Listening to member tracks sent to me recently, I realise I need to make this point clear. When it comes to the business of de-resonating sounds, LOW frequency resonances tend to pose a LOW risk, and HIGH frequency sounds tend to pose a HIGH risk. That's NOT to say there's absolutely no place for high frequency resonance whatsoever (tambourines, anyone?). Rather, high frequency resonances must be handled with extra care and attention. That's also NOT to say that all low frequency resonance is automatically fine, just that it's relatively less likely to cause real problems. Excessive hi hat, shaker, or ride/crash cymbal resonance in particular seriously give me the ick. Potentially the same issue for the high frequency area on a snare, clap, or even a kick top. P.S. Low frequency resonance is essential/unavoidable for virtually all music, whereas high frequency resonance could, in some cases, potentially be omitted entirely.

Hello guys. I need your opinion on how to distribute your time and efforts during the process of creating a track from scratch. I found myself in a methodological trap trying to mix during production and writing. I always do everything in parallel, however I'm in a doubt because it has some cons that I really feel. So I think if you try to mix or engineer the sound BEFORE you have completed the musical ideas you risk to spend much more time and even get very tired of the track you are working on. And I've got tired of a couple of latest tracks trying to make them sound as perfect as possible.

Hey! Owen asked me to share a technique I came up with yesterday while synthesizing kicks in Serum. It was easier to show than explain, so I recorded a video. Pardon me for being a bit hungover. We had a crayfish party last night, a late-summer tradition that involves a lot of crayfish, akvavit, and vodka 🦞 The technique itself is all about matching the cycles of your kick exactly to a reference. Hope this helps you guys!

Turns out I've been exporting without master effects on for like the past year or so

... give Owen stems that are already clear mixed but need stereo school help 😈 Like learning Clear Mix, almost all of the corpus is in thursday meetings built piece by piece. And they came mostly from demonstrating Clear Mix techniques on user stems. So if your stems are good enough that @Owen Palmer doesn't have to fix your kick, but you need depth of field work, we'll get great lessons. More generally, the better we do, and offer stems, the even better our lessons will be.