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It’s a lofty claim, I know. “But Joey, there’s no way one guitar tone is going to work all the time” you’re probably thinking to yourself. And I agree, 100%.
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If you’re finding yourself running out of inputs session after session, I feel for you. It might be time to make that jump if you can’t find a way to parse down some of those inputs.
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If you’re looking for one of the easiest advanced production techniques to learn, you’ve come to the right place. By the time you finish reading this blog, you’ll have all the tools you need for advanced stutter editing which can be applied to any instrument in any genre.
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No matter what your experience level, I’m willing to bet these two things have affected you at one point or another: loudness and laziness.
Every engineer wants a massive, hard-hitting drum tone with powerful attack that cuts through the mix. What a lot of them don’t realize is that great drums come from the shells themselves just as much as the heads that are on them. While micing the bottoms of every tom still gets used by some engineers, the vast majority find their balance with a top mic alone with great placement.
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