14-08-2014, 09:10 PM
There's a technique Spike Stent has talked about on occasion where he chooses several different "flavors" of compression on different parallel busses, and he mults out the vocal track and routes the split tracks to the p-comps in varying amounts, depending on the need/desired sound.
I've tried it a couple times, but I think it requires some really flavorful compressor models to really shine, and I mostly use neutral balancing models.
He uses this tactic in combination with parallel distortion on Haim's The Wire. That mix is very detailed... I catch another subtle flourish every time I hear it... helps that the song is awesome, too.
As for the dog whistle, I sorta figured you had to be using some kind of added harmonics, and distortion would be the way I'd do it, too. But in the moment, I was mainly rather amused that my dog was busting a nut, and also a little annoyed because he was barking like a fool... so I deleted it with extreme prejudice without further consideration
I've tried it a couple times, but I think it requires some really flavorful compressor models to really shine, and I mostly use neutral balancing models.
He uses this tactic in combination with parallel distortion on Haim's The Wire. That mix is very detailed... I catch another subtle flourish every time I hear it... helps that the song is awesome, too.
As for the dog whistle, I sorta figured you had to be using some kind of added harmonics, and distortion would be the way I'd do it, too. But in the moment, I was mainly rather amused that my dog was busting a nut, and also a little annoyed because he was barking like a fool... so I deleted it with extreme prejudice without further consideration
I'm grateful for comments and suggestions. Thank you for listening!