Mo Volans has been releasing tracks for well over a decade with many of the world's top electronic labels. Having worked with a long list of high profile artists, he has enjoyed top ten success on numerous of occasions. Mo records under the names MoHawk, Twisted Air, and Openair and also writes music for TV and film. Mo is also a prolific writer and journalist writing for publications such as Music Tech, Remix mag and EQ.
On the most part electronic beats are pretty straight forward. Most of the work lies in processing and programming variations. A lot of my students often ask how to make their beats sound more epic, so I thought I’d share a few useful mixing and editing tips with you.
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Saturation is an often misunderstood process, sometimes written off as basic distortion effect, too subtle for most uses. While this isn’t entirely inaccurate, saturation has a lot to offer and can impart a true analog flavor on our mixes if used correctly. Most saturation plug-ins are pretty simple devices, but the real key to using the effect is understanding how it works. Let’s take a look at the process in detail and then we can go through a few examples of a few saturation plug-ins in action.
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Reason 6′s console and routing system is awesome, there’s no doubt about that. One thing the Props have overlooked so far though is the proper implementation of group tracks for the main console. This can prove to be a bit of set back in busy mixes.
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If you fancy a bit of departure form virtual analog, subtractive synths you could try dabbling in FM (Frequency Modulation) synthesis. Native Instruments FM8 is the perfect way to get involved with this edgy sound creation method. Let’s take a look at how to create a typical roughed up bass patch that you could use for Electro house or Dubstep.
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Bus processing is a great way to immediately lift any group of instruments, giving them more presence, clarity and punch. In this tutorial I’ll show you how a simple chain of processors can help to enhance even the most basic drum mix.
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We’ve looked at the subject of side-chaining quite a few times in the past but there is one area of the subject that hasn’t been touched upon. Frequency dependent side-chaining is a process which allows us to home in on a specific frequency range for processing.
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Compression can be a pretty confusing subject. With so much jargon and literally thousands of different compressors to choose from it’s no wonder some less experienced producers get a little stumped from time to time.
One area of compression that appears to remain a mystery to some is that of buss compression. This is one that I’m asked about a lot, so let’s take a look at the ins and outs of the process and shed some light on the subject.
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In this week’s Audio Premium content, Mo Volans continues his series on creating the perfect production tool kit. This week we look at the issues to consider when choosing your DAW software.
To learn more about what you get as part of Audio Premium, read this. To take a peek inside this tutorial, hit the jump!
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This tutorial is actually based on a request that someone made in a tutorial about synth-based effects. Creating noise-based rises and drops for dance mixes is something I get asked about a lot so I though this maybe helpful to some of you.
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