https://www.youtube.com/edit?o=U&video_id=24TdeKa3zbo
there is my vlog link here is the written out part to go with including references
"Bobby Owsinski- new york compression- One of the little tricks that seem to set New York mixers apart from everyone else is something called the “New York Compression Trick”.
Even if you don’t mix in NYC, once you try it you just might find yourself using this trick all the time since it is indeed a useful method to make a rhythm section rock.
Here’s the trick: 1) Buss the drums, and maybe even the bass, to a stereo compressor.
2) Hit the compressor fairly hard, at least 10dB or more if it sounds good.
3) Return the output of the compressor to a pair of fader inputs on the console or two additional channels in you DAW.
4) Add a pretty good amount of high end (6 to 10dB at 10kHz or so) and low end (6 to 10dB at 100Hz or so) to the compressed signal.
5) Now bring the fader levels of the compressor up until it’s tucked just under the present rhythm section mix to where you can just hear it.
The rhythm section will now sound bigger and more controlled without sounding overly compressed." (Owinski. B, 2010)
Sound example: https://www.youtube.com/watch?v=N6auzOxTnwI&ab_channel=pureMix
Room mic for dirty sounding drum:
“those times when your song’s arrangement does call for more room sound? Can you do it tastefully and creatively in the confines of the home studio?
Absolutely – you just have to be creative. Let’s take a closer look at a few strategies.
If you have a little extra space, use it correctly.
Let’s say that whatever room in which you’re endeavouring to capture a loud instrument (e.g. a drum kit) with microphones is spacious enough to warrant experimentation with “far away” mic sounds. Great. Now what? Which mics will work best for your purposes? And in which configurations?
As with most artistic pursuits, the answer is “it depends.” But whenever I’m gathering more sounds than are absolutely necessary, I like to go out of my way to make sure that there’s going to be as much interesting contrast going on as possible.” (Smart. D, ( 2018)
(Sonic scoop, 2013)
Delays- Differentiating the sound of your delay repeats from that of your dry signals is one good way to keep an upfront‑sounding mix, and distortion is one fruitful avenue to explore for this purpose. Indeed, the appeal of many of the old analogue delay devices can be traced partly to the subtle (or not so subtle!) distortion characteristics they added to delay repeats.
(White. P, 2010)
Distortion- Use EQ and low-pass filters: One of the major pitfalls of amp simulators is their tendency toward treble "fizz,” especially when cranking virtual preamp gain. Using a basic parametric EQ plugin after the amp simulator, like the kind that is built into most DAWs, to find the fizz and carve it out, can be a very effective strategy. Fizz usually lives in the frequencies between (roughly) 2kHz and 12kHz, so creating a narrow band EQ notch and sweeping slowly back and forth with it through that frequency range can often reveal the fizzy frequencies. Another, somewhat simpler option is to use a low-pass filter after the amp sim, experimenting with where, and how aggressively, to roll off the high frequencies. This can warm up the tone significantly. (Wolfert. J, 2015)
ake time to tweak: One of the best strategies for getting good tones from amp simulators is to simply take the time to experiment, turn all the virtual knobs, and listen to the results. A few of the more complex amp sims can be devilishly difficult to dial in at first, but once you acquire some experience with the functions and idiosyncrasies of the software, the tones will improve substantially. In general, amp sims just take a bit more knob twisting and experimenting than most real amps do. If you're new to the game, a straightforward, no frills amp simulator, such as the aforementioned Softube Amp Room, is probably the best choice. Patience, grasshopper. (Wolfert. J, 2015)
sound example:
https://www.youtube.com/watch?v=AxBRMaC6W1k&ab_channel=macProVideoDotCom
(macProVideoDotCom, 2014)
Reverbs- Another basic principle when looking for reverbs that will bind a mix together is to tread carefully with any that seem to have very prominent frequency extremes. Neither very high frequencies nor very low frequencies are much use when using reverb to bind a track together, the former tending to make the reverb too audible in its own right, and the latter reducing punch at the low end of the mix where definition is normally really important.
he final reverb parameter that I regularly reach for is the pre-delay setting, which simply delays the onset of the reverb reflections by a specified amount — the longer the pre-delay, the closer the dry sounds appear to be in comparison with the boundaries of the simulated room. Some reverb plug-ins either have no pre-delay option or have a zero default setting, and if left unchanged this psychologically positions any sound source much further away from the listener, effectively right against one of the boundaries of the simulated room. This isn't the only problem, though, because what also happens is that the almost instantaneous early reflections of a reverb without pre-delay interact unpredictably with the dry sound in a way that can noticeably alter its tone. An immediate reverb onset can interfere with vocal intelligibility too, by blurring important consonants. Again, Mix Rescue candidates regularly encounter all these difficulties, simply because they ignore the pre-delay setting — and even if your reverb has no internal pre-delay, that's no excuse not to dial one in manually by chaining delay and reverb effects in series. (Senior. M, 2008)
sound example: https://www.youtube.com/watch?v=-jPPJEHMepA&ab_channel=WavesAudio
(Waves Audio, 2017)
References:
macProVideoDotCom, (2014). Pro Tools 11 201: The Plug-Ins Explored - 38. Eleven Free: The Amp Sims [video]. Retrieved August 19, 2018 from
https://www.youtube.com/watch?v=AxBRMaC6W1k&ab_channel=macProVideoDotCom
Owinski, B. (2010) New York Compression. Retrieved August 19, 2018 from http://bobbyowsinski.blogspot.com/2010/05/new-york-compression-trick.html#axzz5OtLEW2Bn
Senior. M, (2008). Use reverb Pro 1. Retrieved August 19, 2018 from
https://www.soundonsound.com/techniques/use-reverb-pro-1
Smart. D, ( 2018). Room mics adding depth to home recordings. Retrieved August 19, 2018 from
https://reverb.com/news/room-mics-adding-depth-to-home-recordings
Sonic scoop, (2013). Recording Drums, Part III: Placing Room Mics. [video]. Retrieved August 19, 2018 from https://www.youtube.com/watch?v=CGJhjDRMsgk&ab_channel=SonicScoop
Waves Audio, (2017). Reverb and Delay Explained – Sound Basics with Stella Episode 4. [video]. Retrieved August 19, 2018 from https://www.youtube.com/watch?v=-jPPJEHMepA&ab_channel=WavesAudio
Wolfert. J, (2015). Amp simulators taking your tone to the next level. Retrieved August 19, 2018 from https://tonereport.com/blogs/tone-tips/amp-simulators-taking-your-tone-to-the-next-level
White. P, (2010). Distortion Studio. Retrieved August 19, 2018 from
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