the song. No
stopping. It might take a bit of practice before you come up with something youre happy with, but
its worth it.
Instead of the subtle (or not-so-subtle!) motion being cyclic or random, it will follow the contour of
the song and make the music more expressive.
-Kim.
2012/01/14 - Mix at lower volumes

Joe Gilder:
Mix at a level where you can still comfortable hold a conversation with someone next to
you.
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2012/01/14 - Mix at lower volumes
Excellent advice.
Everything sounds great loud, but youll quickly tire yourself out and lose perspective. In addition,
its often important to listen at several different levels when mixing. I like to think of the monitor
level as similar to a zoom control. Sometimes you want to zoom out and see the big picture of
how everything fits together. Other time youll want to zoom in to focus on the detail of a track.
Too much zooming out and you wont see the details. Too much zooming in and youll be
overwhelmed and lose perspective.
2012/01/15 - A simple explanation of compression? No,

actually its quite comprehensive
And in a good way.
Keith Freund:
Shorter attack and release times (smaller numbers) will make vocals sound more
energetic, louder, and will also bring out the breaths between words.
Longer attack and release times (higher numbers) will make vocals punchier which
obviously isnt as important for vocals as it is for other instruments like kick and snare.
Dont be put off by the title. Its a great comprehensive overview of compression and not just for
vocals.
-Kim.
2012/01/16 - Are you making these five mistakes when mixing

bass?
This post was originally published on Audio-Issues, arguably with a better photograph.
Mixing bass isnt easy. Its one of easiest ways to tell the difference between a lousy mix and a
great mix. If you dont know what youre doing, your bass will sound boomy or hollow or tubby or
messy or indistinct. In a great mix, however, the bass just sounds right. Unfortunately, its not very
easy to know exactly what right is, or how to replicate it in your own mixes.
In my experience, getting the bass to work well in the mix is not a matter of knowing the right
techniques. You know what to do adjust the tone, maybe use some compression or saturation.
But knowing what to do isnt a ticket to great bass. Its not about the what its the how and why.
And, interestingly, its more about listening than doing.
Bass Mistake #1: Not mixing in an acoustically-treated room
Oh yes, this is mistake number one. Rooms have uneven bass response the bass sounds
different depending on where the speakers are and where you are. Its worse with small rooms.
And while you probably cant expect to have a perfectly-flat bass response in your room (unless
youre a mastering engineer), you can make a big difference by using bass traps. These are
(usually) dense foam or other heavily absorbent material, and work best when placed in the
corners of the room. Some basic treatment will cost you less than a new hardware bass synth and
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2012/01/16 - Are you making these five mistakes when mixing bass?
do more to improve the sound of your mixes. Convince yourself.

Bass Mistake #2: Not knowing your monitoring environment
Ok, so youve got a pretty decent room. All good? Nope. You need to know your room. You need
to know how your speakers sound in your room. And the best way to do that is to spend a lot of
time listening to your favourite music. In your room. On your speakers. I told you itd be more
about listening than doing.
Bass Mistake #3: Not checking a variety of playback systems
Sounds great in your room on your speakers? Congratulations. Unless youve checked it elsewhere,
you never know. Speakers and rooms can vary a lot in their bass response even if youre working
in an acoustically treated room, its easy to get it wrong. Listen on a wide variety of speakers.
Check on headphones. Take it out to the car or the office or the iPod. Youll probably hear
something that surprises you. Sometimes a fresh perspective is all you need.
Bass Mistake #4: Using certain tools and techniques just because everyone else seems
to do it
Oh yeah, this is a big one. The internet is full of people dispensing dubious advice on how to make
your bass sound amazing. The trouble is, a lot of this advice works some of the time. Collapsing to
mono, highpass stereo unison/chorus, saturation, magic compressors, layering, and side chaining
are all techniques that work sometimes. But they dont work all the time. You need to think with
your head (the one on your shoulders) and decide on which techniques are appropriate for
your mix. And to do that, you need to listen. Know what your mix needs before you start reaching
for magic fixes.
Bass Mistake #5: Thinking everything depends on the bass
Again, some perspective is in order. Bass is very important. For a lot of music, getting the bass
right is essential. Its necessary, but its not sufficient. There are a lot of other things that are
necessary for a great song. Yes you know this. Good. Dont lose focus. Dont spend four weeks
mixing a single song. Get the bass right, but know when youre chasing your tail.
Most times its not your tools that need improving, its your mind.
-Kim.
2012/01/17 - 5 Reasons Your Song Might Use a Pre-Chorus

Gary Ewer:
But if you find yourself looking at your song and wondering what to do to enhance the
build between verse and chorus, consider the power that can come from a pre-chorus.
Some great thinking here on how a pre-chorus fits into a mainstream song structure and how it
can make an important contribution to the song. Hint: Its not just a glue between the verse and
chorus.
-Kim.
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2012/01/18 - Bob Ludwigs tips for mixing vocals
2012/01/18 - Bob Ludwigs tips for mixing vocals

Bob Ludwig (Via Bobby Owinski):
The vocal is everything to the success of a song. Make it loud enough to be able to hear
the lyrics. The problem is, if the vocal level is too high, all the energy of the track
disappears, if it is too low, you cant understand what is being said.
Also:
A mix with a bright vocal and a dull drum sound is really a problem. The all important
snare takes up a lot of spectrum and trying to brighten it with eq will make the bright
vocal even brighter and quickly become unacceptable.
This is a really important part of getting the balance right in the mix. And, unfortunately, its
something that a lot of beginner and intermediate mix engineers dont know about.
My general rule of thumb for pop music is that the vocal is usually about the same (perceived)
level as the snare and the sibilance is about the same (perceived) level as the top of the drums
either the hats, snare or overheads.
Also read part one of the interview. Great stuff.
-Kim.
2012/01/19 - Making your manuals available anywhere

Erik Magrini:
Ive started putting PDFs of all the manuals for my gear on my iPad, instead of using
the hard copies. While I generally prefer having a physical manual when possible, its
definitely been nice having all my manuals in one place where ever I am. Plus it speeds
up looking for something too, since most manuals have indexes or as table of contents
that allows you to instantly jump to a topic in the manual.
I put all my manuals on Dropbox. That way theyre available whenever I feel the need to suddenly
double-check some obscure functionality of some of my gear.
I also keep copies of manuals for gear that I dont have, but am considering buying. You can read
all the marketing text in the world and watch Youtube videos for days, but nothing tells you how a
piece of gear really works as well as reading the manual.
Unlike Erik, I dont prefer hardcopies. Electronic documents are much easier to scan and search.
-Kim.
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2012/01/20 - Editing manually dont let the computer do it for you!
2012/01/20 - Editing manually dont let the computer do it

for you!
Joe Gilder:
Inevitably the automagical software will try to fix things that dont need fixing. Or it
will stretch the audio and leave noticeable, audible artifacts [sic].
Read the whole post. Dont just hit the magic fix button and hope the software knows whats best
for your music.
Joe writes about manual editing in the context of adjusting timing, but I think it also applies to
pitch correction. For lead vocals, I almost always use Melodyne and adjust the tuning by hand
instead of using an automatic process. Automatic software will always go for the technically
perfect solution, but a lot of the time a note will feel more right if its a little sharp or flat. Also, a
lot of the time a note thats a little bit out of tune sounds more natural it doesnt detract from
the performance. If it doesnt need tuning, dont tune it.
First, do no harm.
-Kim.
P.S. Joe follows up to reader feedback here.
2012/01/23 - Get more out of your phaser

Youve probably got a phaser somewhere in your studio. Maybe several. They can usually be found
lurking in your workstation keyboards, your plugin folder, your sampler or maybe your stompbox
collection. And unless youre into trance or psychedelic rock, youve probably tried one out, heard
a silly whooshing noise and then decided to never use it again.
But phasers can be much more useful than that.
A phaser can be an unexpected secret weapon that gets you out of a difficult situation or surprises
your listener. Pull it out again and see what you can do:
Stereo widening. Seriously. Do it. Turn the feedback way down and make sure the
modulation is very slow. Its a similar approach to using chorus for this task, except that
you dont have to worry about flanger-like comb filtering if your sound is collapsed to
mono.
Subtle motion. Do the above, but set the phaser to mono (either summed inputs or inphase LFOs for each side). With low feedback and a low number of stages, the sound will
be more akin to a subtle EQ. Except the frequency controls for each band have a life of
their own. For an even more subtle effect, pull the mix blend back from 100% to 50% or
even less. Most phasers can be set up so that you hardly notice theyre there, but you can
feel the motion. For an interesting effect, set up a phaser (100% wet, of course) on a send
channel, and use it in (very) small amounts on each track in your mix. Your whole mix will
subtly shift and turn as one. For a somewhat more chaotic approach, use a separate phaser
on each track, with a slightly different LFO time.
Drum hits. You could use a phaser on a single drum hit, but thats no fun. If youre into
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chopped up breakbeats, however, try applying a phaser to the beat before you chop it up
and rearrange it. After you rearrange the drum hits, youll lose the characteristic cyclic
whooshing. Instead, itll sound like youre chopping up the LFO driving the phaser. Its a
cool effect and can be useful in bringing a boring beat to life or imparting your own sonic
signature to a generic beat.
Vocal effects. Dont do this too often. But if youre looking for some special spice for a
featured moment (and the usual telephone autotune isnt making you all hot and bothered
anymore), use a phaser. Set it for fast and shallow for a kind of space transmission sound.
As usual, go easy on the feedback. Rely on the LFO and increase the number of stages to
produce a distinctive sound.
Dont ignore any of your tools its important to bring them out every now and then and see if
you can think of some new ways to use them.
-Kim.
2012/01/24 - 2011 Annual Report

So, some people have done their 2011 annual report on their blogs about their blogs. You know
the most popular posts, etc. Last year I did it too. Not this time. This time my annual report is
about my projects. You know, that stuff I do when Im in the studio. Thats what youre hear for,
isnt it? Enough naval-gazing.
2011 was a big year. Five major projects, nine official releases. Depending on how you count it.
This post is a summary of projects under my own creative direction. Astute readers will notice that
there have been other projects that have not been mentioned here these are projects that
werent under my creative control. For those projects, I had much less control over the outcome
and arent as interesting to write about.
Warning: This post is long. You might want to bookmark it or print it out or something. And if it
loses the fight with your attention span, I wont be hurt. Im writing it as much for myself as for
you.
Torch
Lets start with the most difficult. This breaks my heart.
Torch was a project that started in 2010. In fact, most of the production was done in 2010
writing and recording five songs for release as an EP. The sound was one of my favourites heavy
downtempo electronica with emotional female vocals.
Initial goals
At the beginning of 2011 I planned to record final vocals and finish postproduction (mixing and
mastering) of the EP, commission graphic design and web design, and release it within the first
few months of the year.
Outcome
It was a disaster. The artist had stopped showing up after the rough initial vocals were recorded,
but had provided assurances that the final vocals would be recorded at some stage. I pressed
ahead with postproduction, in order to maintain our schedule while still remaining open to final
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vocal recording at any stage. The artist had been AWOL ever since the deadlines for final vocal
recording started to slip. By the time January rolled around, the message was pretty unambiguous
that the artist was no longer committed to the project.
I should say at this point that this was a personal project the artist was not my client (in a
professional sense).
The EP was mixed and mastered and the graphic designer got halfway through the design
processes when it all fell apart. As a courtesy, I provided some initial design concepts to the artist
for her thoughts and feedback. She wasnt happy. After a few terse emails back and forth, I found
myself accused of being difficult and unsupportive.
And so, fully mixed and mastered, the project was shelved.
Learning
Sorry I cant provide more details Ive tried to summarise it as best I can, but theres a lot of
nuance and history which I cant cover in this space. Its also still a sensitive subject, and theres a
personal dimension that Id rather not discuss in public.
Theres some good that came of this though. I learned a lot. I cant stress enough how important
it is to read and confirm peoples intentions early. I had an inkling early on in the project (in
2010) that the artists commitment might be questionable. Instead of addressing it with (what
would probably have been) an uncomfortable conversation, I chose to turn a blind eye and remain
unrealistically optimistic.
I was unrealistically optimistic about the artists willingness and ability to prepare for final vocal
recording. I was also unrealistically optimistic about the artists blessing to take the project over
the finish line.
If Id caught it early, I could have either worked with the artist to remove whatever barriers were
in our way. Or worst-case I could have saved myself the time and emotional investment I put
into trying to finish it.
A year on, Im much better at reading and addressing early warning signs. And Im better at
removing external dependancies from my personal projects.
Punch Card Poet

Like Torch, Punch Card Poet was a project that began in 2010. By the time 2011 hit, we were
about a third of our way through production and halfway towards our final deadline. That doesnt
sound so bad when I write it, but trying to fit about 8 months of production into 5 months isnt
easy.
Punch Card Poet did make it to release. Its a brutal mix of industrial metal, spoken word poetry,
world music and hip hop. Its such a disparate set of influences that most people have difficulty
connecting with the music.
Initial goals
The goal for Punch Card Poet was to finish production by the middle of the year and release it in
the second half of the year.
Outcome
Surprise it actually happened! Well, we slipped by a month, but thats not such a huge loss in the
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scheme of things.
The problem was that it was a scramble. We had a lot of songs in half-finished states and it wasnt
easy to work out how much extra time each song would need for completion. Our workflow was all
over the place.
Learning
When embarking on non-trivial projects (basically anything over 10 sessions), its critical to have
everything in order. The reason we started the year behind schedule is because we werent
tracking our work very effectively. I didnt track how many sessions we did in 2010, but it was
probably about 20. It took us a further 42 sessions in 2011 to bring it across the line.
If wed made a proper project plan in mid-2010 when we started, wed have known earlier that we
had unrealistic expectations for how much work it would be and what rate of progress we should
have made. Knowing that would have allowed us to balance the project more effectively. It might
have even helped us avoid the mad scramble in May-July.
Fortunately, we finished the project and were happy with the result, but working so close to the
line increased the risk dramatically. Any small hiccup could have had a massive impact. And
hiccups happen people get sick, computers break down, families happen, etc. The thinner your
margins, the harder it is to respond to hiccups smoothly and gracefully.
Crash Honey
And now for something different. Despite the hard-hitting early single Truth, Crash Honey is more
about piano-driven rock ballads and self-reflection.
Initial goals
Crash Honey started up in early 2011 as a different kind of project. I assembled a songwriting
team a lyricist, a composer, a vocalist and myself as producer. The plan was to write and record
six songs over about seven months and release late in the year.
Outcome
Well, it all went pretty swimmingly until the lead vocalist vanished. Unspecified family problems up
the east coast. Nothing any of us could do about it.
Workflow was better, though. We planned to approach the EP in two groups of three songs. We
managed to record final vocals for the first three, and the disappearance occurred partway through
recording the next three. Unfortunately we didnt even record initial vocals for those three, so by
the time we decided to go ahead with what we had (the vocalist still hasnt returned), we only had
vocals for three songs. The other three are fully recorded as backing tracks, but without vocals
theres not much we can do with them.
Learning
Obviously, theres nothing I can do about people having family problems. But this release could
have been much more if wed arranged our workflow to record initial vocals for all six songs as
early as possible. Even if we didnt get around to recording final vocals or backing vocals, thered
still be a chance that what we had would be good enough to edit and mix.
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Gag Doll
Well, heres an interesting one. I hesitate to include this project here because it hardly got off the
ground. Sorry, theres nothing for you to listen to, but its an interesting case study.
Initial goals
This was going to be a somewhat different style of project. Like Crash Honey, Gag Doll was to be a
team effort. Unlike Crash Honey, I was going to have a much smaller role in engineering my role
would primarily be in project management.
The team consisted of a lyricist, three instrumentalists/composers and a vocalist. I had a pretty
strict workflow organised and made sure everyone knew what everyone else was doing.
The big wildcard was that almost everyone was overseas online being the only means of
communication. The vocalist was local, and wed planned to record vocals and do post production
at my studio but everyone else was hiding somewhere inside the computer.
Outcome
We got off to a good start, but things started to drag pretty quickly. Despite trying to keep
everyone on the same page with regular weekly email updates, progress was slow and
unpredictable. Some people did their work quickly, others took a while to get around to it.
Unfortunately, it kinda fizzled out. People lost interest. Things werent happening. Eventually I
decided that it wasnt worth chasing people when they no longer emotionally invested in the
project.
Learning
I think the collaborators checked out of the project because it didnt feel real. I certainly felt that
the team was looser and more disconnected than physical teams that Ive worked with. Things
might have been different if we were able to physically meet in person every week, or if I could
have picked up the phone and made some calls.
I suppose something like Skype or Googles new meetups might have helped, but it still feels
pretty ephemeral. Non-verbal communication is so important and its not just body language. Its
speech intonation, timing, microexpressions, posture, etc and how all these elements work
together. Ive done Skype video calls with some of my other artists and collaborators here in
Melbourne and the video quality and latency still get in the way. And thats when both parties are
in the same city. Itd be even worse across the globe.
For now, Im going to focus on working with local talent. Fortunately Melbournes got no shortage
of it.
Zen Do Rhyme
This is (yet) another project that turned out differently to how I intended. Noticing a theme here?
Did I mention I learned a lot in 2011?
Late in 2010 I met a poet/vocalist who really inspired me he had a great smooth flow and wrote
with vivid rapid-fire imagery. He was also keen to pursue his career and take it further with some
recordings. In fact, hed already started working with an amateur producer on a few songs, but
was disappointed with the producers lack of work ethic (a common complain I hear).
I offered him a choice at the beginning of the year to either hire me (for a fee) to realise his
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creative vision, or be a partner in a project under my own creative vision. He chose the latter.
Initial goals
As you can probably guess from the website, one of my creative goals was to generate and
(mostly) process all the synth sounds using hardware. I didnt do it much for the sound but to
explore the workflow. Up until then, my sound sources were almost entirely software-based. With
hardware, I had to manually wire things up, and I had the opportunity to do some not-quite-linear
things with signal flow and modulation. The Dark Energy and FreqBox, in particular, have a lot of
flexibility with their extra CV ins and outs. Also, the T-Resonator, while digital, can make some
sounds that are *very* rare in software mainly due to its multiple analogue feedback paths that
weave dual analogue filters through the stereo DSP.
The other aspect I wanted to explore was real-time performance with the hardware. Usually I use
software in a set-and-forget manner, which can often sound pretty static. Sometimes Ill automate
a few parameters. With hardware, however, I was able to adjust any and all parameters while
recording. And because I couldnt simply drag automation points for perfect linear transitions, the
adjustments were more organic and human.
Outcome
Workflow-wise, I had a lot of fun but I dont think Ill return to a 100% hardware workflow. Its
just too time-consuming to patch sounds and rehearse performances for every part. What Ive
been doing since Zen Do Rhyme is using the hardware for feature sounds and main parts such as
leads and basses.
As for the project?
Well, it was going to be an album, but the vocalist started losing interest halfway through the
project. His idea of where he wanted to take his music was diverging from mine. Unfortunately, he
didnt tell me straight away he was just coming to sessions less and less prepared, and taking
less interest in pushing the project forward. By the time we got halfway through the year, I had to
have a frank and fearless conversation about the future of the project. We finished the fifth song
and went our separate ways.
Learning
Well, aside from the fun I had playing with hardware, the real learning here was in people
management. I wont be embarking on major (album-length) collaborations with people Ive never
worked with. Im also much more sensitive to early indicators that might reveal that a person isnt
as committed or hardworking or reliable as I hope they are.
When I embark on a project with an untested person, I take on a risk that the person will flake out
and change their mind before the project completes. Similarly, they take on the same risk that
I will not follow through to the projects completion. We dont know each other, so neither of us
would be in a position to confidently assess the risk. In future projects under my creative direction,
I will be paying my collaborators. This is a form of compensation for their risk, as a token that I
believe in the project and will take it seriously. It will also reduce my risk by placing pressure on
the collaborator to make the project a priority and treat it professionally.
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Summary
Its easy to look back and see a trail of failures. But even though they didnt turn out how I initially
hoped, they werent a waste of time. I pushed myself. I took on challenges that I wasnt sure how
to fulfil. And I learned a lot. As Ive previously written:
The greatest success isnt measured by the quality of the thing you built. The greatest
success is measured by how much you learned while you did it.
And learn I did.
-Kim.
2012/01/25 - Crunch your drums

Just a quick tip:
If your drums are feeling a little weak, sometimes more compression/EQ/saturation/magicfix isnt
going to work especially when your drums are already heavily processed.
Instead, try creating a parallel bus and sending your drums to that. On the parallel bus, use an
amp simulator. Set it up for a crunch sound itll give you a beefy and unique flavour to blend
back in to your original drum sound.
-Kim.
2012/01/26 - Update on studio computer

Finally ironed out a few weird bugs in the system.
A USB extension cable was causing the system to stop booting. Yes. An extension cable.
Almost had to take the machine in for warranty.
Disabling the wireless network stopped the every-60-second CPU spikes that were
preventing me from going to sub-10ms latency. Almost was considering buying a new audio
interface.
Computers are weird and complex. Sometimes a disciplined diagnostic approach coupled with
thorough research is the only way to track down the source of a problem.
-Kim.
2012/01/27 - 3 Mid-Side Processing Tricks

Jon Tidey:
I used a delay plugin to add some filtered echoes just to the middle by disabling the
right side input.
In the next insert I used a distortion on just the right side. This brought out a lot more of
the reverb than was heard in the original loop.
A good explanation of mid-side processing, and a few off-the-wall suggestions to try. Not just the
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usual tricks.
Id just be careful about unlinked m/s compression. Too much movement can make your stereo
image expand and shrink in uncomfortable ways. Although, maybe that might be appropriate for
your music.
-Kim.
2012/01/28 - Recording engineers who make so sense

Joe Gilder:
I hate to break it to you, but the FedEx guy will never deliver better recordings. Better
recordings happen when you commit to being in the studio and doing the hard (but
insanely fun) work to get betterusing exactly the gear that you own RIGHT NOW.
Double negative aside, this is excellent advice as usual from Joe. Gear is important, but its not the
difference between success and failure. Knowing how to get work done is.
-Kim.
2012/01/29 - Its like getting a new pair of speakers

David Schober:
Theres something that happens when the door closes. Im able to hear balances that I
dont hear when inside the room
Yes, youve probably heard this advice before. What occurred to me, however, is that by changing
the frequency response, room resonance properties and stereo image, its a bit like listening to a
different pair of speakers.
So if youve only got one pair of speakers and cant (yet) afford another, walk around your room.
Or outside your room. Find a spot where the music sounds very different. Note that spot, and treat
like a new pair of speakers. Its not quite the same (it wont give you a more accurate sound than
your current speakers), but itll give you a different perspective that can help you understand the
sounds behind the speakers.
-Kim.
2012/01/30 - Things you cant hear

I was thinking about the Minibrute, checking out the videos and reading the specs. Those who
know me well wont be surprised that Im drawn to the noisy oscillator shaping and filter feedback.
Im not a fan of the keys, but its not a deal-breaker. Then I realised I could patch up some filter
feedback with my Dark Energy (I modded it to have dual audio outputs). And then I thought itd
be fun to put my Freqbox in the feedback path. So the signal path is something like this:
Dark Energy: Oscillator + audio input -> LP Filter -> Output 1+2
Freqbox: Dark Energy Output 2 -> Input drive -> Oscillator with sync and FM -> Dark Energy
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audio input.
Thats some serious chaos.
And I realised that the Minibrute probably wouldnt offer me anything substantially different to
what I could already cook up with my existing gear and a bit of creativity.
Dont believe the hype.
Learn as much as you can. Try everything out. Learn to listen carefully.
But if you cant hear it, dont waste your time on it. If it might be useful, youll probably figure it
out later. Youll discover it when your skills catch up with your ambition. Or its something thats
been misrepresented and misunderstood as it passed from one person to another.
The trouble is, theres no way to tell the difference between the two until your skills improve. So
dont worry about it. If you cant hear it, dont waste your time on it.
And just to keep in in perspective if its something you can hear, but you have to squint your ears
to pick it out, chances are it wont make any difference to your listener.
A good example is dither. Im sure that on some music in some listening environments, crunchy
digital truncation at -96dB is audible and undesirable (e.g. delicate orchestral music in Bob
Ludwigs studio). But for my music and my listeners, anything happening at -96dB is totally
inconsequential. So I havent A/B tested a whole bunch of dither algorithms to work out which one
is best. In fact, sometimes I dont use any dither at all when I master. And I cant tell which jobs
they are by listening to them. And no-ones noticed either.
Another example is tuning the kick drum to the key of the song. I cant remember ever doing it. I
recently released an electro-rock album where it didnt even occur to me that the kick should be
tuned to each song. And I think the songs slam.
Maybe you disagree with me. Let me know. Maybe you hear something that I dont. As you know,
Im always happy to be wrong if it means learning and growing. But dont parrot truisms that you
dont have first-hand experience of. Just because you read it somewhere doesnt make it true.
-Kim.
2012/01/31 - Mastering in a changing industry

Rob Schlette interviewed four professional mastering engineers about the changing state of the
recorded music industry. Collin Jordans observation is particularly astute:
Back when most recordings were made by experienced pros, the mixes coming in
tended to be of a higher quality and more ready to go. Now its more of a mixed bag.
Some of the home recordings that I work on sound amazing as good as a lot of pro
studios could produce. Others need a lot of work just to make them sound somewhat
normal.
I think this is one of the most interesting changes happening now. These days its easier to record
music and gear / experts are less relevant to good sound. The side effect is that theres much
more variability as inexperienced engineers realise that all the 1176 clones in the world wont
make their music great.
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Also, check out the good advice in part one.

-Kim.
2012/02/01 - Creativity comes after the fact

Hugh MacLeod:
The way to be creative is to make stuff. You wake up in the morning, have some breakfast, hit the work bench and get on it with it. [...]
You cant plan for creativity. You can only plan to do the work.
Dont wait for inspiration. Get working and youll be ready for inspiration when it comes.
-Kim.
2012/02/02 - Lateral / vertical (considerations when

mastering to vinyl)
Barak Shpiez:
In the days of mono, the needle only moved side to side while tracing through the
groove. Later, the format was designed so that the stereo information could be read from
the up and down movement of the needle. This was done to ensure that older, mono
only record players could still play newer stereo records.
This is the first Ive heard this, but it makes so much sense. Its very clever. Basically, the audio on
vinyl is encoded mid/side. The mid (mono) audio is the side-to-side movement (lateral), and the
side (stereo) audio is the up-down movement (vertical). That explains why the needle might jump
out of the groove if theres too much strong bass content in the side channel. It also explains why
the Fairchild 670 compressors mid/side mode is called lateral/vertical.
The article also has a good explanation of why audio fidelity is better on the outside of a record (at
the start).
-Kim.
2012/02/03 - Which is the best DAW for you?

Ben Harris:
Deciding which DAW is the best really depends on who is making the decision. Which
is best for you really depends on what you are planning to work on, how you like to
work, where you will work and who you are going to work with.
The writing is a bit clumsy and the design is a bit cluttered, but what I really like about this article
is the way it is structured. It presents scenarios based on what kind of projects you work on, who
youre working with, where youre working and what your work style is.
Aside from the utility of being able to recommend it as a resource for emerging artists/producers
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(if youre reading this, I assume youve already chosen your DAW), its nice to be reminded just
how varied peoples work styles can be. I use Cubase, and fit pretty neatly into most of the
scenarios where Ben recommends Cubase. Ive been using Cubase for years and its good to be
reminded of how the other DAWs fit into the world.
Although, I did have a chuckle at this:
SCENARIO: I am building a large multi-room production facility with investors and a

business plan.
Chances are, if youre in this scenario you either dont need to read thedawstudio.com or youre
working with someone who doesnt need to read it.
-Kim.
2012/02/04 - Beware of cookbooks

Alex Case:
My favorite song has 147 snare hits!

A well-written post about mix-by-numbers and effects presets.
-Kim.
2012/02/06 - Do romplers have a place in todays studio?

I grew up on romplers. Mainly Yamaha and Korg. I never got a good chance to spend quality time
with any Roland romplers. Back in the day, they were pretty good. They were a cost-effective way
to create a wide variety of sounds, ranging from acoustic pianos to synthesisers to drum kits.
Well, they were.
Now that almost all my work in in the studio, my rompler of choice is Kontakt. But more and more
sounds are coming from dedicated sources especially synth sounds, acoustic drum kits and
guitars. And a comprehensive suite of soft synths can be had for a similar price as most entry-level
romplers, but with better sounds and better studio integration.
Thats the practical consideration. Theres also a creative consideration.
Romplers have a very wide range of sounds, but they have a sound. That is, if every track in a
song comes from a rompler, the song will have an overall sound characteristic of the rompler. I
know, Ive been there. Done that. Its deceiving because romplers have such a wide range of
sounds. But all those sounds share a character. It comes primarily from the voicing of the presets,
but also from the design of the multisamples and the architecture of the synth engine. What starts
off as all these tracks will sound like they came from many different instruments ends up as all
these tracks sound like they came from a rompler.
This is true whether the rompler comes in a hardware box or comes bundled with a DAW. Using
nothing but your DAWs stock sounds has the same effect. But while synths (including romplers)
used to be so expensive that most people could only afford a handful, software plugins are now so
cheap (including many free options) that theres no reason for even a beginner composer to be
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restricted to a single sound source.

Yet, romplers live on.
Live. Its much easier to set up just one or two keyboards and be able to cover acoustic
pianos, synths, organs, strings and even percussion. Having a separate piece of gear for
each sound can be so awkward and unwieldily as to be unfeasible. Also, the everything
sounds like a rompler effect doesnt apply if theres only few rompler sounds among the
band.
Sketches. Most stand-alone romplers these days are attached to keyboards with
sequencers. Ive never preferred a letterbox display over my big computer monitor, but I
can see the appeal of being able to start working on a song by only switching on one piece
of gear instead of powering up the whole studio.
What do you think? Have you used romplers in the past? Do you still use them?
-Kim.
2012/02/07 - Joes big stupid recording failure

Posted on February 7, 2012 by Kim Lajoie
Joe Gilder:
I could have thrown my hands up that day. I could have deleted all the guitar tracks and
re-recorded everything. But I didnt.
The performances were actually really good. Plus, I simply didnt want to go through
that whole recording process again, so I moved forward.
I made myself mix those less-than-perfect tracks.
Yes, its good advice as usual.
What Id really like to point out is that I love the way Home Studio Corner is developing its
becoming more about honest self-reflection and personal improvement. Ive long said that learning
from your own mistakes is the second-best way to learn.
The best way? Learning from someone elses mistakes.
-Kim.
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2012/02/08 - What level should your mix be at before you send it to mastering?
2012/02/08 - What level should your mix be at before you send

it to mastering?
Im surprised theres still so much confusion about this question. Youre starting a mix, and you
need to know how to set up your gain staging so that your mix hits the right peak or RMS level
when youre finished and its ready to be sent off for mastering. So what level should you aim for?
Really, there are only two sensible answers:
1. Whatever your mastering engineer told you
2. Anything below 0dBfs (for peaks)
The first answer should be pretty self-explanatory. Your mastering engineer probably has a
preference, likely based on how the mastering studios gear is calibrated. If your mastering
engineer told you that the RMS level for the final chorus should be around -18dBfs, do that. Or if
your peaks have to be at -6dBfs, do that.
What, you didnt talk to (or choose) your mastering engineer until it was time to master? Try
again. If youre reading this blog, you know that your mastering engineer probably has something
to say about your mixes. For example, you dont want to have spent hours getting the mixes just
right with piles of mojo on the mix bus, only to have to redo the mixes because your mastering
engineer wants a naked mix bus and your mixes fall apart when you simply hit bypass. Similarly,
you dont want to feel like you havent done the songs justice by shying away from mix bus
processing, only to have the mastering engineer tell you it would have been fine.
So what if youre doing your own mastering?
If thats the case, simply aim to keep your mixes peaking below 0dBfs. The level makes no audible
difference in sound quality so long as you keep it above -48dBfs (which should be pretty easy). So
dont sweat it. The only thing is: be careful when you get (very) close to 0dBfs because different
meters will have different ways to determining whether the audio has clipped or not. Some meters
will trigger a clipping indicator if theres just one sample at 0dBfs. Some need two samples. Some
need three. Some will trigger below 0dBfs (maybe even as low as -0.1dBfs). Theres no standard.
So make sure you dont hit 0dBfs. Keep your sound below there and youll be fine.
When I do mastering jobs, I ask the mix engineer to keep the peeks below 0dBfs. Character
compression (including pumping or side-chained compression) or EQ on the mix bus is usually
fine, but I ask that limiters not be used. The mix engineers job is to make sure the tracks are
balanced and the overall mix is focussed. The mastering engineers job is to make sure that mix
translates in the real world usually by adjusting the tone and the level of the song as a whole.
-Kim.
2012/02/09 - Nothing interesting today

Come on internet, you can do better than that.
-Kim.
255
2012/02/10 - Choosing and learning new gear by reading manuals, not forums
2012/02/10 - Choosing and learning new gear by reading

manuals, not forums
Erik Magrini:
Im sure this will cause some people to groan, but one of the first things I do when Im
seriously considering buying something is to download and read the manual. Doesnt
matter if its hardware, a DAW, a speaker, or a guitar, I like to read the manual front to
back before I make up my mind most of the time.
I do this too. Im a chronic manual reader. In fact, I have two folders of manuals on my computer
one folder with manuals for gear I own, and another folder with manuals for gear I might be (or
once was) interested in owning.
Sure, sometimes manuals are boring, but theyre the best way to cut past all the marketing
garbage and delve right to the truth. I use them to answer questions like:
What factors affect the number of simultaneous effects?

Does the LFO go into the audio range?
How many button presses does it take to adjust the volume?
Are there any hidden limitations that the advertisements glossed over?
Will I need a reference sheet next to me to decrypt the calculator-like LCD readout?
Can I do interesting things by reconfiguring (or abusing) the signal flow?
How low does the EQ frequency go?
How much can I control or trigger via MIDI?
Does the display have patronising little pictures of pianos and guitars (Im looking at you,
Roland)?
The manual tells you how the gear really works. Fortunately almost all manufacturers provide
manuals for free online. And Im distrustful of any that hide their manuals.
And on a similar note, stay away from forum discussions especially negative ones.
Unless somethings horribly wrong (which is unlikely), most products work as theyre designed to.
A small minority will have problems. But that small minority are much more likely to be vocal about
it. Ten or twenty people complaining on an online forum looks like heaps but its actually way
under 1% if thousands or tens of thousands of the products have been sold. And if a product
doesnt work properly, you can always return it (except for software sometimes, but then usually
theres a demo to try).
-Kim.
2012/02/11 - SBTRKT live

So, I went to see SBTRKT live the other night. I dont normally review live gigs that I go to, but
this one was noteworthy because they presented an excellent live performance.
Seeing electronic artists perform live can be pretty dicy. Too often its little more than glorified
karaoke. They just play the studio track minus the vocals (and maybe a few instruments) and add
them as live performances. As someone with as much affinity for rock bands as for bedroom
twiddlers, I see this approach as a lost opportunity for some real live energy. Energy doesnt just
come from jumping around on stage. It comes from the magic of musicians making music right
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2012/02/11 - SBTRKT live
before our eyes. Its not just the possibility of something going wrong (after all, computers crash
too), but the act of bringing music into existence from silence.
Its like the difference between theatre and cinema. One is not lesser than the other, but theyre
different artforms. A theatre performance that tried to recreate elements of the movie it was based
on by playing parts of that movie on a screen behind the actors would an insult to both artforms.
So, SBTRKT. If you havent heard their music yet, listen to a few songs here. The visuals arent
important here play it in a new tab and come back.
Back? Good.
So, SBTRKT. Yes, obviously this is sequenced music. There were sequenced elements that were
triggered by the performers. But they werent simply playing the studio version of the track. They
had individual elements from the studio tracks, but extended and reinterpreted with new material.
And as much of it was live as sequenced. Its hard to see in the above photo, but Jerome was
playing an acoustic drumkit (and pretty damn well too) in addition to triggering sequences and
playing theremin. Sampha had a couple of keyboards and did a lot of vocal looping as well as
straight singing.
The gig stood out to me because it presented the essence of the recordings while taking
advantage of the possibilities of live performance.
Of course, being a producer and engineer myself, Im always interested in what gear people use
on stage. But its more out of curiosity than anything else. In the end, however, SBTRKTs
performance wasnt reliant on any specific equipment.
Its the witch, not the wand.
-Kim.
2012/02/14 - More gear, less money?

Bjrgvin Benediktsson:
Im an Economics major so I like thinking of purchases in terms of utility. Basically,

how much stuff can I get out of a limited amount of resources, in this case, money.
I like thinking that more gear = better. Obviously, there are flaws in this argument. 5
cheap tube pre-amps are not better than one great one.
But on the whole, if I can get cheaper, but similar sounding gear with less money, I have
more money to spend on other stuff.
Ignoring the annoying popup, Bjrgvin makes a good point. We dont always need the latest and
greatest. Amazing music was made with technology from last year, last decade, last century.
What I think Bjrdvins missing, however, is that the money saved might not be best invested in
the studio at all.
You wouldnt believe it reading production blogs, but a work of a composer, producer or engineer
doesnt entirely rely on the equipment in the studio. Instead, think about what outcomes youre
working towards. As a composer, your goal is probably to conjure a song (or other piece of music)
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2012/02/14 - More gear, less money?
from a blank canvas of silence. As a producer, your goal is probably to help the composer,
musicians and engineer bring the song to life with a clear creative direction. As an engineer, your
goal is probably to be the lubricant between the artist/producer and the technology. If youre
reading this blog, youre probably wearing more than one hat.
So what does this mean for spending money?
As a composer, your capital is creativity and composition skill. In other words, its having the ideas
and the capability to develop those ideas. So, if youre going to spend money, look at ways to
improve your creativity or your skill. To improve creativity, look at ways to improve your peace of
mind, bring intellectual variety to your daily life and reduce distractions. That might mean
spending money on things that seem to have no relation to music at all it could mean hiring a
cleaner, seeing more arthouse cinema or taking time off. To improve composition skill, investing in
some books or courses would probably be money well spent as well as making sure youve got
the time to take in the new knowledge and practice.
As a producer, your capital is project management and relationship management. In other words,
its knowing what to do, when and how to do it and how to make everyone feel amazing in the
process. So if your core skills in project management and relationship management are weak, tool
up with some books or courses. And then, focus on getting as much experience as possible. Every
project is different and every relationship is different. The more experience you get in both, the
better youll be able to recognise early indicators and steer the course effectively.
As an engineer, your capital is your capability to translate the often-vague-and-mysterious words of
the producer or artist into ones and zeros that get converted into analogue voltage that gets
converted into air pressure. In other words, any moment that a producer or artist is waiting for
you to make their sound (instead of listening, thinking or goofing off) is a moment that you need
to speed up. The best engineers are the ones that make a room that looks like an aeroplane
cockpit feel like the business-class recliner chairs. So, if youre going to spend money, focus on
reducing those bottlenecks. Make sure your gear helps you get the right sound right away. That
might mean getting more mic stands and mics so youve always got something ready to plug in
and go. It might mean getting a bigger room or more input channels so you can record more of
the band at once. It might mean getting more plugins (or getting to know your plugins!) so that
when the producer asks for a trance synth youve got twenty presets ready to audition before
youre asked how long will that take?. It might mean getting a faster computer so you never have
to say wait a few moments while I bounce these tracks. It might mean taking time to learn (or
define) more keyboard shortcuts. It might mean reducing the number of plugins you have so you
arent spending all day auditioning compressors. Or EQs. Or reverbs.
If youre wearing multiple hats, be honest with yourself. As fun as composition is, you might need
to brush up on your project management if youre self-produced. As interesting as preproduction
is, youll need to make sure your studio is up to scratch if youre a producer making your own
recordings. Focus on improving your weaknesses or spend the money outsourcing it. If youre a
composer/producer but you find writing lyrics a chore, you might get more done if you hire a
lyricist. Or if youre a self-produced songwriter but keep running over time and over budget on
your recording projects, it probably makes sense to hire a producer. Or if you love making music
but tire at the technical tedium of maintaining your own studio, it might make sense to hire an
engineer and record elsewhere.
Keep an open mind. Sometimes the best gear isnt gear at all.
-Kim.
258
2012/02/20 - Processing drums separately vs processing the whole kit
2012/02/20 - Processing drums separately vs processing the

whole kit
So, youve loaded up your favourite drum plugin, selected a kit, tapped out a beat and now youre
thinking about how to tweak the sound for your mix. And maybe your drum plugin has multiple
outs or allows drum sounds to be processed individually. And youve heard about processing drums
as a group too. So what will it be? How do you choose?
There are a lot of options, and its easy to be paralysed by indecision. And just as there are many
options, there are many different approaches.
It might sound simple, but my approach begins with listening.
Once I know how I want the sound of the drums to change, Ill consider whether individual
processing or whole-kit processing is most appropriate. It should be pretty obvious processing
individual elements will help you make those elements stand out or fit in individually. Its about
shaping the way a drum fits in with the rest of the kit. Processing the whole kit, on the other hand,
is more about shaping the way the whole kit fits in the rest of the mix.
But its the listening thats the most important part.
As engineers, youve got a mind-bogglingly vast array of tools at your disposal. Most studios have
at least half a dozen (if not dozens) of different flavours of eq and compression available. You can
process in multiple places, in any order. The only way to get consistently good mixes in a
reasonable period of time is to know what sound youre going for just by listening .
Listen to the drum kit and think about what you need to change. Ask yourself are you changing
the balance of elements within the kit, or changing the way the kit fits in with the rest of the mix?
If youre unsure, try listening to the drum kit in solo (just the drums, without the rest of the mix).
How do they sound? If somethings a little out either uncomfortably poking out or not cutting
through adjust it then and there. If the kit is sounding pretty well balanced on its own but
somethings not quite right when you bring the rest of the mix back, you might need some (more
gentle) overall shaping. Like anything in mixing, this general approach wont be best 100% of the
time, but its a good starting point.
-Kim.
2012/02/21 - Give yourself permission to be imperfect

Gary Ewer:
Give yourself permission to be imperfect (write a draft)

Ive written about writers block and enhancing creativity, but Gary sums it up perfectly with one
line. Give yourself permission to be imperfect. Its ok to create something thats doesnt meet your
dreams and expectations. Really, it is. Just pick yourself back up and do it better next time.
I like this anecdote:
The ceramics teacher announced on opening day that he was dividing the class into two
groups. All those on the left side of the studio, he said, would be graded solely on the
quantity of work they produced, all those on the right solely on its quality.
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2012/02/21 - Give yourself permission to be imperfect
His procedure was simple: on the final day of class he would bring in his bathroom
scales and weigh the work of the quantity group: fifty pound of pots rated an A,
forty pounds a B, and so on. Those being graded on quality, however, needed to
produce only one pot albeit a perfect one to get an A.
Well, came grading time and a curious fact emerged: the works of highest quality were
all produced by the group being graded for quantity. It seems that while the quantity
group was busily churning out piles of work and learning from their mistakes the
quality group had sat theorizing about perfection, and in the end had little more to
show for their efforts than grandiose theories and a pile of dead clay.
Go make some music.
-Kim.
2012/02/22 - Collaborating with different DAWs

Bjrgvin Benediktsson
Its kind of like hanging out at somebody elses house. You dont know where
everything is, and you need a minute to figure out where the bathroom is.
I come across this issue a lot. Whenever I do a mix for someone, they have to bring in their
multitrack recordings. When I produce an artist that has already recorded some demos, they have
to bring in their multitrack recordings. When I record a drum kit at another studio, I have to bring
in multitrack recordings.
Fortunately, everyone uses different tools (can you imagine how boring it would be if everyone
used the same stuff?). I use Cubase. Some of my artists use Logic. Larger studios often use
Protools. In the past Ive also had to bring in recordings from GarageBand, Reaper, Reason and
various portable recorders.
The second part of Bjrgvins post is right on. Moving past the confusion of but you dont use
ProTools! and how do I render individual tracks?, sharing multitracks is actually pretty seamless.
Its probably even faster than importing a native session because I dont have to sort out which
plugins are missing or unravel bizarre group/sidechain routing. I just have to listen to the tracks
and make sure the filenames roughly matched their content (not always a safe assumption). The
only headaches Ive come across are when the recordings were made at the wrong samplerate,
and I have to make sure I resample them the right way to get the pitch and speed back to normal.
Regarding plugins, I usually tell people:
EQ and other tone adjustments are (mostly) nondestructive, so keep them on. Unless the
artist has never heard of mixing, their tone adjustments usually give me about 40%-60%
head start.
Distortion and compression is destructive, so I usually advise the artist to give me the raw
audio. The only exception is when s/he really likes the compression/distortion in which
case I usually ask for both (raw and processed), because half the time the audio sounds
like it was run through a Boss Metal Zone.
Reverb is always terrible. I dont want to know. If the artist really really really loves that
muddy metal tank, Ill hear what s/he was trying to achieve when I hear the rough
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2012/02/22 - Collaborating with different DAWs
mixdown. I know lo-fi is cool and all, but if you want to bring it to reverb, just use a
Karplus-Strong comb filter and be done with it.
Delay would normally be in the same boat as distortion/compression (destructive), except I
find most artists tend not to go stupid with delays. Thankfully.
Once my artists and clients understand this, collaboration is pretty seamless.
-Kim.
2012/02/23 - Using guitar pedals (and other odd hardware) for

adding texture
Jon Tidey (with audio examples):
The direct guitar signal goes into amp plugin, then to the master output. The signal from
this track is also going to the delay track. It then goes into the insert plugin, out the
interface, into the delay, (set to 100% wet, no clean sound) and then into the interface
and to the same track. I hope this makes sense.
Once you get your head around the routing, sending digital audio out through a hardware loop is a
great way to add some texture and life to a sound. Often if Ive got a sound thats just feeling a
little too clean and dead, Ill send it out to something like my T-Resonator or FreqBox. Or if Im
really angry, Ill overdrive my Spring King, which does nasty things when driven hard.
Often a track only needs to have a little bit of the hardware-processed version mixed in under the
original (especially if the hardware-processed version is a bit extreme). And if this is done for most
of the foreground instruments, the whole mix will gain some more life and depth and attitude.
-Kim.
2012/02/24 - Audio examples of bus compression

Sam OSullivan:
Buss compression is certainly not a new concept, however, it is an effective and reliable
engineering tool and its basic principles are vital considering you are affecting multiple
voices. When approaching buss compression, there are two essential tools at your
fingertips: Attack and Release these two tools, when properly utilized, will have the
ultimate say in the outcome of your efforts.
[...]
With this in mind, I have provided examples of effective and ineffective buss
compression, focusing on attack and release settings, for a few simple approaches.
Excellent audio examples. With bus compression, if you hear it, youve used too much.
You have to feel it.
-Kim.
261
2012/02/27 - What to do if your speakers suck
2012/02/27 - What to do if your speakers suck

Your speakers probably suck.
Theyre not 100% flat. Theyve got a narrow sweet spot. They do weird things in the crossover
range (no, I cant hear it either). And even if your speakers are pretty good, theyre only as good
as the room their in. And I can guess how good that is.
Yes, I know you want to buy better speakers. Its on the list. As soon as you get that awesome
new plugin. And that sample library. And then there are those bill to pay. And Moog just released
a tiny new synth thats almost affordable.
So, realistically, youre pretty much stuck with your crappy speakers. For the time being, at least.
Does that mean youll never be able to engineer great mixes? Does that means all your efforts are
in vain?
Of course not. There are two strategies you should use to make the most of the speakers youve
got: Knowing your speakers and using other speakers.
Knowing your speakers.
You can do some great mixes on ordinary speakers, but you have to know them. In fact, knowing
your speakers is far more important than the quality of your speakers. Quite simply, you can do
great mixes on ordinary speakers, but youll struggle with great speakers that youre unfamiliar
with.
And just like most aspects of engineering, the truth isnt sexy. Its easy to do, but you have to do a
lot of it. Its listening (ok, sometimes listening isnt aways easy). Listening to as much music as
possible. Listening to as wide a variety of music as you can. And listening as often as you can get
in the studio. Your mind will automatically build and adjust its expectations for how music
should sound. And youll find yourself getting closer with each mix.
Using other speakers.
What, you were expecting some voodoo magic? If your speakers arent telling you the whole truth,
dont rely on them. Check your mix on other speakers. In other room. Even in the different
listening positions of the same room. Get different perspectives.
Its just like listening to a story by someone you dont fully trust. Youll check other peoples
accounts of what happened before committing to your own understanding. Its the same with
speakers. Maybe you listen to music recreationally outside your studio either on iPod earbuds or
headphones - bring them in and check your mix.
Now, this is not to say that you dont need better speakers. Better speakers are better (as long as
theyre in an appropriate room). Get them when youre ready.
But dont think your gear determines your skill. Its the other way around.
-Kim.
262
2012/03/01 - Know yourself for the sake of others
2012/03/01 - Know yourself for the sake of others

I recently had an experience where an artist let me down. Put simply, she promised something
that she couldnt deliver, and didnt give me a chance to find alternatives in time.
This is what happened:
1. I asked her if she could do a thing for me,which needed to be done by a certain date, and
would require quite a bit of back-and-forth between us via email beforehand. She said yes.
2. I sent her the first part by email.
3. and didnt receive a reply (or any other communication) for about two weeks.
4. I sent an SMS confirming receipt of the email. She said she had, but had been busy with
foreseeable activities. She said shed try to get to it before the due date.
5. The due date arrived without any further correspondence.
So what really happened here?
Im an optimist (sometimes I suffer for it), so Ill assume that without any further contrary
evidence the artist had good intentions. When I first contacted her about this, she genuinely
believed that shed have time to do the thing.
As time went on, her belief was proved wrong.
Which is fine. Sometimes we get things wrong. Sometimes we make an incorrect judgement.
Sometimes we want to be optimistic. Its ok to make mistakes.
It wasnt the initial optimism that let me down, nor was it being busier than expected (hoped?).
What let me down was the fact that she didnt tell me enough for me to realise that I needed to
make (or at least line up) alternative arrangements. When a person tells me s/he can do
something, I want to believe s/he can actually do it especially when s/he doesnt have a history
of poor judgement or broken commitments. As much as I like being an optimist (and its important
to be an optimist), things like this make me not want to trust people. And I dont like being
untrusting.
I dont yet know why she didnt contact me to tell me she wouldnt be able to do it. Maybe she
forgot about it entirely (and was too embarrassed to tell me shed forgotten). More likely it was a
combination of optimism and denial. Ill find out when I chat to her next.
But, you know what? It works both ways.
I was optimistic that it would all work out. I was in denial that the early indicators (lack of
correspondence, unqualified promises) would be predictive. I wasnt defensive enough in actively
keeping in touch and making alternate arrangements.
And I was arrogant enough to start writing this post about a mistake someone else made, when
I made the exact same mistake myself.
-Kim.
263
2012/03/02 - 5 Compression Mistakes That Keep Even Smart People Stuck
2012/03/02 - 5 Compression Mistakes That Keep Even Smart

People Stuck
Joe Gilder:
1. Waiting until the end of the mix to add compression to

the mix bus.
This is the easiest way to unravel a great mix. If you want to compress the entire mix
(which is totally fine to do), make sure you add the compressor to your mix bus EARLY
in the process.
Then make all your mix decisions while listening to the mix THROUGH that
compressor.
Well, I dont think so.
Yes, mixing into a compressor is common technique, but that doesnt mean its the only way to do
it. Theres nothing wrong with getting a finely-balanced mix without any mix bus processing, and
then applying gentle compression over the whole lot in the final stages of the mix. Yes, its
possible to overdo anything and end up with a mess, but its also possible to get great mixes by
applying compression at the very end.
I know because thats exactly what I do, and I get great mixes doing exactly that.
Of course, its easy to do badly and, like most aspects of mixing, its easi er to do badly than it is to
do well. But is it the easiest way to unravel a great mix? I dont even know what that means. If
you have a great mix, isnt it already finished? If you wanted to unravel it, you could start by
pulling all the faders up to unity and deactivating all your EQs. Thats pretty easy. Or maybe using
heaps of bad reverb on the mix bus? Thats also pretty easy. If you asked Ian Shepherd, he might
say trying to make everything loud unravels mixes.
Your turn: What do you think is the easiest way to unravel a great mix?
-Kim.
2012/03/03 - Compressing rap vocals (and other thick and

aggressive vocals)
Speaking of compression, Matthew Weiss:
Rap is generally an in-your-face, visceral style of music. The kick is physical, the snare
is physical, subtlety isnt really the overall goal. And the vocals are paramount. Ive
mixed a number of rap records where the vocals are lower in the mix, but never have I
thought it was a good idea. Generally I want the vocals to be equally as strong as the
drums or stronger, and I want them as forward as possible. Compression is usually a
part of that equation.
There are some really good ideas in that post. And it applies beyond rap music its a useful way
of approaching any vocals that need to be thick and aggressive. Itd be just as useful for rock or
metal.
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2012/03/03 - Compressing rap vocals (and other thick and aggressive vocals)
I mixed a rap/metal/industrial album last year, and I think I compressed the vocals almost
exclusively with Rough Rider, with pretty extreme settings.
-Kim.
2012/03/09 - More things you cant hear

Justin Colletti:
Compared to the much of the animal kingdom, human beings have pretty terrible
hearing. We have poor powers of echolocation, especially for sounds that come from
behind us, we can only hear a relatively narrow bandwith of 20Hz-20kHz, and were
easily fooled by illusions.
[...]
As the votes came in, the crowd was split at first, and then began to veer in favor of the
software plug-in. Not only did a small-but-significant majority of listeners show a
preference for the sound of the plug-in, they also believed that they had selected the
hardware version, because they believed the hardware version should sound better.
Theres so much good stuff in there I could quote the whole thing. Go read it. Now.
Elliott Fienberg recently asked me on Twitter what bitrate I encode at. I use LAME MP3 @ 192kpbs
CBR. I use 192kbps because thats the point at which I cant hear the encoding. I used to encode
at 128kpbs back in the day, but started to hear the data loss at the top of the frequency spectrum.
And dont get me started on dither.
I think, ultimately, its not practical to approach hearing (audio reception) and listening (audio
interpretation). Our ears and brains are not microphones psychology plays an inseparable part in
our understanding of sound and music.
I also think that the quest in some circles for high-resolution audio as an endpoint format is
misguided. CD resolution (notice I didnt say quality) has a dynamic range that approaches 96dB
and a frequency range that approaches 22.05kHz. We can argue all day about the quality drop-off
at the extreme edges, but ultimately the music that we love fits within these bounds. Thats why
Dynamic Range Day isnt about higher-resolution formats. Its about making better use of the
resolution weve had available for the last thirty years.
What do you think?
-Kim.
2012/03/09 - Practice (and perform) your parts dont just

sequence them
This post is a sequel to this post: Automation and expression.
Its pretty easy to sequence.
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2012/03/09 - Practice (and perform) your parts dont just sequence them
Youve got a computer chock-full of samplers, romplers, synths, loops and other sound sources.
You start every project with an empty timeline thats as inviting as a swimming pool on a hot still
day or an untouched carpet of autumn leaves. Its pretty easy to sequence dragging in plugins
and audio and placing them on the grid in neat patterns like lego blocks. And like lego blocks, its
easy to arrange them neatly and be satisfied with the result.
But you can do better.
Sequencing can be dull and predictable. Notes and sounds come in exactly on the beat. Loops are
the same each time we hear them. Section changes are stark and abrupt. The track progresses as
a series of plateaus. Boring.
Life isnt a series of lego blocks. Life is rich and colourful and fluid. Whether life reflects art or art
reflects life, dont sell yourself short. And dont sell your listeners short. Lego blocks are a great
starting point, and a useful way to sketch out a structure. But if all youve got is lego blocks, all
youve got is a sketch.
So make your music breathe. Bring it to life. And I dont mean layering a riser or stinger or
drum fill or anything like that. I mean bring those lego blocks to life. Perform those parts. Bash out
some drum beats on some pads. Play those chords or bassline or melody. Assign some MIDI knobs
or sliders to plugin effect parameters. Dont get next step, hit record. Embrace the subtle
performance variations that give the music some contour, some push and pull, some shape.
You might not get it right first time. Surprise! Dont be discouraged. Practice it. Spend ten minutes,
thirty minutes, two hours if you have to. Dont be lazy. Put some of your self into the music. Are
you the speechwriter or the speaker?
Right now theres two kinds of people reading this blog post.
The first kind is those who are nodding and telling themselves Yeah, that sounds kinda
interesting, maybe Ill try it one day. And then they dont. They get back in their studio and
continue step-sequencing everything because its easier and they dont care that its soulless.
Expressing yourself with a mouse is like playing piano with one finger. And youre only allowed to
play at one volume level.
The second kind is those who are nodding and telling themselves I dont know if thatll work for
me, but Ill give it a go and see what happens. And they try it out. On whatever track theyre
working on right now. Maybe just one instrument. Maybe partially quantise (dont hard-quantise!)
the performance if its a bit sloppy. Maybe try another instrument on the next track. Maybe get a
bit better at it. Maybe in the process learn how to make their music a little better.
So which one are you? If youre kidding yourself that youll try it one day but know deep down in
your heart that youll probably forget about it once you move onto the next blog post, you
probably wont bother commenting here. Youre just a grazer. A window-shopper.
On the other hand, if youre really going to give it a go, leave a comment telling me the name of
the track youre working on, and what instrument or sound youre going try performing. Make a
commitment to trying something new that might improve your music.
Its up to you.
-Kim.
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2012/03/13 - Does your arrangement suit your singer?
2012/03/13 - Does your arrangement suit your singer?

Sometimes I work with low-pitched singers.
Low-pitched singers can have lovely voices. They can be deep, rich and expressive. They often
have a very personal sound one that makes the listener feel as if theyre the only person in the
room and the singer is performing directly for her/him.
For a producer or engineer, however, low-pitched singers can be challenging to mix. A deep
breathy voice, while beautiful on its own, is easily overpowered by other strong instruments in the
song.
Unfortunately, if youre trying to make such a voice work in a hostile mix, youve already lost. Its
like trying to make a single flute heard over a whole orchestra if its playing low quiet notes. The
usual tricks (complimentary EQ, strong compression, etc) wont get you very far. The problem is
not caused by the mix, so why would it be fixed in the mix?
In truth, this kind of problem occurs a few steps back in the workflow the arrangement and
instrumentation. This is the process of determining how best to express the song in sound.
Essentially, it is the choice of instruments to play on the song and the choice of what theyll play.
To create an arrangement that supports and compliments a low breathy singer, lean towards
weaker or thinner sounds. Give the voice enough space to reveal its subtlety and depth. If you
want harder-hitting sounds, either make them quite low (such as a deep bass or kick drum) or
make them sound intermittently (so theyre only sounding some of the time).
Of course, for stronger or more strident singers, it makes more sense to use stronger and thicker
sounds. Itll be easier to mix and help the voice sound less uncomfortably piercing or irritating.
So, certain instrumentation and arrangement approaches work well with certain types of voices.
But should you start with the arrangement and choose a singer to suit, or start with the singer and
choose an arrangement to suit?
The answer depends on who is the artist.
Sometimes its pretty straightforward. If you are a producer for hire working for an singersongwriter, your job is to make that song shine. You cant choose the singer, but you have some
freedom to shape the instrumentation. Alternatively, if the artist is a composer or producer
(perhaps yourself!), there is probably a creative direction that has already been chosen.
Sometimes its not so straightforward. The singer-songwriter might have a band or might be stuck
on a particular sound. The composer or producer might have some good ideas but cant find the
perfect singer. In these kinds of situations, youll need to compromise. Youll need to pick your
battles. And thats when you need to know just how important the arrangement and
instrumentation is. Dont make the mistake of ignoring the arrangement in the (false) believe that
any problems can be fixed in the mix.
An appropriate arrangement that supports and compliments the singer will be easier to mix and
the result will sound more natural.
Have you had a situation where the singer didnt suit the arrangement? How did you
approach it?
-Kim.
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2012/03/14 - Is sexist language ok if youre an audio engineer?
2012/03/14 - Is sexist language ok if youre an audio

engineer?
Graham Cochrane:
For all you ladies out there reading my blog (and I know there are some!) I apologize
for the terminlogy [sic]. But the honest truth is your mixes are never done by
themselves. You could tweak away for years and still find things to improve or
try. The only way to be done with a mix is to man up and end the darn thing.
Of course this is a sexist comment. How are female engineers supposed to man up? Why should
they be made to feel that being good enough requires being a man? The fact that such sexist
terminology is still in common lexicon is unfortunate, and I could just as easily suggest that
Graham grow some ovaries, but theres a more fundamental question here:
Why did Graham think it was ok to use sexist language? He knew it was sexist (the preemptive apology doesnt make it less offensive) but he thought it would be acceptable to publish
anyway.
The audio engineering profession (like most other engineering professions) is male-dominated. I
think I counted only one female in this search. I expect most of my own readers are male (as is
probably Grahams expectation too). Almost all the interactions Ive had with other composers,
producers and engineers (both online and offline) have been with other men.
But that doesnt mean its ok to use sexist language especially exclusionary sexist language.
Lets do a thought experiment:
The only way to be done with a mix is to white up and end the darn thing. Nope, not
ok.
The only way to be done with a mix is to straight (heterosexual) up and end the darn
thing. Still not ok.
The only way to be done with a mix is to Catholic up and end the darn thing. Not even
close.
So why man up? Yes, its a common phrase, but that doesnt make it any less sexist.
Then again, Im fiercely anti-discriminatory. Do you think theres a problem with using sexist
language? Or do you think Im making a big deal out of nothing?
-Kim.
2012/03/15 - and the worms come out of the woodwork

Well, it looks like all ten of my readers had something to say about yesterdays post about sexist
language.
Vincent, George, Ilter, Shane: Thank you for your calm and rational response. I appreciate
that you were able to respond without resorting to name-calling or other derogatory insinuations
about my upbringing. I dont mind it when people disagree with me. I have a lot of opinions
(hence the existence of this blog!) and I dont expect everyone to agree with me.
Let me expand a bit on my objection to the term man up.
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The readers who pointed out that its a synonym for something like be confident and determined,
have courage are absolutely right. And thats the problem. Graham could have written toughen
up instead of man up and it would have had the same meaning. But using the gendered
language reinforces a male/female difference that is simply not relevant here. Muscles and
testosterone have nothing to do with the discipline and courage to call a mix finished.
Maybe its no different to the many other metaphors we use to describe our work. For example,
we talk about being surgical with EQ yet no-one is offended by any apparent discrimination
against non-surgeons (although almost everyone is a non-surgeon!). We might play doctor with
some badly-recorded audio or use Autotune as cosmetic surgery. Are we making implicit
statements about these professions? Yes, of course we are.
Gender, however, is different for one fundamental reason. We dont choose our gender. Its the
same reasons we dont (or shouldnt) discriminate or disparage people for their race, age,
disability, or sexual orientation. Its the same reason we wouldnt say that a song is gay unless
were specifically talking about the music of gay nightclubs. Or if the lyrics are about same-sex
relationships.
But using the term man up as a synonym for toughen up is like saying something like Pro Tools
is for the real men. It alienates women by reinforcing a male/female hierarchy for no other reason
than traditional male dominance and female submission (a.k.a. its just a phrase thats been
around forever).
Its also unimaginative. Like rappers who swear the paint off the walls because they cant seem to
find the words to express themselves, resorting to gender-biased language reveals a lack of
thought or consideration. Its lazy writing.
By the way, Im not advocating censorship. The content of Grahams post could just as effectively
been communicated without gender-biased language. And theres nothing wrong with using sexist
language (or other communication devices) in art that makes a statement about sexism or gender
roles even if its something as crass as Ke$has Grow A Pear.
Theres something else that happened here though.
Ive been opinionated on this blog in the past. Ive written on controversial topics. Ive been
blunt and direct. Ive even publicly outright disagreed with bloggers.
But this is the first time Ive had my readers take the time to call me childish and pathetic right
here on my own blog. I know the internet is full of jerks, but commenting like that here is like
insulting me to my face after Ive invited you into my house for lunch.
I like having comments on this blog because its nice to have a bit of discussion to share stories or
answer questions. Lets be respectful of each other and well have a good time. If you want to
spew forth hatred, you can do it on your own blog.
-Kim.
PS its interesting that this article was published on the same day. Read the article, then check
out the comments. It seems exposing sexism and other discrimination really brings the worms out
of the woodwork.
PPS Yes, I did read the full text of Grahams post. I agree with it. Theres some good advice
there.
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2012/03/16 - Fragile chord progressions
2012/03/16 - Fragile chord progressions

Gary Ewer:
Some would argue that fragile progressions have the greater potential for creating
interesting musical moments, as they are a little less predictable. But how exactly do
you create a fragile progression?
Read the whole post. I love fragile chord progressions. As a composer, they give me opportunities
to create unexpected harmonies, sudden turns and fanciful digressions. Theyre a great way to add
colour and movement to a song with otherwise-basic chord progressions.
One method that Gary didnt mention is chord substitutions. If youve already got a basic repeating
melody and chord progression, you can add movement and development to a song by changing
the chords under the melody. This is particularly effective if the first one or two iterations of the
melody have the regular chords underneath, but subsequent iterations introduce different chords
under the same (or similar) melody.
Obviously, its best to choose chords that still harmonise well with the melody and also move in a
direction that makes sense (i.e. not jumping aimlessly all over the place). Sometimes this can be
really difficult! In a pinch, transposing to the relative major/minor is an easy way to develop the
chord progression. For example, if your melody is usually heard over a chord progression like C C F
G, it will probably also work over a chord progression like Am Am Dm Em.
What are some of your approaches to making chord progressions interesting?
-Kim.
2012/03/21 - Workflow example: Dance music and vocals

Satoshi Tomiie:
When I work with a vocalist, I tend to provide the basic rhythm and melody of a song so
they have something to build on. However its important not to overdo the production
beforehand, so as to leave enough space for the songwriter to come up with ideas.
Its always interesting to read about how other producers approach workflow. For me, a song
usually starts by working with the songwriter and recording a demo (just vocals and one
instrument usually piano or guitar). Satoshi seems to work on the skeleton of the track on his
own before giving it to the songwriter to write lyrics and melody for it. Its an approach that makes
a lot of sense for dance music because the sound character and groove are so integral to the
identity of the song. Id imagine that a lot of heavy metal songs start life as guitar riffs. And a lot
of pop songs start life as a clever lyric. Whatever element captures the essence of your song, start
with that and build the rest of your track around it.
What do you usually start your tracks with?
(Also, someone should tell Satoshi about Dynamic Range Day)
-Kim.
270
2012/03/22 - Do something different
2012/03/22 - Do something different

Jon Tidey:
running the vocals through all my guitar pedals at once

Sometimes its that simple. Do something different. Even the most minimal studio setup has vast
possibilities. Even the most minimal studio setup gives you the scope to do something youve
never done before.
Sometimes a creative rut is the result of exhausting the possibilities of your self-imposed
assumptions and limitations. The best way out of that is to deliberately try something that you
otherwise wouldnt. You know youre on the right track when your immediate internal monologue
tells you that the idea youre about to try wont work, or will sound stupid, or will be too hard, or is
too risky, or will take too much time
Push through that initial resistance and immerse yourself in an experiment. You might want to
close the door and retain a little privacy if youre self-conscious. But remember every new path is
difficult. But that doesnt mean its not worth exploring.
The same applies to commenting here. Maybe you dont think your opinion is important enough.
Maybe you think youll be laughed off the stage. Maybe you dont know how to impress the other
readers. Not true. Push through that initial resistance. Let me know what you think. I read every
comment and I respond (positively!) to almost all of them.
What do you do to break out of a creative rut?
-Kim.
2012/03/27 - Mileage and headlines

Andrew Kim:
The most valuable tip I can give is to just practice. Any form of drawing really is more
about mileage than anything.
This applies to any creative endeavour, and making music is no exception. The more you do, the
better you get (so long as youre aware enough not to repeat your mistakes).
Thats why its so important not to get bogged down in the search for perfection. Making great
music is only possible by making lots of terrible music.
Andrews article also raises another interesting idea that Ive had floating around my head for a
while. Unlike most visual arts (cinema excepted), music is experienced with fixed timing. The
listener (generally) doesnt speed up or slow down songs to skim over them or revel in their
intricacies. The listener isnt free to enjoy the music at her/his own pace.
Contrast with an art gallery, where patrons can observe at will quickly glancing over items they
dont fancy, while lingering and taking in items that resonate. Even when glancing over a painting
or sculpture or photograph, the patron can take in the entirety of the piece before deciding
whether it is worth further scrutiny. For most visual art, the first impression is the overview.
Further observation reveals details.
For music, however, the first impression is not the overview. It is the introduction just the first
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few seconds. Further listening reveals the overview. Its almost the reverse.
The introduction acts as a headline. For static visual art, the overview is the headline.
Interestingly, cinema is experienced in a similar linear way to music, except that the headline is
actually the teaser/trailer. By the time the audience is watching the introduction, theyve already
made the decision and commitment to watch the whole piece.
But a song that has a wide dramatic range may at various moments later in the song sound
quite different to the first few seconds. A person who listens to the introduction may know nothing
of the dramatic changes later in the song and may decide to skip it based on an incomplete
understanding of the whole song.
The obvious solution to this is making the introduction representative of the song, or at least
representative of the most exciting part of the song. And many songs start like this such as a
short instrumental chorus for rock songs or an early peak in dance music. But this is obviously in
conflict with some creative goals. For example, a dramatic build or surprising turn late in a song
has a different effect if the listener has already been primed.
I dont know is theres a solution to this, or even if a solution is necessary. But its interesting to
consider what an alternative headline for a song, EP or album could be.
What do you think?
-Kim.
2012/04/05 - Quick question long long does it take you to

mix?
I know I havent been around much lately. Sorry about that. Ive been busy.
Anyway, Ive been thinking about efficiency and productivity a lot. And Ive been thinking about
why we do things like optimise our workflow and find ways to waste less time. So Ive got a blog
post or two coming up very soon about that.
But first, Id like to ask you a quick question: How long does it take you to mix a song?
And as a follow-up, how long do you spend mixing the kick drum?
I know what my answers are, and Ill let you know in the next post. But first, I want to hear from
you.
-Kim.
2012/04/06 - The time it takes to get things done

It was interesting reading your comments about how long it takes to mix. Some people take a long
time, others seem to get it done pretty quickly.
Personally, I always edit and mix a song within three hours. And I dont spend more than 5-10
minutes on the kick drum, unless Im mixing an acoustic drum kit, in which case it take a bit
longer to get all the tracks working together as a whole.
Ive been thinking about this because every now and then Ill read an account of someone who
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takes a week to mix a song. Or a few days (i.e. in the range of 10-20 hours). That means either
spending huge amounts of time on each element or spending huge amounts of time making finegrained adjustments to the overall balance.
I think Id lose my mind.
Can you imagine spending an hour getting the kick drum to sound right? An hour of thud thud
thud thud thud thud thud thud continuously? Or can you imagine spending hours upon hours
listening for the minute details in the overall mix balance? Some of you dont need to imagine.
I find that the more time I spend on a mix, the less able I am to make good decisions about the
mix.
Its interesting to think about. A mix begins in a raw state, and by making a (huge) number of
(small) adjustments, I bring it (close) to an ideal finished state. The more time I have, the more
adjustments I can make, and (theoretically) the closer I can get to the ideal finished state. But the
longer I take, the less effective each individual adjustment is. Or conversely, the longer it takes for
me to make each adjustment because Im unsure and keep second-guessing myself. If I let
myself go long enough, Id reach a point where the mix isnt in its ideal finished state (it never is!)
but each adjustment doesnt move the mix closer to that ideal finished state. Youve probably
experienced the same thing.
The ideal finished state is an illusion. Its a destination, but you cant expect to ever reach it.
Otherwise youll find yourself in the endless revisionism hole.
The interesting thing is that I always get close enough within three hours. No matter how complex
the mix is (although simple mixes usually less than ten tracks can be done in an hour and a
half). Thats because I spend the bulk of the time on the most important 3-5 elements (usually
lead vocal, drums and bass). They have to sound right. The rest? Its in the background. Simply
turning the background tracks down and applying a simple EQ will get me 90% there.
If it takes you too long to mix a song, I suspect its because:
You dont know what youre doing, and youre still exploring how compression and EQ
affect the sound. Good on you. Keep going.
You are a neurotic perfectionist and you cant bring yourself to call it finished. Muster up
the courage to call it finished. Accept that youll never reach the ideal finished state.
You have too much gear (typically plugins!) and you waste too much time trying them out.
If you have ten compressors and you cant choose between them without trying them out,
youll never feel satisfied until youve heard every one of them. Reduce your gear and get
to know it better.
Does this resonate with you? What are you going to do about it?
Next: Why we improve our efficiency. Hint: its not so we can make more music.
-Kim.
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2012/04/07 - Why do we need to be more efficient?
2012/04/07 - Why do we need to be more efficient?

It takes a certain amount of work to make a piece of music. To do that work, you need time, tools
and skill.
Those three elements are interdependent. For example, if you have the right tools and skill, you
need less time. If you dont have the right tools, you might be able to compensate by spending a
bit more time, but youll need a high skill level. If you have low skills, the having the right tools
wont make much difference. You probably know this intuitively.
Over time, you should be developing your skills. As your skills develop, youll gain a more refined
sense of what the right tools (for you!) are. Youll also find that you need less time to do the work.
Roughly speaking, there a three stages of development as a modern composer, producer or
engineer:
1. When we begin, it is our skills that limit us. We have all the time we need and our tools are
more capable than we know. In particular, getting better tools wont help us. Spending
more time on a song wont help us.
2. As our skills develop, our skills become less of a limiting factor. We start to discover how
our tools might be holding us back. We start to explore different designs for compressors,
equalisers, reverbs, and other more specialised mix equipment. If were also recordists,
well explore different microphones, audio interfaces and outboard equipment. If were
composers or producers, we might look at how our instruments can better serve us.
3. Once weve achieved a fairly high level of skill and weve built our studio with the right gear
(whatever suits our personal style and taste), the final limiting factor is time. We can make
music at a satisfactory quality level (notwithstanding creative expression, which should
always be developing). If only we had more time, we could create more music.
But do we really want to make more music?
What if we could make more music than we know what to do with? Is there such a thing as
enough?
When I finished my solo album, it had taken me about three years (among other projects) from
writing the first lyrics to the final master. Now I could do the same work in three months . Thats
not because Id spend more hours doing it (if anything, Id spend fewer hours), but because my
skill and equipment have developed so much since then. Thats why paying attention to workflow
is so important. Its powerful stuff.
But I dont need to write, record and release four solo albums every year.
Even one is a lot.
So, this probably sounds like I think Im the bermensch or something. But I dont write this to
celebrate myself. Instead, Im thinking out loud about career development. What lies beyond the
three stages I outlined above? Whats next?
Before we move on, Id love to hear from you: Where are you in your career? What stage
are you at? What do you think is your limiting factor?
Next: What to do with all that spare time.
-Kim.
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2012/04/08 - What to do with all that spare time help others
2012/04/08 - What to do with all that spare time help others

So what happens when you become so efficient your workflow so tightly tuned that end up
with more time than you need?
Well, spending less time making the same amount of music seems silly. Because the reward for
being good at making music shouldnt be less time making music. The reward for being good at
making music should be more music.
But what music?
When your capacity to make music exceeds your personal need to express yourself artistically, I
think you need to start focussing that spare capacity on helping others. I think its an obligation.
Its not just for music its any skill. Once youve developed a high level of expertise, you have an
obligation to help other people or pass it on to others.
That help can take many different forms. You could work with artists to help record their music.
You could teach composition techniques to young hopefuls. You could open up a recording studio.
You could even start a blog and share your knowledge online.
Ive often lamented the phrase those who cant do, teach. I think teaching shouldnt be done by
people who tried their hand at a skill but couldnt stick with it long enough to get good at it. I
think teaching should be done by people who are experienced in their field.
What are you doing to help others?
Or if youre not there yet, how would you like to help others?
-Kim.
2012/04/10 - Are control surfaces worth it?

Joe Gilder:
A control surface doesnt do a single thing to improve the sound quality of your mixes. I
promise you if you mix a song on a control surface, Im not going to be able to tell.
Instead of dropping $1,000+ on a glorified mouse, Id rather spend that money
improving the quality of my recordings.
Joes got a good point, but I dont agree 100%.
Hes right that control surfaces dont affect the sound. If youre looking to improve your sound, a
control surface of any kind will be a waste of money. Better to upgrade the weakest link in your
signal chain or improve your knowledge.
But things that dont directly affect the sound are sometimes worth a lot.
As I wrote earlier, there are three main things that will hold you back: skills, tools and time.
When youre at a stage in your career development that your skills and tools are holding you back,
anything that saves time probably wont solve any big problems for you.
But when your skills and tools are no longer holding you back, its only time. And something that
saves you time even just a small amount can be worth a lot. Especially if you charge a lot for
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your time. But you already knew that.

The other factor to consider is comfort. My candles dont improve my sound (the improve the smell
in my studio though!). And Ill recommend scented candles to anyone who wants add a more
atmosphere or ward off evil spirits. Its like having a comfortable chair or your favourite
mouse/trackpad. Its about feeling calm and comfortable while you work.
Lastly, a control surface that just sits there and looks cool can have a real benefit in impressing
clients. Yes, its very expensive furniture. But if youre showing your studio to potential clients, just
a single extra client can make it a worthwhile purchase. Its not fake to buy something like that
just for your clients. They come in with their own preconceived ideas about what a recording
studio looks like. You probably cant change that straight away[1]. A control surface or big mixing
console is just as functional as carefully-chosen prints on the wall or a suitable colour scheme for
the couch and rug. Anything that makes the client feel safe and comfortable is serious business.
Dont dismiss it.
By the way, I dont use a control surface. I used up that space with hardware keyboards and
synths (and guitars).
-Kim.
[1] Especially if you dont have an existing relationship with the client. Once youve built up mutual
trust and respect you can begin to explain how studios really work these days.
2012/04/17 - The fear or failure

Graham Cochrane:
Dont be afraid. Just get to work. Work hard. Educate yourself. Try new things. Make
mistakes. Get feedback. Have thick skin. Dont be so timid that you lose out. Theres no
magic bullet to audio recording and mixing improvement, only experience, time, and
hard work.
Exactly.
-Kim.
2012/04/25 - Clicky keyboards

Shawn Blanc:
As someone who writes for a living it befuddles me why I never thought to research a
proper keyboard.
As a computer-nerd-slash-writer, I am always looking and advocating for the right tools.
But for years, I have always equated writing tools with software I own more text
editors than I have fingers to type with but it never dawned on me until recently that
a good keyboard could be equally as important as a good text editor.
I own a dozen different writing applications, a programming application or two, an
email application, and a blog-posting application. And what do they all have in
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common? They all get typed into via a single, solitary device: my keyboard.
Its a long post and it gets pretty esoteric, but the general message is clear: theres so much noise
about software (and, in our world, noise-making hardware) that its easy to overlook the lessexciting equipment. The equipment that might be boring or unsexy but we use every day. Some of
this equipment we use more than any actual studio gear. Ill bet you spend more time setting on
your chair, touching your (computer) keyboard/mouse/trackpad and staring at your screen than
you do using any individual software program or plugin.
Of course, the kind of keyboard Shawn is writing about is terribly inappropriate for our line of work
(I actually quite like Apples current keyboards because theyre relatively quiet). But the same
attention to detail applies to us. Think about your own studio. Are you still using a crappy
MIDI/USB controller keyboard? Whats the lighting like? Is the room large enough to feel
comfortable? Does your studio smell nice?
Ultimately, the work we do is creative. The fewer barriers to our creativity, the better work we can
do. And the way we feel has a profound impact on how well we can tap our creativity.
Is your studio a place where you (and your artists) feel good?
-Kim.
2012/04/28 - No more IK Multimedia

Those of you who have known me for a while know I used to be a rep for eSoundz and IK
Multimedia. From back in the SampleTank 1 days. I have been a heavy user of SampleTank2, TRackS, CSR and Amplitube3. They hit the right spot for me the right balance between editability
and accessibility.
The first program to be replaced was SampleTank2. I was using a heavily customised library based
on Sonik Synth 2, Miroslav and a few other bits and pieces. Its been years since it was last
updated, and I found myself using Kontakt for some sample mangling and 3rd-party libraries. In
my overall quest for consolidation and simplification, I started using Kontakts factory library as my
go-to sound source instead of SampleTank2. When I bought my new studio computer, I had been
using Kontakt exclusively for some time and decided not to install SampleTank2. I cant
successfully open some projects from several years ago, but that doesnt bother me. Its old stuff.
CSR was the next to be replaced. Ive used it for years and loved it. But I was starting to get tired
of the sound and was starting to look for a different flavour. I recently switched to ValhallaRoom
and ValhallaShimmer, which give me a lot more flexibility in shaping the reverb sound. Ive still got
CSR installed, but I dont use it anymore.
Up until a week ago, T-RackS and Amplitube3 were part of my regular toolkit.
In the T-RackS suite, I used the Linear Phase EQ (not in linear phase mode) for mid/side
adjustments and precise tonal control where VibeEQ wouldnt cut it. The Opto Compressor and
Pultec EQ were standard fixtures on my mix bus. The Opto was almost always in unlinked L/R
mode and the Pultec was almost always in mid/side mode. I also used the Classic multibandlimiter as my regular mastering limiter (usually with the overload control turned all the way up
youd be surprised how transparent it is).
I dont record guitar very often, but Amplitube3 (and 2 and 1 before it) gave me the tones I
needed. Im not very picky about guitar sounds though.
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And then I had a terrible experience.

I was working on a session with an artist and we were about to record an electric bass. I pulled up
Amplitube3 and Cubase crashed. Tried it again to be sure, and it happened again.
Ok, fine, Ill use Am|phibia. Its fine as a basic cabinet. No worries.
So, working on the same song a few sessions later, and T-RackS started doing the same thing. Ok,
fine. Ive got an artist here so I have to keep the session flowing. I use Am|track for mix-bus
compression. Not ideal, but itll do for now. Ill track down the problem later.
So, in my next session of downtime, I did some systematic troubleshooting. Turns out Amplitube3
and some T-RackS plugins bring down Cubase when Melodyne is also used in the session. Reliably
reproducible. If Melodyne is already in the session, the IK plugs bring down Cubase as soon as
theyre loaded. If the IK plugs are already in the session, loading Melodyne makes Cubase go
erratic and unstable before finally bringing it down.
So I have to choose between Melodyne and my IK plugins.
I kinda like both, so I have to consider what the alternatives are. For Melodyne, not much.
Cubases built-in Melodyne copy has tragic usability. I wouldnt use it even if there were no such
thing as Melodyne. And Im not going anywhere near Autotune or Waves or other plugins with
complicated copy protection. Im trying to reduce complexity in my system. So Melodynes going to
be pretty difficult to replace. Theres not much else out there that does what it can do.
So what about the IK plugins? There are plenty of options for gentle bus-type compression and
mid/side surgical EQ. In the end, I went for the Fabfilter compressor and EQ. I already use and
love Volcano, Timeless, Twin2 and, more recently, Saturn. Theyre a bit more tweaky than the IK
plugins, but not so much as to cause problems.
Amplitube3, on the other hand, wasnt so easy. While Im not picky about my guitar sounds, I
want the flexibility to achieve a fairly wide variety of sounds. And I dont want to replace one
plugin with a smattering of amp sims to cover my bases. And again, my goal is to reduce
complexity in my setup, so I want to avoid taking on plugins with complicated copy protection. An
amp sim by a company that makes plugins Im already using would be ideal.
After a bit of searching I couldnt find anything satisfactory. Fortunately Im not doing much guitar
music at the moment, so I can afford to take my time. So if something comes up Ill probably just
use Cubases built-in amp sim. I tried it out and its not as bad as I remember maybe its been
improved over the last few updates? I dont know.
I didnt want to consider workarounds. When Im working I have enough stuff to keep in my head
without also having to remember which combination of plugins is going to crash my DAW. No way.
Also, Im starting to see the appeal of one-stop shops like Waves and Native Instruments. With
something like Platinum Bundle and Komplete, youd have a lot of high-quality music-making tools
while only having to deal with two companies.
Even better would be using only the plugins that come with the DAW.
Not yet, but maybe one day in the future.
-Kim.
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2012/04/29 - Phase vs polarity
2012/04/29 - Phase vs polarity

Randy Coppinger:
Youll see a button on some mic preamps and other audio gear labeled Phase, Phase
Reverse, Phase Invert, etc. This is really Polarity.
I cant believe how often people get this wrong. Mix engineers without an *actual engineering*
background I can excuse they simply dont know any better. What surprises and disappoints me,
however, is when gear is labelled incorrectly. Seriously, this stuff is designed by *actual engineers*
who should know better.
Its like confusing frequency with pitch. For most people, the two terms are as good as
interchangeable. In some contexts (such as designing synthesisers), the difference between
frequency and pitch is the difference between pleasant music and a cacophonous mess.
Also, the linked article is pretty good. You know, science. It works.
-Kim.
2012/05/04 - What do you do when no-ones watching?

Sometimes clients cancel. Sometimes its not because theyre flaky and dont believe in
themselves. Sometimes people just get sick. Its ok.
Anyway, this post isnt about self-esteem and motivation. Or maybe it is.
Occasionally, I find myself with some time on my hands. Occasionally, you might too. What do you
do?
Do nothing
Ha, you thought I was going to say get some work done? Sometimes not doing any work is the
most important thing you can do. Were flooded with things to read and do. Email, blogs, forums,
manuals, software updates, troubleshooting, practice. And because theyre somewhat related to
our work, they feel like work. Yeah, I just knocked off a hundred items in my RSS reader. Feels
good to be productive. Or does it? Did reading those hundred items make me a better composer,
producer or engineer? Probably not. There are only so many 5 tips to EQ your bass articles I can
read before they start to repeat themselves and become a blur. It wasnt work, it just felt like it.
I sometimes think about the way I spend my time by dividing it into structured thinking and
unstructured thinking. Yes, Im always thinking. Even when Im not.
Structured thinking is what happens when Im doing anything vaguely resembling work. Obviously,
it includes anything Im doing in the studio. It also includes things like planning, administration and
all the work-like activities (such as email, blogs, software updates, etc). Its what happens when
my thoughts are deliberate.
Unstructured thinking, however, is what happens when Im not doing anything like that. Its when
Im walking outside, or cooking, or waiting for a client to cancel. Its when I have a significant
period of time (i.e. more than twenty minutes) when Im not trying to think about anything in
particular. I let my mind wander. I ponder things without the expectation of creating or solving
anything.
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The interesting thing, however, is that this is the time when have my most significant creative
leaps and I move closer to solving my biggest challenges. This is the time when I connect the
dots. Synthesise disparate thoughts. Speculate. This is when my thoughts to things that I didnt
tell them to do. And thats important.
Do something
Get some work done. Got some free time? Use it to make yourself better. Push things forward.
Build a little more. Because if you know whats holding you back, youve not got a few hours to
iron those creases. Pump the drain. Clear those blockages. Torture those metaphors.
Heres the real key doing work in this time is only worthwhile if it pays off later down the track.
That is, if it makes a measurable difference in future sessions. So futzing about with plugins you
wont use on an actual session is a waste of time. Reading endless forum posts about the Virus
versus the synth of the day is a waste of time. Reading your emails when youve already got
another time set aside to deal with them is a waste of time.
But programming some presets as starting points for the kinds of sounds youll use is a time-saver.
Learning the advanced options on your reverb will allow you to craft a more appropriate ambience
(or intergalactic afterburner, if thats your thing) for your mix. Software updates can give you new
features or better compatibility. Reading your manuals can help you unlock features or discover
shortcuts. All this stuff helps you make better quality work in less time. And thats important.
Do what?
Its up to you. Do nothing. Do something. Vacuum your carpet. Daydream. But whatever you do,
do it deliberately. Make a conscious choice about how you spend your time, with the consideration
of how itll help you in the future. The time you have for yourself is the most valuable because if
you spend it well itll pay itself back many times over. You get to choose.
And thats important.
-Kim.
2012/05/16 - A hard-knock life

Stijn Debrouwere:
People care about the news. They want to pay for it. They want the light stuff and the
deep stuff too. They just dont want as much of it as we journalists and media makers
produce. But we forge ahead and produce it anyway. We love journalism so much we
create supply without demand.
Replace journalism with music and it translates beautifully.
That doesnt mean you shouldnt try. It means you should try even harder.
-Kim.
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2012/05/18 - Monitoring with reverb
2012/05/18 - Monitoring with reverb

No, not that monitoring. Im talking about feeding a reverb-processed version of a singers voice
back into her/his headphones as s/he is recording.
Dont do it
For years Ive preferred to give singers no reverb in their headphones. The intent is that they can
clearly hear the details in their voice and thus deliver a better performance.
Its for the same reason that I usually have my singers monitor through some gentle compression
and top-end boost. Its so they can hear the details in their voice. I find that the top-end boost in
particular usually results in a noticeable improvement in the singers intonation. Try it.
Occasionally a singer will ask for some reverb, and I happily oblige. Whatever the singer is used to
or makes her/him more comfortable. But unless s/he asks, I dont offer.
Do it
This year Ive started a project where the reverb is an integral part of the creative direction and
the sound of the project. Specifically, were talking ValhallaShimmer being fed by the lead vocal at
unity. In other words, the reverb is just as loud as the vocal. And if youve never used or heard
Shimmer, you need to know that its not a regular reverb its designed for plate-like intergalactic
ambient washes. And theres a pitch shifter in the feedback path. So its pretty distinctive. And Im
using a lot of it.
Not for a subtle sense of air or ambience, but as a synthetic pad-like sound thats triggered by the
vocal. Multi-second pitch shifting voice-like ghosts that sometimes overpower the rest of the track.
So, a few weeks ago I started recording final vocals for the project and I thought to try having the
singer monitor through the reverb. Because the reverb responds very sensitively to the voice and
is such an important part of the sound, I guessed that hearing the way the reverb responds to the
voice would affect the singers performance.
And it did.
She felt that singing with the reverb was a little bit like singing with another musician. The reverb
would respond to her performance, and then her performance would respond to the reverb. It also
helped her to perform in a way that better suited the music (the rest of the instruments were
mostly dry).
Do what you want
The fact that I had a situation where it made sense to monitor through reverb doesnt mean my
initial assumptions were false or that my old ways were wrong. What happened was that I was
working on a project that didnt abide by my usual approach of using reverb subtly in the
background and applying it toward the end of the mixing process.
This is not a shake things up or try something new post. Its not about changing work habits just
for the sake of it. Your work habits are habits for a reason. Theyre habits because they work for
you and help you make music. Dont ignore that.
But always be aware of your work habits and, more importantly, be aware of the reasons for your
work habits. When you come across a situation where the reasons dont apply or arent suitable,
be prepared to take a different approach.
-Kim.
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2012/05/21 - Various updates
2012/05/21 - Various updates

Yeah, I know its been pretty quiet around here lately. Nothing bad just busy with other work.
That happens sometimes.
So anyway, there are a few changes coming up.
First of all, Im raising the base price for my consultation service. Not right away itll happen in
July, and itll start at $50. I want to be able to offer a more in-depth consultation that includes
more hands-on assistance by default. So while the base price is increasing, youll be getting more.
I think a lot of people will appreciate the extra assistance. Ill provide more details in July when I
actually raise the base rate. If you just want some basic written guidance for your song, get in
before July.
Second, Ive got some more guides on the way. If youve been reading this blog for a while, youll
know that Ive already distributed a couple of guides to email subscribers Mixing Tools Reference
Guide and Using Space in the Mix. That was a little while ago, and since then Ive written a few
more. Im currently getting them nicely laid out with colour photography and theyll be more
pleasant to read than the previous pile of bald text. The full list of guides coming are:
Mixing Tools Reference Guide

Using Space in the Mix
Building Musical Structures
Texture, Dynamics and Structure
Emotion in Music
Using Reverb
Monitoring and Referencing
Preparing for Production
Theyll be $20 each and Ill be writing a bit shortly about what to expect in each guide. Theyre in
various stages of completion, so I wont dump them online all at once. The first guide will be
Emotion in Music, and thatll be coming soon. Let me know if there are any other topics youd like
me to cover
Stay tuned.
-Kim.
2012/05/22 - A true story

Seth Godin:
Theres no such thing as a true story. As soon as you start telling a story, making it
relevant and interesting to me, hooking it into my worldviews and generating emotions
and memories, it ceases to be true, at least if we define true as the whole truth, every
possible fact, non-localized and regardless of culture.
Think of how this relates to songwriting. If youre writing a song about something that happened,
you might find there are some good reasons to stray from the truth. Sometimes rearranging or
omitting some details can make the song flow better musically. Sometimes enhancing or
embellishing the story can strengthen the emotional impact. Sometimes exaggeration is exactly
what the song needs.
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Dont get hung up on the facts leave the facts to journalists. The role of music (and other art) is
to communicate emotions.
Are you an artist or a journalist?
-Kim.
2012/05/24 - How to tell if youre not good enough

Im a big believer in self-education. By reading the theory and applying it in practice, you can
develop the skills and experience necessary to make amazing music.
But self-education is not simple. In any particular field, there are many different skills that you
need to combine in order to get the result you want. For example, composition can be broadly
divided into sub-areas such as melody, harmony, instrumentation and structure. Audio engineering
might be broken down to topics ranging from acoustics, microphone characteristics, electrical
engineering, digital signal processing, dynamics, tone, depth, etc. Production might include
everything in composition and engineering and also add project management, relationship
management, conflict resolution, emotional coaching, etc.
So how do you tackle all this? How do you choose which areas to focus on?
Actually, I think its pretty straightforward (but not easy!) its a process I call iterative
refinement. Its a bit like what people refer to as Trial and error, but its much better: Iterative
refinement is essentially this:
Step 1: Make a music.
Step 2: Figure out what happened. What worked? What didnt work?
Step 3: Go back to step 1.
Each time you go through the cycle, you get better and better because youre frequently
identifying the areas where you need to improve. In addition, Step 2 combines with the theoretical
reading youre also doing so that each time you get better at identifying what you need to
improve.
By comparison, trial and error is an aimless recipe for failure. In iterative refinement, the only
failure is the failure to learn from Step 1. It doesnt matter how disappointed you are in the results
of Step 1 its a success if you learn enough to do it better next time.
Iterative refinement, however, isnt perfect.
Its common to get stuck spinning your wheels because you cant quite get to the next level. You
know youre in this situation if:
You feel that your music isnt improving, even after trying to figure it out yourself;
You dont know what the next step is you dont know how to get the sounds youre
imagining; or
People are giving you feedback that youre not as good as you think you are.
If youre spinning your wheels without getting ahead, you probably need some outside help.
Simply being dissatisfied with your work is on its own not a sign that you need outside help.
The dissatisfaction is actually a necessary motivator for doing the work yourself. Even continual
dissatisfaction is not a problem, so long as your music is improving. If your music isnt improving,
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however, then thats the clue that you might need outside help.
Outside help can take many forms. It can be anything from paying for professional help to asking
a knowledgeable friend to posting on forums. No matter which way you do it, it involves making
contact with another person. It involves someone listening to your music and giving you some
specific guidance that you wouldnt have thought of on your own.
Obviously, you need to be careful who you listen to. Not everyone will be able to give you useful
advice. Musicians will often give advice that leads you to make your music more like theirs.
Beginners might have a lot to say but not realise when their advice is not useful. Forums can make
it hard to tell the difference between anonymous jerks and veterans giving tough love.
If you have the choice, seek advice from someone you know and trust.
-Kim.
2012/05/26 - Dimensions of the voice

When Im working with a vocalist, I usually need to give directions to help her/him adjust the
performance to best suit the creative direction of the song. When I do this, I think of the human
voice as a three-dimensional instrument. Its actually a three-dimensional instrument in two ways:
emotionally and technically.
Emotionally, the human voice is (or should be) three-dimensional in the sense of being rich and
lifelike. The voice is the primary communicator of emotion in a song, and must communicate a
range of emotions in order for the song to be engaging. That doesnt mean every song has to
have eight different emotions in it, though! Usually it means identifying the primary (and,
sometimes, secondary) emotion in the song and then establishing an appropriate range around
that emotion. For example, a song that primarily expresses anger shouldnt just be angry all the
way through the expression of anger might range from suppressed frustration in some sections
through to full-on rage in other sections. By working out an appropriate range of emotional
expression, the vocal performance can be dynamic and expressive while still supporting the intent
of the song. Otherwise, the vocal performance can be flat and one-dimensional.
Technically, the human voice is three-dimensional in the sense of having three main parameters
with which to craft a performance pitch, volume and tone.
Pitch is more than just the notes of the melody. Pitch can be used in much smaller
adjustments to affect the feel of the performance. A good vocalist will be able to sing a
little bit sharp to give the melody brightness and lift, or sing a little bit flat to make it
deeper and darker. Of course, it takes a fair degree of skill to be able to do this in a way
that supports the music and doesnt sound out of tune. And of course, the subtleties of
such performance elements are destroyed by heavy pitch correction.
Volume is more than level. Belting sounds different to whispering. Even after heavy
compression, the character of singing at different volumes carries through. For vocalists, I
think of volume as a kind of tone control rather than a way to control mix balance. And
again, sometimes effective use of volume doesnt mean going from a whisper to a shout all
in the one song. Be weary of undersinging where the voice lacks body and falls short of
the power and energy it needs for the song. Similarly, look out for oversinging where the
voice starts to strain and sound forced.
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Tone is more than EQ. For vocalists, its about the character of the voice. Good singers will
be able to explore a lot of nuance here, but I usually start by thinking along the range from
smooth to rough sound. Tone is very personal to a vocalist and is controlled in more subtle
ways than pitch or volume. As such, Ill often give the vocalist a starting direction (e.g.
smoother or rougher) and then explore the different vocal tones from there.
Ultimately, the human voice is best used in music to communicate emotion. The better command
you have of your vocalists musical expression, the better youll be able to make a recording that
communicates effectively and powerfully.
-Kim.
2012/05/29 - About the guides

Im a big believer in reading.
I think its one of the best ways to absorb knowledge (not to develop skill though that takes
practice!). You can read as fast as you can. You can skim over the parts you already know. You
can slow down and reread the difficult or enlightening parts. Its wonderful.
One of the great things about reading is that you can listen to music while youre reading. So you
can absorb knowledge visually at your personal optimal pace AND be listening to music and
gaining all the benefits of that too. For composition, that means learning about contour and
structure and instrumentation. For mixing, that means developing your intuitive sense for balance
and tone.
Thats why Ive focussed on writing rather than podcasts or videos. I dont listen to podcasts and
very rarely watch instructional videos. Why? Because Im already listening to music. Any time I
could be listening to a podcast or watching a video is time that Id rather spend actually listening
to music. And anything worth saying can be read faster than it can be spoken. Videos are a bit
different its sometimes useful to see software settings or performance technique. But its
secondary to the actual information, and doesnt need anything richer than text.
Then again, I read manuals for fun. So that probably says more about me than it does about you.
So, about these guides.
My blog has been running for a few years, and its been going pretty well. It hasnt grown to
ridiculous readership numbers, but thats never ben my goal. My goal has always been to write
authoritatively on composition, production and engineering and share my knowledge and
experience. To that end, most of my posts have been very dry almost textbook-style. Over time I
started to write series of posts on some topics because a single 300-600 word slice wasnt enough
to explore the topic in the depth I thought it deserved.
Then this year I started to post more broadly and I started linking to other blogs. And it became
clear that a blog wasnt the right tool for the job. Most of the best posts Ive written have become
lost under several pages of archives. Individual posts are difficult to interpret in the context of
other posts. Ive written a lot about topics like compression, EQ, reverb, preproduction,
monitoring, structure, etc. But its mostly in unconnected 450-word chunks. Its like a collection of
individual songs. Theyre great if you just want a taste, but unsatisfying if you want a richer and
more coherent experience. Its time to start making albums.
Enter the guides.
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Im not calling them books, because theyre not very long. Most of them will be between 10 and
20 pages. Pretty easily digestible. Theyll cover a lot of the same topics that Ive written about.
Long-term readers of this blog will know what to expect. Some of the ideas will be familiar. Some
ideas will have been developed and refined since I last wrote about them.
The biggest difference, however, will be the scope. The guides will be much broader and complete
than any single blog post. And theyll be more integrated and coherent than a collection of blog
posts. Those of you who have early versions of the Mixing Tools Reference Guide and Using Space
in the Mix know what Im talking about. And theyll be proof-read and edited too, so theyll be
clearer and flow better. In other words, the standard of writing will be a step above blog posts
(which are usually written start to finish with minimal editing).
So, the guides will essentially be an extension of this blog a way for me to write in more depth
and detail, with higher quality and better presentation.
Theyre not for everyone. If you prefer podcasts or videos, there are other people who do them
well. If youre looking for something more tailored to your work, thats what my consultation
services are for. If you want a book, Im sure there are a lot of decent books out there.
But if you like what I write on this blog and you want more, keep an eye out for the guides. They
might be just what youre after.
-Kim.
P.S. If youve read this far, go check out the first guide to be published.
2012/05/30 - What do you remember?

Variety of Sound:
I remember being about this age building things out of Lego blocks and taking things apart to
explore how they worked. Now I build music out of notes and phrases and I deconstruct the music
I listen to as I listen to it.
-Kim.
2012/05/31 - Teaching this kid a lesson about punctuality

Drew Magary, on Justin Bieber:
Now Im back at the studio, ready to fight. Bieber is running late, I am told, because
hes procuring the boxing equipment. The PR lady, Melissa, warns me that Bieber boxes
regularly and that his father, Jeremy, is a former MMA fighter. Now Im starting to get a
little worried. Ive been waiting two and a half days, and I was looking forward to
teaching this kid a lesson about punctuality. But for the first time, its dawning on me
that Justin Bieber might be able to kick my ass. What if his Horny Teenager Strength
can easily overpower my Dad Strength? What if he knocks me out? What if he puts me
in the hospital? What if he kills me? Do I still get paid for this?
Sometimes artists or clients run late. What do you do?
For me, it depends on the relationship. Ill forgive someone running late as much as half an hour if
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its a one-off and weve got a good relationship. Multiple times, though, and I usually start to draw
attention to it subtly (and gently) at first of course. For the occasional late person, they already
know its a problem and dont need much reminding (if any at all). In my experience, however,
people who are regularly late dont simply turn around just because we had a discussion about
punctuality and professionalism. There are deeper problems ranging from poor time management
to self-sabotage. While its my job to help artists, some things are beyond my influence.
-Kim.
2012/06/01 - Maybe you should worry more about

performance and not recording?
Larry Crane:
Look, if youre gonna burden your recording with little rules that dictate how it is
recorded thats great. Fine. Whatever. But when you do so please think about what that
will mean. Is it helping the songs?
So true. Recording is an artform, but only to you and me. When regular fans and music lovers
listen to music, theyre listening to the artists and musicians. If youre not the artist, your #1
priority should be to allow the artist to express her/himself. That means knowing your gear well
enough so that it doesnt get in the way. And it means conducting yourself so that you dont get in
the way.
Self-imposed limitations can be a constructive part of the creative process. When used like this I
think of it as creative focus, not limitations. But the limitations dont make the music. Theyre just
a tunnel through which you (or the artist) must squeeze. The fact that you made it out the other
end isnt a triumph of the tunnel. Its a triumph of the resulting creativity.
Also:
When you listen to a classic song recorded under primitive or simple conditions yet
the song sounds fantastic, a big part of it is because the performances were so damn
good. But its never because the technology was limited or the track count was low.
Never. Ever. Was.
This is why I think the idea of emulating specific equipment from the past is irrelevant (and why
Im generally dismayed by all the emulations in the audio world particularly the plugin world).
Your music wont be better because you used a more accurate 1176 clone. Joe Gilder sometimes
writes about mixing using nothing but stock ProTools plugins. Great mixes dont come from great
gear. They come from great music and great skills.
-Kim.
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2012/06/02 - Rap it in a Grid
2012/06/02 - Rap it in a Grid

Nishant Kothary:
Users want a predictable experience. When something is a link, users want to know it
without having to think about it. A link should behave like other links.
But users demand that these expected experiences simultaneously be delightful. For
most people, this idea is somewhere on a tangent, living on the opposite end of where
non-spontaneous Mr. Predictable does.
To bring this full circle back to music, one of the composers main jobs is to balance predictability
and unpredictability.
Predictability gives the listener a framework for understanding the music. It also provide a degree
of comfort and familiarity, which is critical for the listener to actually give your music a chance.
Unpredictability gives the listener a surprise! It what gives the music character. Its what causes
someone to fall in love with a song.
Too much predictability makes a song boring no matter how cool your sounds are or how
authentic your emulations are. Those of you who make music that looks like lego blocks in your
sequencer know what Im talking about.
On the other hand, too much unpredictability makes a song difficult to follow and difficult to learn
and remember. Autechre, Im looking at you.
All composers even rappers must dance between these two extremes.
-Kim.
2012/06/14 - If the gear doesnt matter, how do you choose

what to get?
Posted on June 14, 2012 by Kim Lajoie
Theres a lot written about how the gear doesnt matter. Its true. The most important parts of any
music creation is people. The gear is just a conduit.
Having said that, a little clarity is in order. The choice of gear doesnt matter to the listener. As Ive
written before, when most people listen to music, theyre (at best) listening to the people. But you
need some gear. Recordings dont just magically appear through force of sheer will. You need
some tools.
And youll need to learn how to use your tools. You need to choose the right tools for the job and
you need to know how to get the best results out of them. But if youre starting out or youre
developing new capabilities, you dont have anything suitable and you dont know how to choose
something suitable. So what do you do?
For example, you might be quite experienced in composing all-electronic music using software and
you want to develop the capability to record vocals. Presumably you already have an audio
interface, but you might not have a microphone. There are many different kinds of microphones
and just as many kinds of accessories. You could start by researching microphones and learning
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about how they work

My advice? Just get one. Any microphone at all. It doesnt matter what. Maybe something cheap.
You wont know how to interpret the theory unless youve got some practical experience. Its even
worse when it comes to the variety of opinions on forums and blogs. You wont have an intuitive
practical understanding of the impact of pickup patterns, frequency response or dynamic
performance until youve put some of your own hours in.
Once youve got your microphone whatever it is you should focus on getting the hands-on
experience AND background theory knowledge simultaneously. When you can start to tie the
theory with your own experience, youll quickly develop a MUCH better understanding of how your
microphone sits in the broad spectrum of microphones. If you need something better, youll know
why.
Some people might say its better to get good quality gear first, because cheap gear will
eventually be replaced with good gear anyway. The second part might be true, but its unwise to
spend serious money on equipment that you dont understand. The price of gear can be measured
on a linear scale, but more expensive gear isnt always better it depends on what youre trying to
achieve. A bigger budget means you have more options, but more options doesnt translate to
greater choice if you dont know what youre looking for.
Personal story: My first microphone was a Shure SM57. I bought it over a decade ago when I
finished high school, and for years it was my only mic. I used it for guitars, vocals, percussion,
weird noises, etc. Everything.
I hardly use that microphone any more. Through using it and understanding it, I came to realise I
needed something with more top-end clarity (especially for vocals), but without losing the solid
midrange body. So the next microphone I bought was a large diaphragm condenser a Groove
Tubes GT50, which I picked out after auditioning four different microphones. That was 7-8 years
ago, and I havent felt the need to buy another microphone since (I record bands and ensembles
at other studios). I think I made an excellent choice, but I wouldnt have been able to make it if I
hadnt already spent many years with the SM57.
-Kim.
2012/06/19 - Muscle memory and why workflow matters

Posted on June 19, 2012 by Kim Lajoie
Dalton Caldwell:
What is fascinating to me is that Great creation stories all sound surprisingly similar.
Something along the lines of yeah we went in the studio and put down some tracks,
and they sounded pretty good, and we had to redo a couple of things, and then when put
out the album. Disappointing, right?
[...]
Its our fault for expecting a compelling narrative. Our expectation of divining some
deep insight into their creative process is fundamentally flawed. They were just out
there doing their thing, just like they always do, and it worked.
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Its true. There is no compelling narrative. John Lennon didnt sit down to write Imagine planning
it to be his career-defining song. Beethoven didnt start writing his fifth symphony with the intent
that the four-note theme would resonate for over a century. Ark Music Factory werent thinking ok,
this one will make Ms Black an internet superhero.
They were just doing what they do best. Showing up, putting the hours in, doing the best work
they could at the time.
And they were Great because they werent worrying about the mechanics of making music. Theyd
hit their stride long ago and were focussing wholly on the art and craft. Would John Lennon have
written Imagine if he was still struggling to figure out how to write songs that resonated with a
generation? Would Beethoven have written a brilliant fifth symphony if he hadnt already
written four other brilliant symphonies?
For composition, the mechanics might be themes, contour, musical development, etc. For mix
engineering, the mechanics might be gain, EQ, compression and reverb. For production, the
mechanics might be creative direction, project management and relationship skills. And for all of
them, workflow is at the centre of it all.
How can you do great work if youre still figuring out what production step comes next? How can
you do great work if you havent settled on your toolset yet? How can you do great work when
you dont understand the basics of musical structure and listener perception?
The sooner you get this stuff sorted, the sooner you can go make something amazing.
-Kim.
2012/06/26 - Audio perception and ABX testing

Rob Schlette:
[I]ts not uncommon for people to be asking the question, can you really hear the
difference? This is very good news for music and music lovers.
Rob then goes on to describe a particularly thorough method for conducting audio tests.
But it doesnt matter.
If you have to squint to hear the difference, the difference doesnt matter. Were talking about
comparing two different signal chains and the audio difference between them is so slight that you
need an ABX test to tell them apart. If thats the case, the minuscule difference will be dwarfed by
other practical considerations. You know, real-life factors like cost, ease-of-use, ability to impress
people, availability, etc.
MP3 encoding is a great example. Low-resolution (below 128kbps) MP3 encoding is easy to hear.
You dont need a controlled test to know when youre down there. But above a certain point
(192kbps for me), MP3 is *almost* indistinguishable from uncompressed audio. At that point, it
doesnt matter how close it is, because the fact that it takes a fraction of the time to transfer
online is far more important.
In fact, MP3 encoding is a great example because if youre encoding your audio with a lossy
format, you already dont care about perfect reproduction.
Amp sims are another example. They sound just fine. People doing extensive comparative testing
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are wasting their time (unless theyre developing amp sims themselves!). Amp sims suck. They
dont suck because they sound terrible. They dont (they used to, but thankfully were past that
point). They sound great. Amp sims suck because they dont give you the experience of playing in
front of a kicking amp (also, iso booths suck for the same reason!). A better performing experience
will give you a better performance. And that is what matters.
-Kim.
2012/06/30 - 90% of what matters happens before you hit

record
In fact, 90% of what matters happens before you step foot in the studio.
Im not just talking about preproduction.
Preproduction is important, of course. You need to refine and rehearse and prepare before you hit
the big red button. But the 90% of what matters is more than just preproduction. Its creative
direction. Its the concept.
When you do your planning, you probably dont allocate 90% of your resources for creative
direction and concept. Thats ok, thats normal. Because by the time you get to the stage of
detailed planning, youre already 10% away from the finish line.
That 10% is execution. Execution is difficult, and when youre at a beginner or intermediate level it
can sometimes feel like execution is everything. You cant get your head out of getting it done if
you still dont grasp a compressors soft knee control or a reverbs density control. Getting it done
is engrossing. And its fun. And, eventually, its easy.
And thats when you pull your head out and realise that execution is just 10% of what matters.
Great! Youve mastered execution. You can make a song with a high quality and with reliable cost
and time estimates. Well done. Youve built a machine. But what do you do with the machine?
Thats the 90%.
Youll already find this familiar. Awesome mastering is pretty useless if your mix sucks. Awesome
mixing is pretty useless if your recording sucks. Awesome recording is pretty useless if your
performance sucks. And an awesome performance is pretty useless if the song sucks.
And the entire production process is pretty useless if the concept sucks.
Developing an amazing concept thats the hard part. Developing an idea that stretches your own
creativity is hard. Developing an idea that simultaneously resonates with your audience and
extends and challenges them is extra hard. Developing an idea that matters is super hard. And
unless you can do that, youre just adding to the rest of the derivative uninspired debris that takes
up space on the internet.
Notice I wrote developing an idea, not coming up with an idea? Just like any other part of the
process, developing a concept takes planning, drafting, iteration and feedback. It doesnt just
magically appear while meditating or having a shower. Maybe the germ of the concept does, but
concepts dont just spontaneously appear fully-formed. You must form them. They grow and
blossom with careful care and cultivation.
-Kim.
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2012/07/01 - Changes to consultation
2012/07/01 - Changes to consultation

As promised, Im increasing the base rate for consultations.
Basically, every consultation involves a studio demo. What that means is that you give me stems
for your track, I bring them into my studio and find ways to improve your music, and then I give
you a mixdown and a detailed explanation of what I did.
For mix consultations, Ill tell you every single plugin and processor that I used - and the
settings. Thats the exact settings for every EQ, compressor, reverb, limiter, etc. So you can
duplicate exactly what I did if you want. Not only that, but I provide an explanation of why each
processor was used and why I used it in that particular way with those settings.
For composition consultations, Ill tell you the reasoning behind every single edit and
modification. Youll learn how each change improves your listeners experience. Its not just I
played around with it and it sounds better that way. Ill go into the psychology of composition
techniques such as structure, contour, thematic development, pacing and other techniques.
This is more than just an opportunity to improve one song/track. The goal is to help you learn the
techniques and approaches that will improve all your music from that point onwards. Thats why
each consultation includes a detailed explanation of the principals behind the suggested changes.
For the people who have had studio demos this year, theyve found the process to be extremely
helpful. Here are some comments Ive received:
Im very like you version, and its realy sound more logical I think, the flow is more
natural, you make me look at the song structure from the different angle.
You give me very usefull and interesting thoughts about connection with listener, about
speaking with him in uderstandable language. To be honest I never thought about it
earlier.
Thank you very much againg for detailed studio demo, Im very happy with your
comments.
(I dont edit these quotes at all)
Thanks for all the advice, really appreciated it, and I have to say it is well worth
spending a bit of money for a proper opinion.
I will try incorporate your advice in my new productions and try fix my current ones
and I would be happy to ask you for another consultation once I think I have raised the
bar for myself again.
I get quite a few people having one consultation, then internalising the new
knowledge/perspective and working it into their other songs/tracks. They then come back after a
few months for a further consultation, and I can hear the progress theyve made since last time.
Thanks a lot for that kim, yeah my monitoring enviroment is awful at the moment i am
in a uni place so the walls are very thin and cannot feel any bass.
I can usually hear when someone has problems with their monitoring environment. When this is a
problem, I provide practical advice for how s/he can improve their monitoring environment without
breaking the bank. Most people dont have massive funds, so I advise on how to get the best
bang-for-buck.
Theres a bit more info on this page, but if youre reading this post here you already know what to
expect.
When youre ready, send an email to consultation at kimlajoie dot com.
-Kim.
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2012/07/05 - Rookie mistakes

Joe Gilder:
I made a crapload of mistakes when I first got into recording. (And as I mentioned last
week, I still make plenty of mistakes.)
Joe then goes on to describe eight different mistakes that he made when he started out recording.
Since the three of you reading this blog seem to make more electronic/dance music, and since my
own beginner experience was mainly with synths and samplers, I thought Id put a different spin
on it:
Focussing too much on execution and not enough on expression
How much time do you spend thinking about gear or mixing techniques? How much time do you
spend thinking about artistic expression and music? Exactly.
Chasing your tail
Its all digital. You can always go back and change things if you dont like it. Even after it is (or
should be) finished. Doesnt mean you should.
Not referencing commercial tracks
I cant tell you the number of times Ive finished a mix thinking I had it in the bag, only to
reference it later with commercial tracks and be sorely disappointed. Its something Ive become
much better at with experience, but for beginner and intermediate producers I cant stress enough
how important it is to get a real-world reference.
Not allocating enough time
Making music takes time. If you rush yourself, youll end up with a result that youre not proud of.
Of course. But what if youre trying something new and you dont know how long itll take? My
simple rule of thumb: make as realistic an estimate as you can, then double it. If you finish early,
you just scored yourself some free time!
Assuming collaborators want what you want
Let me count the ways.
Be savvy. Tiny things that give you the weirds turn into giant monstrous creative differences that
can sink projects and take whole relationships down with them. On the other hand, tiny things that
make you feel good about a person stay tiny.
Also, dont become jaded and cynical.
Working too late into night
Everyones different, but I find that after I work past a certain point (usually about midnight) my
brain really slows down and things take me twice as long and end up half as good. Know your
limits. Stick to them.
Not treating your room
It took me so long before I got serious about acoustic treatment. After years of ineffective
cardboard and thin fabric, I finally got some professionally-designed acoustic foam. The difference
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was astounding I could hear so much more clearly. Recordings, of course improved
tremendously too. Dont put it off.
Forgetting the feeling
This is the most important one.
The. Most.
Dont ever fall out of love with music.
Fortunately, Ive never come close to this, but Ive seen it in others. They throw everything theyve
got into their music for a few years and then get burnt out from focussing too much on the
business or the technicalities or the live shows or any number of other distractions. Dont be that
person. Youre reading this blog, so you probably Love music. Thats not with a little l. Thats the
big L. Always remind yourself of why youre doing this. Always remind yourself of the feeling it
gives you. Because even if were making music with machines, dont ever forget that its only the
emotions that make it worthwhile.
-Kim.
2012/07/17 - What if I want to make a song longer?

Erik Magrini:
I think in general, if youre going to go for a longer song, the the biggest thing to keep
in mind is that you need enough material in the song to keep it interested to the average
listener for that amount time. A lot of times as producers we like to think that a solid
groove is enough for people to listen to for a long time, but more often than not it takes
more than this to keep people entertained for more than 4-6 minutes.
In case you missed it (I almost did!), Eriks really kicking goals on his Tarekith blog. The concept of
balancing song length with the amount of material is something I think all composers/producers
need to understand. Ive written about it here, but click through to Eriks post for some
suggestions specific to dance music.
Hes also got some good advice about mixing/mastering levels (which pretty much mirrors my own
advice) and some interesting discussion about DJing downtempo tracks.
-Kim.
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2012/07/19 - Masculine and Feminine sounds
2012/07/19 - Masculine and Feminine sounds

In my Emotion in Music guide, I explore eight different types of emotions that you can use to
organise the sections in a song or the different kinds of sounds in a track.
While thats rather involved (and beyond the scope of a single blog post), theres a also simpler
way to approach it. Rather than exploring eight different types of sounds, we can start with simply
two types masculine and feminine.
You probably already think about other dichotomies such as hard vs soft, rough vs, smooth, loud
vs quiet, stable vs unstable, dark vs light etc. Taking a step back, however, most of these kinds of
dichotomies are really different dimensions of the same thing. Theres usually one side thats
masculine and the other side is feminine.
Like people, songs are often mostly one or the other. Mostly. They often contain some elements of
both. A heavy dance track thats fast and loud and thick should probably have some elements that
are quieter or more fragile. But usually not so much that the fundamental character of the sound is
diminished. Similarly, a soft gentle-sounding ballad should probably have some stronger and more
stable harmonies in the chorus and definite chords and rhythms. But again usually not so
much that the fundamental character of the sound is diminished.
Thinking in this way can help guide your decisions when producing a song. Will the song be
predominantly masculine or feminine? Within the song, which sections will be more masculine or
more feminine than the others? Within each section, which parts or instruments are playing a
more masculine role and which are playing a more feminine role?
If youre working on a song and somethings not quite right or its not really hanging together,
examining the masculine and feminine elements can help you understand whats not working and
how to fix it. Considering masculine and feminine elements at the beginning of the process can
help you produce a song thats clear in its creative direction and satisfying to listen to.
-Kim.
2012/08/08 - Its been pretty quiet around here

but dont worry, Im still alive.
Ive just been spending more time making music and less time writing (and reading) about it.
Ive also been busy with some non-musical activities some fun (like making music videos) and
some a little less fun (like doing a *lot* of planning and preparation work).
What have you been working on lately?
I might have had other priorities over the last couple of months, but Im still here. Ask me
anything on Twitter, get me to help you with your music or just leave a comment here. I read and
reply to everything.
-Kim.
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2012/08/19 - Mobile music apps: Fast-tracking creative development
2012/08/19 - Mobile music apps: Fast-tracking creative

development
This is interesting.
Remember loopitis? What a terrible term. In fact, I think the term is worse than what it describes.
Anyway, its a bad habit of being unable to develop a piece of music beyond a cleverly-crafted loop
(usually 4, 8 or 16 bars).
Well, like other aspects to making music, there are no absolutes. There is a place for composing
short loops without developing them into multi-minute songs.
Im starting up a new project. Dont get excited itll be a while before theres anything to
announce. But since youre so intelligent and handsome, I thought I might take the opportunity to
talk a bit about my process.
I want to focus on electronic dance music.
Ive done a lot of work around the fringes of dance music over the years, and even made a few
songs here and there that come pretty close. This will be the first time, however, that I pursue the
style as a larger-scale project. So were talking 135bpm. Were talking 4/4, four-to-the-floor kick
drum. Were talking off-beat synth bass. Even some side-chain compression. Because this is a
relatively undeveloped musical language for me, itll take me a little while to find my voice. And
thats where loopitis comes in.
Before I start composing entire multi-minute tracks, Ill need to first sort out how I want to
develop my sound. Its about how the different instruments behave and interact. And it needs to
work in 16 seconds before it can work in five minutes.
Ive made 19 demos so far.
And Ive made them using iPhone apps. iMaschine and Figure. Ive tried a bunch out and was
pretty disappointed actually. At one end of the spectrum are the apps that are too basic or
restricted taking away too much creative freedom. At the other end of the spectrum are apps
that try to recreate a whole DAW, and end up with zillions of tiny tiny tiny controls that are pretty
much impossible to tap reliably whilst remaining sane.
Yes, of course iMaschine and (especially) Figure are very good at steering towards certain styles or
genres. Yes, theyre both quite limited (though interestingly in quite different ways). But they
were a good fit for this project.
-Kim.
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2012/08/23 - Bare Toes Into Soil The Dust We Share [video]
2012/08/23 - Bare Toes Into Soil The Dust We Share [video]

This is not the 135BPM techno project that Ive recently started.
This is an atmospheric electronic project Ive been working on all year. The first video has just
been finished (above), and the debut four-track EP is on Bandcamp.
Believe it or not, the Bare Toes Into Soil concept began as minimal electronica. Aside form Lyndals
gorgeous voice, Im only using two instruments Audio Damages Phosphor and Image Lines
Drumaxx. In fact, the EP is called Phosphor, after the synth. Special mention goes to
ValahallaDSPs bermod and Shimmer. And thats about it. If theres anything else I used, you
cant hear it.
While I started out intending to go minimal, my own personal hunger for maximal sound still broke
through. The end result sounds minimal compared to my other work, but its still pretty thick and
dense. It just goes to show no matter what direction you want to go in, your personal taste will
steer you where it wants you to go.
Were not entirely in control of our creative expression.
Well, at least Im not. Whatever style I do, it always ends up sounding like me.
On a more practical front, the reason this EP took so long to produce is that Id actually budgeted
to produce up to eight tracks twice as much as what ended up being released. Thats because I
initially started this project with two singers, and one of them ended up not being suitable for the
project. And thats ok. I was expecting something like that to happen after last years long litany
of failed and shelved projects, I wanted to set up a project that could survive an otherwise
catastrophic failure the exit of a key collaborator, for example. I wanted to set up a project that
no-one could pull the plug on. So I started with two singers. One left. No problem. Lyndals happy
to keep working with me, but if she decides to move on I can find another vocalist. Or I can do
remixes. Or I can release instrumentals until I find someone new. No sweat. The creative direction
for the project is not dependent on anyone else.
So Im really pleased to publish this EP. This video will be the first of many. And Lyndal and I will
be recording some interesting covers as well over the next period. Im looking forward to it, its
going to be loads of fun.
Have you had any projects fall over for reasons beyond your control? Have you since started new
projects that are set up to survive similar falls?
-Kim.
2012/08/25 - How to increase your productivity in the studio

Drew Vespers:
Meditation strengthens your minds ability to focus, which is essential in the studio.
Just as you go to the gym and lift weights to strengthen your muscles, meditation
develops your brains focus muscle.
Lots of good personal advice there. I dont agree with all of it, but its refreshingly honest. I
particularly like this comment about meditation its spot on about being like exercise for the
mind. But dont be quick to judge just like a physical workout doesnt have to mean beefcake
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weightlifting at the gym, meditation doesnt have to mean sitting cross-legged and chanting.
Approach it more broadly than that. Physical exercise is about practicing being fit in a controlled
way. Similarly, meditation is about practicing being focussed (i.e. distraction-free) in a controlled
way.
Speaking of distractions, I cant stress enough how important it is to remove distractions from your
work area. My studio computer is disconnected from the internet when Im working, and I dont
bring my phone into my studio. Time has a different meaning when Im working like this each
individual minute is so much more valuable.
Email is useful. Twitter is useful. Browsing the web is useful. Theres a time and place for all that,
and wireless internet and smartphones are making that time and place explode all over our other
times and places. I find it essential to deliberately cordon off my studio from the noise. Over the
years, the more seriously and effectively Ive shut out distractions, the more productive Ive
become.
And the more productive I can be, the more creative I can be.
-Kim.,
2012/08/27 - Dont make music. Make experiences.

When most people hear music, theyre not listening to each individual note. Theyre not paying
attention to the mix. Theyre not tuned into the intricate harmony structures or waveform
modulation.
When most people hear music, theyre having an experience.
Chances are, you fell in love with music for the same reason the amazing feeling that came from
listening to the right music.
Just because all the tiny decisions you make arent what most listeners are hearing doesnt mean
theyre not important. They are but only in aggregate. Listers dont hear individual notes (or
sound adjustments or mix decisions etc) they hear the overall effect of the thousands of tiny
decisions you made.
So what does that mean when youre sitting in the studio at 1am trying to decide if the reverb
density should be set at 35% or 45%?
1. It doesnt matter that much. Being a little bit inexact on a single decision point wont
fundamentally change the experience of the listener. Yes, you need to make a decision.
Thats your job. But dont beat yourself up about any single decision point. Pick a setting
(or a note or a mic position) that sounds good and move on.
2. Always consider the big picture. Your decisions are never made in isolation. Ultimately, the
value of each decision point tests with how well it supports and communicates the creative
direction of the song.
Your sound as other people hear it is not the decisions you make, but your approach to
making decisions. Be clear in your creative direction and be consistent in how you express it.
The most important aspect of any song is how it makes your listener feel.
-Kim.
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2012/09/05 - Anywhere can be a studio, but not everywhere should be a studio
2012/09/05 - Anywhere can be a studio, but not everywhere

should be a studio
Modern technology is astonishing if you think about it.
At one end of the scale, Im currently in a hotel with little more than my laptop and headphones.
And its not slowing me down being away from the studio for a few days doesnt have to put a
dent in my productivity. And I can run almost the exact same software in my hotel room as I do
back at the studio.
At the other end of the scale, Im about to relocate my actual studio to a bigger location so I can
accommodate larger groups and more gear. And I can do so fairly seamlessly I can take
everything thats in my current studio with me (although I might need some special help to move
the Hammond!).
Weve got amazing flexibility with where and how we make recordings. It means we dont have to
worry about the studio much we can be driven by our projects creative direction. Anywhere can
be a studio.
But not everywhere should be a studio. Ive written before about being disciplined about setting
aside time to be productive. Its just as important, however, to be disciplined about setting aside
time to be unproductive. I think of it as dividing my time between structured thinking and
unstructured thinking. Structured thinking is for getting things done. Unstructured thinking is for
being creative and inventing. Its when Im out walking, waiting for something (dont always whip
out your phone!) or doing housework. I dont need a huge amount of unstructured thinking time,
but I definitely need it. When I go without for too long, I feel myself getting unbalanced or
uninspired or unmotivated.
So now we can all carry a pretty capable studio in our pocket. We can do a final mix in a hotel
room. Our laptops run the same software as multi-million dollar studios. Almost anywhere you can
be, you can be there making a recording.
But just because you can doesnt mean you should. In some ways, if you love making recordings,
sometimes its just as important to be not making a recording.
-Kim.
2012/09/11 - What does it mean to make a record?

A recording used to be a record of an event. A record of musicians playing a song. Recording (the
verb) was what we did to make A Record (the noun).
As you know, studios become more capable, and we developed greater capabilities for modifying
the recording (using tools such as EQ and compression). Then multitrack tape came along and
suddenly A Record could actually be a composite of multiple recordings. Like multiple photographic
exposures, the end result could no longer be considered a representation of a singular event. But
it was still A Record (the noun), as it was created through the act of Recording (the verb).
Confused yet?
Good. Because it gets more complicated.
We came to use the term Record (the noun) to describe the end result. Just like how we used the
term Record to describe big black discs. But even though we continued to call the end result A
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Record, our means of getting there (creating it) became more versatile and flexible. It didnt take
long for overdubbing and punching in the 60s and 70s to become commonplace in mainstream
music, making it just as likely that A Record wasnt actually a record of a single event. But we still
called it A Record. And when sequencers and samplers and synthesisers became mainstream in
the 80s and 90s it became common for A Record to be a record of no event at all.
And now with digital technology and DAWs and iPhone synths and Max/MSP almost anyone can
create The Thing We Still (or used to) Call A Record without doing any Recording.
We still make A Record. But what is it a record of?
-Kim.
2012/09/12 - The next guide Mixing Tools Reference Guide

Ok! The next one is out. This is a big one more that twice as big as Emotion in Music. But not
twice the price. Its the same $20.
I actually distributed an early pre-release version of this guide to blog subscribers a while ago, and
since then got a lot of requests to release it again publicly. So here it is, the second instalment in
my series of guides. Since the early pre-release, its gone through a round of editing and Ive made
some changes to improve the readability. Ive also added photos of trains.
So if youre looking for an all-in-one guide to all those strange things in your plugin folder, this is
probably what you need.
Eat it.
http://blog.kimlajoie.com/guides/mixing-tools-reference-guide/
-Kim.
2012/09/28 - The difference between exploring and finishing

There are two different mindsets that are required when making music exploring and finishing.
Exploring is the more artistic and creative of the two mindsets. Its when youre trying things out,
discovering new sounds, experimenting with putting different things together and generally
creating. Its when you start at a single point and fan out exploring the multitude of different
options and pathways. Most pathways wont lead to where you want to go; most experiments will
fail. But no matter, knowing what doesnt work is often as useful as knowing what does work.
Finishing is the more focussed and directed of the two mindsets. Its when youve already got
your building blocks established and you want to put them together and transform them from a
collection of good ideas into a finished piece of music. Its when you start with multiple points and
fan in consolidating and organising the material so that it makes sense as a coherent whole.
Obviously, its not black-and-white. Youll unconsciously drift from one to another and back again
many times in a session. For example, programming a synth sound might start in the exploring
mindset as you imagine the sound you want and perhaps audition some presets, and then move
toward a finishing mindset as you find a preset thats close and then start to adjust it to better fit
the instrumentation of the song. Similarly, assembling the final arrangement might normally be
quite methodical and focussed if you know how the end result should feel, but you might shift to
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an exploring mindset when deciding on the order or length of some sections where you might be
less sure.
One of the important things to understand is that you probably need both in equal measure. Too
much exploring without enough finishing will leave you with lots of unfinished projects and an
unrepresentative portfolio. Too much finishing without enough exploring will leave you creatively
unsatisfied (or stuck making remixes and covers).
-Kim.
2012/10/02 - Dont rush mastering!

Dont rush mastering! I know sometimes its boring and tedious and not very creative. And youre
probably excited to get your song or EP or album released and out in the world.
But mastering is important. Its the final stage where audible changes are made to your song. If
you screw it up, no-one can fix it later. I wrote about the lack of a safety net last year, and its still
true.
Thats why you should be careful of taking shortcuts. There are new tools available that promise to
take some of the thinking about of various aspects whether its compensating for your room, or
matching EQ curves, or measuring loudness. Used responsibly, these tools can be a useful timesaver.
For example, I use software that automatically matches EQ curves. But it only gets me about
60%-90% there. I always need to manually nudge the tone into the final position. The software
does a technical analysis of the sound, but it doesnt know how our ears and mind respond to the
music. Pulling down the highs might be technically correct, but maybe this particular song needs
to be brighter because the top end moves with the music. Or maybe boosting the lower mids
might be technically correct, but the voicing of the bass makes the boost sound too tubby for the
creative direction of the song.
Psychoacoustics the way we perceive sound is complex and subtle. Two songs might have
exactly the same (technically-measured) tonal balance, but sound very different in weight,
brightness, sharpness, density and depth. Often youll need to deviate from whats technically
correct to produce a sound that feels right.
These tools can be useful, but dont lean on them. Theyre not your crutch. Youre still responsible
for the final decisions.
-Kim.
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2012/10/03 - Are you a producer or an engineer?
2012/10/03 - Are you a producer or an engineer?

Grizzly Bear producer Chris Taylor:
Speaking personally, the biggest benefit is not having to worry about it anymore,
Taylor says. After Ive recorded and produced the thing, and wrote the thing and
played on the thing for 5 months, I dont want to have to worry about mixing it, too.
[...]
It was also great to be able to focus on production and on the bigger picture stuff, and
not to have to worry about 160hz here and there and get worn out on all that.
This is a really great article/interview that explores the difference between mixing and producing.
Of course, many people do both, but its very important to recognise that theyre different
activities, which require very different mindsets.
Whoever wears the producer hat is concerned with creative direction and songwriting and
communicating a message to listeners. Of course, its also about managing the people and the
schedule and the budget and the resources and egos and the lunch money. The producer is the
captain of the ship.
Whoever wears the engineer hat is concerned about making all the sounds work together. S/he is
all about frequencies and ratios and reverb shapes and phase and transients. The engineer is in
the engine room in the bowels of the ship operating all the machines. So that the captain doesnt
have to worry about operating the machines.
Know your strengths, and know what you want to focus on.
Are you a primarily a producer? Or an engineer? Or both?
-Kim.
2012/10/12 - Variable creativity

Erik Magrini:
[I]ts a reminder to myself and other musicians out there that if you keep your head high
and stick with it, the ideas WILL flow again. Every one of these lulls in my creativity is
ultimately followed by a beautiful period where Im able to create at an almost magical
pace, I just need to have the patience and positive outlook to see it through to that point.
Some people are gifted with the ability to create at will, to turn that spark on or off as
they see fit. For the rest of us though, its the struggle to get to those moments that
defines why we do what we do. We just need to have the foresight to remember that it
can take longer than wed like, but its always worth it in the end.
True words.
When I first read this, my thought was: I am that person. I never feel stuck for ideas or low on
creativity. But thinking further, I remembered that its not because I have a bottomless bag of
ideas (although I havent found the bottom yet). Its because each idea that I choose to develop is
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actually the beginning of a project. And a project can take months or years to see through. And
thats mainly work. Its often creative work, but Im not ever stuck for ideas because I already
have the framework (the project direction) for being creative.
The moments of pure creativity coming up with something from a clean slate only need to be
few and far between. I only need two or three each year. And in between, I come up with plenty
of other ideas that never get developed or shared. And thats ok. When it comes time to start a
new project, Ive already got several ideas that Ive been exploring and developing in my mind. I
just pick whichever one is most suitable or best represents my style of creative expression at the
time.
Do you ever get stuck for ideas? How often do you need to come with an idea from a clean slate?
-Kim.
2012/10/23 - Another perspective on gear vs skill

Tenzing Norgay:
As I looked at the work of the young me, I realized a couple of things: (1) I wasnt half
bad as a young kid, and (2) The pictures had a lot of technical imperfections and
limitations. Uh oh another project began to form in my mind. I needed to find out
whether the problem was the equipment of the day or whether it was my problem.
Read the whole article for Tenzings findings and conclusions.
Theres a bit of technical photography jargon. Dont worry about it. Actually if you dont
understand it, take it as a hint of how we sound to people who arent audio engineers. Think twice
before talking jargon, eh?
As an aside, someone recently asked me on Twitter how I deal with clients who want in-progress
mixes to be as loud as commercial masters. He said that when he tried to explain to his clients,
they didnt understand (or care about) headroom, dynamic range, or other esoteric concepts. I
replied that when the topic comes up (and for me, it hardly does) I simply explain that the inprogress render is quiet because its not finished yet. Itll be loud enough when its finished, but
first I need to make sure the sounds and balance are right. No jargon. You can use that script if
you want. Your job as an engineer is to understand the jargon so that your clients dont have to.
Anyway, the point of the article is that the gear is important, but not anywhere near as important
as the skill of the operator. If youre reading this blog, youll recognise that as an ongoing theme in
the audio world as well. No surprises.
I particularly like the second-last paragraph. Choosing the right gear is important because it helps
you work in the way you want to work. Gear is important because it allows you to capture (record,
create) art in different ways. Different gear works differently.
New gear or expensive gear doesnt necessarily give you better results, but the right gear
definitely will.
-Kim.
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2012/10/29 - Bare Toes Into Soil Sarah [video]
2012/10/29 - Bare Toes Into Soil Sarah [video]

I didnt write this song.
(if you like it, download the song here)
This is a cover of a great song by local (Melbourne) electro-folkers Brightly.
Creatively, this was an interesting project. Even though the song is a cover, we approached it as if
it were one of our own. Obviously, the instrumentation and creative direction are all taken out of
the Bare Toes Into Soil songbook. Perhaps less obviously, recast the rhythm with a very strong 6/8
feel (compared with the originals 4/4 feel with a light triplet) and we changed a few of the chords
to add some more development and tension.
Last time I wrote about my maximalist tendencies coming through even when I intended a more
stripped-back sparser sound. I think this has happened again, especially in the second verse at
1:58. Those background vocals almost sound a bit Lord Of The Rings. Almost.
From a vocal performance perspective, we approached this song a little differently to the four
songs on Phosphor. On Phosphor, I instructed Lyndal to sing as straight as she could. My approach
was to use the cold and technical performance to compliment the similar aesthetic in the synths
and percussion. For Sarah, however, I wanted to know how it would work if I let Lyndal deliver as
much colour and shape as possible. And Im glad I did. Lyndals traditionally a funk/soul singer,
and she can put a lot of flavour in her performance. I think well be going to this style in future
recordings. It just goes to show sometimes it pays to experiment and try something different.
Experiments might not always work, but when they do youll be glad you did it.
-Kim.
2012/11/11 - Art vs craft: finding a balance

Ive been mixing a hip hop album recently. One of my readers needed some help and got in touch.
Usually when I do a mix for an artist, I allow them a certain number of revisions. Music is
subjective and our (language) tools for describing and communicating it are inexact. The artist
often has a certain sound in mind and sometimes it takes a few iterations to get there. Thats ok,
its part of the process. It also avoids the amateur-hour You paid your money and SURPRISE
HERES YOUR FINAL PRODUCT. I like to work hard to make sure people are happy with the end
result.
This particular artist wants a hip hop album. And hes got quite a bit of engineering experience
himself. This works out really well for a number of reasons:
All the multitracks are perfectly prepared with no fussing about.
He has a really good understanding of the kinds of challenges faced by mix engineers (e.g.
Everything cant be louder than everything else)
Hes really clear about what he wants and describes it well.
Ive also been working on my own project (Bare Toes Into Soil) in parallel. And while technically
the postproduction work has been identical, the approach and direction are completely
different. More importantly, my role is completely different.
For my project, I am the creative director. I make all the decisions about how the music will sound.
It is my creative expression. For the hip hop project, however, I am a problem solver. I start with a
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pile of multitracks and I have to create a sound with them. The start and end points are set, and
my job is to get from A to B. I use the same set of tools and skills, but my creative contribution is
dramatically different.
In my music work, I make sure I have a balance of projects where I work for myself and projects
where I help other people. Its a balance of art and craft. For me, too much art is selfish (I love
helping people) but too much craft runs me dry (I need to create).
Finding the right balance is really difficult.
A few years ago, I was focused almost exclusively on recording and engineering my solo album. It
was long, solitary work. It was extremely satisfying creatively, but toward the end I started to feel
the need to use my skills and tools to help others. I felt restless.
More recently, I experienced the other extreme. Late last year I spent a few months doing almost
no production work of my own I was almost exclusively working on other peoples projects. I
found it satisfying, but started getting irritable because I wasnt making my own music.
Finding the right balance is not about formulas or rules or ratios. Its about feeling. Remember
how important emotion is in music? Its just as important for the process of creating music as it is
for embedding within the music itself.
-Kim.
2012/11/20 - It doesnt have to be good, but it does have to be

something
Why arent you making more music?
Actually, why arent you making any music?
Dont get bogged down in the technical stuff. Sure its fun to explore synth settings or audition
presets or jam on your guitar. Its actually important to do that stuff. Its called practice.
But youre in trouble if youre spending all your time practicing and none of your time making
music.
I know, weve been through this before. But some of you clearly didnt get the memo. I
understand its easy to get dissatisfied with your half-arsed drafts. It can be discouraging. If
youve gone a while without finishing anything, its even worse. Youre out of practice, which
means your skills are atrophying. But your expectations arent reduced at all. If anything, youve
raised your expectations because youve spent so much time practicing.
Well, practicing your instrument and practicing your tools is important. But even more important is
practising finishing. Go for it. Make something that sucks. Its ok, you dont have to play it for
anyone. But you do have to finish it. Because when you finish it, you can reflect on what worked
and what didnt work, and start thinking about how youll make the next one better.
Whats more attractive in an artist?
Artist A says: Ive got some bits and pieces but nothing thats really finished.
Artist B says: Ive got a few songs that Im ready to record/perform/present.
Artist A isnt ready to take the next step. And Ill give you a hint: its usually not because of a lack
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of technical skill. On the other hand, Artist B might not have the best skills, but knows that
progress is made in small deliberate steps.
Ill tell you something.
A few years ago, I found myself in a situation where I was so busy I had hardly any time to work
on my own music. I couldnt even finish a four-minute song. Forget about an EP or album. I could
have given it up for a while or put it on the back burner but I knew that if I did, my craft would
suffer. Id find that upon returning to it later, my skills would have deteriorated and it would have
taken a while to get back into the workflow and mental habits.
So, instead I composed a series of one-minute songs. I didnt have time to work on longer pieces,
but I could see through one minute of music without losing context. It kept my composing muscle
active and gave me the satisfaction of finishing something. I could measure my progress even if
it had slowed down.
And when my workload started to clear, I could easily scale back up to full-sized songs. I already
had momentum. If I had stopped completely, it would have been much more difficult to get back
into it. Much more difficult.
I havent, and I wont, published those one-minute songs (although if youre in Melbourne you can
probably strongarm me into playing them for you in person). Theyre not very good. But thats ok.
They dont have to be good. And neither does your music if youre pulling yourself out of a rut.
They dont have to be good.
But they have to be finished.
-Kim.
2012/12/14 - Your room is more important than your speakers

If youve been following me on Twitter, youll know that Ive been setting up my new studio. One
of the really interesting things Ive noticed is how the sound on the new control room has taken a
lot of getting used to.
Id been working in my previous studio for almost six years and had become so accustomed to the
sound of the room that I couldnt hear it any more. Thats a good thing it was like I was listening
through the room and hearing the music and sound directly.
I set up my new room and was quite surprised. Even with acoustic treatment and the same pair of
monitors, the room sounded noticeably different. So much so that at first I thought there might be
something wrong with my monitors. In fact it was just the different room dimensions.
Even though the room had similar dimensions to the old one, it was different enough to make a
significant difference. And it was a bigger difference than when I upgraded my monitors a couple
of years ago. Much bigger. Actually, the size of the difference is about on par with what I noticed
when I first took acoustic treatment seriously.
What this means is that if youre not happy with what youre hearing, upgrading your room will
probably make a bigger difference than upgrading your monitors. You can upgrade your room by
either moving to a better room or (usually more realistically) treating your current room.
-Kim.
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2013/01/04 - New Years Resolutions really?

This is a nice big long post and Im going to give you some gold in the second half, but first lets
talk about New Years Resolutions.
Ok, what are some of the usual suspects?
Ill
Ill
Ill
Ill
Ill
Ill
spend more time making music

buy less gear
read the manuals for all the gear I already own
explore a new style/method of composition
collaborate more with other musicians
write more songs
Got any more youd like to add? How are you actually going to achieve them?
Admittedly, this is as good a time as any to reflect on the past year and think about ways to make
the coming year better for our music.
But why wait until the end of the year to reflect? Surely you know how youre going all year round.
Sure, its a nice stop-off point to take a breather, look back on how far youve come and give
yourself a pat on the back.
But resolutions? Really?
Lets call them for what they really are (or aspire to be): GOALS.
And if youre serious about achieving your goals, they need to have measurable outcomes. And
they need to have definable steps (effort) to get there. Thats the key. Repeat after me: For each
goal, plan the effort and measure the outcomes.
1. Whats your goal?
Be specific. Vague hand-wavey resolutions like Ill write some more songs isnt good enough.
How many songs? Ill write twenty new songs is better. Remember it has to be measurable.
There has to be some objective way to determine whether youve met your goal or not. Its a bit
scary the first time you do this. Hang in there.
2. Whats your effort?
Break down the steps you need to take. For example, writing a song might mean writing lyrics,
composing some chords and melody and then recording a demo. SCHEDULE THE TIME TO DO IT.
How long does each step take? It wont happen if youre not sitting there with a pen and a pad
and a guitar.
3. What are your outcomes?
Remember youre not measuring the effort you put in, youre measuring the results of that
effort. So, your outcomes are not the number of hours you put in. Its not how hard you tried.
Your outcomes are the number of finished songs youve made. Or the number of manuals youve
read cover to cover. Or the number of new musicians youve collaborated with. Its the end result.
The real trick is to do it iteratively. Focussing on a single outcome 12 months into the future is a
fools errand. Its too easy to ignore because its so far away, and by the time you get close enough
to care you wont have done enough work. And its too big to learn from your experiences youll
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have to wait a year before you can put them to use.

Instead, focus on much smaller time slices. I prefer months, but weeks, fortnights or even
quarters might work better for you.
For example, if I wanted to write twenty new songs this coming year, I might plan it as two songs
per month:
February: 2 songs
March: 2 songs
April: 2 songs
May: 2 songs
June: 2 songs
July: 2 songs
August: 2 songs
September: 2 songs
October: 2 songs
November: 2 songs
Theres twenty songs right there.

Notice I left out January and December. Its not fair (to yourself) to schedule work in those
months: January is often a third over before most people are back into work mode again (and
many people take holidays in January or are otherwise difficult to get hold of). December gets
mighty hairy about halfway through, and the first first half is handy to have for any projects that
end up running a little later than originally planned.
Anyway.
Two songs a month might work out pretty well if you know what youre doing. If it takes six hours
to write and demo a song, then twenty songs is achievable in twelve hours a month, or maybe
three hours a week.
But if you dont know what youre doing, you probably dont have a workflow sorted out yet. A
necessary part of achieving your goal is working out how to achieve it. So if you still want to write
those twenty songs, but havent had much experience, it might make more sense to do it like this:
February: 0 songs (just get a song half-finished)

March: 1 song
April: 1 song
May: 2 songs
June: 2 songs
July: 2 songs
August: 3 songs
September: 3 songs
October: 3 songs
November: 3 songs
Theres twenty songs again.

And heres why its important to separate effort from outcomes. It looks like the back half of the
year is harder work than the front half, but its not. If writing a song (eventually) takes six hours,
youd be spending eighteen hours writing in November. But if you dont have a workflow sorted
out, you probably should be spending eighteen hours in February and March just on one song. The
level of effort doesnt change throughout the year but you work toward the outcomes
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accelerating (because you get better at it).

Draw up a simple spreadsheet and put three columns in: The first column is for dates; the second
column is for your target outcomes; and the third column is for your actual outcomes. At the end
of every cycle (e.g. the last day of every month), open up the spreadsheet and record your results
for that cycle. If youre not very disciplined, I suggest going to shorter cycles, such as weekly. Get
into the habit of tracking your progress and keeping yourself accountable.
Of course, it wont always be peachy. Youll get stuck. Youll miss some targets. Life gets in the
way. Youll have to work around it, youll have to improvise. You might even change your plans.
But you wont conveniently forget about it. You wont dismiss it. You have to keep yourself honest.
If you miss a target, you need to work out why that happened. If the outcomes required more
effort than you previously thought, you can either put more effort in or lower your targets. If you
got distracted or something got in the way, you can either make sure it doesnt happen again or
you can lower your targets (if it will be unavoidable next time around). Either way, you have to do
something.
The great thing about plans is that you can always change them.
Some people are scared of making plans because they think theyll be too rigid, or they wont stick
to their plan (and then feel stupid for it). Not true. Plans are your friends. They keep you honest
and illuminate the way forward.
-Kim.
2013/01/12 - Inspiration is for amateurs

Maria Popova, quoting Tchaikovsky:
There is no doubt that even the greatest musical geniuses have sometimes worked
without inspiration. This guest does not always respond to the first invitation. We must
always work, and a self-respecting artist must not fold his hands on the pretext that he is
not in the mood. If we wait for the mood, without endeavouring to meet it half-way, we
easily become indolent and apathetic. We must be patient, and believe that inspiration
will come to those who can master their disinclination.
Inspiration is necessary, but it is not beyond your control. You can do things to invite inspiration.
You can be prepared and rehearsed and studied in order to capture it and make best use if it when
it arrives.
Your lack of work is not the result of a lack of inspiration. Its the other way around.
-Kim.
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2013/01/17 - An easy way to approach acoustic treatment for your studio
2013/01/17 - An easy way to approach acoustic treatment for

your studio
When approaching acoustic treatment for a home studio, you should consider two aspects:
reflections and resonance.
Reflections are caused by hard surfaces and can make a room sound echoey or fluttery. They blur
the sound your hear. Reflections are best addressed by using mid-high frequency absorbers in
places where the sound will bounce from your speakers to your ears via a hard surface. A good
way to start is to mount them at ear height, starting with positions where, if you mounted a mirror,
youd see a reflection of your speakers (when youre sitting in your listening position). Dont forget
the wall behind your speakers.
Resonance is caused by the shape and dimensions of the room. It usually causes a room to sound
boomy or muddy. Room resonance cane make it extremely difficult to judge bass and lower mid
balance accurately. Other than changing the dimensions of your room, resonance is best
addressed with bass traps and other LF absorbers placed in corners and edges. If youre on a
budget, other semi-solid absorbent items can work such as mattresses, cushions, etc. Anything
reasonably dense, but still has some give. Keep in mind, though, that unlike mid/high frequency
absorbers, it takes a *lot* of material to make a significant difference.
Furniture or other large objects can also be useful. Anything that breaks up hard flat surfaces will
make the rooms reflections more complex and irregular. This might not reduce the overall
reverberation in the room, but will make it more pleasant and natural. For a listening room, its not
as good as absorbers, but its better than nothing. For a recording room, it might be better than
absorbers if you want a more live or bright sound.
-Kim.
2013/01/24 - Forget Tech, Its About the Notes

Jeff Tolbert:
Nobody writes their best work sitting in front of a DAW loaded with samples and
plugins.
O RLY.
But, reading on:
[W]ith the plethora of excellent sample libraries, effects and soft synths out there today,
its easy to make anything sound amazing, even if its musically bland. When you write
on piano, you dont have those sonic crutches. It has to be well-written. If not, youll
know instantly. You need to rely on your sense of melody and harmony rather than
amazing-sounding samples to wow your audience.
Its a good point. Good music is good music, regardless of the production or sonic crutches.
But what does that mean for a lot of modern electronic music where the production is the
composition? Im talking about genres like dubstep and glitch hop where some of the traditional
western musical parameters (note pitch, harmony) are almost ignored, yet modern production
techniques fill the gap. Ive always been fascinated and inspired by the studio-as-an-instrument
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approach to making music. And for this music, reverb automation and LFO-tracked bitcrushing is
Tolberts melody and harmony. The plethora of excellent sample libraries, effects and soft synths is
Tolberts three-line piano template.
Sometimes composition is about melody and harmony. But sometimes it isnt.
Composition is the arrangement of sounds in time. A good composition has balanced proportion,
depth, thematic development, coherent contour, momentum, contrast, etc. You can do it with an
Abm/C# or a granular pitch shifter.
-Kim.
2013/02/02 - Practice doesnt make perfect

Sure, its a catchy saying. But that doesnt make it true.
Practice doesnt make perfect.
Practice makes consistency. Its repetition. Rote-learning, for the pessimistic among us. Practice is
a really good way of being able to do that thing youre practicing on time, every time. On demand.
No matter how youre feeling. Even if you dont want to.
Of course, practice is important.
And its not just your musical skill that you need to practice its all the other skills you need too.
Discipline. Conversation. Writing. Personal health and hygiene. Generosity. Focus. And just like
your musical skills, you might find yourself slipping a bit from time to time. And when you do, you
have to remember to pull yourself back up to the standard you expect of yourself.
But practice doesnt make perfect.
If you practice the wrong thing, youll get really good at doing that. And itll hold you back. A piano
player who practices poor posture will have trouble performing with power and precision. A mix
engineer who practices applying compression to every track without listening first will have trouble
making mixes with subtlety and space. A recording engineer who practices using an SM57 on
everything will miss out on the colours and flavours that other microphones can capture.
So, how do you know if youre practicing the right way?
For starters, a good teacher helps. This isnt a plug for my consultation service. Im talking about
teachers across all musical disciplines from composition, to performance, to recording, mixing
and mastering. A good teacher will see what youre doing and apply personal and tailored
guidance to help you get from where you are to where you should be. YouTube wont tell you that
your left hand is applying pressure to the fretboard in the wrong way. Blog posts wont tell you
that a good way to improve the stereo space in your production is to apply random autopanning to
your background percussion. A downloadable guide wont tell you that your master sounds too
clipped and that you can back off the loudness for that more atmospheric track.
Good teachers can help you by drawing from their broad experience, identifying your weaknesses
and providing practical guidance to move you forward.
If you dont have a good teacher available, you might have to rely on your peers. Again, youll find
the best assistance comes from those who have broad experience, can accurately identify your
weaknesses and provide practical advice.
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Failing that, you can learn from a combination of clever observation of your mistakes and others
work. It takes a particular style of learner to do this effectively, however. And it usually takes quite
a bit longer than having a good teacher.
I should know.
-Kim.
2013/02/06 - Breaking workflow (or: If youre getting stuck,

youre working on the wrong problem)
This post was originally published on Ilpos excellent blog: http://resoundsound.com/breakingworkflow/.
You probably get stuck sometimes.
I know the feeling. Ill be looking at a half-finished song and my brain is fixated on the next step.
But the solution isnt coming to me.
As you probably know, I tend to be pretty organised in my workflow. Step 1 is followed by Step 2,
which is then followed by Step 3. Kick and snare and hats. Then background percussion. Then
bass. Then chords or arps. Then melody. Then repeat for B-section. Then arrangement. Then
automation. And on and on it goes.
Organised, however, can sometimes look like rigid. And when its time to write a melody but no
melody is coming to me, rigid tends to look more like uncooperative. Sometimes the solution is
to take a break and let it stew in my subconscious for a day or two. Sometimes the solution is to
take inspiration from something outside the genre Im working in. Sometimes the solution is to
start with something exceedingly simple and build on it.
But sometimes the solution is to break workflow.
Maybe I cant solve the bassline because it cant be solved yet it needs the chords and the
melody before it will emerge. Maybe I cant solve the background percussion because its cant be
solved yet the drums are already too full or complex.
Sometimes it makes sense to do things in a different order. Route around the problem.
More broadly, I worked on a collaboration a few years ago where the singer had recorded scratch
vocals but was having difficulty scheduling time to record the final vocals. Rather than stall the
project, I actually went ahead with the mix using the scratch vocals, knowing we could record the
final vocals later and it wouldnt be much work to fit them in.
If youre getting stuck, its probably because youre trying to solve the wrong problem. Rather than
beating yourself up and/or slowing things down, sometimes it makes sense to move on. Tackle
things slightly out of order.
The great thing about plans is that you can always change them.
-Kim.
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2013/02/13 - Who wants to be on a compilation?
2013/02/13 - Who wants to be on a compilation?

Just putting some feelers out. Something low-key. Itd probably be something like: People can
submit a mixed (but not mastered) track. Id choose the best ten and master the album myself.
Then itd be made available for free on Bandcamp and publicised on here. And maybe on my
record label too. And maybe a few other places too.
Ive heard the music of some of my readers who have approached me for consultations, but Im
really curious to hear what everyone else is working on. And maybe you are too.
Anyone interested?
-Kim.
2013/02/15 - Submissions for compilation

Ok, lets do this.
Like I wrote earlier, this is fairly low-key. Its to showcase some of the great music that you all are
working on.
The end result will be an album thats released for free download and publicised here and a few
other places around, including in association with Obsessive Music.
What to submit
Its looking like people seem to be in one of two camps electronica and acoustic/physical. Ill wait
and see what actually gets submitted, but its possible that this ends up as two compilations.
Obviously, these are fairly broad categories, so dont feel constrained if you happen to have an
exciting electro-polka project that youd like to share.
Ideally, Im looking for a representation of a sound or creative direction that youre working on at
the moment. Itd be great if youd submit something that youve recently finished in the last few
months that youre proud of. Its not an absolute rule, though. Use your judgement. Your last track
that youre really proud of might be from six months ago.
Obviously, the track should be one that youve composed yourself or had significant contribution as
a co-composer.
Your submission can be mastered, but be prepared to provide an unmastered uncompressed audio
file on request.
How to submit
Send an email to kitchen@obsessive-music.com with:
An attached MP3 of your track

The name of the track
Your artist name
Your real name
Full track credits
Use artist name track name as the email subject.
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2013/02/15 - Submissions for compilation
What happens next

Ill keep submissions open for a couple of weeks until the start of March. I may or may not check
that email address before then, so if you have any questions you should post them below as
comments on this page. Chances are if youve got a question then several other people are
wondering the same thing.
Once we hit the start of March, Ill listen to all the submissions and choose the best for inclusion
on the compilation. Ill choose mainly based on composition and engineering (recording/mixing). If
youre a regular reader, you should know what Im looking for in composition and engineering (if
not, just trawl the archives). My personal taste might also come into it, depending on what you
submit.
Those that get picked for the compilation will be contacted to provide an unmastered
uncompressed version of their track. Ill then master the compilation, prepare artwork and publish
by the end of March.
Rights and all that
Obviously, you have to own or control the appropriate rights to do this. If the music and recording
copyrights are co-owned (for example, if there are collaborators or a label involved), you need to
have permission from all owners. Im not going to make any ownership or royalty claims here
youll still own your own work and you can do whatever you like with it. If youre managed and
need legals, contact me directly on music@kimlajoie.com.
Like I said, if youve got any questions, please post them directly below as comments.
-Kim.
2013/02/18 - Why Im not listening to your early submissions

(yet)
So, the submissions are starting to come in. And Im sure they sound great.
But I wouldnt know.
Because Im not listening to them yet. You might have heard the phrase familiarity breeds
contempt. But the reality is even worse. Familiarity breeds liking (which is partly why repeated
choruses and hooks can be so powerful). Im accepting submissions for two weeks, and it wouldnt
be fair if the people who submitted last were handicapped because Id already spent two weeks
listening to earlier submissions.
What does that mean for you? If you havent submitted yet, youve still got about ten days to put
the finishing touches on whatever youre working on. If youve already finished the track you want
to submit, you might as well submit it now. Leaving things to the last minute is risky accidents
can happen!
-Kim.
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2013/02/19 - Its not enough for your raw tracks to sound great
2013/02/19 - Its not enough for your raw tracks to sound

great
A great mix needs great-sounding raw tracks. Of course.
But tracks that sound great on their own wont necessarily sound great in the mix.
Thats because great isnt a particularly useful descriptor. If you have a raw recording and were
told to make it sound great (with no other guidance), your options would be open. Youd find
yourself pulling the sound somewhere between where it wants to go and where you want to take
it. And its entirely subjective. Another engineer or producer would take it in a different direction.
Maybe slightly different to your own. Maybe dramatically different to your own. Its very much
dependent on personal taste.
And as wide as the ocean of personal taste is, the jigsaw gap of what works in the mix is narrow.
It might sound great for a solod track to fill the range from subbass through the mids to the
sparkly top. It might sound great for a solod track to be upfront and centred. It might sound great
for a solod track to be all loud all the time. And maybe these qualities are qualities that you want
for your final mix.
But a loud mix is not entirely made up of loud tracks. A bass-heavy mix is not entirely made up of
bass-heavy tracks. An upfront mix is not entirely made up of upfront tracks.
Each track has its role, its place in the mix. The mix is a balance. The individual tracks dont need
to sound great. They need to sound appropriate.
Its a bit simplistic to say that mixes need contrast. Its common advice to include light and
shadow, loud and soft, bright and dark, left and right. But that shouldnt be your guiding principal.
Instead, you should focus on creating a rich and engaging sound world. Of course there should be
some contrast, but there should also be focus. Emphasis. Character. Dont be balanced. Make
some bold decisions.
If your mixes suck because you tried to make everything sound loud, they wont magically improve
if you suddenly switch to making everything sound compromised. Instead, think about what the
most important elements are. Think about what the least important elements are. Think about the
overall character of the mix that youre aiming for, and think about how you can assemble that
from the building blocks of your raw tracks.
-Kim.
2013/02/26 - Whos still planning to submit a track for the

compilation?
Get on it. The month ends on Thursday. That means submissions close on Thursday. Or Friday.
Either way, its pretty soon.
In other news, the submissions have been rolling in. I havent heard any of them yet, but dont
take it personally. Im sure theyre great.
In more rambling news, my schedule is opening up a bit next week, so hopefully Ill have some
time to keep working on those guides. Remember them? Its been a while, but I havent forgotten.
Theyve just been on the back burner for a few months while Ive been busy with a few things.
Like setting up my new studio. Theres still a heap of work to do mainly boring stuff like buy
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2013/02/26 - Whos still planning to submit a track for the compilation?
couches, fit curtains, get windows reinforced, etc. But Ive been recording and mixing there for the
last few months and Im pretty pleased with how its shaping up. So while I sit here and write
about how you dont need any more gear, Ive gone and upgraded the biggest piece of gear of all
the physical structure of the studio itself. So now Ive got a space big enough for two bands, a
separate control room, and a separate kitchen/toilets. Speaking of which, the kitchen is still the
place to hang out and talk about music, next door to the place where we make music.
So anyway, whats going on in your world? What have you got cooking thats going to open up a
whole new bunch of opportunities? Whats your next bold move?
-Kim.
2013/02/27 - Are you backing up? This is how I do it.

Your work.
Itd be a terrible shame to lose it.Youve heard it all before hardware fails, accidents happen. The
question is: what are you doing to protect yourself? How much will you lose if you accidentally rm
-rf *, DELTREE *.* or rd /s /q in the wrong place?
For me, its a day of work for minor disasters (including hardware failure and accidents).
Fortunately, I havent had to. But I can tolerate losing up to a day of work. Depending on my
workload and schedule, I can recover (i.e. do the work again) from that kind of loss within a week.
Thats acceptable to me. For major disasters (thieves, fires or meteorites), its a month.
I have two external hard drives that I use to back up my music computer. At any one time, one
drive is at the studio and the other is off-site (in a different suburb). I switch them every month.
For those kinds of disasters, losing up to a month of work and having to take a month to recover
is pretty acceptable.
As part of my end-of-day ritual, I simply make sure I copy to the backup drive the project folders
for any projects that Id worked on that day. I also copy my vstplugins folder or Cubase
preferences if Ive changed anything in there. I keep it pretty simple; that way I dont need any
special software to read or restore from the drive. Just copy the files and keep working. I dont
bother backing up my system files or applications because I keep that part of my system pretty
standard. I can set up a new computer for my studio and have it operational in a day or two. Itd
take a pretty severe hardware failure to need a whole new computer though.
I dont use any online backup services because the project sizes can be pretty huge and the risks
is extremely low. Melbournes a pretty stable place.
This is a process that Ive been using for years and Ive developed it in accordance with my own
risk tolerance. But Im curious:
How are you backing up your work?
What kinds of disasters can you survive?
Are you satisfied with your current approach?
Online backup is something thats becoming more popular these days. Is anyone here using it?
While my approach works for me, Im always interested to know what other people are doing too.
-Kim.
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2013/02/27 - Are you backing up? This is how I do it.
2013/02/28 - A non-musicians experience in the recording

studio
Rick Bennett:
Alex, the lead vocalist, spent 40 minutes on the first line alone. There were many times
that he heard something in a recording that he didnt like, but I couldnt, for the life of
me, hear the issue. I also felt a bit of loneliness for Alexall alone in the isolation booth,
and he couldnt even see the rest of the band. It was just him, his demons, and the
microphone.
The whole post provides an interesting perspective of a photography in a recording studio, but its
this paragraph that stuck with me. In particular, its the part about re-recording to correct
performance problems that non-musicians cant hear.
When recording performances, you cant escape human limits (much). Each take will usually be
better than the last, but after a while the performer will become tired (either physiologically or
psychologically) and subsequent takes will suffer. Thus, theres usually one best take from a
session. Its usually wise to identify this as soon as you can, and move on to the next step of your
workflow.
When making sequenced music (and with multi-day recording projects), however, theres a law of
diminishing returns. You can always come back the next day and make a small improvement.
There is always room for a small improvement. But each day the improvement gets smaller and
the time needed to make it gets longer. All the while, people get tired, bored, restless or
disgruntled.
At some point you have to make a call. You have to be prepared to say This is good enough.
Despite the folklore dichotomy that live performance is ephemeral and lucid while studio
recordings are perfect but sterile, the reality is that perfection in studio recordings is an asymptote.
You can approach it, but youll never get there.
So how do you decide where to draw the line between good and good enough?
Sometimes its Potter Stewart approach, and you rely on your gut instinct. Sometimes its available
funding, and youve only hired the studio for a set period of time. Sometimes its your project
schedule, and delaying production would push out your release plans. Or maybe its psychological,
and you find yourself getting bored with tweaking the same track over and over again.
-Kim.
2013/03/03 - Submissions are closed!

Ok, so its probably March now pretty much everywhere, which means its time to close
submissions and start listening to them! By my count, there are 41 tracks for me to listen to now.
Ill choose the best ten over the coming week and get in touch with those people to provide
uncompressed unmastered mixes.
Stay tuned
-Kim.
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2013/03/03 - Submissions are closed!
2013/03/11 - Dont worry, I havent forgotten

There were 45 submissions in total. Eight of them I think are really special. I just need to choose
the next two or three to make it to the compilation. When I do (hopefully early this week) Ill get
in touch and ask for unmastered uncompressed mixdowns.
Ive also been busy with setting up the new studio (important things like couches and furniture),
selling my house (which has been pretty stressful) and other minor distractions.
So, whats been keeping you busy?
-Kim.
2013/03/20 - Half of life is showing up

A young audio engineer recently got in touch with me asking for some career advice.
As always, Im happy to help and I invited him to my studio for a chat. After taking over a month
to make a booking, we actually got to the date and he didnt show up. He didnt send me a
courtesy message in advance to let me know. He just forgot.
It reminded me of one of my favourite sayings: Half of life is showing up. I like it because there
are many interpretations and hidden meaning behind those six words.
You have to show up
Its the first thing. If youre going to get anywhere at all, you need to start by showing up. Im not
just talking about physical presence (although that often helps). Im talking about being present
for people. Being courteous. Keeping them on your mind. I want to work with you but not if I get
the sense that your focus is elsewhere.
As far as physical presence goes, get your house in order. Its not that hard to show up on time.
Its not that hard to give people advance notice if your situation changes (or is likely to change). If
its hard for you, you need to take a good look at whats holding you back. Yes, having a calendar
helps, but you have to make a ritual to look at it every night and every morning.
As far as personal presence goes, keep in touch. Yes, phones can run out of batteries or credit if
youre not careful. If this is you, be careful. Make a ritual of charging your phone every night.
Make sure youve got twice as much credit as you think you need. You need to show that you can
keep your own life in order before I will trust you.
You have to do more than just show up
Its not just showing up. You have to help people.
Education will often give you the skills to do a job, but you have to grow and develop on your own.
I often see people rely on their education to give them everything they need, which then results in
them looking for an employer to give them everything they need. It often sounds like I need a
job, I need someone to pay me, I need to get employed. This self-centred attitude will not get
you far. Its not enough to just show up. You have to reach out and connect with people. You have
to offer to help. You have to make a contribution. You have to move the needle.
Its uncomfortable. Youll find yourself doing things that you think are beneath you, but people will
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2013/03/20 - Half of life is showing up
value you highly for it. Youll find yourself being asked to do things that you think are beyond your
capabilities, but people will trust you and give you a chance. Your most valuable skills wont be
what you thought theyd be. Youll learn how to do things that you didnt even know anyone had
to do. But youll do it all. And more.
But you need to help people.
It also means you need to understand them. Really understand them. Try to remove your I need
a job filter. Listen to what they need. Listen to their goals and dreams and understand whats
holding them back. They might come to you asking for a recording, but maybe what they really
need is for someone to believe in them. Or maybe they need a pizza. Or maybe they need a kick
up the backside to motive them.
Sometimes you have do the other half
You also need to do things that are only possible when you dont show up. Get some distance.
Maybe go on holidays. Or maybe just blank out your calendar for a week. Whatever it takes, you
need to remember to step back from the trees and see the forest. Take note of where youre at.
Ask yourself if youre happy with how things are going. Are you heading in the right direction? Are
you making a significant contribution? Hows your life balance? If youre not satisfied with where
youre at now, where do you want to be? What are the next steps toward that goal? Even if you
are satisfied with where youre at, you will need to grow and develop. You probably wont be doing
exactly what youre doing now in five years time. What new tools will you need? What skills will
you need? What personal connections will you need?
-Kim.
2013/03/21 - Community Kitchen Vol 1

Here it is. Mastered by myself. Free download. Have a listen. Youll be surprised.
Ill be writing about each individual track over the next couple of weeks, but for now here are my
brief thoughts about the album and process as a whole:
Creative
First of all, Im really excited to release this. Im quite impressed with the music here and I think it
works quite well as a collection. The tracks flow from one to another quite naturally. And each
track makes its own statement, its own creative contribution to the whole. Then again, maybe Im
biased because Ive been listening to it a lot over the last few days. that happens.
Theres quite a mix of different styles on this compilation, reflective of the wide variety of styles
that people submitted. Theres strong showing of instrumental electronic music but theres enough
variety within and around that broad designation to keep me (and hopefully you) interested.
Technical
All these tracks were quite well engineered. There seems to be a strong tendency among many
mix engineers to mix dark that is, to make mixes that are well-balanced but consistently have a
weak top end compared to final mastered tracks. In small amounts, this usually isnt a problem.
When its more pronounced, however, the necessary corrective tonal adjustment in mastering can
noticeably change the balance of the mix. It can also reveal problems (such as background noise
and sibilance) that arent as audible in a mix with a softer top end.
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Those who didnt make it

I listened to every track that was submitted. You all have a lot of potential and promise. The tracks
that werent selected for inclusion often had major weaknesses in the composition or the mix.
There were a few that almost made it, but I thought the creative direction wasnt strong enough.
Keep at it. Have another crack at it next time.
-Kim.
2013/03/22 - Explosions In This Guy Surrounded

(if you cant see the player above, click here to hear the track)
Composed by Jon Tidey

Additional guitar by Joel Adams
Drums and Percussion by Eric Beam
Contains
Freesound.org
CC
Licensed
samples:
171257__groovyrandomness__static,
14521__michaelbeijer__buffer-static, 84432__g-lowing__static
24 bit mix printed though Slate Digital Virtual Console Collection Brit4K Mixbus module, Waves C4
multiband compressor (just subs below 77Hz) and Waves SSLComp Mix Bus Compressor.
You might recognise Jon Tideys name from a few different projects The Home Recording Show
podcast (which, somehow, Ive appeared on two times), The Audio Geek Zine (which OH MY
GOD is currently featuring an article about running synths through an overdriven walkman), and
Epic Sounds (his recording, mixing and mastering business).
What I love:
This is a dramatic instrumental track that works really well as an album opener. Its very filmic, and
reminds me a lot of the 28 Days/Weeks soundtrack. I love the way the introduction builds
suspense by keeping things understated but maintaining a subtle energy and restlessness. Im also
hearing a bit of the Quake II soundtrack in there too. Which is awesome.
What could be better:
Theres a lot of potential for the contour to be enhanced. Once the distorted guitars kick in at
about 2:09, the track plateaus. Itd be great to develop it further perhaps by introducing some
alternative lead instrument or by developing a secondary melody.
Overall, a great track in its own right and a killer album opener.
-Kim.
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2013/03/23 - Moonphase to Dust
2013/03/23 - Moonphase to Dust

(if you cant see the player above, click here to hear the track)
Produced by Guillaume Stordeur

What I love:
The balance and sense of space in this track is really great. I really like listening to the subtlety in
the little percussive clicks and filtered noises in the background. Also, the contour is really well
refined. I never get the sense that the track stands still or doesnt know where to go. Its always
pulling toward the next moment.
Im not really sure. This is a really well-executed piece of music. The creative direction is very clear
and any changes Id suggest would turn it into something it wasnt meant to be. So I wont
suggest any changes. I love this track just the way it is.
-Kim.
2013/03/24 - Sifemanor A Winters Tale

(if you cant see the player above, click here to listen to the track)
Produced by Faheemul Hasan

What I love:
Its all about the vibe. This is a really lovely meditative piece. Those effortless electric piano
chords. The laid back acoustic drums. The ambience. The sense of movement and development is
subtle, but its there. Yes, theres a difference between subtle and undeveloped. This is the former.
Notice how the music leans into the section changes. Its tasteful.
That bass is wonderful in a well-designed monitoring environment. Unfortunately, it wont translate
well to less-than-ideal environment. Its a pretty pure tone, and it jumps around a lot. Outside my
studio, I noticed different room and speakers resonances being triggered on some notes and not
others. For something that mobile, Id probably suggest a sound with more character in the
midrange and less reliance on the fundamental.
-Kim.
2013/03/25 - Musikbasteln Tremo

(If you cant see the player above, click here to listen to the track)
Produced by Martin Finke

What I love:
The movement and momentum are really good here. I also like Martins approach to contour and
development the way the track builds and moves and turns through its four and a half minutes.
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2013/03/25 - Musikbasteln Tremo
Im not usually a bit fan of gratuitous filter sweeps, but these ones are delicious and not overdone.
Also, I think this track works really well at this point in the album. It retains some of the
contemplative nature of the previous two tracks, but adds some tension and darkness. The drums
in particular are more agitated and restless. And that pulsating synth that comes in halfway
through really takes it to another place.
Theres not much to improve here. Id welcome some more drama though. Higher highs, lower
lows.
-Kim.
2013/03/26 - Omni-Psyence Beam Me Up

Produced by Cory Richards

What I love:
This is where the album starts to get heavy. Im a super fan of this kind of intricate programming.
Its like eating a delicious crunchy toasted sourdough. The stutter bass later in the track feel
somewhat reminiscent of some of the more popular dubstep, but without getting silly. There are
also some great synth lines that, with a bit more of a push, could be really epic.
The mix is really cluttered at times. Its a difficult balance with this style of music though. The bass
is probably a but too diffuse for this mix a harder and more upfront bass would cut through the
drums a lot better and give the mix a lot more bite. The kick and snare could also be snappier
make them shorter and give the transients more bite.
-Kim.
2013/03/27 - Cymazic City Burns Down

Produced by Maz Doomsville

What I love:
This is a great modern take on dub reggae. That square wave LFO synth is just gritty enough to
compliment the hats and the murky snare delays. Again, its all about the vibe. Get down and
dirty!
The low wobbly bass is nice and deep, but tends to get lost a bit under the grit and character of
the sounds further up the spectrum. Adding some tasteful overdrive or other subtle distortion
would make a big difference. Itd also help the bass be audible on smaller speakers.
-Kim.
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2013/03/27 - Cymazic City Burns Down
2013/03/28 - Karl Lost Got A Nerve

Produced by Karl Edwards-Clark

What I love:
Holy moly. This one starts out simply enough, but gets pretty ridiculous without much warning. It
just kinda sneaks in under the radar. After a few minutes its turned from a regular polite dance
floor track to an over-the-top self-indulgent synth jam. It reminds me a lot of Underworlds King Of
Snake. Of course, the production is top-notch.
Well, it could be a little shorter. Maybe just a bit? What do you think?
-Kim.
2013/03/29 - Mr. Kwazi Deluge

Produced by Uko Abara

What I love:
This takes me back to 90s trip hop, but with a modern edge. The chopped up jazz sample and the
dusty breakbeats go perfectly together in this track. It simply feels great.
A little more melody and overall variety and development would make a big difference. This track
is about one concept the combining of that jazz sample with that drum sound but doesnt
really do much to explore beyond and develop the music.
-Kim.
2013/03/30 - Adam Brock Poplar Trees

(if you cant see the player above, click here to listen to the track)
Composed and performed by Adam Brock

Engineered by Justin Freund
What I love:
What can I say? Big vocal stacks, dusty old keyboards, overdriven guitars. The lighter upbeat
sections contrast well with the heavier slower sections. When I first heard it, I had to doublecheck
that it wasnt by a band from around here itd fit in perfectly in the Melbourne indie scene.
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2013/03/30 - Adam Brock Poplar Trees
The mix could do with some work. The vocals get a bit buried in a few spots, the snares needed
some surgery to stop them chopping my head off, and theres quite a bit of background noise.
This is a good example of a track that was mixed quite dark. Normally, its not a problem when a
mixdown needs some tonal adjustment when its mastered. For mixes that are very dark, however,
some common problems can emerge. When mixing the a reduced top end, its more difficult to
hear the detail and nuance up there. Often this results in a dynamic range thats inappropriately
wide (resulting in sibilance). Sometimes particularly in this case the amount of top end boost
required in mastering can also bring up background noise that was previously inaudible.
-Kim.
2013/03/31 - Josh Freund Clutching At Fading Memories

Produced by Josh Freund

https://soundcloud.com/drakken
What I love:
This a really lovely reflective piece. It moves well, it says everything it needs to say, and its sweet
to top it off. Maybe its a bit clich to end an album with a track like this, but I couldnt resist. Its
just lovely, and really needed to be part of this project. Compositionally, its a great study in
thematic development too. I love the way the main theme is grown and extended and varied and
recontextualised.
Some more natural room ambience and background would work well. At the moment it sounds like
disembodied notes hanging in a shapeless, characterless room. I didnt (and almost never) add
any reverb in mastering, so the ambience you hear is the ambience of the original.
-Kim.
2013/04/09 - I hope youre not scared

by Kim Lajoie on April 9, 2013
Im sitting here at an open mic night.
I do it from time to time. Theres often a wide variety of talents. Some people have been writing
and playing for a little while and are ready to take the next step. Some people are just looking for
a stage and a little validation. Some people arent quite what Id call musicians.
But theyre all having a go.
And these are the people we hear from. Those who build an audience. Those who gain respect
among their peers. Those who make a living. Those who become household names. At all stages,
the ones we hear about are the ones who have a go. And not just once or twice, but over and
over again.
We dont hear from the people who dont have a go. Theyre the people still sitting on the couch.
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2013/04/09 - I hope youre not scared
Or sitting on the Internet. Youll know them by the ones who bitterly pronounce the illegitimacy of
others success. Theyll tell themselves stories about their own lack of success being because they
dont want to compromise their creative direction.
But, actually, theyre scared.
Theyre scared of being judged. Theyre scared of not being good enough. Theyre scared of
criticism. Theyre scared that they wont believe in themselves enough to take the blows and get
right back up to keep fighting. They fear harsh and unforgiving judgement and yet they
themselves deliver such harsh and unforgiving judgement without reservation.
Here at the open mic, the performers all chose to risk judgement. They all chose to trust their
audience. And, unsurprisingly, their audience acknowledges and respects that trust and returns
welcomingly and supportively.
Were all human being here. Were all insecure. We all doubt ourselves when we stumble. We all
feel a little jealousy when we see the success of our peers. We all start out a little scared. But
were also capable of trust, and were all capable of supporting and encouraging each other. If
were going to achieve anything of note, we need to work together. We need to help each other.
People want to help you.
But you have to be open to it. You have to ask for help. Dont be scared.
-Kim.
2013/04/14 - Yoda was right.

Believe it or not, in my line of work I get to meet a lot of artists.
And I hear them say some funny things from time to time. Not haha funny, either.
And every now and then, I hear someone use a variation of wait and see. Its usually followed by
something like see if people like it or see if I am good enough or see if record labels like it. You
might recognise yourself saying something like this.
The context is often the artists decisions about their future. More specifically, its about their
commitment to their art. The line of thinking is usually that their art is worth pursuing if it gets a
response. If people like it, theyll write some more songs. If record labels are interested, they must
be on to something. If it makes money, it must be good.
Deep down, however, its a different story. These artists are looking for validation. Theyre unsure
of what theyre doing, and theyre looking for someone else to give them permission to follow their
dreams. And theyre waiting for an excuse to take the easy road and give up.
What these artists lack is conviction.
It takes conviction to make a career in music. No-ones going to believe in you until you believe in
yourself. No-ones going to support you until you show that youre on a roll. No-ones going to buy
your music until youve given them a reason to fall in love with it.
Artists who wait for external support before making a commitment have it the wrong way around.
You have to be committed first. It takes commitment to build support. There are no quick wins,
youll get no instant gratification. Its long hard work to reach out and connect with people, to earn
their trust and admiration, to gain respect.
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2013/04/14 - Yoda was right.
And of course your music has to be good. It doesnt have to be pop, but it has to be a clear and
effective expression of your creative direction. If youre not sure if youre good enough and youre
waiting for the world to tell you, let me shortcut that process for you: Youre not. You never will
be. And thats ok. Theres no such thing as good enough. You can always get better. You should
always get better. If you think theres such a thing as good enough, look inside your heart and ask
yourself why you need someone else to tell you to work harder.
Artists dont fail because theyre not good enough, or they didnt have enough fans, or their music
wasnt mainstream enough.
Artists fail because they give up.
Artists that dont give up know that success comes to them because they keep working when
everyone else has clocked off for the day. Artists that dont give up know that they have to lead
from the front. They have to be the first to show passion and excitement and tenacity and
empathy and love. Artists that dont give up will do whatever it takes to get to the next level. In
the face of detractors. In the face of doubting parents. In the face of indifference. In the face of
predicted failure. In the face of boredom, of poverty, of exhaustion. And, most importantly, in the
face of their own fear and insecurity.
We all experience fear throughout our careers (if you dont, youre not trying hard enough). Some
of us keep fighting anyway.
Yoda famously said to Luke Do or do not, there is no try. He was talking about commitment. If
you want to do it, do it. If youre not good enough, get good enough.
If you want to wait and see what happens, switch the TV back on.
-Kim.
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2013/04/30 - Find your voice. Or: Are you publishing your first draft?
2013/04/30 - Find your voice. Or: Are you publishing your first
draft?
When you upload a track to SoundCloud or Bandcamp, when you play your track to a nonmusician friend, when you share your sounds with the world Ask yourself: is your track a mature
and developed musical expression or a first draft?
If youre just starting out or youre not too serious about your music, your first draft probably is
your finished product. And maybe thats ok.
But if you take pride in your craft you owe it to yourself to push past the first draft. The first track
you mix, the first sing you write, the first attempt is not going to be your best.
Some of you might remember Ive been working on a dance music project. Hovering around
135bpm. Quite a bit more uptempo from my usual fare. I started out doing some demos on my
iPhone with iMaschine and Figure. Last year I got a bit more serious and started bashing out fulllength tracks with Renoise, Massive and the Maschine drum library. Ive almost finished the ninth
track, and Ill probably do one more before I start publishing.
See, its taken me that long to find my voice. Its a new style with new tools and new objectives.
The first track I made sounds ok, but its not really representative of how I want to express myself
through this new lens. The first track was a first draft. With each new track I further develop
mastery of my tools. With each new track I get better at finding the sounds that resonate with me.
Be in a hurry to make music and develop your skills. But dont be in a hurry to express your
aesthetic or tell your story before its fully formed. Share with people music that is ready to be
shared.
-Kim.
2013/06/22 - Take charge of your creativity

Pick up a cheap guitar and learn a few chords.
Figure out the notes on your keyboard and experiment with different combinations.
Launch GarageBand and throw around some drum loops.
Pick up a pen and pad and write some rhymes.
Theyll be terrible, but youve got to start somewhere. You cant fast-forward to competent and
skip over the awkward beginner stages. The only way out is through.
But youve got to do it. Take charge of your creativity. Give yourself the tools to write your own
music to express in sound waves what you feel inside. You can (and, eventually, should) get help
with the later stages of production and marketing, but the initial creative seed should be all yours.
The song is yours. A producer can help you tighten it up and embellish it with other instruments.
An engineer can help you record it. A manager can help you with a strategy to get it out there. But
if youve only got half a song in you? Keep working at it.
-Kim.
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2013/06/23 - Do you mix dirty or clean?
2013/06/23 - Do you mix dirty or clean?

I like to mix dirty.
Give me some thick compression. Overdrive everything. Add some hair. Bring in some mojo. Bring
in some funk. Make it a bit ugly. Make it big, alive and breathing.
But not everyone shares my taste.
When I started mixing for other artists, I had a few situations where Id added some subtle
saturation to a track less than I normally would for my own music, but just enough to be barely
noticeable. And the artist immediately heard it. And asked for me to take the distortion off. Ok.
Point taken. They wanted a straight clean mix. No funk. Theyd come to the studio to make a
product that rendered the studio invisible. Thats ok. Everyones got different tastes. Ive often said
that technology works best when you cant tell that its there.
So I started doing two kinds of mixes: dirty mixes for my own projects and clean mixes for other
artists.
And that worked pretty well. People were happy with my work, even if I felt a little unsatisfied.
And then more recently I started noticing something. Every now and then Id do a clean mix for an
artist and, after everyone had gone home, I had a bit of fun with the mix. Add the mojo. Add the
funk. Maybe overcook it a bit. Just to satisfy my own drive. And, for artists at I have a strong and
open relationship with, Id sometimes play my version to them. Just for fun.
And sometimes, they preferred it.
But, obviously, not every time.
What I learned was that the aesthetic of the mix is an important part of the discussion about
creative direction that I usually have at the beginning of each project. Its included when we talk
about similar artists, reference songs, instrumentation, etc. Some artists dont know the difference,
so they get a clean mix. Some artists baulk at it (What do you mean youre going to distort the
sounds?). And some artists get it. Theyre looking for some character. Some colour. Some vibe.
-Kim.
2013/06/24 - A new guide (finally, right?) How To Make Your

Music Louder
Ok, its been a while. I know. Sometimes life takes over music. Sometimes music takes over life.
Anyway, heres the next guide. Sure to be a crowd-pleaser, its all about Making Your Music Louder.
Sure it might rub the anti-loudness brigade the wrong way, but those who are regular readers here
know that Im not big on absolutes. If youve gotta be loud, be loud. If youve gotta be quiet, be
quiet.
So this guide is full of strategies that I use myself. From sound selection, through to track
processing and mastering. It also covers the theory behind why these strategies work. It goes into
the difference between Peak, RMS and crest factor (often misunderstood as dynamic range). And
it also explains how this all relates to headroom and psychoacoustics. Its all packed into 11 pages,
so youll want to read it slowly.
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2013/06/24 - A new guide (finally, right?) How To Make Your Music Louder
And if you think this doesnt apply to you because you make softly-softly music? Think again.
These strategies will help you achieve clarity and focus in your music. And thats good for
everyone. Itll also mean that the subtlety and natural dynamics in your music will be better
preserved through the production process. Less crushing is better for everyone.
So, enough chin-wagging. Check it out.
http://blog.kimlajoie.com/guides/how-to-make-your-music-louder/
-Kim.
2013/06/25 - Rock what you got

This post was originally published on The Pro Audio Files.
A home studio begins innocently enough. A laptop, a basic audio interface, a mic and a MIDI
keyboard. Boom! Home studio!
You spend some time getting excited and try to record anything and everything. And you start
reading online. And the gear lust starts to take hold. And the wallet starts to empty. And the rot
sets in. You know how it goes.
This is not a post about why cheap gear is better than expensive gear. This is not a post about
making the most of your current equipment instead of buying more. It isnt even about getting off
the internet and spending more time in the studio.
Its about pride.
The good kind.
Pride is the self-respect and satisfaction that comes from doing great work. Healthy pride is what
gives you the confidence to take on a new project, to make contact with a new client, to raise your
expectations of yourself. Its contagious too when youre proud of your work, its likely that your
artists and musicians will also be proud of the work they do with you. This creates a positive
feedback loop that makes people more confident in working with you, which pushes you to do
better work, which gets people talking about the great results they achieved with you
Unfortunately, a lot of the internet erodes that pride. Reading about other people with better gear
than you, bigger projects, cooler clients will do that to you. Its easy to spend less effort focussing
on what you have and more effort focussing on what you dont have. Theres always a better mic,
a newer plugin, a cooler synth, a sweeter guitar. Theres always a better studio around the corner
from you. The popular artists have already got great relationships with other producers. Youre in
the dark. Youre left behind.
Rock What You Got isnt just about making the most of what you have. Its not about working
hard. Its not about doing anything.
Rock What You Got is an attitude.
Its having pride in where youre at. Youve invested at lot of time and money and effort into doing
what you do. It might be months, it might be decades. It might be hundred of dollars, it might be
hundreds of thousands. You might have given up parts of a normal life that other people take for
granted. When other people are watching TV, youre recording music. While other people are out
drinking, youre out meeting artists. While other people are going on holidays overseas, youre
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2013/06/25 - Rock what you got
upgrading your studio. Youve come a long way be proud of that. People trust you and
appreciate your work be proud of that. You have the best job in the world because you put in
the blood and sweat and tears while you ignored the doubters and naysayers be proud of that.
Sure, others have worked harder, longer, invested more, have better connections, etc. Thatll
always be true. But that doesnt mean that youre nothing. Dont succumb to black-and-white
thinking. Youre not nothing. Youve got skills and experience. Youve got people who trust you.
Youve got momentum and conviction.
Be proud. Youve got something. And you have to rock it.
Rock What You Got.
-Kim.
2013/06/30 - What if you only had ten tracks?

Moeneeb Galant:
When I started on the main mix, now only 10 tracks, instead of 90, I was able to reach
my goal/vision a lot faster as well. No more of, maybe I should push the snare up by
another db or that hi hat needs some more upper mids. Instead, I had to listen to the
drums in its entirety.
This is a really good point. Deliberately limiting your choices is not about working with one hand
tied behind your back. Its about listening differently and thinking differently about how you get
from A to B. Its a different experience.
Limiting your choices without considering the effect this has on the way you listen and work is
counterproductive. Itd be like replacing your comfy studio chair with a bicycle seat. Sure, its a
limitation, but its just going to end up being a pain with no reward.
Erik Magrini also recently wrote about a similar experience:
As you can see, this song has only about 12 tracks in total, which I find is about the
limits of where my iPad4 starts to geel slow when navigating Auria. I can certainly
playback more tracks than this with no problems, but things like zooming and moving
around the arrange page starts to lag. Rather than deal with the frustrations of that, I
just aim to keep to a simpler song structure.
The limitations on track count forced Erik to make the most out of what he had, rather than simply
keep adding more and more layers. The result is a difference aesthetic, but not necessarily a
worse one.
-Kim.
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2013/07/07 - Artists have to believe in the process in order to believe in the results
2013/07/07 - Artists have to believe in the process in order to

believe in the results
People are interesting creatures.
Often we dont know something. Thats not so bad, because we can go look it up and educate
ourselves. But its much worse when we dont know that we dont know something. The worst
form of that is when we think we know something, but we actually dont. That false confidence
actively holds us back from learning.
A lesson to you: even when you think you know (a lot) about something, never rule out the
possibility or learning more about it.
But Im not here to talk about you. This is about the artists and musicians you work with.
One of your jobs is to make your artists sound as great as you possibly can. But sometimes you
and your artist might disagree about the best way to do that. You might want to overdrive
everything, but your artist hears it as distortion. You might want to record electric guitar with a
nice valve amp, but your artist wants to use his crappy digital first-gen Pod because thats what
hes used to. Your artist might think hes too good for Autotune, and you disagree.
Here, you have an opportunity to educate.
You are the one with the skill and experience. Youve done this before. Probably many times over.
Youve seen the movie and it doesnt end well. So you patiently explain that dispute your artists
suggestion youll both get a better result by doing it your way. Most people will be happy to
listen to you and take your advice. Your the expert, and theyre hiring you because they trust you.
But sometimes youll have an artist that is convinced their way is better. And either theyre too
closed-minded to take on your advice, or it would take too long for you to sufficiently educate
them to change their mind. Youre there to make a recording, not give a class in DSP or sound
physics. Its critically important that you recognise these situations when they arrive.
From here, theres two ways this story can end.
The sad ending is when you ignore your artists wishes and do things your way, either in front of
them or after theyve left for the day. If they dont believe in the process, they wont believe in the
result. And if they dont believe in the result, theyll feel as if theyve wasted their time and money
working with you. You violated their trust. You chose to sacrifice their trust for a better recording.
And if you think thats a good idea, you suck.
Let me tell you: The trust of your artists is more valuable than a recording.
The happy ending is when you swallow your pride and go with the artists idea. Even if you know
theres a better way. Even if you wont be proud of the result. Get over yourself its not about
you. If you choose to be the cool producer or engineer that gives the artist exactly what they
asked for, you strengthen the trust and develop the relationship. Instead of turning the relationship
into a dead end, you open it up to possibilities of more work, referrals, credibility and portfolio
development.
And the opportunity to provide a bit more education to that artist next time s/he visits.
-Kim.
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2013/07/10 - You also have to do the other kind of listening
2013/07/10 - You also have to do the other kind of listening

This post was originally published on Audio-Issues.
As an engineer or producer, you have to do a lot of different kinds of listening.
You have to listen carefully to the raw sounds that your microphones are capturing. You have to
listen to the balance of sounds when you mix. You have to listen to reference tracks to make sure
youre working in the right direction. You might also have to listen to your artists other recordings
so you can produce a consistent sound.
All these kinds of listening have something in common: theyre all about focussing closely and
carefully on the sound. After all, thats why you get paid the big bucks because you can hear
things at mere mortals would never notice, and you understand how that translates to settings on
your gear.
But theres another kind of listening thats just as important.
Its the kind of listening where youre not focussing on the sound. Instead, youre focussing on the
meaning of the words. Not the lyrics of the song, but the things the artist or musician says to you
before, during and after the session.
It can seem simple when youre in them, but the conversations you have with your artists are
complex and multi-dimensional. On the surface, you probably discuss creative direction issues
like style, instrumentation, your own creative input, etc. You probably also discuss project
management details such as schedules, budget, payment arrangements, contact expectations,
deliverables, etc.
But theres another level below the surface. If music is what happens between the notes, meaning
is what happens between the words.
Whether your artist explicitly verbalises it or not, s/he is also telling you about their project
sensitivities (lots of time but not much money? Or the opposite?), flexibility, preferred balance of
leadership/followership, level of ambition, work ethic, etc. Your ability to read these can make all
the difference between establishing a productive long-term relationship or never seeing the artist
again and not knowing why. You probably wont be told when you cross an invisible line. You
probably wont notice when you unknowingly insult or offend someone. All youll see is that the
artist doesnt call you back.
On the other hand, knowing the artists sensitivities means you can make sure you stay on their
good side. It doesnt necessarily mean addressing those sensitivities explicitly or even obviously by
raising them as conversation topics. Often, being sensitive is as subtle as knowing what not to say.
It means projecting that you share similar values to the artist. When done well, it helps build trust,
openness and understanding.
Its not about being fake. You shouldnt pretend to be something youre not. But if youre working
with like-minded artists, being fake isnt necessary (and if you do have to be fake, chances are you
shouldnt be working with that person anyway). Its about being a trustworthy professional. Its
about being the kind of person that artists are proud to recommend to their friends. Its about
making people feel comfortable.
And you can only do it by listening.
Youre already good at listening to sound. Dont forget to also listen to meaning.
-Kim.
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2013/07/11 - The Case For Starting Your Mix With Drums
2013/07/11 - The Case For Starting Your Mix With Drums

Graham Cochrane:
In my workflow I like to [send the drum tracks to a single group/bus] and then even
hide the drum tracks. Why? So Im not tempted to go fiddling with the individual tracks
again. One slight change and the whole drum mix can fall apart. Thats what is so tricky
about mixing drums. So by giving them special attention at the beginning, you can
know they sound good and you can move on from there.
This is excellent advice. Its not so much about where to start a mix (personally, I almost always
start mixing with the lead vocal), but the advice about grouping the drums and then treating them
for the rest of the mix as a single instrument is great. Its a different way of listening and
balancing. Once you have (and have convinced yourself that you have) the drums sounding great,
you can then focus on making them work with the rest of the instruments in the mix. Its an easier
and faster way to mix.
It also applies to electronic drums. Focus on making sure the kick and snare are sounding great
and balanced with the other percussion elements. Then group them all together and move on with
the rest of the mix, comfortable in the knowledge that you probably wont need to go back and
make major changes to the drums.
I do the same thing with vocals. I get the lead vocal and backing vocals sounding great, then
move on (and hardly revisit them). Its like drawing a line in the sand. This is the centrepiece of
the mix, and it sounds great. Now its up to everything else to fit around it.
-Kim.
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2013/07/12 - Everyone needs to know how to make their music louder
2013/07/12 - Everyone needs to know how to make their

music louder
Yes, you too.
Even if youre not mixing the next Red Hot Chilli Peppers or Metallica release.
Even if youre making quiet music.
You need to know how to make your music louder. Read that carefully I didnt say you have to
actually make your music louder. But you need to know what it takes to make it louder. Because
the knowledge and techniques are useful. Even to you.
Because these same techniques help you preserve dynamics and natural sound even when
youre targeting reasonable levels. Those same techniques help you produce a clear and focussed
blend of sounds in your mix. See, thats the funny thing everyone says they dont want to make
loud music; they say they want to make clear and dynamic music. The knowledge and techniques
are the same. The difference is only in how theyre applied how far you push it.
Im talking about the understanding of why (and how) we perceive sound levels differently to how
theyre recorded and measured electronically. Im talking about choosing and combining sounds
that dont need to be squashed in order to sound loud. Im talking about blending sounds so that
they each have a distinctive character and role in the mix. Knowing when saturation will be useful
and transparent or simply destructive. Knowing when and why multiband limiting is useful as a last
resort. And understanding the consequences of the decisions you make.
-Kim.
2013/07/14 - I turned quantise off

Some of you know I use Maschine. Mainly for electronic and pop drums.
Some of you might also know that I have a custom groove quantise template in Cubase.
Something like [0,+20,+10,+20], so 16th notes move from [0,30,60,90] to [0,50,70,110]. It looks
pretty heavy to write it like that, but its not so bad. It works well with my usual rhythms and
syncopation.
Those of you who know Mashine well can see the problem emerging.
Basically, Maschine is (more than) the sum of three components:
A pattern sequencer
A hardware controller
A sound (mainly drums) library
All three components integrate pretty well together, but there are some interesting quirks in how
the whole package integrates with a DAW. When used as a plugin itself, Maschine can either use
its own sequencer (with patterns triggered by the DAW) or be driven by the DAW (just like any
other plugin instrument or sound module).
When using Maschines sequencer, I get to use the full hardware integration. Being able to access
record mode and erase mode doesnt sound like much, but it makes a big difference when building
a drum pattern while the sequencer is running (previously Id often step-sequence drums, which is
a lot less exciting). Try iMaschine if youre curious. I did, and it got me hooked.
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2013/07/14 - I turned quantise off
The problem with using Maschines sequencer is that its a pattern sequencer. It resists fills and
variations for specific song moments. Each variation requires its own pattern, with a corresponding
change in the trigger on the DAW MIDI channel. Its doable but its a fiddle. The other problem is
that I cant access my Cubase groove quantise template, because Cubase is triggering patterns,
not individual notes.
I wish I could import my groove quantise template into Maschine.
Incredibly, Maschine the groove production system doesnt support any kind of groove
quantise. Yes, really. Its robot or nothing. Sure, it supports 50% quantise, but its still moving the
notes toward the same robotic grid. You only get more Kraftwerk or less Kraftwerk. Its got swing,
but even the swing sounds robotic.
I could program my patterns in Maschine, then export the MIDI back to Cubase to trigger
Maschine as a sound module. In fact, thats what I currently do. I use Maschine to program the
patterns for the main sections, then bring the MIDI to Cubase to add fills and variations. But by
that time, its too late for groove. It makes no sense to program the drum patterns and set out the
structure of the song without the groove. The groove is fundamental. Itd be like changing the
drum sounds after the song has been laid out. It makes no sense.
So I did the next best thing. I turned quantise off.
Now the groove comes from my fingers. If I record a part and the timing isnt quite right, I erase
and rerecord. Sometimes I have to practice a bit beforehand. And this forces me to treat it even
more like an instrument and less like data entry. In fact, its very similar to how I approach guitar
parts and keyboard parts. Fortunately I usually dont have to adjust my timing after the fact.
And I get a result that sounds just as alive as any other live recording.
-Kim.
2013/07/17 - A closer relationship with your client (or: The

Unlikely Advantages of Recording in Your
Control Room)
Even if you dont produce music yourself, recording an artist in the same room as you
can create a more intimate relationship if you are trying to get a good performance from
them.
Im not saying you should breathe down the singers neck, but being in the same room
creates easier communication. Its simpler to just stop and discuss a take or a
performance when you are both in the same room. You wont have to set up a talk-back
system, or god forbid, constantly keep running into the other room to make a comment.
All the points in that article are on the mark, but this one is key. Ive always preferred to record in
the control room when I can especially vocals. Its probably not a huge benefit if you just see
yourself as an engineer (and theres another producer on board, or the artist is self-produced),
because then your role is more focussed on operating the equipment. However, if youre
responsible for making the musician feel comfortable and getting the best emotional performance
then youll be better off in the same room as your musician.
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2013/07/17 - A closer relationship with your client (or: The Unlikely Advantages of Recording in Your Control Room)
In addition to being able to provide better direction, it allows you to more easily read he musicians
nonverbal cues. When youre trying to help them deliver their best performance, the appropriate
directions will differ depending on whether s/he is nervous, excited, tired or disconnected. And
unless youve got an excellent relationship most musicians will try to hide or subdue their actual
emotional state. Yes, theyll actually try to make it more difficult for you to give effective
directions. This can be for a number of reasons usually some combination of trying to be strong
or trying to impress or trying to maintain self-control. Either way, the nonverbal cues can be
subtle, and youve got a much better chance to reading them correctly when youre in the same
room together.
-Kim.
2013/07/18 - Dont hang up your camera. Or your instrument.

Zach Arias:
I also want to thank the leaders in this industry who pretty much hung up their cameras
to teach, sell stuff, and start web sites dedicated to helping people become the thing they
stopped being in order to start websites and workshops to help people be what they
arent anymore. Should I repeat that for the choir?
As a teacher. As a guy with stuff to sell. As a person who has been paid by a camera
company to give their products a run for the money, I dont want to be the person who
hangs up the camera. Those who stopped fishing to sell bait motivate me to keep
fishing. To keep trying harder to be a photographer than to be one who talks about being
a photographer
This is something I can relate to. I started out in this music business with a love for composing
making new music from a blank canvas of silence. As I developed my skills, I moved naturally and
easily into producing other artists, teaching (on this blog, and at a local university) and more
recently managing artists.
Among these newer endeavours, it would have been easy to let go of composition. I have to
deliberately allocate time to composing or otherwise being creative with music outside my other
obligations to help people or develop new skills. No-one has to hear my music, but I feel much
better when I allow myself to be musically creative.
Its also about credibility. What relevance is a teacher who does not actively practice? I can only
speak (or write) with authority when Im writing about the very tools and techniques I use every
day. I dont pretend to have all the answers you need, but I can promise you that Im not making
any of this up.
My advice to you is this: Dont ever forget what made you get into this in the beginning. Dont ever
forget what you fell in love with when it all began. Whether its scraping horse hairs across a
catgut, tickling the ivories or programming a baseline, dont let it fall by the wayside. Ive seen it
happen to artists and musicians they moved too far away from what they initially loved, and end
up giving up music entirely. Dont let it happen to you. Protect a part of yourself. Shield the naive
hope and exploration and enjoyment from the harsh realities of life. Keep a part of you unbroken,
uncompromised, undiluted. And, from time to time, when the coast is clear, when its safe Bring
it out. Let it breathe. Let it love.
-Kim.
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2013/07/19 - The only 5 (or 4) essential mixing tools you need
2013/07/19 - The only 5 (or 4) essential mixing tools you need

Vincent Dubroeucq:
When it comes to mixing, there are in my opinion only five essential tools in your DAW
that are critical to getting great mixes.
Vincents almost right. The article goes on to describe the four most powerful mixing tools:
volume, tone, dynamics and ambience. That far, I agree 100%. In fact, I wrote almost the exact
same post two years ago and went into more detail in my second guide.
Where Vincent and I disagree is where he writes this:
Give width to your tracks with panning. Sure your mix has to sound good in mono, but
it can sound great in stereo. Pan your tracks to maximize stereo width and make your
song sound bigger.
I dont think much of panning. Not that it is or isnt useful, but that its largely inconsequential. I
wrote about this about two and a half years ago and my opinion hasnt changed.
-Kim.
2013/07/20 - Time for another compilation whos in?

Well, its been almost six months since the last compilation. So Im thinking it might be time to do
another. The last one got a really good response and I think turned out with some great tracks. I
enjoyed the process and I think everyone involved did too.
I think this time I think the submissions should be tracks that have been finished in the last six
months (i.e. since the last one). No deadwood. Lets keep this moving.
Whos in?
-Kim.
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2013/07/25 - The 3 ways that I use saturation in a mix

This post was originally published on Resoundsound.
Saturation is a wonderful tool for mixing. This is especially true for computer-based DAWs, which
allow us to go from transparent clean digital sound through to smeared murky smashed sound.
And everywhere in between. The variety of available plugins and different approaches give
producers and engineers a huge toolkit and capability to choose the right saturation for each track.
I use saturation in a variety of ways in each mix. While each sound and each mix is different, my
approach to saturation usually falls into one of three broad groups: Invisible saturation, noticeable
saturation, and overdrive.
Invisible saturation
This is the least noticeable. I wouldnt even call it colour. When I use this approach, my goal is for
the saturation to be unnoticeable for casual listening. I wouldnt even call it subtle its less than
subtle. The saturated audio should still sound clean.
So whats the point? I use this approach when Im pretty happy with the sound of a track, but its
just sounding a bit digital/boring. So I add some saturation just to inject a bit of energy and vibe. I
often use this approach for tracks such as lead vocals that need a bit of vibe while still
sounding clean.
If you want to take this approach, youll need to listen carefully to what your tools do before they
start to break up the audio. Less sophisticated tools will be too transparent until they start to break
up. More sophisticated tools will subtly adjust the dynamic behaviour or crest factor of the audio.
They might also change the tone a little. Each tool is different. Many dedicated saturation plugins
have a variety of modes, with different behaviour for each mode.
Noticeable saturation
This is where saturation starts to be noticeable. When I take this approach, the character of the
sound is definitely changed. Id still call it subtle, though, because sound is still recognisable and
maintains the same role in the mix. I just give it a bit of hair.
This is an approach I usually take when I need to give an instrument a lot more energy and
punch. Typically, I use this approach for synths and drums that arent strong enough. Sometimes
bass too, depending on the mix.
If you want to take this approach, youll need to pay close attention to the tonal change your tools
are introducing. Less sophisticated tools will just add a harsh crunch or fizz to the sound (which
might be heat you need). More sophisticated tools will sound alive while still retaining a lot of the
the clarity and character of the sound. Be careful though its easy to add too much. What might
sound good in solo will sometimes turn to mush in the mix. A little bit goes a long way.
Overdrive
This is where things start to get irresponsible. While the level of saturation here wouldnt be as
much as what guitarists would call overdrive, this saturation is quite noticeable. It sounds like an
effect.
I only use this approach rarely and when I do its only once or twice in a mix. Most commonly, I
use it as a spot effect on vocals, and sometimes on guitars to blur the line between an acoustic
and an electric. Percussion can sometimes take well to overdrive, but its highly dependent on the
source sound and the saturation tool. Membrane percussion (such as tablas, bongos and djembes)
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can have their decay emphasised and can end up sounding very tonal. Bright percussion (such as
shakers and tambourines) can sound very trashy when pushed too hard.
If you want to take this approach, youll need to think carefully about what part of the song (not
just the mix!) would benefit from this kind of emphasis. Treat it as a special effect.
Reading this, it might sound obvious. But like any other mix tool its useful to approach
saturation in a rational and deliberate way. That way you can be more focused and productive in
your mixing and avoid blindly trying different tools and approaches to see if they work.
-Kim.
2013/07/26 - Submissions for the next compilation

Ok, lets do this.
Like last time this is fairly low-key. Its to showcase some of the great music that you all are
working on.
The end result will be an album thats released for free download and publicised here and a few
other places around, including in association with Obsessive Music. See the previous compilation
for an idea of what to expect. The tracks will be available for free download.
What to submit
The previous compilation had a strong emphasis on electronic music, but its not a bias. Ill feature
any music that floats to the top, regardless of style or genre.
Ideally, Im looking for a representation of a sound or creative direction that youre working on at
the moment. Itd be great if youd submit something that youve recently finished in the last few
months that youre proud of. Its not an absolute rule, though. Use your judgement. Your last track
that youre really proud of might be from six months ago.
Obviously, the track should be one that youve composed yourself or had significant contribution as
a co-composer.
Your submission can be mastered, but be prepared to provide an unmastered uncompressed audio
file on request.
How to submit
Send an email to kitchen@obsessive-music.com with:
An attached MP3 of your track

The name of the track
Your artist name
Your real name
Full track credits
Use artist name track name as the email subject.

The MP3 should also be tagged with the title of the track and your artist name in the relevant
fields.
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2013/07/26 - Submissions for the next compilation
What happens next

Ill keep submissions open for a couple of weeks until 9 August. I probably wont check that
email address before then, so if you have any questions you should post them below as comments
on this page. Chances are if youve got a question then several other people are wondering the
same thing.
Once submissions close, Ill listen to everyones music and choose the best for inclusion on the
compilation. Ill choose mainly based on composition and engineering (recording/mixing). If youre
a regular reader, you should know what Im looking for in composition and engineering (if not, just
trawl the archives). My personal taste might also come into it, depending on what you submit.
Those that get picked for the compilation will be contacted to provide an unmastered
uncompressed version of their track. Ill then master the compilation, prepare artwork and publish
by mid/end August.
Rights and all that

Obviously, you have to own or control the appropriate rights to do this. If the music and recording
copyrights are co-owned (for example, if there are collaborators or a label involved), you need to
have permission from all owners. Im not going to make any ownership or royalty claims here
youll still own your own work and you can do whatever you like with it. That includes releasing it,
remixing it, broadcasting it, licensing it, selling it, etc. Anything. If youre managed and need
legals, contact me directly on music@kimlajoie.com.
Like I said, if youve got any questions, please post them directly below as comments.
-Kim.
2013/07/27 - A Case For Making Money From Your Studio (and

why I do it)
Joe Gilder:
Even if youre not in this for the money, you should treat your studio work as a
business.
Theres something about being paid for your work that makes you step up your game.
And thats something you just dont get when you live in Freeville.
Joe makes a good case, but he didnt mention a big reason (for me, the biggest) to do it as a
business. The reason? To help more people. It seems counterintuitive at first. Charge money to
help more people? Surely working for free will help more people?
Not quite.
I went through the transition myself. I was doing good work, helping artists and having a good
time. I was also doing it in my spare time (paying the bills with a day job unrelated to music).
Eventually, I realised three things:
1. I was good enough, and in demand enough, that I had more projects in the pipeline than I
had time for.
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2. I was good enough, and in demand enough, that I could charge for my time and people
would happily pay.
3. If I charged for my time, I could work less in my day job, meaning Id have more time for
music. And Id be able to help more artists.
I was actually being selfish by keeping my day job and limiting how much I could contribute to the
music industry. My day job was very stable and paid very well. But I couldnt help many artists I
only had evenings and weekends to balance between artist projects, my own music projects, and
my personal life (girlfriend, housework, etc).
Ultimately, thats why I made the jump. To be able to help more people.
-Kim.
2013/07/28 - 7 tips on making your music loud

Ilpo Krkkinen:
We need to understand there are two different processes at play when we are trying to
make a track loud: the production/mixdown stage and the mastering.
Ilpo, youre missing one. There are three.
In my recent guide, I cover the three production stages where loudness should be considered:
composition, mixing and mastering.
Composition is more than use good quality sounds. Its about making choices about which sounds
to include and what role they have in the music. From the guide:
When choosing sounds for loudness, you have to understand what kinds of sounds and
instruments sound loud. When arranging sounds for loudness, youll have to understand
how to combine sounds in ways that maximise the desired effect. As discussed earlier,
there are two fundamental attributes of sound relevant the way we perceive loudness
length and frequency.
And,
You could compose your music using nothing but long notes in the upper-mid pitch
ranges. That could make for a very loud recording, but it probably wouldnt be very
pleasant to listen to. As you know, most music that is interesting to listen to requires a
wide expressive range. That means youll need some low notes, some high notes, some
short sounds and some longer sounds. Confused yet?
But dont worry, not all is lost. To bring some sense to it, were going to introduce
another concept depth. This is the difference between foreground and background.
Quite simply, the foreground sounds have a much greater impact than the background
sounds on the final recording. The greater the depth (the distance between foreground
and background), the greater the effect. Furthermore, the fewer sounds in the
foreground, the greater the loudness potential.
This stuff makes a big difference to the potential loudness of a track. If you dont think about
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loudness until mixing and mastering, itll be too late. Decisions about foreground and background
have already been made. Decisions about pitch and timbre and tone have already been made.
Dont wait for mixing and mastering!
-Kim.
2013/08/02 - How to be a mastering engineer. Or, how to be a

master
Ian Shepherd:
The answer is me.

My ears, my experience, my perspective, my skill.
Me. Im the mastering engineer.
Pretty arrogant, right ?
Tongue-in-cheek contextless quoting aside, Ian makes a really good point. And its one that I make
frequently to singer/songwriters who ask me for advice about recording their next release in their
home studio.
Im all for people having a go and learning new skills. Im also all for people making informed
choices.
So I usually break it down to two scenarios: recording demos and recording commercial (i.e. good
enough to charge for) releases.
For demos, I say go for it. Recording tools are more accessible than theyve ever been. If youve
already got a computer, youre just a DAW, mic, audio interface and headphones or speakers away
from having a home studio. For some electronica, you might not even need the mic. Dont get too
caught up in the technology (Garageband is better than most people give it credit for). Just get
your ideas down. You can even record a demo on your phone these days.
For commercial releases, things start to get a bit more complicated. You want to produce
something that youre proud of, thats exciting enough to promote, thats good enough to charge
for. So the conversation usually goes something like this:
Artist: Im thinking of recording the EP/album/whatever in my home studio. Do you think thats a
good idea?
Me: Are you a professional producer or recording engineer?
Artist: No
Me: Do you have over a decade of experience in making recordings?
Artist: No
Me: Do you have a well-equipped studio with plenty of sonic options that you know how to use?
Artist: Kinda
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Me: So, your release isnt going to sound like it was recorded by an experienced professional in
an appropriate studio. If youre ok with that, go ahead. If youre not ok with that, you probably
need to hire a professional.
The other misunderstanding some artists have is that recording it themselves will be cheaper or
cost less. For demos, thats half true (itll usually cost less). For a high quality release, itll cost
more to buy the gear and take longer to learn how to get good results than it would to simply hire
a studio. These days, you can record a decent EP within $2k and a few days if youre wellrehearsed. Tell me you can build a home studio thatll produce similar results with $2k and a few
days to learn it.
The exception is artists who are actually interested in developing their skills and capabilities as
recording engineers and/or producers. For them, it absolutely makes sense to go the DIY route.
Most producers I know (myself included) cut their teeth on their own solo projects before working
with other artists.
-Kim.
2013/08/06 - Submissions close at the end of this week!

Just a quick note submissions for the next compilation will close at the end of this week. Dont
leave it to the last minute! Unless you like to live dangerously.
To reiterate, Im not looking for any style or sound in particular. If you listen to the previous
compilation, youll notice theres a bias toward electronic instrumental music, but thats only based
on the submissions. There were some great tracks with quite different sounds (tracks 1, 9 and 10).
Even among the electronic instrumental tracks, there was a wide range of different sounds, from
chilled trip hop through to urgent techno.
What you submit doesnt have to be mastered Ill be mastering the compilation myself. You will,
however, have to do the mix yourself.
-Kim.
2013/08/07 - How (not) to take the pressure off your vocal

recording session
Sneak in a vocal session at random times.

Some interesting advice here, although I think it reflects a sense of helplessness on the part of the
producer.
One of the most important roles of a producer is to get the best performances out of the musicians
on the session. Im of the firm belief that people do their best work with deliberation and iteration
and often with expert guidance and advice. People dont do their best work by accident. Unless
theyre amateurs. Consider your own work as a mix engineer. Would you deliver a great mix if your
artist surprised you in the middle of your day and made you do a mix then and there? Or would
you prefer to clear a few hours, get yourself into the headspace, lead with a discussion about
sound and creative direction, and then work iteratively with the artist to deliver a mix theyre
pleased with?
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Of course, sometimes people get anxious. And that anxiety can certainly hold back a great
performance.
But it is the job of the producer to make sure the musicians feel comfortable enough to make their
best work possible. That might include adjusting the temperature, giving the musician time to get
used to the room, kicking out anyone who is distracting or intimidating, burning a scented candle,
etc. It might mean taking a lightweight location recording setup to the musicians home or
favourite place. The producer should take the time to understand their musicians and artists and
get to know what to do to get the best performance out of them. Some people need a lowpressure relaxed approach Dont worry, we can record it a few different times and then go over
some of the more difficult sections. Other people need a firm hand to push them to their best
That take was about 40% there. Do it again, but better.
Bjrgvin says Next time you feel that your vocalist is feeling too stressed about performance, try
to take the load off by refocusing the session on something else. I think that as a producer if
your vocalist is feeling too stressed about performance, you need to develop your interpersonal
skills.
If you record a vocalist and your best take is the surprise/warmup/fun take, I think that says
something very unflattering about your skills as a producer. Furthermore, how will the vocalist feel
if the best take was the unprepared one? What does that say about their control and poise? How
will they feel about their ability to deliver a killer vocal?
Dont leave it up to chance.
-Kim.
2013/08/10 - Final call for compilation submissions

So, Friday 9 August is finished here in Australia, but its still Friday in most of the world If youre
quick, you can still sneak in a submission. Full details here: http://blog.kimlajoie.com/submissionsfor-the-next-compilation/
-Kim.
2013/08/14 - Update on the compilation

So, submissions have closed. And Im listening to them now theres some really interesting
music! Again, a great mix of sounds and styles. Ive been listening to the tracks for the last few
days and I still havent chosen a shortlist. At stage its looking like Ill spend the rest of the week
listening, and hopefully get in touch with the producers of the final ten over the weekend. Id
really like to do the mastering and have it released by the end of next week, but it really depends
on how long it takes for me to choose the final ten.
In the mean time, Id like to ask a question: How do you know when youve finished a track? I
remember talking to someone years ago and their flippant response was something like When the
CPU is overloaded, Ive run out of disk space and Ive used all my plugins. Sounds about right.
What about you? Leave a comment.
-Kim.
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2013/08/15 - Parallel processing
2013/08/15 - Parallel processing

Recently Ive been doing more parallel processing in my mixes.
Its particularly useful for low-track count mixes, where each track has to have a rich and
multidimensional sound. Contrast with high track-count mixes, where the goal is the opposite to
reduce each track to a one-dimensional caricature of itself so that all the tracks can blend well
together.
Of course youve heard of parallel compression. Make two channels for a track (either duplicate the
track or send to an aux track / group / bus). One channel remains relatively dynamic with little or
no compression. The other channel is heavily compressed. On its own, parallel compression is not
very interesting. But things get very interesting when each track has a different tone (with EQ
settings, or other processing). When both channels are balanced, the more dynamic channel
becomes more prominent during louder passages and the less dynamics (more compressed)
channel becomes more prominent during quieter passages.
Ive been using this as a form of dynamic tone control, except with much more natural results than
a dynamic EQ (where the gain of each band is controlled by an envelope follower). In a recent
mix, I wanted a juicy compressed vocal sound, but the compression was bringing up too much
mouth noise and other background sounds in between phrases. I duplicated the track and
brightened the more dynamic channel and slightly darkened the compressed channel. By carefully
balancing the two channels, I achieved the thick compressed sound I was after, without drawing
too much attention to the extraneous sounds. It also sounded much more natural than using an
expander or dynamic EQ because the brightness of the vocal responded naturally to the actual
original dynamics of the performance.
For a more extreme example, I was working with a very percussive acoustic guitar performance.
The artist wanted his palm taps to resonate like a kick drum. Simply boosting the low end brought
up too much string resonance and made for a very muddy sound. I duplicated the track and
highpassed the primary one at about 120Hz to maintain a fairly natural tone and character. I didnt
compress or processes this one very heavily. The duplicate, however, was lowpassed at about
120Hz, leaving nothing but the bass. This channel was heavily gated to cut out the mud and
emphasise the rhythm. I also applied some heavy dark saturation to make the sound thicker.
There are certainly some creative uses for parallel processing. Let me know do you use parallel
processing? If so, how? Leave a comment.
-Kim.
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2013/08/20 - What mastering feels like
2013/08/20 - What mastering feels like

Masterings a dangerous thing.
Not just for the reasons Ive written about in the past. Its dangerous because its misunderstood
by artists. Theyre the people who are ultimately represented by the final result of the master. But
to many artists, mastering is a dark art. Artists commonly see mastering as little more than a
mysterious and expensive process that everyone says they need to do, but no-ones actually
explained what it is or why they need it.
So when I talk to my artists, I usually explain it in real-world terms. Its not EQ and level matching
and fading and sequencing. Theyre not commissioning the process. Theyre commissioning the
results. And this is is how I usually describe it.
Mastering feels like not having to adjust the volume from track to track.
Mastering feels like your songs not being too boomy or thin or muffled or sharp.
Mastering feels like your release flowing smoothly from one track to the next.
Mastering feels like being proud to share your music, knowing itll stand toe-to-toe with
your heroes.
Mastering feels like not having to apologise for your demo.
Perspective is everything.
-Kim.
2013/08/29 - Not all hired help is the same why who you
know really is so important
At some point in your travels, youll come across a situation that requires more than you can
handle. Maybe you need a session guitarist. Maybe your project requires mixing or mastering at a
higher standard than you can deliver. Maybe you need a great singer. Maybe you need to hire a
bigger studio (and a recording engineer to operate it). Maybe you need a real live string section.
You need some hired help.
But it can be hard to find good hired help. If youre considering hiring someone youve never
worked with before, there are a lot of risks. You dont know if theyve got the basic skills you need,
but even if they do, there are other pitfalls. Will they show up on time? Will they understand your
music style? Will they answer their phone or email? Will they be quick to blame others (or you)
when things go wrong? Will they educate you to help you understand what they do so yo can
guide them to get the best result for the project? There are many variables, and even people who
appear competent may not be a good fit and you may only realise it after its too late.
Thats why personal recommendations are so important. Your personal connections know you.
They know your style, they know how you work. Theyll be able to recommend hired help that has
a high likelihood of working out well.
Its what I do when people ask me for recommendations. Ill recommend musicians and studios
and other professionals that Ive personally worked with and can vouch for. Likewise when I need
hired help, Ill ask for personal recommendations. I know that Ill (mostly) only get
recommendations for people worth my time. And Ill get the result faster.
I recently needed an electric bassist for a project that needed a specific style of playing. I could
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have jumped on the forums and online listings and called (and met and auditioned) dozens of
bassists before finding someone suitable. Instead, I made one phone call to a guitarist I know who
gigs a lot and knows a lot of bassists. He made two recommendations and I booked the session in
the next phone call.
Cold contacts should be your last resort.
This is why who you know is so important. Because youll take on bigger and bigger projects as
you grow. And youll get to a point where you cant (or shouldnt) do everything yourself. And then
youll need hired help. And you can get a better job done with less fuss if you can pull someone in
who you trust, or who comes recommended by someone you trust.
-Kim.
2013/09/05 - An update on the compilation and next guide

Ok, I know I was aiming for a mid/end August release, but Ive been busy (this whole month is
booked out) and one of the top ten took a while to provide the unmastered mix.
So anyway, its all going ahead. Ive mastered the whole lot. I should get the artwork sorted and
have the whole lot on Bandcamp within a few days. So, its near.
In other news, Im mostly through drafting the next Guide. This ones going to focus on REVERB.
It covers a bunch of stuff Ive touched on in past blog posts, but Ive also added a bunch of stuff
and updated to my current practices. Ive also structured it so the whole thing flows like a singular
piece of work. Its currently over 5000 words (and counting), and at the moment is set out with
the following sections:
The role of reverb
Setting up reverb in the mix
Sends
Inserts
Choosing reverb for the mix (this is about listening to the mix and choosing what it needs)
Adjusting reverb settings
Types of reverb (different algorithms, also convolution vs algorithmic)
Available controls (what the controls are, what theyre useful for)
Approaches to settings (how to use the settings to deliberately create a specific
reverb sound for the mix)
Shaping the tone (damping vs eq vs filtering when to use each)
Mixing with multiple reverbs
Combining with other effects
EQ
Delay
Compression
De-essing
Chorus / detuning
Alternatives to reverb
Is there anything else youd like to see added? Obviously, Im writing this for you so I want to
make it as useful and relevant as I can. Is there anything in particular youd like to know about
reverb? Anything youve been unclear about that youd like explained? Let me know.
-Kim.
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Ok, its here. Yes, its late. Yes, Ive been busy. But here it is:
<web player with song list>
How its similar to Vol 1
Again, its a mix of acoustic and electronic music. There are more electronic tracks than acoustic
tracks, but again, its because of the quantity of submissions, not the quality. Again, it was really
difficult to choose the final ten. There were one or two that I regretfully didnt include because I
couldnt make them flow with the rest of the compilation.
How its different to Vol 1
This time were starting out with a couple of acoustic tracks before launching into the electronic
stuff. Also, it seems this time the electronic tracks a bit more well-behaved, but the acoustic tracks
are a bit more raunchy.
As before, Ill be writing about the individual tracks over the next couple of weeks. Stay tuned.
-Kim.
2013/09/20 - The most important part of the mixing process

The most important part of the mixing process happens before youve opened any plugins, before
youve touched any faders, before youve even loaded any tracks. The most important part of the
mixing process might even happen before you walk into the studio.
Im referring, of course, to the discussions you have with the artist.
Your artists want you to mix their song because you are a skilled and experienced professional.
You also have gear they dont have, and you know how to use it But you know that decent mixes
dont require a lot of gear. Its your skill and experience that make it worth it.
Youre not a vending machine.
You dont just poop out a mix whenever an artist puts money in the coin slot. Mixing is subtle and
complex, and you bring judgement and nuance to the process. You not only understand your gear,
but you also understand how to talk to artists about creative direction. You know how to draw out
their style and vibe, even when theyre not sure or they cant articulate it clearly. You know how to
explain your sonic adjustments and educate your artist so s/he can more effectively guide you to
produce a result youre both proud of.
You must talk with your artist. You both will only get the best result when you maximise your
understanding and minimise your assumptions. Work together as a team.
-Kim.
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2013/10/13 - Im not dead
2013/10/13 - Im not dead

I just checked.
Still here. Heart beating. All good.
Its been a few weeks since Ive posted here though. Ive just been super-busy. Let me tell you
what happened.
I took three days off.
Well, I tried to. Unfortunately, the workload doesnt just go away. It gets spread over the
preceding two weeks and the following two weeks. And as I usually work fourteen-hour days
(10am to midnight most days), thats a lot of extra workload to add to my already-packed schedule
(which oscillates between being 2-4 weeks fully booked in advance. Although recently, and
partially because of these three days off, it was booked almost six weeks in advance).
So, a few things have slipped. Including this blog. And that sucks.
So maybe the moral of the story is to avoid holidays? I dont know. What do you think?
-Kim.
2013/11/03 - A collection of advanced EQ techniques

This post was originally published on The Pro Audio Files.
EQ is pretty simple, right? Crank a knob, hear the sounds tone change?
Not quite. Just when you think you know everything there is to know about EQ, something new
comes up. Here are a few advanced EQ techniques that you might not be using to full potential:
Mid/side EQ
Any true stereo sound might be able to be enhanced with mid/side EQ. Mid/side EQ basically turns
your stereo EQ into a frequency-specific stereo width adjustment tool. Youll get the most natural
results by only processing the side channel. You can boost the top to increase clarity and
dimension. You can narrow the mids to provide focus and punch. You can highpass the bass to
easily collapse the bass to mono without touching the mids and highs.
Spectral matching EQ
This ones usually a multi-step process. First get the EQ to listen to some reference audio (such as
another track or commercial mixdown), then get the EQ to listen to the audio you want to
process. Finally, the EQ can then either match the two (so that the processed audio sounds similar
to the reference audio), or it can compliment the two (so that the processed audio sounds very
different to the reference audio).
Matching EQ can be useful whenever you want one track to sound like another. Obviously, this
might be useful in mastering, but it can also come in handy when working with samples from a
variety of different sources. Compliment EQ can be useful if you want to make sure two tracks do
not interfere with each other.
Dynamic EQ
This is an interesting one. It allows the gain of each EQ band to change dynamically with the level
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of the audio. It can work a lot like a multi-band compressor, except that the envelope follower
controls the gain of an EQ band instead of a frequency range. This allows you to get much more
surgical and specific with how the audio is processed.
The most common use of dynamic EQ is de-seeing vocals, where the high frequencies are turned
down when theres too much sibilence. Its also useful for other situations where a recorded track
needs to be cleaned up in a specific way, but static EQ or broadband compression are too blunt for
the job. Things like low frequency bumps or thuds, or the occasional odd midrange resonance are
sometimes good opportunities to use dynamic EQ.
Parallel processing with EQ
This is a good example of a more advanced pairing of EQ and compression. This technique works
best with a naturally dynamic recording such as a lead vocal or acoustic guitar. Duplicate the
track and heavily compress one copy while leaving the other relatively dynamic. Balance the two
so that the compressed track is dominant during quiet passages and the dynamic track is
dominant during the loud passages. This opens up a lot of interesting possibilities when the two
tracks have different EQ applied to them.
For example, you could make the dynamic track brighter and the compressed track darker. It will
sound as if the recorded instrument itself gets brighter in the mix as it gets louder. Or make the
compressed track warm and full-bodied, but reduce the lower frequecy energy in the dynamic
track. As the track gets louder, it thins out to make room for other instruments in the mix (which
might also be getting louder), but stays warm and full during quieter parts where its more
exposed.
EQing your effects returns
This is a good one. Its especially useful for reverbs. If youre mixing in software, insert your
favourite EQ after your reverb. If youre mixing in hardware, bring your reverb back on a regular
channel pair (not the less-featured stereo returns). Or patch a decent outboard EQ after the reverb
before it comes back to the desk. Many reverbs have some in-board tone control, but it probably
wont be as flexible as your desk EQ or outboard EQ. This gives you much more power to shape
the sound of your reverb and ambience at th back of the mix.
Happy with the reverb but its fighting a bit too much with the vocal? Give it a dip in th midrange.
Want more focus in the low end of the slap bass while still retaining the ambience and space in the
top? Bring in a gentle low shelf for a more natural cleanup than a low cut filter. Mix sounding a bit
dead? Add some more dimension by gently boosting the top without upsetting the mix balance.
And this is just scratching the surface.
All in all, theres a lot you can do with EQ. Much more than might be obvious at first. Give these
techniques a try and you might just find a new secret weapon thatll save your next mix.
-Kim.
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2013/11/11 - Should you use internal synth effects or external/plugin effects?
2013/11/11 - Should you use internal synth effects or

external/plugin effects?
Many synths include some form of on board effects processing. Whether theyre multi-processor
modular effects units on modern workstations or simple chorus or delays, effects processors of
some kind or another are probably on board most of your synths.
Youve probably also got a good selection of external (including plugin) effects too. And some of
you might have wondered about which you should use. Internal or external? Sometimes the choice
is down to convenience. Sometimes its whats configured in the preset. Sometimes youre after a
sound that requires a little something special. There are plenty of reasons for choosing one or the
other.
When I have to choose, I usually consider three factors:
Polyphony: Applying affects polyphonically (one instance for each note) can sometimes have a
very different result than applying them to the mono/stereo mix of voices. Its particularly
noticeable for distortion. This only applies if your synth part is polyphonic, it makes no difference
for monophonic synth parts.
Modulation: Applying effects using the internal synth effects can sometimes allow those effects
parameters to be modulated by the synths envelopes, LFOs and other modulation sources.
Sound: Most synths have a limited selection of effects. These might be tuned specifically for the
synth, but youll have to consider whether the sound is the one you want. You have a lot more
flexibility in using external effects.
How do you choose your effects?
-Kim
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2013/11/18 - Fight through the suck
2013/11/18 - Fight through the suck

You will suck.
In fact, you probably already have.
Maybe you still do. And I hope you will again.
Its not a bad thing. Thats how you know youre ambitious enough. Youre trying something new.
Youre pushing past your comfort zone.
Every future expert starts out in the suck. No-one is born great. They fight through the suck to
attain expertise, to build their skills, to develop their capabilities. You too have to fight through the
suck before you can become an expert.
The suck feels demoralising. The suck feels like its easier to give up. Its hard, and sometimes it
hurts. Thats always the truth. Youll doubt yourself. Potential partners and collaborators will walk
away without saying why. Anonymous Internet jerks will take you down just for the fun of it. Youll
compare yourself to your idols and youll be demoralised when you dont measure up. It hurts.
But reaching for expertise means knowing that theres something more important than how much
it hurts.
Keep going.
Fight through the suck.
-Kim.
2013/11/25 - How would your mixes sound without reverb?

Ok, I admit it.
I use reverb on almost every mix. Often on every channel. Even a little bit on kick and bass.
Ive been doing it for years. Its worked out pretty well. Im satisfied with my mixes, and my artists
are pleased with the results.
But Ive noticed that I do it by default. Its part of evey mix process set the tone and dynamics
for each track, set the relative level of all the tracks, then add some ambience behind the mix. And
I think any time I notice myself doing something by default, theres an opportunity to try
something different and learn something along the way.
So I recently recorded a country-rock band in my studio. Full live take with drums, bass and two
overdriven electric guitars. Overdubs for lead vocals, backing vocals and guitar solo. And this band
rock a pretty modern sound, so pretty tight and dry no ridiculous 80s reverbs needed here.
So I tried something a bit different. Rather than my usual approach ofrecording as close and dry
as possible and adding all the ambience back in the mix, I pulled the microphones back a little and
allowed a bit of bleed and room into the recordings. It helped that they were good players and
hardly needed any edits.
The result was that the recording had an appropriate amount of ambience (not much) in every
track, without having to add any artificial reverb. Not so much that there was a lot of room sound,
but the individual tracks had a bit of air around them. They didnt feel like they were in a vacuum.
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For this track, this was just enough. In the mix, I didnt have to add any general ambience jus a
touch of plate reverb for the vocals and snare to thicken them up a bit. And that was it.
And most importantly, I found that it was a useful approach that Ill likely use again soon.
So ask yourself what would you do differently if you couldnt use reverb?
-Kim.
2013/12/02 - Are you creative and artistic? Stop telling us.

Show us.
Youre only creative and artistic if you are actually creating art.
So go and make something.
Make lots of things. Write some songs. Put together a new combination of chords or synths or
plugins that you havent done before. Present your work to people on stage to an audience, in
the studio for your clients or online with your friends.
Thats what being creative is. Creating things. And thats what being artistic is. Creating art.
Being creative is not something you should have to tell people. It manifests in your work. It speaks
for itself. Ideally, its something that other people say about you not something you say to others
about yourself.
If youre more talk than walk, turn that around. You know who you are. Stop telling us.
Show us.
-Kim.
2013/12/09 - Heading toward a post-plugin studio

Long time readers might know that Im pretty conservative with plugins. More specifically: The
number of plugins installed and active on my computer.
Initially it was for session workflow. Gone are the days of installing and trialling every latest plugin
that got released. I long ago realised I could work much faster and get better results by sticking
with a smaller selection of plugins that I knew intimately.
There were other benefits to reducing my plugin collection. My computer was more stable, and
conflicts were more easily resolved. Reinstalling everything from scratch was less torturous.
Projects had a longer active archive life before missing plugins meant they couldnt be recalled
100%.
In the back of my mind, Ive long entertained the fantasy of using only stock DAW plugins and not
even installing any extra plugins. With the current version of Cubase (my preferred DAW for well
over a decade), its now pretty close. Theres some decent EQ and compression options. This is
about 80% of every mix right there.
Unfortunately, the stock reverb and saturation tools are still pretty ordinary (although ask me again
after Ive upgraded to Cubase 7.5). Theyre not bad, but I much prefer my ValhallaDSP and
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FabFilter options. And thats before we start counting instruments (Maschine, Massive and Kontakt
get a pretty good workout) and specialty mastering tools.
And then I noticed something interesting.
As part of kitting out my new studio for recording bands, Id started accumulating hardware. Racks
of preamps and compressors and console EQ and reverb. And Ive been finding that the more
processing I do on the way in, the less I have to do in the mix. Dramatically so. My latest mixes
have only needed software for a touch of EQ, a little transparent compression and the regular
reverb.
In addition to the benefits of not using plugins, there are some serious benefits to using hardware.
The hands-on interfaces with a variety of different knobs, buttons and sliders make for a much
more satisfying engineering experience. Muscule memory actually means something. By contrast,
using a keyboard and trackpad reminds me of everything that was wrong with 90s 1U rack synths
having only a handful of generic physical controls to access an enormous array of parameters
and sonic possibilities. And also (as much as I dislike this), having a few racks and a console allows
me to charge more because it looks more like the studios featured in the countless documentaries
and photos from over the last six decades.
Of course, there are downsides. Hardware is expensive. Cabling suddenly becomes a separate line
item to budget for. Physical space is much less available and expandable than hard drive space. It
takes longer to install. It resists multiple instances.
But at this stage, the biggest drawbacks (cost and space) are smaller problems than they used to
be. And theyll continue to get even smaller in the future. And the biggest benefits (dedicated
hands-on physical interfaces and appearance) are more bugger advantages than they used to be.
And theyll continue to get more advantageous in the future.
-Kim.
2013/12/13 - New reverb guide!

Well, how about that. My reverb guide is finally finished.
It took me much longer to write this than I expected. It turns out theres a lot to know about
reverb. Who would have guessed?
Anyway, 6500+ words later, this is the definitive record of everything I know about mixing with
reverb. Short of actually going into the internal design of reverb processors (which you dont need
to know), this is your one-stop-shop to becoming a reverb boss. It covers my four primary
characteristics of reverb. It describes all the common settings, and then goes into detail about how
to use those settings to create the right ambience for your mix. It also covers a variety of different
ways multiple reverbs can be combined, and how to get the best results when combining reverbs
with other effects.
The knowledge in this one is pretty much gold for anyone whos mixing. Which, if youre reading
this, is probably you.
Check it out: http://blog.kimlajoie.com/guides/using-reverb-in-the-mix/
-Kim.
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2013/12/16 - Three EQ techniques that many people use (and why theyre wrong)
2013/12/16 - Three EQ techniques that many people use (and

why theyre wrong)
This post was originally published on The Pro Audio Files, with a somewhat less inflammatory title.
EQ is a pretty powerful tool. More powerful than almost every other tool in your mixing toolkit
(second only to the volume fader). And with great power comes great responsibility.
Also, with great power comes great mistakes.
If youre reading this, it shouldnt be any surprise to you that there are plenty of ways people
struggle with EQ. Sometimes the sound ends up worse than it started. Sometimes it takes far
longer to get the sound than it otherwise should.
And so here are three different techniques people use that can sometimes do more harm than
good. I know, Ive used them too.
High pass everything by default
This is a good one. High pass everything except kick and bass. Every time. Cut out unnecessary
junk. Its just rumble and mud down there. Sound familiar?
Well, high passing everything is probably a good idea if youre mixing a monster track with 60+
channels. If youve got that much stuff to jam together, most of the sounds will need to be pretty
small.
But if your track needs a bit more life and realism, think before you high pass. Even better, listen
before you high pass. Because theyre right theres some rumble and mud down there. But
theres also a lot of weight and warmth and vibe down there too.
By all means, dont be shy about that high pass filter. But realise its just a tool. And sometimes its
not the best tool for the job. Sometimes you need some weight and warmth and vibe even for
tracks that arent labelled Kick or Bass.
Cutting your sound to shreds
Cutting is better than boosting, right? Well, sometimes. Do you use the boost and sweep method
to find bad frequencies?
Well, heres the trap when youre looking for bad frequencies, youll find them. Youll find heaps
of them. Because when you boost a narrow range and sweep it all over the place, every frequency
is going to sound pretty terrible. And then youll cut. And cut and cut and cut. How good is it that
DAWs and digital mixers have four, five, eight, ten bands of EQ of every channel? Now you can cut
all the bad frequencies!
If you know what Im talking about, youll know that your sound very quickly starts to resemble a
Worms game. And you can use a lot of different words to describe your sound, but warm, thick
and juicy wont be among them.
Dont cut holes in your sound.
Forgetting to try switching polarity
Heres one for the recordists out there. Any time you bring out two or mics at the same time,
phase and polarity start getting interesting. Before you reach for EQ, try flipping the polarity on
one of the channels (it doesnt matter which one). Sometimes itll get you close to the sound you
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want faster than any EQ. You can fight and fight and fight with EQ, when a simple polarity flip will
do all the work for you.
It wont always work, but when it does youll feel like you just cheated a bit. Thats how easy it is.
So dont stop thinking, and dont stop listening. Dont take anything for granted. And dont forget
that the less EQ you use, the more integrity is retained in the sound.
EQ is a powerful tool. So I recommend trying to find ways to use it as little as possible.
-Kim.
2013/12/19 - Parallel Compression on the Whole Mix why?

Well this is interesting:
We use parallel compression on drums. We use it on vocals. We use it on really anything

and everything. So why not on the whole mix?
[...]
The pros are that you can get a little bit of extra thickness, movement and color in a
fairly transparent way.
It looks like a decent list of tips. But, as someone who doesnt use parallel compression on the mix
bus, it doesnt answer my first question: why?. The closest the post gets is the line a quoted above
a little bit of extra thickness, movement and colour in a fairly transparent way. Thats pretty
vague though. There are so many ways to add thickness, movement and colour to a recording at
every stage from performance, instrument choice, mic technique, level, tone, dynamics, ambience,
etc. What does parallel mix bus compression give me thats different to everything else?
Its an honest question.
I use parallel compression when I want to blend two versions of the same track with different
processing and I want the blend balance to change depending on the dynamics of the recording.
Ive never found myself wanting to do that to a whole mix. When I want the mix to sound
differently based on its dynamics, its usually section-by-section and I can make more effective and
focussed changes by working on the arrangement or processing individual tracks.
Does anyone use parallel compression on the mix bus? Can you tell me why you use it?
-Kim.
2013/12/23 - Sometimes its better to wait

This post was originally published on Zencha Music.
I recently had an interesting experience recording a song. The artist who Id worked with in the
past and had seen play live several times was dragging the song. And not just a little bit. It was
dragging a lot. It was a completely different creative direction.
So after recording a couple of takes and listening back together, I pointed it out. And he was
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genuinely surprised. He hadnt realised it at all. It was plainly obvious when I played a previous
recording of the song recorded only a few weeks prior. So we got talking about what was
happening, and it turned out he had a pretty good idea.
It turned out hed written the song for a girlfriend from whom hed recently separated. And while
the earlier recording of the song had an optimistic and earnest character, these current takes were
much more subdued and bittersweet.
With this knowledge, we tried another take, this time trying to give the song some if its original
lift. We got about halfway there, but the artist felt that he couldnt deliver an authentic
performance that came from an inauthentic feeling. And I think thats true in general.
You cant deliver an authentic performance from an inauthentic feeling.
If youre the performer, you have to feel it. If youre the producer, you have to make sure your
performer is feeling it. Its your job to help them find that feeling and bring it out through the
music. And its your job to know how close you are to it and to know how to get the performer
over the line.
And its your job to know when its not going to happen that day.
Fortunately the artist in my session wasnt on a strict timeline. We chose to reconvene at a later
date. Sometimes its better to prioritise the performance over the schedule.
Sometimes its better to wait.
-Kim.
2013/12/29 - No-one reads a comic strip because its drawn

well
Seth Godin:
No one goes to a rock concert because the band is in tune. They have to be close enough
to not be distracting, but being in tune isnt the point.
This is something that I think a lot of engineers and producers lose sight of. The production
doesnt have to be technically perfect. Even the performance doesnt have to be technically
perfect. Of course, it has to be good enough that its not distracting. But were not shooting for
technical perfection. Were shooting for emotional connection.
Ive often said that technology is best when we dont notice its there. When we can get on with
what were actually trying to achieve. When we can communicate and connect freely and easily.
And that applies to music too. Were not here to mess around with gear and twiddle knobs and
make the waveforms line up perfectly. Were here to make music. Were here to tell stories about
feelings. The technology exists to serve that goal no more, no less.
-Kim.
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2013/12/30 - The two things I do that make almost every artist pleased with my first mix revision
2013/12/30 - The two things I do that make almost every

artist pleased with my first mix revision
If youre reading this blog, you probably do some mixing. Chances are, you sometimes mix other
peoples music too whether you recorded it yourself or not. If this is you, youve probably
experienced dreaded mix revisions. You think youre finished, but then the artist comes back for
just one more thing. And another. And another.
It often doesnt end well. If you pick up the change request for free, too many revisions will cause
you to start harbouring resentment toward the artist. If you charge for each change request, too
many revisions will cause the artist to start harbouring resentment toward you. If either of you go
down that road, youre both going to have a bad time. For the sake of the relationship, youve both
got a strong interest in getting it right first time.
These days, almost every artist I work with is happy with the first version of my mix. And the
reason for that is nothing to do with plugins or hardware or gear or technology. Its exactly two
things:
1. Talking at length before the mix sessions about musical influences and references.
This is so important. Its extremely difficult to communicate the complex and subtle musical and
sonic aspects of a mix. Its hard enough when both people are highly experienced and technical.
For a most everyone else, it borders on impossible. Add into that the various significant factors
that affect the result of the mix, yet are almost entirely impervious to the mix process itself. These
are factors like arrangement, performance and recording. As engineers and producers, we can tell
the difference. But not everyone can. And relying on words alone can do more harm than good.
Most of the words we use to describe sound are inherently ambiguous at the best of times even
within the engineering profession. Outside, it can be anyones guess what words like warm, sharp,
thick or funky even mean.
To combat that, I always ask artists about the music they listen to and the music theyre
influenced by. The best artists actually make mixtapes for me. We talk about life and music and
sound and emotions and use other artists songs as common frames of reference. For many artists
I work with, this actually happens before we even record. And it continues throughout the
production process. In fact, I almost never work on an artists project without them physically with
me. Which leads to:
2. Making sure the artist sits next to me while Im mixing.
Even with the shared reference points, I often disagree with my artists. Mist of the time, theyre
fairly minor disagreements. But with the artist with me while I work, theres no chance that Ill go
off on a tangent without being pulled back into line. When I start going in a different direction
than the artist intended, we catch it early and have a conversation about it. Sometimes its
something as simple as hearing her/him explain it and then remediating. Sometimes its a bit more
complex and we need to talk about creative direction, emotions and storytelling. We might need to
explore different processing approaches. We might even need to try different edits. But by the end
of the session, the artist walks away with a mix their happy with. Even more importantly, the artist
has had a positive experience being listened to and understood.
-Kim.
PS. This is why lately Ive been turning down opportunities to do mixes for people outside
Melbourne. Sorry, but Skype doesnt cut it. You need to be in the room with me. You need to hear
what Im hearing.
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2014/01/01 - Well, that was a pretty big year (musically and personally)
2014/01/01 - Well, that was a pretty big year (musically and

personally)
How have you been doing over the last twelve months? Busy? Making music? I hope so.
2013 has been a huge year for me. Probably the biggest.
Progress has (mostly) been pretty steady, so its easy to lose sight of how far Ive come. But then I
look back and realise that while Im focussed on taking each step at a time, Im actually climbing a
mountain. And its pretty steep.
Twelve months ago, I was working a 9-5 day job unrelated to music. I was fitting in my music
activities on evenings and weekends. I was living in a house that I owned in the suburbs with my
girlfriend of four years. I had just started the lease on my new (now current) studio and had
begun setting it up for work.
Now, as I sit here writing this, my life looks very different. Im now working on music pretty much
all the time (I quit my day job at the start of the 2013). Most of the year Ive been recording and
promoting artists. Ive also been teaching composition at Monash University on the side. I sold my
house in the suburbs and rented near the studio with my girlfriend. And recently broke up with my
girlfriend (she wanted to live the suburban dream and I chose music). Ive also now got a publicist
and a second producer on board working for me. Ive made some great relationships and inspiring
music with my artists.
Of the actual music work Ive done this year, Im most proud of (in no particular order) the three
videos I produced for Bare Toes Into Soil, the three singles I mastered and promoted for Gosti, the
two Community Kitchen compilations I curated and mastered, the ambitious single I produced with
Jennifer Kingwell (and the awesome upcoming EP, which weve just finished), the several indie EPs
I recorded (only one has been released online, the others will be out early next year) and the
promotion I did for Iain Archibalds regional tour.
And next years going to be even bigger.
Lets see how fast this thing can go.
-Kim.
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2014/01/09 - This is What it Means (part 1)
2014/01/09 - This is What it Means (part 1)

So, I made this:
This is what it means. This is the raw and honest peek behind the curtain. Eight Obsessive Music
artists talk about life, music, hopes and fears. I made this video to remind myself of how it feels to
be an original artist. As a Melbourne-based producer and promoter I work with artists from a
variety of backgrounds and perspectives on life. Sometimes what makes each one different is
surprising. Sometimes its what they have in common thats surprising. For this video series, I
asked eight of my favourite artists to talk candidly about music, life, insecurities, excitement and
pushing forward through difficult times.
Featured artists in order of appearance:
Jennifer Kingwell (http://jenniferkingwell.net)
Mel Wilkinson (https://facebook.com/melwilkinsonmusic)
Jeremy Doolan (https://facebook.com/pages/Jeremy-Doolan/178402628902620)
Larissa Agosti (http://ilovegosti.com)
Steph Hickey (https://facebook.com/stephhickeymusic)
Mark Joseph (https://facebook.com/pages/Mark-Joseph/213603418686998)
Simon Levick (https://facebook.com/SimonLevickMusic)
Brett Cusack (http://megalove.com.au)
Obsessive Music is at:
http://obsessive-music.com
http://facebook.com/obsessivemusic
-Kim.
2014/01/13 - The most powerful tool

Gain (volume) is the most important and powerful tool available to the mix engineer. Each audio
track is processed through a mixer channel and there are generally two points at the mixer
channel where the gain can be adjusted:
Input gain before any effects or other processing is applied. Usually this is controlled
using input gain at the top of the mixer channel.
Channel fader after effects or other processing is applied.
Usually this is controlled using the channel fader at the bottom of the mixer channel.
Adjusting the input gain is important because it sets the level of the audio going into the effects
chain. When working with analogue equipment, this is crucially important too much level will
result in distorted sound, too little level will result in too much noise. This is somewhat less
important when working with digital equipment (especially when mixing entirely within a modern
DAW) because they have a much wider dynamic range.
Regardless of whether youre working with analogue or digital equipment (or a combination of
both), its important to set the input gain of all channels so that the audio levels going into all the
mixer channels is roughly similar. This makes it easier to balance the levels of the channels against
each other and makes sure your effects further downstream behave consistently from track to
track. The correct audio level depends on the mixer itself. For a lot of analogue mixers, an audio
level somewhere between -12dB and 0dB is usually a good place to start. For digital mixers,
around -24dB or -18dB is more appropriate. Set the input gain so that the audio is around that
level when the channel fader is at its default position (also called unity) of 0dB.
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The channel fader adjusts the final level of the audio after it has been processed. This is the
control that the mix engineer uses to determine which audio tracks will be heard louder than
others. While the input gain is largely a technical setting, the channel fader is a much more
creative setting. This is where the focus of the mix (and the listeners ear) is determined. It the
biggest factor that determines whether a sound is in the foreground and background. The
important thing to understand here is that not everything can be loud, not everything can be in
the foreground.
-Kim.
2014/01/27 - Energy in music

Energy in music is a relatively intuitive concept to grasp. We can usually identify when a moment
in a piece of music has a high energy level or a low energy level. Generally, high energy is a
combination of several of these factors:
Fast pace (not necessarily tempo!)

Dense instrumentation (many instruments playing at once)
Instruments playing near the top of their pitch range, or playing across a wide pitch range
Louder overall sound
Dense or complex rhythms
Obviously, low energy is the opposite, and is the combination of these factors:
Slow pace (not necessarily tempo!)

Sparse instrumentation
Instruments playing around the bottom or middle of their pitch range
Quieter overall sound
Sparser and simpler rhythms
Not all these factors need to be present for a moment to have high or low energy, but the more
there are, the stronger the effect will be.
-Kim.
2014/02/10 - Headroom (and the difference between what we

hear and what the equipment hears)
Headroom is not a property of sound it is a property of the equipment that processes sound.
Headroom is a measurement of how loud the peaks of a sound can go above the 0dB reference
point before the equipment starts to distort. In digital systems, the headroom is usually exactly
0dB (unless you adjust your meters and gain staging so that your nominal level is lower than
0dBfs). In analogue systems, the headroom usually depends on the quality of the components and
the way they have been calibrated. Many analogue systems have a headroom of around 18dB,
although this can vary considerably depending on the intended purpose of the equipment.
Heres the key audio equipment usually behaves according to the peak level of the sound, but
we perceive based on the average level. Sounds with a lower crest factor can be pushed louder
than sounds with a high crest factor. Therefore, a lot of the effort in increasing the potential
loudness of a sound is focused toward using sounds with a low crest factor and reducing the crest
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2014/02/10 - Headroom (and the difference between what we hear and what the equipment hears)
factor of existing sounds.

If you thought that was complex enough, its only half the story.
Its a similar situation with frequency, although its much easier to understand. Quite simply, audio
equipment treats (or tries to treat) all frequencies as equal. But we dont perceive all frequencies
as equal. Generally, we are more sensitive to upper-mid frequencies (roughly 1kHz 5kHz). For
sounds of equal recorded volume level, sounds that have a greater concentration of energy in the
upper midrange will be perceived as louder than sounds with their energy focussed elsewhere.
-Kim.
2014/02/17 - The shape of reverb

In my reverb guide, I cover the four elements of choosing and programming a reverb for a mix
(dry/lush, short/long, shallow/deep and natural/unnatural). In the guide, I explain how to choose
the reverb characteristics that will work for your mix, and how all the usual reverb parameters
should be adjusted to create such a reverb.
But thats a bit abstract.
Theres a simpler way that requires much less theory and explanation. And strangely, its still four
dimensions: flavour, attack, tone, tail. Its pretty straightforward.
Flavour is the general style or mode of the reverb. Do you want a natural room? A hall? A plate?
An intergalactic cloud? Its the general sense of size and dimension of the reverberation.
Attack is the speed at which the reverb builds up. Some reverb processors allow you to adjust this
directly, others will rely on more general size parameters. Pre-delay can also be part of this
(though personally I find pre-delay to be a poor substitute for true slow attack).
Tone is simply the overall tonal balance of the reverb. Is it bright or dark? Adjust the high
frequency energy. Is it heavy or light? Adjust the low frequency energy. Is it smooth or prominent?
Adjust the mid frequency energy. Most reverb processors have limited tonal shaping options
youll probably find you can do a lot more with an EQ inserted directly after the reverb.
Tail is the way the reverb fades away. Quite simply: does it fade away quickly or slowly?
Furthermore, does it get darker or lighter as it fades away? You might need to adjust the damping
characteristics of the reverb.
If youre feeling stuck and you cant decide how to approach reverberation in your next mix, focus
your mind and think about flavour, attack, tone and tail.
-Kim.
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2014/02/24 - A basic primer on EQ
2014/02/24 - A basic primer on EQ

EQ is the second most important tool available to the mix engineer. It is a powerful tool for
changing the tone of a sound.
As a basic example, think about the tone controls on a home music player (such as CD player or
computer speakers). There might be two controls treble and bass. The treble control adjusts
the high frequencies turning it up makes the sound brighter, and sometimes sharper or harsher.
Turning it down makes it duller, and sometimes indistinct. The bass control adjusts the low
frequencies turning it up makes the sound heavier and thicker, and sometimes woolly or muddy.
Turning it down makes the sound lighter, and sometimes weaker and thinner.
The EQ available to a mix engineer usually has these basic treble and bass controls (often called
high shelf and low shelf). Mix EQ often also has much more sophisticated capabilities. There are
usually one or more midrange EQ controls as well as high cut and low cut filters (which are like
extreme versions of the shelf controls).
Mix EQ controls are usually organised into bands. One band has a single effect on the sound, but
may have several controls to adjust how that happens. The most common band controls are:
Gain This is the most audible control, and adjusts how strongly the band affects the
sound. Positive gain adds energy to the sound, making it louder. Negative gain reduces
energy from the sound, making it quieter. The further away from 0dB (either positive or
negative) this controls is, the more audible the effect is.
Frequency This affects where the band affects the sound. Higher values affect higher
frequencies, lower values affect lower frequencies. To best experience this, set the gain of
a band to something reasonably high (such as +12dB) and listen to how different
frequency settings sound. Similarly, try setting the gain to something negative (such as
-12dB) and listen.
Q This is the most subtle control. Its sometimes referred to as width. Some EQs dont
even have this control. Q determines how focussed the band is (the EQ band, not the
musicians!). Higher values cause the band to get narrower, meaning the tonal change gets
sharper and more surgical. Lower values cause the band to get wider, meaning the tonal
change is broader. When this control is labelled width instead of Q, the values are usually
reversed higher values make the band wider, lower values make it sharper.
Your approach to using EQ in a mix will depend entirely on the raw sound of the recorded tracks
and how you want to shape them to work together with the other tracks. As a general starting
point, though, think back to the basic music player tone controls:
If
If
If
If
you
you
you
you
want
want
want
want
the
the
the
the
sound
sound
sound
sound
brighter, turn up the higher frequencies.

duller, turn down the higher frequencies.
heavier, turn up the lower frequencies.
lighter, turn down the lower frequencies.
Additionally
If you want the sound more present, turn up the middle frequencies.
If you want the sound smoother, turn down the middle frequencies.
Youll often but not always get better results by turning down (negative gain), rather
than up (positive gain)
-Kim.
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2014/03/03 - Reverb is not that important
2014/03/03 - Reverb is not that important

Yes, I know Ive published a lot of words about reverb. A lot. I quite like a lot of reverb. Chances
are you do too. Theres something about reverb thats much more magical than other mixing tools.
Maybe because its the tool we use to bring back an illusion of reality (after sucking it out with
close-mic techniques and direct line recording). Maybe because its our opportunity to add
something to the mix that wasnt there already. Maybe because long dark modulated reverbs are
just delicious.
But its easy to lose perspective.
Reverb (ambience, actually) is one of the least important elements of the mix. In order (and for
each channel) level, tone and dynamics are more important than ambience.
Level, tone, dynamics, ambience.
If you could only get aspect of the mix right, get the levels right. Thatll give you the overall
balance and depth in the mix. Even if each channels tone and dynamics are all over the place,
youll get a better mix by fixing the level of each channel than anything else.
If the levels are in the right place, the nxt best thing you can do for the mix is to adjust the tone
of the channels that need it (assuming they need it). If you had to choose between equalisers on
every channel and compressors on every channel, what would you choose?
If every channels level and tone are in the right place, youre probably about 75% there. The next
bang for buck will be dynamics control. Compression is very common, but its not the only way to
control dynamics. Gates, expanders, limiters and saturators can also be useful tools for controlling
the dynamics of each channel.
If youve got the level, tone and dynamics of each channel right, youve pretty much got a mix.
Ambience is the final step. And its last because its the least important part of the mix. It sits at
the back of everything to provide a sense of space and dimension to the mix. But it does so from
the back. Obviously reverb is the most common tool here, but delays and diffusion processors can
also be used to build the ambience of the mix.
So dont lose perspective. Reverb is great. But its not the most important element of the mix. Its
the least. You get to have fun with reverb once youve got the level, tone and dynamics of each
channel in place.
-Kim.
2014/03/10 - Stability in composition

Stability in music refers to how predictable or comforting the music is at any point in time. Any
section or moment in music can be somewhere between the two extremes of absolute stability and
absolute instability.
Most good pieces of music should express a range some stable moments and some unstable
moments. Stability is usually a combination of the following factors:
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Simple rhythms
Simple harmonic language (including chord progressions and harmonic structures)
Predictable change (not necessarily gradual change)
Liberal repetition
2014/03/10 - Stability in composition
Easily-followed, regular musical structures (such as phrase lengths being organised in

multiples of two and four)
Conversely, instability is usually a combination of:
Complex rhythms
Complex harmonic language
Unpredictable changes
Less repetition
Irregular musical
structures
How are you using stability and instability in your latest track?
-Kim.
2014/03/17 - You dont need contracts. You need trust.

I recently participated in an interesting discussion. A junior producer was working with a band on a
recording and the band left partway through the project to do their recording elsewhere. And they
didnt pay. In the vernacular, the junior producer got stiffed.
A couple of other people in the discussion suggested that an adequate contract would be an
appropriate preventative measure next time. The idea is that with a contract, everyone knows up
front what each others expectations are and what happens if one party wants out. But what if one
party chooses not to abide by the contract?
I disagree.
I think that if a contract is the only thing stopping your artist from leaving without paying, then
youve already lost. Think about it from the artists perspective if theyve decided they want to
leave and make their recording elsewhere, having their previous producer (that they no longer
want to work with) chase them with legal threats will easily destroy what little goodwill remains.
Even before they decide to leave, if theyre even thinking of leaving but they feel locked in to a
contract, then it means youre not looking after them well enough.
Either youre not the right person for the job, or you need to get better at helping artists
understand why you are.
Artists need to work with you because they WANT to. You give them the best results, the best
experience, the best support, the best understanding. They choose to work with you because they
love working with you. Not because theyre locked into a contract.
Being the best doesnt necessarily mean super-expensive gear at bargain-basement prices. It
means knowing your capabilities. It means understanding your artist. It means make sure theyve
got no doubts at all that theyll get a great recording and have a great time doing it. It means
making sure they feel appropriately informed and well looked-after. It means making sure they feel
in control (or at least in charge) of the whole process. It means they leave with a smile on their
face, no matter what they paid.
Of course, this is about relationships.
The strength of relationships you should be building are well above simply getting paid on time.
The relationships you should be building are at the level where your artists have no doubt that
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2014/03/17 - You dont need contracts. You need trust.
youll give them what they want. Where your artists enjoy working with you so much that they
cant wait for the next session. Where your artists know theyll be proud to show off their
recordings.
Producing and recording music is a very intimate experience. Songs are presented bare for
judgement. Performances are dissected note-by-note. Creative direction can be called into
question. For this to be a positive experience, artists have to feel that theyre in a safe place. They
have to trust you to look after them. Obviously, you have to be 100%. You cant phone it in. You
have to be thinking several steps ahead. You have to know that youre the right person for the job
so you can engage with confidence.
You have to demonstrate that you are worthy of their trust.
And clearly, contracts have nothing to do with this. Contracts do not demonstrate confidence or
invite trust. They demonstrate fear and invite suspicion. So dont spend your time drawing up a
contract. Instead, spend that time understanding your artists. Listen really listen. Work hard to
understand them and work even harder to demonstrate that understanding. Be clear and upfront
about how youre going to work together to make a recording. Be sensitive to values, sore spots
and fears.
And dont forget to smile.
-Kim.
P.S. You can avoid getting stiffed for payment by being clear that you dont hand over final
versions of recordings until the account is settled. Or if youre prepared to increase your risk for
artists you like, dont start the next project until the account is settled (only if doing so will help
build the relationship). Or if you want to decrease your risk, request payment for each session in
advance and dont schedule the session until the payment clears. Ive been doing this for years
and havent had any problems. Not even funny looks.
2014/03/21 - The talent myth

Rob Bradford:
Youll often hear that ____ is super talented. As to imply that he/she has some sort of
natural gift or ability that enables them to just show up and perform. Thats why I hate
the word talent. Because it does a disservice to everyone. It confuses people and it
distracts them from the amount of obsessive hard work that really goes into making
yourself successful at something.
This is something that I certainly agree with. I work with a lot of skilled and experienced people,
yet I only ever hear the word talent used by people who believe they themselves dont have any.
Its used an an excuse for their lack of application.
I like that Rob mentions the disservice. The concept of talent minimises or ignores the actual hard
work that successful people do, where instead it should be acknowledged.
-Kim.
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2014/03/24 - Using EQ for a louder mix
2014/03/24 - Using EQ for a louder mix

It is particularly in adjusting the tone and dynamics of each sound that the mix engineer controls
the loudness of the mix. As you already know, sounds with a lot of upper midrange energy and
with relatively flat dynamics have the most loudness. But unlike the composers freedom of
choosing which notes actually make up the piece of music, the mix engineers tools can only
modify the sound of the notes that have already been recorded. Fortunately, those tools are varied
and powerful.
The most powerful sound-shaping tool available to mix engineers is EQ. This tool alone can make
any sound bright or dull, strident or subdued, thin or heavy. And with such a powerful tool comes
great responsibility. A mix engineer, like a composer, could quite easily make a loud mix by making
every sound brash and strident. Of course, this wouldnt be very pleasant to listen to.
A more appropriate use of EQ is to make sure each sound has a distinctive character and role in
the mix. EQ can make for a louder mix by making sure that each area of the mix the bottom, the
low mids, the upper mids and the top is clear and focused. Think about which sounds will
dominate in those areas and make sure other sounds arent competing. This will make it much
easier to make a mix loud. On the other hand, a mix that is muddy and indistinct will fight every
step of the way to loudness.
Youll probably also find that the higher the frequencies, the more room there is in the mix. The
upper mids in a mix can often accommodate a few distinct prominent sounds. The very top of a
mix often needs almost no carving at all. By contrast, the bass region can often only fit one or two
different sounds, and the subs can barely fit one. This is why common mixing advice includes high
pass filters and lower-mid cuts to increase clarify and space in the lower ranges.
-Kim.
2014/03/31 - How To Know If Youre Doing A Good Job

Mastering
Mastering is often seen as a dark and mysterious art. This is particularly true among junior
producers and engineers who want to learn how do do it themselves. Theres a lot of different
advice floating around these internets, some of it conflicting. It can be difficult to know if youre
taking the right approach. It can be difficult to know how you can improve.
Short of hiring a teacher or mentor, the best thing to do is be clear about what youre trying to
achieve. And that means understanding the purpose of mastering.
Ive written quite a lot about mastering here on this blog. Put simply mastering is the process that
takes a stereo mixdown that sounds great in the studio and turns it into a stereo audio file thats
appropriate for distribution.
So the question is: how do you know if a stereo audio file is appropriate for distribution?
I approach this in two parts: characteristics of the audio and characteristics of the format.
For the audio to be appropriate for distribution, the two primary factors to consider are tone and
level. Fortunately its fairly easy to know what to aim for simply listen to other commercial
recordings (in your acoustically treated, calibrated monitoring environment). To adjust your
mixdown so that the audio is more appropriate for distribution, your principle tools will be a good
equaliser for adjusting tone and a good limiter for controlling crest factor (which gives you
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2014/03/31 - How To Know If Youre Doing A Good Job Mastering
freedom in adjusting level).

For the format to be appropriate for distribution, you need to know what how the release will be
distributed. For CD duplication, youll probably need to author a master disc. For replication, you
might need a DDP image. For online distribution, a linear CD-resolution audio file might be
sufficient. Or a higher-than-CD-resolution file might be more appropriate. To create these formats
youll need appropriate authoring tools. Professional CD authoring software is probably necessary if
you want to master for CD. For online distribution, a render from your audio software (at the
correct resolution and format) might be sufficient. Apples mastering tools for their Mastered For
iTunes program might also be relevant to your interests.
-Kim.
2014/04/07 - Using reverb in the mix

Reverb is a tool thats easily recognised and often overused. Reverb is one of the best tools for
enhancing the sense of space and depth in a mix. It works by adding a wash of sound called the
tail directly after the original sound. This tail usually simulates the kind of sound heard in a large
hall. There are many different kinds of reverb ranging from simulations of small and large
physical spaces, to electromechanical reverbs (such as springs and plates), to fantasy reverbs
(such as gated reverbs and reverse reverbs).
Reverb is most commonly used on a send. This is a special kind of mixer channel. Instead of
receiving its input audio from the multitrack recording, it receives its signal from the other mixer
channels. The amount (level) from each channel is controlled by the send amount for each
channel. This is a good way to use reverb because it allows for one reverb processor to add its
reverberation tail to many channels (sends often arent appropriate for channel EQ or
compression).
If youre getting started with reverb, start with a simple hall reverb. Set it up on a send bus, and
choose a basic reverb preset (usually the default start-up preset will be a good way to begin).
Then send a little bit from each channel to the reverb. A good rule of thumb is to add just enough
reverb that you can hear it. Background sounds will normally need more reverb than foreground
sounds, and sustained sounds will usually need more reverb than percussive sounds.
Mute the reverb channel and compare the mix with and without reverb. It should sound like the
same mix, with the reverb adding subtle space and depth. If the reverb is overpowering, simply
reduce the send levels of the more prominent instruments.
If you want to customise the sound of the reverb, you can tailor it to the sound of the mix youre
working on. Each reverb is different, but there are often some common controls:
Length (Time) This is the most obvious control. It allows you to change the length of the
reverb tail. Longer reverbs work better for music thats slow, sparse or abstract. Shorter
reverbs are the opposite they work better for music that is fast, dense or acoustic. Too
short and the reverb wont have much effect. Too long and itll make the mix messy and
indistinct.
Size Size often works with length. While length adjusts how long the reverb tail is heard,
size changes the apparent depth of the reverb. It works similarly to the the size of a
physical space a small room will sound tight and intimate and a larger room or hall will
sound deep and spacious. Like length, the right setting will depend on the music. Too small
and the reverb wont have much effect, too large and itll sound indistinct.
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2014/04/07 - Using reverb in the mix
High frequency (HF) damping This affects the way the high frequencies are processed by
the reverb. HF damping reduces the high frequencies being reverberated. Low levels of HF
damping will make the reverb sound very live like an empty hall with a lot of hard
surfaces. High levels of HF damping will make the reverb sound warmer. Too little HF
damping will make the reverb sound airy and obvious. Too much HF damping will make the
reverb sound dead or damp. As with the other controls, the best setting will often be
somewhere in the middle, depending on the sound of the mix.
Pre-delay This control inserts a delay before the reverb, making it sound later after the
original sound. It can be used to increase the apparent size of the reverb. Because predelay separates the reverb from the original sound, it can also add clarity to particularly
reverberant mix. This is most useful for vocal-heavy mixes because it allows the vocal to be
quite reverberant without reducing its intelligibility
When adjusting reverb parameters, its often helpful to solo a single sound. Usually the lead vocal
or a sparse drum/percussion part will let you hear the reverb most clearly.
-Kim.
2014/04/14 - Video: Performance vs cleanliness

Well, this was an interesting challenge. Hand-held SM57 for vocals. Trying not to make it sound
like trash. Theres a lot of suck at around 7-10kHz. Took it down with EQ and added back some air
on top. Used a de-esser to bring the dynamics back into check. Couldnt do much about the
plosives though, guess thats what happens when you dont use any foam or anything. The 57 is a
pretty trashy mic (if Im being generous Ill say it has bite). But it can be made to work.
Anyway, whats interesting to me is the bigger story. My experience of making it work reminded
me a lot of when I had much cheaper gear (and a lot less of it). In other words, cheaper (or more
limited) gear can still get you a result that doesnt suck, but youll work harder for it.
Ive got much nicer mics, but for this recording it was important for the vocalist to hold the
microphone in her hand to deliver a compelling performance (for both audio and video). And Ill
take a compelling performance over a cleaner sound every time.
-Kim.
2014/04/21 - Expressing joy in music

Joy in music can refer to feelings of love or hope. This group of emotions are generally
characterised by positive, uplifting feelings. In order to convey these positive feelings, focus on a
stable musical material, with a tonality that is predominantly major and consonant. High energy is
often useful too, but not always necessary.
The stability will provide a sense of comfort and dependability for the listener. A consonant tonality
performs a similar role. Both the stability and consonance will allow the major tonality to come
through clearly. The energy level will depend on the overall contour of the song, but a high energy
level can can also assist in drawing the listeners attention. A high energy level will also indicate to
the listener that a particular section of music is particularly important (which also helps make it
more memorable).
-Kim.
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2014/04/28 - Acoustic treatment soundproofing vs absorption
2014/04/28 - Acoustic treatment soundproofing vs

absorption
To some people its obvious. To many others, its a bit more hazy.
Acoustic treatment is not the same as soundproofing.
Not even a little bit. Yet, often I see the terms being used interchangeably. Or one term used when
the others meaning is intended.
Acoustic treatment is about controlling how sounds behave inside the room. How and where they
reflect, which frequencies are absorbed and how effectively, and (if youre lucky) how the
dimensions of the room affect its resonant behaviour. Acoustic treatment is about whether a room
sounds lively, echoey, dead, boxy, etc.
Acoustic treatment usually involves controlling the quality of the surfaces whether theyre hard
(reflective) or soft (absorbent) and whether theyre flat (echoey) or curved (diffuse). If youre
lucky, you get to influence the size and shape of the room to control its resonant behaviour.
Soundproofing, on the other hand, is about how much sound gets in or out of the room. Its about
reducing the level of cars or birds or neighbours in your recordings. Its also about reducing the
degree to which your neighbours can hear you.
Soundproofing usually involves making sure all the walls are of a thick and solid construction (i.e.
brick or concrete). It also involves stopping all the air gaps where sound can travel in or out of the
room.
-Kim.
2014/05/02 - Whats your rush of inspiration? [Video]

So, as you probably already know, Im doing a series of videos with some of the artists I work
with. For this video, I asked them about their rush of inspiration. We all get that rush somehow,
somewhere. Sometimes its in the studio as a mix finally comes together. Sometimes its on stage
and your audience is feeling what youre feeling. Sometimes its when a song starts to take form.
Anyway, heres the video:
https://www.youtube.com/watch?v=gDnZnTUQQm4
-Kim.
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2014/05/05 - Mastering for loudness. Dont do it. Or if you have to, try this
2014/05/05 - Mastering for loudness. Dont do it. Or if you

have to, try this
While mixing is the process of making sure the sounds in a mix are clear and well- balanced,
mastering is the process of making sure each song on a release is clear and well-balanced with the
other songs on the release.
The tools available to a mastering engineer are similar to those used by a mixing engineer, but are
often more subtle and precise. They have to be theyre used for processing complex audio (the
whole mix). Compressors design for mastering are usually much more gentle; the sound of
extreme compression on the whole mix is almost always undesirable. Similarly, EQ design for
mastering is usually a lot more precise; tonal changes to the whole mix usually affect many
different individual sounds and can modify the mix balance in complex ways.
Part of the role of a mastering engineer is to make sure the final playback level of the mastered
audio is appropriate for the style of music. Acoustic music like classical and folk tend to have a
lower level than modern highly-produced music such as rock and dance. For music that can have a
lower level, there is greater headroom for peaks; the audio can have a higher crest factor. On the
other hand, music that requires a higher level mus have lower peaks and lower crest factor. This
means more loudness.
A mastering engineers primary tool for increasing loudness is the limiter. Conceptually, this is
similar to a compressor with extremely fast attack and high ratio. Limiters are often used toward
the last stage in the processing chain to ensure that the final audio level never exceeds 0dBfs. In
mastering, the limiters sole purpose is to reduce the audios crest factor while sounding as
invisible as possible.
For a good mix of a good composition, the mastering engineer shouldnt have to apply too much
limiting. It certainly shouldnt be audible.
We start to push the boundaries for audio that has a high crest factor or when the executive
producer wants the final audio to be louder than the level normally accepted for the style of music.
For these types of situations, regular mastering limiters can be inadequate. While theyre usually
designed to sound as invisible as possible, extreme loudness will require processing that is audible.
For these type of situations, saturation or even clipping will be necessary. This often creates a
harsh sound as transients are crushed (distorted). Some digital limiters can combine or blend
clipping with limiting, to provide greater gain reduction than pure limiters with less harshness then
pure clippers.
Because the mixdown contains all the sounds of the mix as a single stereo audio feed, any
changes to the audio affect all the sounds that are playing at that time. For example, a spiky snare
drum that is crushed in mastering will also result in all the other sounds that are playing at the
same time to be crushed as well whether they need it or not. This is why this kind of processing
in mastering should be a last resort its much better to address these kinds of problems earlier
on: in the mix or during composition.
In some situations, multiband limiting is appropriate. This is a crude attempt to contain the audible
effects of extreme limiting to a subset of the mix. Using multiband limiting, a spiky snare that
requires more limiting than usual wont result in the bass being simultaneously heavily limited. This
approach can sometimes be necessary for addressing problems that would have otherwise been
best fixed in the mix.
-Kim.
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2014/05/12 - Think before you pan
2014/05/12 - Think before you pan

Ive been thinking a bit about panning and stereo field lately. Ive previously dismissed panning as
an effective mix tool, yet I myself use panning for many mixes.
Its really a question of how we use the stereo field. Panning is one common tool, but its by far
not the only. Ive written before about using tools such as chorus, phasers, delay and micro
shifting to control the stereo field. And of course reverb too.
On reflection, I think there are three reasons to mix wider than mono:
1. Diffusion. This is about making the sound source less distinct. By using the stereo field to
spread a sound away from pure mono, we break down the illusion that the sound is
emanating from a single definable location. The reasons to do this are obvious to make
the sound appear bigger or to push it further in the background. Chorus, delay and micro
shifting are common tools to do this. I also include double tracking and panning in this
common techniques for rhythm guitars and backing vocals.
2. Creative. This is about using location as a creative tool to surprise or delight the listener.
Listen to Vertigo by U2, or anything from Sgt Peppers Lonely Hearts Club Band for
example. Being only 1-dimensional, the stereo field is quite limited in its opportunities, but
its available nonetheless. Obviously you should be aware of the environments in which
your mix is likely to be played. Some environments are less forgiving of creative panning
than others.
3. Problem solving. This is where people get into trouble by using panning to solve
problems such as masking. And this is what Ive written about in the past. The short
version is: I honk this is a bad idea. Every mix problem solvable by panning is better solved
by other tools or techniques.
Do you agree? How do you use panning?
-Kim.
2014/05/19 - When to use delay instead of reverb

Delay is, in essence, a very simple effect it delays the audio so that you hear it later. When
mixed with the original, you hear two versions of the audio the original and the delayed version.
Delay is often useful when set up on a send, similar to a reverb. Delay can sometimes be used
instead of a reverb or in addition to reverb. Delays range from the very simple to very complex,
but almost all have these two basic controls:
Delay time This sets the length of time that the audio is delayed. Delay times less than
100ms are short useful for subtle doubling and thickening of instruments. Delay times
between 100ms and 500ms are often heard as discrete echoes and a useful in adding a
lush background texture. Delay times longer than 500ms are long useful for special
effects.
Feedback This feeds the delayed signal coming out of the delay back into the delays
input. This adds more echoes, which makes the delayed sound thicker and causes the
sound to take much longer to decay away. Its somewhat analogous to the reverb time
control on reverb processors.
Delay can sometimes be used as a substitute for reverb when you dont want to add more
diffusion to the mix. If the mix is supposed to be very dry and direct, delays can be a good way of
adding depth and space without washing the sound out. Delays can also be useful for adding
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2014/05/19 - When to use delay instead of reverb
depth if a mix is already very diffuse (perhaps theres already plenty of reverb and modulation).
Delays can also be used in addition to reverb. Using a delay?reverb chain (or reverb?delay, theres
no difference) on a send can very easily produce very lush ambience and sonic backdrops. Stereo
delays (with a different delay time for left and right) are especially effective here. Use a feedback
level of about 50% for extra lushness.
Stereo delays with short reverb times (less than 100ms) can be useful for making a sound wider
and deeper. For foreground or percussion sounds this can often be distracting, but it works very
well for background sustained parts such as synth pads or backing vocals.
-Kim.
2014/05/26 - Give yourself an unfair advantage

Its important to know your strengths and weaknesses. Technically, professionally and personally.
On a technical level, you might consider areas such as musical styles, particular instruments,
approaches to production and aesthetic. For example, my strengths include composition,
keyboard, guitar, drum programming, mixing and mastering, clean to aggressive aesthetics, etc.
My strengths dont include recording large (>10) ensembles, jazz guitar (though I enjoy listening
to it), singing (I prefer to get others to do that), etc.
On a professional level, you might consider areas such as prospecting, client/artist relationships,
accounting, project management and strategic planning. For example, my strengths include
understanding and empathising with artists, discipline with accounting and administration and
balancing my workload while getting projects done. My strengths dont include marketing myself (I
rely mainly on word of mouth), interior decorating (my studio is more functional than beautiful)
and creating cross-industry strategic partnerships. These are things Im working on.
On a personal level, you might consider areas such as relationships with friends, family and
partners, diet and exercise, work/life balance, engagement with non-musical activities and
maintenance of your personal living space. For example, my strengths include caring for my
personal health, maintaining good relations with my family and keeping my apartment in good
condition. My strengths dont include interior decorating or anything social outside music-related
activities (such as gigs). Im not sure how important that is to me. Probably less than it should be.
Knowing my strengths and weaknesses helps me to make deliberate decisions about how I
capitalise on my strengths and how I focus my efforts on improving my weaknesses.
However, knowing your strengths and weaknesses isnt about avoiding difficult work. Partly, its
about knowing where you can do your best work. How can you use your strengths to give yourself
an unfair advantage? How can you put your best foot forward? If youre going to push yourself
beyond your current capabilities, which direction will put you ahead of the pack?
Its also about being strategic about managing your weaknesses. Which weaknesses will you
ignore because they dont matter to you? Which weaknesses will you route around or cover up?
Which weaknesses will you focus on improving because theyre necessary to your music? Which
battles will you fight knowing you have it five times harder than the next person?
You have many paths ahead of you: Which uphill battles will you choose? Where will you give
yourself an unfair advantage?
-Kim.
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2014/06/02 - Saturation transient sounds vs sustained sounds
2014/06/02 - Saturation transient sounds vs sustained

sounds
Saturation is what happens when audio is turned up too much so much that the next device in
the chain cant handle it. The result is that the loudest parts of the sound are distorted and the
quieter parts of the sound are left unchanged. This dynamic behaviour is similar to a compressor,
except its much more extreme. Normally audio engineers try to avoid saturation and distortion as
much as possible, but in the mix it can be used as a creative effect. The way saturation affects
sound depends on the nature of the sound itself.
For sounds with strong transients (such as drums and percussion, or other peaky sounds),
saturation reduces the level of the transient peaks by distorting them. Because the peaks are very
short, however, the distortion is sometimes not very noticeable. Instead of sounding like distortion,
it sounds like the peaks have become noisier and dirtier. For some kinds of music, this is desirable.
The power and impact of the sound is enhanced (even though fidelity suffers).
For sounds with a more steady level (such as organs or strings), saturation is often more
noticeable because the sound is constantly being saturated. For these sounds, saturation usually
adds brightness and harshness. Used tastefully, this can make a sound more exciting or
aggressive. Too much saturation, however, will make the sound lo-fi or distorted.
In a dense mix, its usually possible to get away with more saturation because the noise created by
the saturation blends in with the background of the mix.
-Kim.
2014/06/09 - Pitch Correction Vs Expressive Control

Pitch correction is a funny thing.
Sometimes it can improve a vocal recording. Sometimes it can make it worse. For me, the key to
this is in understanding the interplay between pitch and emotion.
For many inexperienced vocalists, pitch correction often improves their recordings. Their poor
control of pitch results in performance expression that is inconsistent with the creative direction of
the music. In other words, notes sound off-pitch in a bad way. So, pitch correction provides an
improvement. It makes the notes sound more like what was intended.
For many experienced vocalists, however, pitch correction is either neutral (and a mild waste of
time) or even makes the recording worse. Great vocalists with excellent pitch control will
deliberately use pitch deviations in ways that support and enhance the creative direction of the
music. In other words, they sing off-pitch deliberately, and it sounds good.
The human voice is not robotic. Its amazingly fluid and expressive. Quantising to the mostcommon (I.e in tune) pitches makes about as much sense as reducing the dynamic or tonal range
of a performance it might be appropriate for the vocalist or the music, but know that doing so
restricts the expressive range of the vocalists performance. For vocalists that dont have the skill
to control their performance with sufficient precision, reducing the expressive range of the
recorded performance can result in an improvement.
But sufficiently skills vocalists can make effective use of both types of extremes of their (pitch,
dynamic and tonal) expressive range the extreme ends of their physical capabilities and the
extreme subtleties of small changes.
-Kim.
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2014/06/16 - Microshifting
2014/06/16 - Microshifting
Microshifting is a way of using a pitch shifter to thicken a sound. The pitch shifter is set to shift by
a very small amount (usually less than a third of a semitone). Usually the pitch shifter adjusts each
side of a stereo sound by a different amount for example, the left channel might be shifted down
by 15 cents and the right channel might be shifted up by 15 cents. Sometimes a very short delay
(less than 50ms) is also added to the pitch shifted signal.
When the stereo pitch shifted signal is mixed with the original sound, the sound becomes thicker
and wider. This is sometimes used on vocals or lead instrumental parts (such as guitars or synths)
as a way of making them bigger without using backing harmonies or longer reverb/delays. In a
way, it simulates a unison recording (where the same part is played three times and all three takes
are layered). Microshifting has an unique sound, however, because the degree of pitch shift and
delay is constant, whereas a unison performance will result in constantly-changing pitch and timing
differences.
Microshifting is often used as an alternative to reverb in situations where a sound needs to be
more diffuse but without the wash from a reverb tail. Because microshifting has a distinctive
sound, it wont be always be appropriate. Its used commonly in pop music especially modern
energetic pop which often does not have much reverb. The best way to decide if its useful for you
is to simply try it.
As a side note, many pitch shifters have a much wider range of control, and also have a feedback
feature. This allows them to be used for outrageous special effects.
-Kim.
2014/06/23 - Lets make music together

So, here are some drums.
Theyre at 90bpm. Download them and add something cool. Maybe synths, maybe guitars or bass.
Maybe weird glitch noises. Doesnt have to be much. Just one instrument.
Shoot me a link to download your raw track. Ill mix it with the drums and upload it. Then
someone else can add another part.
Could be fun, yeah?
-Kim.
P.S. First person gets to decide the key / chords.
2014/06/30 - What is sidechain compression?

Sidechain compression is a special variant of regular channel compression. A normal compressor
adjusts the output level of the audio based on the input level. Sidechain compression, however,
adjusts the output level of the audio based on the level of a different audio channel.
This means that the volume of a channel reacts to the volume of another channel. The audio that
the compressor is reacting to is often referred to as the key or the sidechain.
There are two common uses for this:
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2014/06/30 - What is sidechain compression?
Kick drum ducking. This technique uses the kick drum for the sidechain signal. Its set up
so that the compressed channel (usually the bass) is briefly turned down when the kick
drum is sounding. It was originally used to make the kick drum bigger by reducing the
level of some other tracks (usually the bassline), the kick punches through the mix with
relatively more presence and power. Its most commonly used to compress the bassline
(either bass synth or bass guitar), but is also used to compress synth pads, vocals or even
other drum and percussion tracks. Its become a recognisable and characteristic sound in a
lot of electronic dance music.
Vocal ducking. This technique uses the main vocal channel as the sidechain audio. Its set
up so that the compressed channel is turned down when the main vocal is sounding. It was
originally used in radio broadcast so that the music would be automatically turned down
when the announcer or DJ started speaking. It can useful when mixing a song that
contains a prominent foreground part (such as a guitar or vocal harmonies) that should be
pushed to the background when the lead vocals come in. Ideally, however, this situation is
best avoided by careful composition and arrangement.
In day-to-day mixing, theres usually not much need to use sidechain compression unless youre
aiming to create a certain effect such as a pumping bassline for a dance song.
-Kim.
2014/07/14 - More about Mid/Side EQ

Mid/side processing is a different way of processing two audio channels. Most processors modify a
stereo sound by applying the same modification to the right and left channel simultaneously. Some
processors can have different settings for the right and left channels. Mid/side processors,
however, work on the mid and side channel instead of left and right.
Two-channel stereo (left/right) audio can be transformed into two channel mid/side (and back to
stereo) without damaging the audio. Its a completely transparent (and reversible) process.
The mid channel contains all the audio that is common between the left and right channels. This
includes mono sounds that are panned centre and the central sound in stereo sounds. The side
channel contains all the audio that is different between the left and right channels. This generally
consists mainly of ambience (either natural room sound or artificial reverb) and any sounds that
are hard-panned.
By adjusting the levels of the mid or side channels independently, the stereo width of the audio
can be modified in a clean and natural way.
Interesting things happen when you start applying EQ adjustments to the mid and side channels
independently. This allows the stereo width to be widened or narrowed (or even completely
collapsed to mono) in different parts of the frequency spectrum. This is particularly useful for
complex stereo audio, such as groups, the mix bus or mastering.
For some practical tips, see this post.
-Kim.
376
2014/08/11 - How loudness is measured
2014/08/11 - How loudness is measured

The meters on your DAW channels or your mic preamps arent telling you the whole story.
When sounds are recorded, the microphone captures the continuous vibrations in the air and
creates a continuously varying electrical signal that mimics the vibrations. Louder sounds have
wider/stronger vibrations. When you have level meters on your gear, it usually shows you the
peak level the strength of the electrical signal created by the microphone. Or the strength of
the electrical signal that will be turned into air vibrations by your speakers. (Digital meters work
much the same way they just measure the digital signal, which is just a numerical representation
of an electrical signal)
The trouble is, the peak level doesnt exactly represent how loud we perceive the sound.
One of the (several) ways in which our perception differs from reality is that we dont hear
extremely short sounds as loudly as longer steady sounds. Some level meters compensate for that
(to show us a more accurate representation of how we hear) by slowing down the meter. By
making the meter more sluggish, it doesnt react as strongly to quick changes (short, sharp
sounds) but still reacts strongly to longer steady sounds. This is often referred to as the average
or RMS level (RMS stands for Root Mean Square a mathematical way to measure the signal
slowly).
The crest factor of a sound is the difference between the peak level and the RMS level. Sounds
with a high crest factor typically have a lot of short sharp peaks (e.g. a drum kit). For these
sounds, a peak meter would show a high level but an RMS meter would show a much lower level.
Sounds with a low crest factor are the opposite they have fewer or lower peaks, or no peaks at
all (e.g. an organ). For these sounds, a peak meter would show a similar level to an RMS meter.
-Kim.
2014/08/18 - Why I dont worry about bleed

Its a fact of recording studio life bleed happens.
Bleed is the residual sound picked up by microphones placed around the studio to capture
multiple instruments. For example, it happens when a microphone placed next to an acoustic
guitar also records sounds from vocalists and other instruments being played close by. Many
producers and engineers believe bleed is something to be minimised and removed as much as
possible. With pesky bleed in the way, it can be much harder to perform magic tricks like
overdubbing and editing later on. Common strategies to reduce bleed include putting up sound
barriers up between instruments, positioning microphones very close to the instrument or simply
recording instrument tracks one at a time.
These strategies can have some unintentional consequences though. Putting up sound barriers can
kill the vibe of a band playing together. Positioning microphones too close to instruments can also
produce an exaggerated and unnatural sound on playback. And recording your instruments one at
a time? Sure, youll have no problems with bleed, but if youre recording a bunch of great
musicians you might be killing the vibe unnecessarily. They rehearse and perform together, what
do you think will happen when you make them play their parts individually one at a time? If youre
recording musicians who arent that great, you probably need to record them separately anyway.
Dont worry about bleed. Good musicians who know what theyre doing dont need magic tricks to
fix up mistakes. Just play good music and the rest will take of itself.
-Kim.
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2014/08/25 - Put your sounds into an upside-down triangle.
2014/08/25 - Put your sounds into an upside-down triangle.

Think of all the sounds in a mix being contained in a triangle with one point facing the listener.
I usually draw it as an upside-down triangle, with the listener at the bottom.
The louder (closer to the listener) a sound can be, the fewer sounds can fit alongside it. The
quieter (further away from the listener) a sound can be, the more sounds can fit alongside it. If all
sounds must be equally loud, then they all end up far from the listener.
If one sound is close to the listener and all the other sounds are in the background, the mix can
seem stark. If sounds can be spread around the triangle, with a few sounds close by and most
sounds further back, the listener will experience an engaging and deep sound stage.
-Kim.
2014/09/01 - Click tracks

The debate about click tracks has always raised passionate responses. Are they killing music? Do
only really overproduced artists use them? Or are they just like vegetables really useful, healthy
and important but totally bland?
If youre new to this, a click track is an electronic metronome helping artists to keep time while
recording their instruments. The click track lines up with the timing grid in your recording
software. It helps you see very clearly if the musicians are playing on time.
Recording to a click track can be very helpful to you need to do a lot of post-production editing
and overdubbing. If you need to adjust the timing, a click track helps locate where the notes arent
aligning together on the grid. Click tracks can rescue you from having to spend more time and
money on re-recording tracks if you make a lot of mistakes.
Having said that, recording to a click track can seriously kill the mood. Nothing in life, art or music
is perfect, so small deviations in tempo shouldnt really cause you too much grief. If you have good
musicians who practice, listen to each other and generally make amazing music together, you
wont be relying on a click track to fix up timing mistakes later on.
-Kim.
2014/09/08 - Rate of change

Rate of change can be understood along the continuum between sudden change and gradual
change. Rate of change in music refers to the way the music moves from one section to another.
More broadly, it refers to the breadth and depth of the changes in a piece of music.
Sudden change is what happens when there is a large amount of change in a short space of time.
This change can be across any musical parameters: Pitch, harmony, rhythm, density, texture,
volume, etc. The bigger the change and the shorter the transition, the more sudden the effect is.
Gradual change is the opposite. This is what happens when there is a small change or a long
transition. Any sudden change can be made softer by either reducing the difference between the
before and after sections or by making the transition time longer.
-Kim.
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2014/09/22 - Considerations when choosing sounds for loudness
2014/09/22 - Considerations when choosing sounds for

loudness
At its simplest, composition is the process of choosing sounds and arranging them in time. This
process might vary depending on what kind of music youre making, what instruments youre
using, how many people are involved, etc but the fundamentals of composition are the same for
everyone.
When choosing sounds for loudness, you have to understand what kinds of sounds and
instruments sound loud. When arranging sounds for loudness, youll have to understand how to
combine sounds in ways that maximise the desired effect. As discussed earlier, there are two
fundamental attributes of sound relevant the way we perceive loudness length and frequency.
For sounds of equal recorded volume level, longer sounds are generally perceived as louder than
short sounds. The effect isnt linear, however. Its true for very short sounds (i.e. less than about
500ms). For sounds longer than about 500ms, however, additional length doesnt sound louder.
You know this yourself if you have a snare drum and an organ in your song and theyre both
hitting the same peak level on the meters, the organ will sound much louder than the snare drum.
Thats because the snare drum is very short and the organ notes are much longer. The effect only
works for short sounds though an organ note that lasts four beats will sound just as loud as an
organ note that lasts eight beats.
Its a similar story for frequency. Again, you know this from experience. If you have an instrument
where all notes hit the same levels on the meters (such as an organ or a synth with an open
filter), youll know that in the mid to upper-mid range (e.g. around middle C and above), these
notes sound louder than notes in the bass (e.g. a couple of octaves below middle C).
-Kim.
2014/10/06 - A basic primer on compression

Compression is a very important tool to a mix engineer. Unlike volume and EQ, however,
compression can sometimes be difficult to hear. Where EQ adjusts the tone of the sound,
compression adjusts the dynamics.
The simplest way to understand compression is as a process that automatically turns the volume
down when the input sound gets too loud (and then turns it back up when the input sound gets
quieter again). Basically, compression makes loud sounds quieter.
Typically, compressors will have four main controls:
Threshold This is the sound level which is considered too loud. When the input sound
gets louder than this, it is turned down. When the input sound later drops below this level,
its turned back up. The lower the threshold, the more compression will occur.
Ratio This is the amount by which the sound is turned down. Its usually expressed as a
ratio (e.g. 2:1) but you dont need to understand the maths in order to use this. Quite
simply, lower ratios (such as 2:1) mean the volume isnt turned down much and higher
ratios (such as 20:1) mean the volume is turned down a lot.
Attack This is the speed at which the volume is turned down. Normally this should be
pretty fast (low numbers). If the attack is too fast, however, sometimes the sound can
become too soft or even distorted. A slower attack can make the compression more gentle,
but if the attack is too slow the compression will be ineffective.
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2014/10/06 - A basic primer on compression
Release This is the speed at which the volume is turned back up when the input sound
level drops back below the threshold. Lower values (fast release) will make the
compression more audible. High values (slow release) will make the compression smoother.
Very high values will make the compression almost inaudible.
Compressors can be very versatile tools, and some have a distinctive sound (behaviour) of their
own. As a starting point, try these approaches:
First, not all sounds need compression. Try compression, but dont be afraid to go without if
its not actually improving the sound.
For smooth compression on melodic instruments (such as vocals or other acoustic
instruments), start with a
low ratio and a threshold set so that the compressor is active most of the time. Set the
attack as fast as you can without distortion and set the release to a medium speed. To
make the compression stronger and tighter, raise the ratio. To make the compression
smoother and gentler, increase the release time.
For tight control, use a high ratio and a low threshold (similar to above so that the
compressor is active most of the time). Use the fastest attack and release times you can
get away with (without getting distortion or other strange sounds).
For punchy drums, use a longer attack time and medium release time. Make sure the
threshold is set high enough that the drum hits well above the threshold but quickly drops
below it. Higher ratios produce more extreme effects. Longer attack times will add more of
the initial thwack (the transient). The release time will have to be tuned by ear until it
works with the length of the drum decay.
-Kim.
2014/10/20 - Tonality in composition

Tonality refers to the harmonic language used in the music. This is about the way notes are
chosen and how theyre combined. Tonality is a complex topic, but a good way to approach it is to
look at two ways to express tonality major/minor and consonant/ dissonant.
(The following explanations are deliberately simplistic intended only as a quick introduction, not
a comprehensive discussion of music theory.)
Major tonality is most strongly expressed as the major-third interval from the tonic. For example, if
your song is in the key of C, the major-third from C is the note E-natural (white note, with no
sharps of flats). So, using a lot of E-natural notes will give your song a strong major feel. If your
song is in a different key, the note relationships remain the same. So, if your songs tonic is F#,
the major-third will be the note A#. While the major third is the strongest way to express a major
tonality, major-sixth and major-seventh from the tonic also contribute to a major tonality.
Similarly, a minor tonality is most strongly expressed as the minor-third interval from the tonic. For
example, if your song is in the key of G minor, the minor-third from G is B-flat. So, using a lot of Bflats in your song will give you a strong minor feel.
Exclusive use of major or minor tonalities can create too stark an effect like using too much of a
single colour. Often, it makes sense to combine major and minor tonalities in varying degrees
throughout a song. A more balanced sound can be achieved by using some major chords and
some minor chords even having some song sections predominantly major and other song
sections predominantly minor.
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2014/10/20 - Tonality in composition
Consonant tonality sounds like the harmonic and melodic content is clear and unambiguous. An
extreme form of consonance is a musical part where all pitched instruments are playing the same
note. Octaves, fifths, fourths and thirds are all quite consonant.
Unlike consonance, dissonant tonality usually sounds crowded and ambiguous. This is usually
caused by harmonic combinations that are complex and even clashing. Minor seconds, tritones,
and major sevenths can often be combined to create dissonant tonalities.
Like major and minor tonalities, exclusive use of consonance or dissonance can sound too stark.
Having some sections that are more consonant and other sections more dissonant is a great way
to give your song a subtle sense of ebb and flow.
-Kim.
2014/11/03 - Using compression and saturation to increase

loudness
The second-most powerful sound-shaping tool (after EQ) available to mix engineers is
compression. This is most commonly used to reduce the dynamic range of a sound. More extreme
compression can be used to reduce the crest factor of a sound. Unlike EQ, excessive amounts of
compression might not sound unpleasant. Here, it depends on the style of music. A lot of acoustic
folk would sound silly with extreme compression. On the other hand, a lot of modern electronic
dance music would sound silly without extreme compression. Its no coincidence that the more
important loudness is for a style of music, the more compression is tolerated or even expected.
When using compression to increase loudness, its often useful to start with extreme settings and
then back off until it sounds natural or acceptable. Usually, this means starting with fast attack and
release times, high ratio and low threshold. First increase the release time until distortion is low
enough to be acceptable. Then reduce the ratio and/or raise the threshold if you want to retain
some of the original dynamics of the sound. There are many different types of compressors, and
you might find that even a modest collection provides a wide variety of sounds and colours. The
differences between compressors are most apparent at the kinds of extreme settings described
above. Its worthwhile trying different compressors on particular difficult or sensitive sounds such
as kick drums.
While EQ and compression alone are sufficient for many styles of music, sometimes mix engineers
need to go further. Saturation can be handy here. While there are many, many different kinds of
saturation, they all have one purpose (when used deliberately) to destroy crest factor. For
sounds with a high crest factor, peaks are crushed and made noisier. For sounds with a low crest
factor, more steady upper harmonics are generated, which increases the energy in the upper-mids.
At extremes, saturation sounds like a kind of mild distortion. Broadly speaking tape-style saturation
is often softer and smoother than tube saturation, which itself is softer and smoother than native
digital clipping. Which style of saturation you use on a sound will largely depend on the nature of
the sound, the behaviour of the specific tool youre using, and the creative direction of the mix. As
with compressors, each saturation tool is different and its often worthwhile trying different tools
on difficult or sensitive sounds.
-Kim.
381
2014/11/17 - When (and how) to use a gate or expander
2014/11/17 - When (and how) to use a gate or expander

Gating and expansion work similarly to compression. While compressors automatically turn the
volume down when the input audio rises above the threshold, gates and expanders automatically
turn the volume down when the input audio falls below the threshold.
The simplest example of this is a basic noise gate it mutes the audio when the instrument isnt
playing. This works when the threshold is set just a little higher than the background noise. When
the instrument isnt playing, the background noise is below the threshold so the gate closes it
mutes the audio (turns it all the way down). When the instrument is playing, however, the audio
level rises above the threshold and the gate opens letting the audio through.
Gates often have fewer controls than compressors. Some gates have many controls, but almost all
have the following:
Threshold This sets the level below which the audio is muted. When the input audio is
quieter than this level, the sound will be muted. When the input audio is louder than this
level, the sound will pass through.
Attack time This sets the time for the gate to change from closed to open. Usually this
should be as fast as possible, but sometimes this can result in a sharp click or unnatural
sound when the gate opens. Increasing the attack time results in a softer, smoother sound.
Release time This sets the time for the gate to change from open to closed. Setting this
correctly is important for instruments that have a natural decay (such as acoustic guitars or
drums). Often the decay can still be heard under the background noise, and closing the
gate too fast can unnaturally cut off the end of the instruments decay. In these cases, the
background noise is preventing the threshold from being any lower. Increasing the release
time will give the instruments decay more time to fully die out before the gate is closed.
Expanders are gentler versions of gates. Instead of muting the audio, they simply reduce the
volume. This often sounds more natural and gentle than a gate because the background noise
doesnt come in and out as dramatically. Expanders usually have an extra control that gates dont
ratio. This sets the degree by which the volume is reduced when the input audio falls below the
threshold. Expanders can be more useful for mixes that need to retain a natural ambience
especially acoustic and folk music.
Like compression, dont assume that since youve got a gate or expander that you must use it!
Unlike compression, Id recommend not even trying it for most tracks. Only try it if you have a
track that has noticeable background noise that is distracting in between the instrument playing.
This can be more noticeable if the track is being compressed, because a compressor can often
turn up the background noise in between the instrument playing. If possible, apply the gate before
the compressor.
The necessity for gates and expanders is greatly reduced these days because most recording and
mixing equipment produces very little background noise and its usually easy to record in a quiet
enough location.
One exception to this is high-gain guitar amps. The high gain and distortion greatly increases the
level of the background noise sometimes this background noise is almost as loud as the guitar
itself. In these cases a gate or expander can be very useful in cleaning up the audio track.
-Kim.
382
2014/12/01 - Expressing sadness and serenity in music
2014/12/01 - Expressing sadness and serenity in music

Serenity is similar to the joy / love / hope group of emotions, except with less emphasis on the
happy or uplifting components. Like joy, serenity is best expressed using stable musical material.
Unlike joy, however, serenity also comes through best with a low energy level and a gradual rate of
change.
The stability provides comfort and dependability, but the low energy level also adds a relaxed
element. Rather than being important or demanding, a serene section of music needs to be
unobtrusive. An emphasis on gradual change also works here sudden change will be too jarring
(although sometimes it makes sense to have a jarring transition out of a serene section!).
Sadness is similar to serenity in the stability and low energy, but moves towards a predominantly
minor tonality. Consonance can also help, but will depend on the overall tonal language of the
song.
Sadness can also be used to convey a message or feeling of despair. Despair can work with more
dissonant tonalities.
The minor tonality sets the general negative mood of the music. In this case, the stability and low
energy set the kind of negative mood rather than being exiting or jarring, there is a calmness
and quiet almost tranquility. Negative tranquility very easily triggers feelings of loss, aftermath or
reflection on past misdeeds.
-Kim.
2014/12/15 - Disgust, fear and aggression

In this context, disgust doesnt mean disgusting music Its a certain mood evoked by minor
tonality, and slightly more energy and less stability than sadness. For example, a lot of late-90s
trip-hop falls into this category.
With more energy and less stability, disgust comes across as having more momentum and
direction than sadness or despair. In this way, disgust is more active-sounding, even though it still
has mostly low energy overall.
Fear builds on disgust by focussing more on dissonant tonality. The low energy remains, but the
instability is ramped up and becomes a prominent feature of the musical texture. While a stable
low energy texture can convey calmness and reflection, an unstable low energy texture conveys
uncertainty and unease.
Fear can also be used to convey feelings of apprehension. Apprehension is particularly effective
when it hints at a previous section of music that was particularly high-energy or even startling.
Aggression takes the minor (or dissonant) tonality and instability of fear, but adds high energy. The
high energy works together with instability to add excitement and action to the negative tonality.
Aggression can also be used to convey feelings of anger or violence. It can also be expressed with
less stability, but it is less effective. It might be appropriate, however, to express a more stable
aggression in a song to contrast with less stable musical textures.
-Kim.
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2014/12/29 - Amazement and anticipation
2014/12/29 - Amazement and anticipation

Amazement is a departure from minor or dissonant tonality of aggression. Instead, high energy
and instability are used to create a sense of surprise or wonder. This can be difficult to do well
the new material must be familiar to the listener. The best way to do this is to express
amazement later in the song, using significant musical material (such as melodies or sounds) that
were presented earlier in the song.
Surprise is a more extreme expression of amazement. This is achieved by adding sudden changes
to the unstable musical texture the more sudden, the more surprising. The key is to combine the
sudden changes with instability to create musical progressions and structural punctuation that has
a high degree of unpredictability.
Anticipation is one of the most difficult emotions to express in music. It is a sense that something
is coming an expectation that something will happen, but an uncertainty of exactly what it will
be. The difficulty is in finding the right balance. If the music is too predictable, the anticipation will
turn to boredom. The music is too unpredictable, the anticipation will turn to confusion.
Anticipation is often expressed as a low energy section of music directly following a previous high
energy section. For extended periods of anticipation, a gradual increase in energy works well to
guide the listeners expectations. Unstable textures also work well. Instability creates a desire in
the listener for the song to resolve to stability especially after prior stability earlier in the song.
-Kim.
2014/12/31 - This year has led me to an interesting place

Well, its that time of year again.
Most of you reading this will probably have noticed that most of the blog posts this year have been
excerpts from my guides (see the menu at top-left of this page). Truth is, Ive been exceptionally
busy with other music work and havent had the time or energy to write much new stuff. In no
particular order:
My production and promotion work has been growing and maturing. Ive had the good
fortune to work with some really impressive artists on some exciting projects. Looking
forward to seeing them released over the next few months.
Ive been photographing and reviewing local gigs. This has been fun. Photography is so
much like music its uncanny. Theres the gear lust, the different genres to specialise in, the
importance of skill and technique, the combination of technical and emotional expertise.
Ive even started up a magazine in the last couple of months. This has been a real trip. Im
so grateful for my amazing team. Its been extremely stressful and equally rewarding. Its
also demanded a huge amount of my focus and energy for the last six months.
My studios now got two pianos, Ive been buying more hardware for recording and mixing
and almost completely stopped using plugins for mixing (using only Cubases built-in effects
when needed).
My own music project Bare Toes Into Soil has been live on stage a bunch of times and
weve released a mixtape of remixes and collaborations. Im exceptionally pleased with the
mixtape sonically its probably the best work Ive done.
Its great to be able to look back and be proud of what Ive put my effort into.
But right now, on New Years Eve, I feel that Im in a strange place. Ive made my whole life about
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2014/12/31 - This year has led me to an interesting place
music, and yet right now I feel the least excited about it as Ive ever been. My other business
projects (and there are more coming) have motivated and invigorated me, but I dont feel a lot of
energy for making my own music. Maybe its because Ive been putting my creative focus into
other avenues. Maybe Ive been under too much stress to be as creative as Id prefer. Maybe I feel
some futility in putting so much effort into making music that few people will hear or care about.
Maybe its all of the above.
Im also feeling like I need a break from writing. Or maybe I need to take a break from structured
writing. Ive been working on a new book for artists thatll be released at the end of January. Ive
spent years writing on this blog. I think Ive probably said about as much as I care for now about
composing, producing, recording, mixing, mastering, etc.
So, what next?
Ive got a bunch of projects about to pop out of the pipeline. Thatll all become clearer over
the next month. Thats pretty exciting, and definitely my best work so far.
Im not sure what Ill be doing on the music front. Id like to continue Bare Toes Into Soil,
but I dont yet know what pace Ill take it. Ive also started a new music project all
distorted drum machines and angry guitars. After so many years of atmospheric
electronica, Im feeling that it might be the right time for me to return to some heavier
music.
This blog will continue, but I think Ill make it a bit more personal. It doesnt have to be a
technical resource. It doesnt have to be robotically published every Monday on the dot. Ill
write a bit more about whats going on in my world. It might be a bit more opinionated. It
might veer a little from production talk. It might not be published on Mondays.
Lets see what happens.
-Kim.
2015/01/11 - Making good progress on the electronica/metal

and the book
So, Ive got a bunch of projects going on. And lately Ive been making good progress on two of
them.
The electronic/metal project is going well. Its looking like itll be an EP. Ive worked out a workflow
where I compose and record with Maschine and then edit and mix in Cubase (starting using the
new version this year).
Ive had a bit of a love/hate relationship with Maschine over the years. I love the hardware and
integration with software. The more I use it, the more I appreciate how well designed it is. The
sounds are superb the included samples, the drum synths and the integration with Massive,
Reaktor, etc. And its really fast and fun to start working on a track. But each time I start using it, I
also get frustrated with a few things. Integration with a DAW feels clumsy because there are two
timelines going on, or I have to insert MIDI clips in Cubase to trigger Maschine scenes. And while
the pattern-based approach is great for starting a track, its got its limitations. Its fiddly to do oneoff edits or variations (such as drum fills or buildups). Its even more fiddly to add or remove
individual bars from sections. It really resists melodies that start before the beginning of a section.
And while recording live performances works reasonably well, editing them is Lets just say you
dont want to do that.
385
2015/01/11 - Making good progress on the electronica/metal and the book
So as much as Id love to use Maschine for a lot of the vocal electronic/pop work I do with other
artists, it just doesnt fit with my workflow. I usually do preproduction with the artist/vocalist on a
keyboard, acoustic piano or guitar and record a demo linearly to a click. Everything else gets built
up around that demo recording. Sometimes that includes adding or removing bars or sections. But
very often the very first recording for a project is the full length of the song. A lot of the
composition is done before getting anywhere near a computer.
This time, however, Im working differently. Im doing the composition using Maschine as the
instrument (in stand-alone mode, instead of a keyboard or guitar). Im not working with a vocalist.
I can choose to restrict my melodies to exclude anacruses. Im also recording guitar into Maschine.
No, I cant edit my performances, but its my own project so I have the luxury of taking extra time
to practice and record as many takes as I need. And I can come up with a well-developed
instrumentation and a pretty good skeleton for the song structure. I then render the multitracks
and bring them into Cubase, where I can do detailed edits and mix.
Ive also entered the final stages of writing my book. Its written primarily for artists musicians
who write, record and perform their own music. Its about making art that matters and connecting
with a supportive audience. The book itself is based on several years of talking to artists every day
and helping them with understanding their place in society. The conversations Ive been having
with artists have steadily been becoming more complex and nuanced, and so I started to realise
that what I have to say requires a medium with more scope and consideration than a blog post,
email or verbal conversation. The book will be fairly substantial approximately 15,000 words.
And Im aiming to have it released at the start of February. Its a pretty big undertaking and Im
looking forward to getting it out.
-Kim.

Multiband compression is a complex and subtle tool. Compression itself is one of the more
complex processes commonly used in mixing. Multiband compression multiplies that complexity.
Compared to regular compression (also called full band compression), multiband compression is
much more complex because it works by applying several compressors in parallel, each operating
on its own frequency band. Because the audio is split by frequency, multiband compression is best
suited for processing complex audio with varying dynamic behaviour across the frequency range.
Generally, this would be a full mix either on the mix bus or in mastering.
Multiband compression is best used for one of two purposes surgical problem solving or subtle
levelling.
Multiband compression is ideally suited to some kinds of problem solving because it allows
compression to be applied to a specific frequency range without altering the rest of the audio. For
example, a mix with uneven bass guitar playing could be tightened by using multiband
compression on the mix bus (or in mastering) to reduce the dynamic range of the low frequencies.
This can work better than full band compression because the rest of the mix would not be
affected. Another example could be a mix where the vocal is uneven and alternates between being
too quiet and too loud. Depending on the mix, multiband compression could be used to even out
the vocal in relation to the rest of the mix. In both these examples, multiband compression would
be used in mastering only if these problems couldnt be fixed in the mix by processing the
individual channels. While multiband compression can be a very exact tool, it is always better to fix
these kinds of problems in the mix (or earlier) if at all possible.
Another use of multiband compression is subtle levelling. Rather than using a single band to solve
386
a specific problem, all bands are activated and configured to gently ride the audio level. In this
case, the bands are always being compressed, but only gently. This approach works best for mixes
that are rather weak overall and not well-balanced. It can improve the overall tonal balance and
dynamic behaviour in a much less damaging way than full range compression. As always, however,
this approach is only appropriate if its not possible to go back and revise the original mix.
?One of the important things to be aware of when using multiband compression is that even small
adjustments in one area can cause a perceived change in other areas. As with most other
mastering procedures, try to keep the processing as subtle as possible.
-Kim.
2015/01/23 - Three ways to critique your music (or: how to

shake up your subjectivity)
Of course your should be critiquing your own work. You probably do it constantly.
But you probably rely too much on your intuition. Going with your gut and what feels right. While
this is important, you should also be aware that our intuition can be skewed by factors such as
tiredness and conditioning (listening too much to the same song). Sometimes its useful to be able
to get out of your own head and approach your music with a fresh perspective. Here are three tips
to try:
Forget the effort it took
When you present your music to a fresh listener, they dont know how long it took you to write or
record or edit or mix it. They dont know how difficult or easy it was. Sometimes something that
was quick and easy to make can resonate strongly with people. Sometimes something that was
difficult or arduous dont catch. Try to listen as if its someone elses music. This can be difficult
especially if youve spent a long time very close to your work. It can be useful to give yourself
some space from the music whether it be an hour or a week and come back to it fresh. Other
strategies can include listening on a sound system that youre unfamiliar with, or including it in a
shuffled playlist of other reference tracks.
Have the courage to delete good work
Just because you like the sound of a section or an instrument doesnt mean its right for the song.
Just because you spent a lot of time on it doesnt make the result is worthwhile. Sometimes you
need to press delete. Dont be precious about it focus on the creative direction of the music.
Does it support the song? Sometimes you can make it better by removing instead of adding.
Muster the courage. If youre working in a DAW (or most other digital systems) you can easily save
alternate versions so you dont have to worry about going back to a previous iteration.
Dont seek advice from anyone and everyone
Especially not in the early production stages. And especially not from people who are unqualified
to give you useful feedback. One of the wonderful things about music is that everyone hears it
differently. Everyone responds in different ways. There are as many unique perspectives as there
are listeners. So you have to be careful about who you get feedback from, and how you ask for
that feedback. Most casual (non-musician) listeners have difficulty articulating even basic musical
concepts. Incorrect terminology can easily take you down the wrong path. Musicians will usually
be more precise, but they might not share your context or creative direction. Without that, its
likely that people will give you advice that makes you sound more like how they want you to
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2015/01/23 - Three ways to critique your music (or: how to shake up your subjectivity)
sound, rather than how you want to sound. If you want some outside assistance, make sure you
only approach people who understand your music and your creative direction.
-Kim.
2015/01/26 - Dynamic EQ
Dynamic EQ is like a regular EQ, except that the gain of the bands can automatically respond to
the level of the audio. There are many different variations of dynamic EQ ranging from
automatic, with few additional controls, all the way to fully configurable (with all the complexity
that goes with it). Some dynamic EQs are designed to be coloured, where the processor has been
deliberately designed to modify the audio in a complex, automatic and (hopefully) pleasing way.
Other dynamic EQs are designed to be surgical and transparent, where the processor will only
make exactly the change that you dial in.
Because of the variation in controls and approaches (not to mention behaviour), its difficult to
provide specific advice for settings or configuration. Typically dynamic EQ will be used in
mastering, and in similar situations to multiband compression. Think of it as a kind of multiband
compression thats even more targeted and surgical.
Dynamic EQ is ideally suited to removing ugly resonances that appear intermittently. Regular EQ
would affect the audio even when the ugly resonance is not sounding, and multiband compression
wouldnt be surgical enough (likely to affect frequencies either side of the resonance).
As with multiband compression, dynamic EQ is best avoided unless its absolutely necessary and
the problem cant be fixed earlier in the mixing or recording process.
-Kim.
2015/01/31 - Updated personal website

Im a producer!
As I try to do every year, Ive updated my personal website (http://kimlajoie.com). One of my big
challenges this year is to get better at being warm and friendly. As a producer, that means a
friendlier photo, more context (studio in the background), audio examples and testimonials.
A producer helps artists make recordings. Yes, that often means positioning microphones,
adjusting EQ, choosing the best reverb, etc. But its so much more than that. Beyond project
management and business management, it requires empathy. That is, the ability to understand
how another person is feeling. Music is how we tell stories about feelings. And my job as a
producer is to make my artists sound more like how they want to sound (rather than making
sound more like how I want to sound). If Im going to do that at all, I need to know how they
want to sound. If Im going to do it well, I need to understand their creative direction. And in a
quarter-century of music, Im yet to meet an artist for whom creative direction is not intrinsically
linked to their emotions.
Dem feels.
And artists (or anyone, really) will only open up to someone they trust.
I know that being warm and friendly is what Ive always been weakest at. Ive become much
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2015/01/31 - Updated personal website
better in the last ten years, but I still havent been been very good at communicating that I can be
warm and friendly. So, this is something that Im making a priority. Part of that means opening up
a little more myself providing more information about me, being honest about my weaknesses
and shortcomings, telling a richer story about who I am and what I do.
Human connection.
-Kim.
2015/02/08 - If it doesnt change you, is it worth doing?

So, I thought I couldnt edit my performances after Id recorded guitar into Maschine. Well, I spent
a bit of time with it and it turns out I was wrong. Maschine, being a groove sampler, can slice a
recording (such as a loop) and assign each slice to its own pad. And thus I can change the timing
of each slice. How about that?
More interestingly, spreading a guitar performance onto pads one-note-per-pad opens up some
interesting remixing/rearranging options. Obviously, rearranging notes/slices is nothing new.
Whats different is how easy it is to go from a four-bar guitar melody to making a new
performance of the old performance . And furthermore, the instrument/interface has no inherent
pitch 44 drum pads arent like playing a keyboard or guitar where theres an inherent
expectation that certain notes correspond to certain pitches. After more than 25 years of blackand-whites under my fingertips, this is twisting my mind in very interesting ways.
And thats the point, really.
Thinking about new ways of composing and performing is exactly what Id hope to get from a new
music project. My more aggressive self would assert that if a project doesnt change you, it isnt
worth doing. I suppose thats true if you embark on new projects in order to develop your skills
and experience. I certainly do. In fact, its exactly what I need. A month ago, I wrote that I felt the
least excited about music as Id ever been. This has certainly cured that.
Im sitting in the most capable studio Ive ever had, available to me 24/7, with a mature workflow
for turning musical ideas into vibrational reality. And I learned that what drives me isnt the act of
creating. I thought it was. But its the self-development. Its exploring new ideas. Its twisting my
mind. Its feeling inspired.
What does this mean for you? Anyone can get stuck in a rut. Anyone can go through a quiet
patch. You need to understand what drive you, what pushes you forward. You need to understand
what excites you. Maybe what intimidates you. Dont shy away lean in. Lean in and see what
happens. If the worst case scenario doesnt make your palms sweat, then jump right in.
A note about gear: Yes, I got just as excited as anyone else about the cool stuff at NAMM. But
none of that stuff solves any problems that I had. And it probably doesnt solve any problems you
have either. Theres a bit more to this All the gear that excited me was gear that already worked
in the way I was used to working. That is, it would give me more of what I already have. Perhaps
it would allow me to do more, but in the same way Id already been doing things. If Id bought
new gear last month, I would have chosen it based on how it would fit into my existing workflow.
Whereas what I needed was to explore a new workflow. I would choose gear that doesnt change
my way of doing things.
And if it doesnt change me, I think its probably not worth doing.
-Kim.
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2015/02/09 - Always remember the emotional connection
2015/02/09 - Always remember the emotional connection

Why do you make music?
Its probably not the fame and fortune (well, at least not the fortune). Its not the stable income or
cosy retirement. I hope its not because your parents told you to do it.
Ill bet youre making music because you love it. You love music, and creating your own music is a
logical extension of expressing that love.
But what does that mean to love music? In this context, what is love? Its not the love you have
for another human being a partner, a parent, a sibling, a child.
Music is a different kind of love. It resonates with us. When we hear music we love, we feel
something amazing. Its not easy to describe, and not everyone feels it. But chances are if youre
reading this, you know what Im talking about.
Of course, music isnt all feelings. We connect with music on an intellectual level too. As creators
ourselves, we are constantly dissecting and analysing the music we listen to. We are trying to
understand how someone else made their music so great so we can figure out how to replicate it.
Or were trying to understand how someone else made their music so terrible so we can figure out
how to avoid it. As creators ourselves, we probably connect with music more intellectually than
most people. So much so that its sometimes easy to lose perspective and get lost in the
mechanics of making music.
Its important to always remember the emotional connection. Remember how good it feels to
connect with music! Its glorious dont ever lose that feeling!
And dont let your audience lose that feeling either.
-Kim.
2015/02/14 - How not to be a producer

So, I came across this gem last night. And isnt it just amazing. This is an excellent example of
how not to be a producer.
https://youtu.be/WiHnxMzpFH4
The producer and the singer are meant to be collaborating on writing a new song and
demonstrate Ableton Push. They hadnt met each other prior to the session, and they hadnt
prepared anything beforehand. So, theyre both being put on the spot, and we get to watch the
creative process.
So far so interesting.
Except this guy is meant to be a producer. Hes introduced as a professional producer. Not some
guy who makes beats. Hes a producer. And yet:
He doesnt discuss the creative direction of the track with the singer even basics like
tempo, vibe, instrumentation, etc. He just goes ahead and builds a track that he likes.
He starts the session with twenty minutes of no musical communication or collaboration.
The singer uses that time to start writing some lyrics, but shes essentially on her own for
those twenty minutes. During this time he gets stuck into subtle adjustments (such as
parallel compression, groove nudging, effect automation).
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2015/02/14 - How not to be a producer
Even when vocal recording begins, theres still almost no collaboration He doesnt provide
feedback on her lyrics, melody or vocal performance. Nor does he invite feedback from her
about the instrumental part. They dont contribute to each others creative work.
If he were just a musician, itd still be pretty disappointing. Can you imagine writing a song with a
guitarist, and he spends the first twenty minutes fiddling with his pickup/amp settings? And then
he says hes come up with three chords and asks you what ideas you came up with? Sounds like
amateur hour.
But hes more than a musician. Hes a producer. The title producer has many meanings, but
ultimately its someone who has much more responsibility than a musician in making a recording
happen. The producer is running the show. And in this video, he certainly is running the show.
Hes just doing a pretty poor job of it.
If youre a producer, your priority should be enhancing the creative output of your artists and
musicians. Find out what creative direction they have in mind really try to understand their taste
and style, work with them. Capture the lightning try to work as fast as they do, minimise the
time they spend waiting around. Raise them to new heights use your skills and experience to
improve their songwriting and performance (while also being appropriately sensitive).
-Kim.
2015/03/11 - The importance of physical proximity

Lets talk about being close with your artist. Like, really close. Like in the same room together.
I recently had a couple of interesting experiences.
One of my previous artists approached me to produce her next release. Wed worked together
before, and its been one of the best working relationships Id had with an artist. The songs were
great, she was clear in her creative direction and was exceptionally pleased with my work (that
included arranging and performing all the non-vocal parts). With these new songs, she wanted to
try giving me her demo and reference tracks and letting me develop the songs without her
attendance. While I normally dont do that kind of thing, we agreed to do it. If producing remotely
was going to work with any artist, it was going to work with her.
Well, it didnt take long to get bogged down. There are some kinds of conversations that are very
easy to have in person but almost impossible to have in writing. Discussions about creative
direction is almost always like this. Its not something that can be communicated in a onedirectional way. We have to request clarification. We have to test each others understanding. We
have to play audio examples (and sometimes sing or play along). We have to try out different
ideas and then talk about them.
The second interesting experience was an unrelated discussion I had with a friend of mine who is
also a producer and mix engineer. He mentioned that he doesnt allow his client to attend
postproduction including vocal comping, mixing and mastering. Everyones got their own
preferences, but it caused me to reflect on my own approach. I wouldnt dream of comping a vocal
or mixing an artists song without including him/her in the process. Every singer I work with has
opinions about which parts of each take they want to use. Every artist I work with has opinions
about the mix balance. Having them there as I work ensures that they can voice their opinions
(and we can discuss them if necessary) as Im working. It means we can get it right the first time
(I almost never get revision requests).
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2015/03/11 - The importance of physical proximity
Doing that work on my own seems like a really good way to waste everyones time going back and
forth with revisions. Or a really good way to leave the artist unsatisfied with a product theyd be
happier with if theyd been part of the process.
Producing and engineering isnt a dark art. Its not magic. Its having the right tools and expertise.
The more involved the artist is, the better result theyll get.
-Kim.
P.S. If you disagree with that last statement, youre grossly underestimating your artists ability to
learn about and appreciate the production process. Of course, not everyones an expert. And Ive
had my fair share of dumb requests from artists who didnt know better. But part of my job is to
educate and inform artists to help them make better creative decisions.
2015/04/10 - Enter the iPad

So, this is interesting.
In my quest to simplify my computer setup Ive been reducing my plugins and other software to
bare minimum. Nowadays Im almost running pure Cubase 8 (fortunately it comes with some great
stuff built in). And Ive been adding more hardware mainly EQ and compression for some
different flavours and to save time by getting the sounds about 80% right upon recording.
As an aside, its pretty funny to hear about mix as you go being some kind of new technique
brought about by electronic musicians who compose/record and mix iteratively, rather than in
separate steps. If youre recording live instruments and you have any choice at all about the room,
instrument position, mic choice and mic position (let alone outboard processing on the way in),
then youre already shaping the sound with an ear for the mix. These choices affect the tone of
the sound just as an electronic musician might apply EQ or reverb to sounds as they build up the
layers of their song.
Anyway, so Ive been moving more and more of my mix processing outside the box. But
occasionally Ive felt the need for something a bit different, a bit off-the-wall. But it doesnt seem
to make sense to install a new plugin for the sake of a single project (or even a single song). Im
thinking about the long-term health of my computer here. I used to do this and ended up with
dozens of plugins Id hardly used (and, in truth, many were easily enough replaced by stock
Cubase processors).
So, enter the iPad.
Is this the loosely-coupled multi-purpose processor with quasi-disposable software modules that
Ive been dreaming of? Maybe. So I got myself a cheap 2/2 line audio interface, dug up an old
USB-MIDI interface (luckily class-compliant), patched them behind my rack, and now my iPad fits
in just like any other outboard gear. And Ive been experimenting a bit. This setup seems ideal for
stereo effects processors (such as Flux and Amplitude), as well an monotimbral synths (such as
Launchkey and Thor). Im sure there are plenty of other interesting apps waiting to be tested. The
iPad doesnt quite seem ready to be a multitimbral sound module (and theres certainly nothing as
sophisticated as HALion Sonic 2, which is my default sound source for most things). But surely
thatll change soon. Maybe something like GarageBand or Beatmaker can already operate
as multitimbral modules? And after well over a decade of VSTi, do we really need to return to the
days of having to manage MIDI timing slew for high-polyphony external modules? And is this any
different to having a MacBook as a separate sound module?
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2015/04/10 - Enter the iPad
So, Ive got some interesting exploring ahead.

-Kim.
2015/04/24 - Just quickly record some vocals?

So, I was recently asked about recording some vocals for a song. And so I had the opportunity to
describe the process of finishing a song and the various factors that determine how long the
process takes.
1. Record vocals. This might mean just running through the whole song a few times, or it might
mean doing each section individually. It could be just a few takes, or it could be 20+ (usually if its
taking more than about twenty, I tell the vocalist to go home and come back next week).
2. Edit the vocals. This means choosing the best sections of each take. Again, this could be
simply confirming that the last full-length take was the best, or it could mean going through the
song word-by-word and auditioning every take to determine the best one. Sometimes this also
means adjusting the pitch (and occasionally timing) of the vocals. It could mean applying some
gentle automatic correction across the whole song, or manually correcting a few words here and
there, or forensically adjusting every single syllable in the whole song.
3. Mix the song. This means adjusting the balance between all the instruments in the song. If
your backing track is simply a stereo mixdown, then this stage will be very quick just controlling
the tone and dynamics of the vocals to blend with the rest of the instruments. However, if the
backing track isnt mixed well, there wont be much I can do to blend the vocals in itll sound like
the vocals are separate to the rest of the track. If you have all the instruments as multitracks (one
audio file per instrument), then I can make sure the whole balance of the song sounds great, but
obviously were talking about a full mix, which will take a bit longer.
4. Master the song This means making sure the mixdown (which sounds great in the studio), will
sound great everywhere else. That means adjusting the overall level, dynamics and tonal balance
so that it is comparable to other commercially released songs.
-Kim.
2015/05/27 - How to know if youre any good yet

See, heres an interesting observation. Im obviously not using enough EQ.
Theres a stereotype in our industry of the delusional artist/producer the person who thinks
theyre much better (and deserving of success) than they really are.
Interesting, I hardly ever meet these people. In fact, I often come across the opposite people
who think theyre much worse than they really are. They most often come to me asking for
assistance with mixing. Which, on the face of it, is pretty understandable they might have been
mixing for a couple of years, and Ive been doing it for a couple of decades. But the way they talk
about their mixes (prior to my listening to them) makes me brace for something nigh on
unlistenable. And Im pleasantly surprised when I hear something that, instead, is nigh on
releasable. Its almost certainly better than some other commercial releases Ive heard. Once day I
should present some examples of songs that are successful or popular despite having a terrible
mix.
393
2015/05/27 - How to know if youre any good yet
So I started to think about some of the ways that I know my mixes (or any other musical work,
really) are good enough. Theyre not that surprising, so I wont bore you.
1. Listen to your intuition. Trust yourself. Do you like your own work? Does it make you bop
your head? Does it make you jump up and dance? I think this is absolutely necessary. You
must like your own work. Of course, you can have a terrible mix that you love (happens to
me too), but I dont think you can have a great mix that you hate. You need to like your
mix first. If you dont, then thats when you need to switch to your analytical mind work
out whats working and what needs fixing. Sometimes this might mean stripping everything
back and starting from scratch. For me, its usually the drums if the drums arent
happening, the rest of the mix just wont come together. If I mute everything but the
drums, they need to sound right before I add anything else. In my early years I used to
joke that If the mix sucks, the drums arent big enough. Obviously now I take a more
nuanced approach, but the sentiment is the same. I need to like the drums before I can
like the whole mix.
2. Listen to similar music. These days I have a habit of listening to commercial reference
tracks while Im setting up a mix session. Right at the start of the session, Im usually
importing audio, renaming tracks, organising track folders and groups, trimming audio files,
etc. Hardly any of these tasks actually need me to hear anything. So for those ten-fifteen
minutes or so, Ill have some reference tracks playing at the same volume through the
same monitoring environment as Ill be mixing. Its a great way to calibrate my ears, and I
find that when the mix is about 90% finished and I have a listen to my references again,
Im much closer than I expected to be. A similar approach should also work if your focus is
composition, sound design, recording, etc.
I didnt think youd be surprised.
The more interesting question is this: Why do you think your mixes arent good enough?
Maybe its because you listened to your references and they all have a certain je ne sais quoi that
you cant quite identify or pin down. And maybe they do. Maybe your hearing isnt refined enough
to accurately analysis and identify everything thats happening in that mix. And thats fine. You just
need to spend a few more decades mixing and listening critically.
But it might not be that. Consider that you are hearing the end result of someone elses work. And
often, you are hearing only the end result. By contrast, you have heard your own work at every
step of the way from the raw recordings or presets or naked oscillators. Youve heard every
experiment and explored every cul de sac. And youre hearing all this when you listen to the final
mix, whether you like it your not.
Its not a fair comparison, and the unfairness has nothing to do with the listening experience of
someone uninvolved in the production process (i.e. your audience). No-one hears your own work
like you do. And the sooner you accept your bias, the sooner you can work at counterbalancing it
with more focussed objective listening. And less reliance on your intuition. Make no mistake your
intuiting is very good for determining whether your work stands on its own. But its terrible for
determining how it stands in comparison to others.
-Kim.
394
2015/06/14 - I made a YouTube video of me playing a YouTube video. And sampling it.
2015/06/14 - I made a YouTube video of me playing a YouTube

video. And sampling it.
https://youtu.be/WjT0corWJL4
So, first of all, this is not a compositional masterpiece. Its four bars with some funky guitar hits
and seventh chords. If you want to know more about Glasfrosch, I reviewed them here and you
can read more about them here.
You might be mildly interested to have a peek into how I sample and sequence using Maschine.
Yes, its an on-again-off-again relationship, but right now were doing pretty well. What youre
seeing is my B-Studio'; its a semi-temporary writing setup in my main recording space. At the
moment its pretty much just a MacBook Pro, Maschine, an Ultranova and a few other bits and
pieces that drift in and out.
To me, however, this is primarily a proof-of-concept. Not of the music, but of the workflow and
multi-cam video production. In this case, the music isnt terribly exciting, but thats the point so I
could focus on the other aspects.
Ive been watching Fact Magazines excellent Against The Clock series, and Ive been thinking
about live performance on video. In particular, Ive been thinking about whats interesting and
engaging to watch. Not all parts of the production process are equally engaging. You probably
wouldnt want to spend several minutes watching me scroll through kick drum samples. You
probably wouldnt want to watch me try out a bunch of chord progressions that dont work. But it
is more interesting to see me find and chop a sample. And play the drum and keyboard parts.
Yes, its a live performance. And yes, its prepared and rehearsed. But unlike more traditional forms
of live performance, there isnt a clear-cut answer to the question of what should be prepared and
what should be performed. You could have watched me audition drum kits. Or search a bunch of
YouTube videos to find one worth sampling. Or I could have pre-recorded the drum patterns
and/or keyboard parts, and simply triggered or unmuted them on camera. This one was all in-thebox, but I could have included some outboard analogue stuff. Or plugins. Or acoustic instruments.
Its interesting to step outside the music production zone and think about how it looks to others.
Eventually, Id like to use the format to demonstrate how I work with artists. And that poses
similar questions, but on a bigger scale. How much of the process is interesting to watch? Whats
the right balance of showing creation vs performance? Do you want a straight-up live-in-the-studio
performance of something we prepared earlier, or do you want to see the song grow through each
stage of lyric writing, structure, chords, groove, instrumentation, recording, editing, mixing, etc?
Im looking forward to doing some more experiments.
-Kim.
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Kim Lajoie's Blog Dump

Collected and assembled by Mabian

- Mario Bianchi (aka Mabian) -

Compression and reverb.............................................................................13

What to do when you have too many plugins..............................................94

Kitchen consultation: Yair Hollander Alive................................................183

Ways to create interesting mixes...............................................................238

Why do we need to be more efficient?.......................................................274

What mastering feels like..........................................................................346

Put your sounds into an upside-down triangle............................................378

2007/06/26 - Compression and reverb

2007/06/26 - Compression and reverb

2007/06/26 - Ordering of EQ and Compression

2007/06/26 - Pre-fader versus post-fader

2007/06/26 - Pre-fader versus post-fader

2007/07/17 - How to push sounds to the background

2007/07/17 - How to push sounds to the background

2007/07/19 - Getting synths to fit together / Mixing Synths

2007/07/19 - Getting synths to fit together / Mixing Synths

2007/10/22 - EQing reverb

2007/10/22 - EQing reverb

through a low-heavy reverb will give you a tasty huge BOOOOOM!!!

2007/11/29 - Mixing with 2-bus processing

Mixing with 2-bus processing against

2007/11/29 - Mixing with 2-bus processing

Mixing without 2-bus processing for

Mixing without 2-bus processing against

2007/11/29 - Mixing with 2-bus processing

surgical leave that for mastering!

2008/05/31 - Mastering: How much should I limit?

2008/05/31 - Mastering: How much should I limit?

2008/05/31 - Mastering: How much should I limit?

2008/06/27 - Sense of space in Sunlight

2008/06/27 - Sense of space in Sunlight

Back wall reflection:

2008/07/04 - Balancing kick and bass

2008/07/04 - Balancing kick and bass

2008/10/28 - High-end gear

2008/10/28 - High-end gear

2008/11/19 - Thoughts about coherent drum kits

2008/11/19 - Thoughts about coherent drum kits

2008/12/21 - Compressor attack and release times

Fast attack, medium release

Medium attack, medium release

Slow attack, medium release

Medium attack, fast release

2008/12/21 - Compressor attack and release times

Medium attack, slow release

2009/01/01 - Using chorus, phaser or stereo imager

2009/01/01 - Using chorus, phaser or stereo imager

2009/03/11 - How to achieve best results when mixing down

Know thy weapon

For better or worse

2009/03/11 - Saturation, compression and reverb

2009/03/11 - Saturation, compression and reverb

2009/03/15 - On stereo widening

2009/03/15 - On stereo widening

2009/04/16 - How do you process your bass?

2009/04/16 - Processing Bass: EQ

2009/04/16 - Processing Bass: EQ

2009/04/16 - Processing Bass: Compression

hwo do i maek my bass PHATTNESS pls halp

2009/04/16 - Processing Bass: Compression

2009/04/20 - Processing Bass: Character and body