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Programming different “sweeteners” into your mix is one of the easiest ways to add a narrative to your productions musically. Without words, programmed instrumentation can add transitions between song sections, bridging the gap between verse and chorus, and eliciting an emotional response in the process.
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Vocal stems are in high demand these days, and any engineer that can make high quality vocal stems are worth their weight in gold. There are tons of reasons why an engineer might want to print vocal stems: quicker recall for vocal up/down edits, prepping the background vocals for live shows, or the motherload: the remix.
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Guitars are one of the most abundant mix elements for many rock and metal tracks. It’s pretty common to find sessions loaded up with all kinds of guitar layers these days:
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Limiters have always been one of the coolest “toys” in the studio. They’re one of the few toys you can drive past their breaking point, dial them back just a hair, and have an instantly usable, crispy tone.
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Guitar tone is the Holy Grail for a lot of engineers – it’s something that some struggle with more than any other part of the mix. Give them stacks of vocals or a twenty-piece drum kit: they won’t bat an eyelash.
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