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Distortion can cause high-frequencies to be a little harsh and irritating, which is why some distortion plugins have a hi-cut filter to control those frequencies.
If you are running your distortion in parallel or on a bus and it does not have a hi-cut filter, try adding an EQ plugin with a hi-cut filter after the distortion plugin to control any harshness that the distortion may be causing.
“If you aspire to great accomplishments, it will serve you well to understand that the quickest way to the top is not by fighting your way through the pack, but by leapfrogging over it.” -Robert Ringer
Multiband compression is great for getting good articulation out of a bass guitar track, since you can tighten up the lowest frequencies (thus reducing boom and woofiness) without affecting the mid- and high-midrange frequencies, which carry the attack of the sound.
Compressing the highest frequencies can also help control guitar string noise.
Need to reduce reverb in a sample such as an acapella or a drum loop?
Try using a transient shaper such as iZotope’s Neutron 3 Transient Shaper and turn down the Sustain.
This will reduce the reverb in your sample allowing you to clean up the sound or give you the ability to add your own reverb to have more control over the sound.
Mud or a muddy mix is audio engineer lingo for an abundance of frequencies in the 200 Hz - 500 Hz range.
Usually a muddy mix can be resolved by carving out some of the low-mid frequencies.
Often, there are low frequencies in instruments that are not benefiting their sound, and that is where a low-cut is your friend.
Make sure bass frequencies are mono and try attenuating the low-mids of various instruments to see if it brings clarity to your mix.
The phaser and flanger create very similar sounds, with a flanger sounding a little more extreme than a phaser. They both incorporate phase shifting. Flangers making a copy of the original signal and delay it whereas a phaser makes a copy of the original signal and then passes it through an “all-pass filter.” An LFO filter is then used in both a phaser and flanger to modulate the sound.
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