The Philokalia, Volume 4: The Complete Text; Compiled by St. Nikodimos of the Holy Mountain & St.

1. Acapella Voice Box
2. Voice Trap Download

Markarios of Corinth by G. Palmer -DOWNLOAD BOOK The Philokalia is a collection of texts written between the fourth and the fifteenth centuries by spiritual masters of the Orthodox Christian tradition. First published in Greek in 1782, th The Philokalia, Volume 4: The Complete Text; Compiled By St. Nikodimos Of The Holy Mountain & St. Markarios Of Corinth Download The Philokalia, Volume 4: The Complete Text; Compiled by St.

Nikodimos of the Holy Mountain & St. Markarios of Corinth G. Palmer The Philokalia, Volume 4: The Complete Text; Compiled by St. Nikodimos of the Holy Mountain & St. Markarios of Corinth mac download torrent The Philokalia, Volume 4: The Complete Text; Compiled by St. Nikodimos of the Holy Mountain & St.

Markarios of Corinth secret language epub The Philokalia, Volume 4: The Complete Text; Compiled by St. Nikodimos of the Holy Mountain & St. Markarios of Corinth elementary ebook download The Philokalia, Volume 4: The Complete Text; Compiled by St. Nikodimos of the Holy Mountain & St. Markarios of Corinth system basic epub books The Philokalia, Volume 4: The Complete Text; Compiled by St. Nikodimos of the Holy Mountain & St. Markarios of Corinth ebook download epub kindle The Philokalia, Volume 4: The Complete Text; Compiled by St.

Nikodimos of the Holy Mountain & St. Markarios of Corinth handbook secret pdf download The Philokalia, Volume 4: The Complete Text; Compiled by St. Nikodimos of the Holy Mountain & St. Markarios of Corinth download book mobi The Philokalia, Volume 4: The Complete Text; Compiled by St. Nikodimos of the Holy Mountain & St. Markarios of Corinth language 2nd edition epub file The Philokalia, Volume 4: The Complete Text; Compiled by St. Nikodimos of the Holy Mountain & St.

Markarios of Corinth medical edition ebook download The Philokalia, Volume 4: The Complete Text; Compiled by St. Nikodimos of the Holy Mountain & St. Markarios of Corinth free books epub The Philokalia, Volume 4: The Complete Text; Compiled by St. Nikodimos of the Holy Mountain & St. Markarios of Corinth 6 6 The Philokalia, Volume 4: The Complete Text; Compiled by St. Nikodimos of the Holy Mountain & St. Markarios of Corinth ebook reader download mobile free The Philokalia, Volume 4: The Complete Text; Compiled by St.

Nikodimos of the Holy Mountain & St. Markarios of Corinth read free online books The Philokalia, Volume 4: The Complete Text; Compiled by St. Nikodimos of the Holy Mountain & St. Markarios of Corinth download ebook medical 81186be442 Buy Writings from the Philokalia Main by E. Kadloubovsky, G.E.H. Palmer (ISBN: 939) from Amazon's Book Store.

Everyday low prices and free delivery on.Buy The Philokalia Vol 1 by G E H Palmer 139 1983 from Kogan.com. The Philokalia is a collection of texts written between the fourth and fifteenth. Velaa: Island for All Senses by teNeues -DOWNLOAD BOOK Few places in the world compare to Velaa Private Island. This ultra-exclusive boutique hideaway island is set in the azure seas of the Indian Ocean. Horizon Navigation NavMate NavMate 2.0 User Manual -DOWNLOAD brand: Horizon Navigation category: GPS pages: 68 size: 3.89 MB info: Horizon Navigation Car GPS Receiver User Manual 4 - Safety Information And Precautions 12 - Table Of Contents 15 - Introduction To Your Navigation System 15 - Vehicle Direction-sensing Electronics 16 - Computerized Map And Infor 2.as.in.nokia?s.form.20f.for.2010answers.to.the.top.10.form.w4.questions.of.2014.top.10.form.w4.

EBooks.Horizon.Navigation.User.Manual.is.available.on.PDF.ePUB.and.DOC.format Horizon's.NavMate.software.has.been.powering.navigation.solutions.HORIZON.NAVIGATION.INCflexible.navigation.platform.provides.an.easily.customized.user.interface.that. The Unbecoming Of Mara Dyer Read Online - Tens of thousands of fiction and non-fiction titles available.Juliet Sanders Ford/Wells p.

2 The Unbecoming of Mara Dyer (Book by Michelle Hodkin) Screenplay Cast (In order of appearance) Claire Mara (Main.The Unbecoming of Mara Dyer has 129,995. Most of what I have to say about the Unbecoming of Mara Dyer is positive. I've read it twice now and I have to say that.In seconds, the teacher was at my side. His thick glasses gave his eyes an insectlike quality.

Oh, you look much better! Please, have a seat right here. Im Mr.The Unbecoming of Mara Dyer: Mara Dyer Series, Book 1 (Adobe EPUB eBook, Kindle Book, OverDrive Read)the unbecoming of mara dyer Download the unbecoming of mara dyer or read online books in PDF, EPUB, Tuebl, and Mobi Format. Click Download or Read Online button to.Used Books Starting at $3.59. Free Shipping Available.The Unbecoming of Mara Dyer (Mara Dyer #1).

Laurelton, Rhode Island. THE ORNATE SCRIPT ON THE BOARD TWISTED in the candlelight, making the letters and.SERIES: Mara Dyer, BOOK1: La oscura verdad de Mara Dyer (2013), BOOK2: Io non sono Mara Dyer (2013), Format:PDF,EPUB,TXT,FB2. Read online or Download review 1:. Buy The Unbecoming of Mara Dyer by Michelle Hodkin (ISBN: 769) from Amazon's Book Store.

Everyday low prices and free delivery on eligible orders.I've read the Unbecoming of Mara Dyer and the Evolution of Mara Dyer twice in the span of half a year.The Unbecoming of Mara Dyer (Mara Dyer, #1) Books by Michelle Hodkin. Mara Dyer doesn t think life can get any stranger than waking up in a hospital with no memory of.Booklist Online Book Review: The Unbecoming of Mara Dyer.Hodkin, Michelle (author).Sept. Simon & Schuster, hardcover, $16.99 (769).

Numerical Methods for DSP Systems in C by Don Morgan -DOWNLOAD BOOK Get the mathematical background, hands-on engineering, and practical code for all of your DSP applications - in one comprehensive guide. When We Were Dancing (The Wolf of Oberhame Book 2) by Auryn Hadley DOWNLOAD BOOK They called her the Gladiator Queen, the first female heir to the throne of Norihame. Leyli never wanted this, but her cousin's scheming left no other option. LG UT36H Owner's Manual -DOWNLOAD brand: LG category: Air Conditioner pages: 39 size: 4.18 MB info: 4-WAY CEILING CASSETTE 1 - Air Conditioner 2 - Table Of Contents 3 - Safety Precautions 6 - Name And Function Of Parts 6 - What To Do Before Operation 6 - Operation Indication Lamps 7 - Wired R Download Lg Multi V Air Conditioning Manuals, Multi V Air Conditioning Lg User Manuals For All Models. New User Manuals.

Lg UT36H Manual Lg UT24H Manual Lg UT21H.UT36H OWNERS MANUAL Air Conditioner Multi V Conditioning Manual, LG UT36H Multi V Air Conditioning OWNERS MANUAL Manual in English, Download Link For LG OWNERS.LG Monitors User Guide Manual LCD LED Operating Instruction Download and Technical detailsLG G5 Manual User Guide has specially to guide you the functions and features of your LG G5.when you require service. LCDTV PLASMA TV OWNERS MANUAL LCD TV MODELS. On the advanced features of these LG TV sets is. To view the Owner's Manual on the CD. MFL69473801 (1.0) ENGLISH USEr GUIdE LG-K350n. See the user manual for more information.LG Cell Phone Manuals. Retrevo has more than 586 PDF manuals for over 2006 LG products.

LG G4010: User Manual G4011. LG G4011: Specifications G4015.Over 40,000 repair & owner manuals.Lg 65UF7700 Pdf User Manuals.The list of LG service manuals and LG repair manuals available for download on Nodevice in PDF, archives with additional service documents as schematics, block.Download LG G4 manual / user guide for free.Owners Manuals Controls. LG Smart AC User Manual LS090HSV4, LS120HSV4, LS180HSV4, PCRCUDT3, LA120HYV1. About this user guide Thank you for choosing LG.

Please carefully read this user guide before using the device for the first time to ensure safe and proper use.LG Q6 User manual / Guide. LG has published the LG STYLO 3 M430 user manual on LG USA official website and made it available for download.This is the official user manual / guide for Tracfone LG Optimus Fuel (L34C).Download Lg Manuals: If you are desperately looking to Download a Lg Service Repair or Owners Manual, we are confident we can help you find just what you need.The list of LG service manuals and LG repair manuals available for download on Nodevice in PDF, archives with additional service documents as schematics, block.We provide downloadable manuals for Your device. We offer user manuals, operating instructions, repair manual as well as spare parts lists.Find great deals on eBay for lg tv owners manual. Shop with confidence. Read the LG V10 user manual below. You can download the user manual at the bottom of the page. You must have Adobe Reader installed to view it.Retrevo has links to download PDF manuals for more than 455 LG TVs.

Here are quick links to some popular LG TVs models.Air conditioner, Owners manual Read online or download PDF LG UT30 User ManualDownload Lg Manuals: If you are desperately looking to Download a Lg Service Repair or Owners Manual, we are confident we can help you find just what you need.Manuals and free owners instruction pdf guides. Find the user manual and the help you need for the products you own at ManualsOnline. Download UT36H OWNERS MANUAL, LG UT36H Multi V Air Conditioning OWNERS MANUAL in English, Download English LG OWNERS MANUAL for UT36H Multi V Air Conditioning Total.lg tv owners manual pdf user manuals By Kunimi Takashima Did you searching for lg tv owners manual pdf user manuals? This is the best place to entranceGet LG Electronics 65UF8500 Owners manual.MFL69393501 (1.0) ENGLISH USER GUIDE LG-B471.

LIMITED WARRANTY STATEMENT.TV and television manuals and free pdf instructions. Find the user manual you need for your TV and more at ManualsOnline.Sprint User Guide A downloadable, printable guide to your LG G5 and its features. I Table of Contents GETTING STARTED 1.UN170 OWNERS MANUAL, LG UN170 Cell Phones OWNERS MANUAL in English, Download PDF English LG OWNERS MANUAL for UN170 Cell Phones Total size is.

E90ef5af99 Trotec BZ25 Operating Manual Trotec Paradise Datacom P300-VSAT Installation & Operating Handbook Download Hummel Premium Operating Manual 76 Pages Yeastar Technology MyPBX U510 Installation Manual Yeastar Technology qlima SRE7037C Operating Manual 184 Pages Guess 10583L Instruction Manual 34 Pages Crestron iLux CLSI-C6 Design Manual Download Tri-Tronics Upland Special G3 EXP Owner's Manual Download Protech YADA ST User Manual Protech Oki OKIPAGE18n Specifications Oki.

If I had to pick the most frequent question I get asked on a regular basis it would have to be “?” Or some variation thereof. At least once a week if not more.

I mix a new rap vocal four or five times a week — much more if you count different rappers on the same song. I have developed an approach — sort of a formula to create a formula. In truth, we know that all songs, vocals, captures, and performances are different. There can never be one formula to mix all vocals effectively, and there are many approaches to conceptualizing a vocal treatment. Mine is just one of many. The Concept It all starts with the concept. I say this time and time again, and it only gets more true as I say it: in order to mix anything, you need an end game.

There has to be some kind of idea of where the vocal is going to go before you start getting it there. That idea can and probably will change along the way, but there has to be some direction or else why do anything at all. The big problem most people have with mixing rap vocals is that they think of the word “vocals” without considering the word “rap.” Rap is supremely general — there are big differences between 1994 NY style rap vocals and 2010 LA style rap vocals. Even within that you have A Tribe Called Quest – “1nce Again” vs.

LL Cool J – “Loungin'”. Both are laid back smoother rap songs, but the mixing is totally different (compare below). Loungin’ is a quintessential Bad Boy style sound, mixed by Rich Travali. You can hear the similarities between that and 112, Total, Mariah Carey and later Biggie tracks. 1nce Again is a prime example of a mix — a sound which pretty much dominated early NY rap. I bring up this distinction because I hope you’ll compare the two.

Notice how in Loungin’ the vocals are up in the mix — level with the snare — and have a “shiny” and smooth top end, great clarity and a really open yet detailed upper midrange. Meanwhile in 1nce again, the vocals are just under the snare and have an extremely forward and aggressive mid-range, a grittier rolled off top end, and a steep hi-pass filter on the low end. The shape of the vocal is also different — the compression is much easier on Loungin, and again, very aggressive on 1nce Again (particularly Phife’s voice). Let’s take a more modern track, say Nicki Minaj’s “Massive Attack.” Here you have super clear presence and treble in the vocals, the vocals are up in the mix, and there isn’t as much lower midrange as, say, “Loungin.” Each of the 3 examples does something very specific:.

“1nce Again” is edgy and aggressive sounding — quintessential to the early NY sound, and rap’s image at the time. “Loungin'” is very intimate and smooth — it’s almost like an R&B song sonically. “Massive Attack” has the vocals clear as crystal, but leaves plenty of room for the low range drums to dominate the mix — which is good for clubs. The point is, the what and why are just as important as the how when it comes to mixing vocals. Who is the artist’s audience, what is the artist’s style, where is the song being played, and what can you as the engineer do to encapsulate that?

So you’ve determined what you want but how do you get there? The Cleanup Before mixing, many rap vocals need a bit of cleaning. There are many common issues. One of the most common is the vocals were recorded in an unideal location, such as a closet (I get that one all the time) or a bathroom.

I know it sounds weird but the myth has gone around that recording in a closet or a bathroom is a good idea. Generally speaking, it’s not.

The other common issue is the vocals were recorded too hot. Again, a has seemed to perpetuate that it’s a good idea to record the signal as loud as possibly. This is totally untrue, particularly in the age of 24-bit audio. Cleaning up is a little rough at times because the scope of what you can do is limited. For audio that came in too hot — i.e., is clipping — distortion removal software such as iZotope’s Rx De-Clipper is ideal. Also, that distortion will create, which can be eased off with an EQ.

For vocals tracked in a reverberant space, subtle gating, and careful EQ can suppress the room sound — or you can use software like SPL De-Verb. The other option is to mix the track in a way that makes the reverb appear deliberate. For vocals tracked in closets or corners, the issue will be comb filtering.

One trick for easing off comb filtering is if there are doubles of the vocal, pitch shift them up or down a slight amount. This will change the frequency bands that are being filtered, so that when layered with the main vocal, the same bands will not be missing all across the board. The backups will “fill in” the missing bands. The comb filtering will still be there, but it won’t be as readily apparent.

Processing Now you have the vocals clean (or maybe they came in clean to begin with). It’s time to decide what to do with them. Now, I can’t write how you should or should not process your vocals, but I can give you some things to consider and think about. Balance Figuring out the relationship between the vocals and other instruments in the same frequency range is extremely important. Quintessentially, Hip-Hop is all about the relationship between the vocals and the drums. The number one contestant with the voice is the snare.

Finding a way to make both the vocals and the snare prominent without stepping on each other will make the rest of the mix fall nicely into place. In “1nce Again,” you’ll notice that the snare is a little louder than the vocals, and seems to be concentrated into the brighter area of the, while the vocals are just an inch down, and living more in the midrange. This was a conscious decision made in the mix. But mixes like Loungin’ have the vocals on par with the snare.

And Massive Attack has the vocals up — but it’s not really a snare, it’s a percussive instrument holding down the 2 and 4 that lives primarily in the lower-mid region. “Air” Hip-Hop vocals generally do not have much in the way of reverb.

There are primarily three reasons for this:. Rap vocals tend to move faster and hold more of a rhythmic function than sung vocals — long reverb tails can blur the rhythm and articulation. The idea of Hip-Hop is to be “up front and in your face,” whereas reverb tends to sink things back in the stereo field. Everyone else is mixing their vocals that way. Not a good reason, but kind of true. However, vocals usually do benefit from sense of 3-D sculpting, or “air.” around the vocals that make them more lively and vivid. Very short, wide, quiet reverb can really do the trick here.

Another good thing to try is using delay (echo), and pushing the delay way in the background, with a lot of high-end rolled off. This creates the sense of a very deep three dimensional space, which by contrast makes the vocal seem even more forward. Lastly, if you are in a good tracking situation, carefully bringing out the natural space of the tracking room can be a good way to get super dry vocals with a sense of air around them. Compression with a very slow attack, and relatively quick release, and a boost to the super-treble range can often bring out the natural air.

Shape & Consistency A little is often nice on vocals, just to sit them into a mix and add a little tone. On a sparse mix, a little dab’ll do ya. The most common mistake people make when processing vocals for Hip-Hop is over-compressing.

High levels of compression is really only beneficial to a mix when there is a lot of stuff fighting for sonic space. When you read about rapper’s vocals going through four compressors and really getting squeezed it’s probably because there are tons of things already going on in the mix, and the compression is necessary for the vocals to cut through. Or because it’s a stylistic choice to really crunch the vocals.

Filtering What’s going on around the voice is just as important to the vocals as the vocals themselves. Carefully picking what to get rid of to help the vocals along is very important. For example, most engineers high-pass filter almost everything except the kick and bass.

That clears up room for the low information. But often is overlooked.

Synths, even bass synths, can have a lot of high-end information that is just not necessary to the mix and leave the “air” range around the vocals feeling choked. A couple of well placed low-passes could very well bring your vocals to life. Also, back to the subject of high-passing, unless you are doing the heavy handed Bob Power thing, you really don’t need to be hard high-passing your vocals at 120 Hz. The human voice, male and female, has chest resonance that goes down to 80 Hz (and even under sometimes). Try a gentle high-pass filter at around 70 or 80 Hz to start with if you’re just clearing up the vocals.

Or maybe don’t high-pass at all Presence Deciding where the vocal lives frequency-wise is important. Mid-sounding, “telephonic” vocals can be cool at times, low-mid “warm” sounding vocals certainly have their place.

Commonly, the practice is to hype the natural presence of the vocals by getting rid of the “throat” tones and proximity buildup which generally live around the 250-600 Hz range (but don’t mix by numbers, listen, listen, listen). This in turn exaggerates the chest sound and head sound — particularly the sounds that form at the front of the mouth, tongue, and teeth — these are the tones that we use to pronounce our words and generally live in the upper midrange (2k-5k, no numbers, listen listen listen). In we discuss EQ techniques for getting the sound you want. Mixing Hip-Hop Course Want to take your Hip-Hop mixing skills to the next level? From Matthew Weiss includes 5+ hours of in-depth mix training, teaching you how to get the best possible sound out of all your mixes and productions. For a limited time, you’ll also get a free bonus. For a limited time, get 25% off by entering the code MHH25 at checkout.

@Heavy Flow Thanks for the kind words! Glad you find this article helpful. Ometrik First, G.

Ometrik is a really cool name. Ok, second – I certainly have thoughts on this. I caution against using the word “always” – because you’ll inevitably find a situation where boosting the highs makes the vocal worse. I would say that boosting the highs is not a one stop solution for improving clarity and getting vocals to cut.

Leaving proper space for the vocals in the mix is absolutely paramount for making the vocals cut. If the mix is dense, heavier compression may be necessary for getting the vocals through. Lastly, the way you boost the high end is of significant importance. In the digital world, high end boosting can cause signal degradation called aliasing that will blur your sound.

Thoughtful cuts to the lower mid range and compensating with a volume boost may be a better way to get your high end to come through better. Also, “clarity” tends to live in the lower treble and upper mid range – so boosting the highs might really just be a clever way of softly boosting that range, if the slope on the high shelf is gradual enough. Also, high end can come with a cost. A little “air” is always a nice thing – but sibilance and the perceived thinning of the low midrange are unattractive. In other words – a simple high boost can be part of the equation, but isn’t really the full picture.

Very cool, Mathew. I’ve been producing for a long time, and have always felt a tremendous amount of respect for you sound guys. I’m fortunate enough to have a friend of mine who’s been mixing for 10 + years, so obviously he gets all of my mix work. I’ve often find that it’s more of an art than a hard science. Secretly, I’d love to be able to have that sort of confidence behind the console, but always seem a bit more relaxed when I let a craftsman handle that portion of the production. Thanks again for the reply, and putting together this post. I haven’t used Samplitude for mixing, but if you can get vocals in there, then essentially you can use it to mix.

Generally I prefer a program where I can modify individual moments in a vocal performance. Aside from Pro Tools, there’s Logic, Cubase, Sonar, Digital Performer, Nuendo, but you can also mix in Acid, Fruity Loops, or Garage Band.

Whatever is in your price range, it’s more about what you do with it and how well you learn the program. As for taking you on as a student, I am truly flattered. I currently have an assistant – she’s a blessing. So that position is filled. However, if you attend a High School or a College, or a Vocational School with a Music department, I can be booked for classes and seminars. Wow, I seriously just bled all the ink out of my pen onto a piece of paper titled “notes”.

In retrospect, I should have just hit print. Anyhow, I am planning to use each and every step you recommended, even if it’s not for me, just to try it out, so thank you. I am currently using Cubase 6, and I am very confused but dedicated. I honestly record and hit buttons, so I could not tell you what i use, or how i use it, but I can tell you; I’m not satisfied.

Do you have a general setting you start with, or recommend, when using a compressor? I usually use the pre sets, built into the plug ins already installed, but I have no idea what they are doing in all honesty. My other question is, how can I make myself sound fuller?

A little back round so you understand better: I am recording primarily ontop of a instrumental already rendered into one track, usually an mp3 for competitions. I use a Rode NT1A mic, into a oktane preamp, and directly into cubase via usb interface. I apply a compressor to an fx channel, and bus both my main track, and my dub track through it with the bus volume at 0db. From there, I add one more fx tack, a slight reverb, and bus all channels through it trying to get the “it belongs there” sound. I recently becan to use the eq, which i also use a pre set, called “presence” which seems to make me brighter.

All in all, that would be it in a nut shell. I know I may be skipping huge steps, or doing things backwards any input would help, thank you for your time. Hey K, First, I am glad that you are taking notes and trying things for yourself.

Experimentation leads to better methods! And, not every technique fits everyone’s aesthetics.

If you know you are not satisfied with the sound you are getting that means that somewhere in the your mind’s ear you have an idea of what you want it to sound like – though it may be a bit hazy. Chase that sound. The NT1A mic and oktane preamp, while not bad mics by any stretch, are not the best in the world – so you are going to be a bit limited right from the gate – but with proper approach you should be able to get a decent sound. Mixing to a 2-track instrumental is a challenge, as you cannot effect the individual elements in order to make room for the vocals, so again you are a bit limited. Take the compressor off the master bus, and put a limiter on there, with the threshold set all the way to the top at 0db. You really just want it to catch any peaks that might result from adding vocals to an already limited 2-track.

Instead of putting reverb on everything – just put a little on the vocals, and try to find a reverb that seems to match tonally and rhythmically to the sound of the instrumental. This will give you a bit of that “it belongs there” without smudging and loss of punch. Compression settings on vocals – that’s a whole bag-o-worms.

It can help to have the compressor doing continuous gain reduction that sort of follows the rhythm of the vocal. Medium attack, medium release, moderate threshold, 3:1 ratio. But that’s total ball park. You’re going to have to experiment to get the right sound.

Wow again, I appreciate the timely response. I addded the limiter to the master out, moving the compressor to just the vocals. As for the tracks themselves, I have one, hosting the competition instrumental, one holding the main vocal, and one hosting the “dubs” or “adlibs”. When I read your response, i had the feeling 2 tracking vocals was a bad idea and maybe i should have more?

As for the compressor, I will continue to play with the settings untill I know what it’s doing. The reverb, I added it to just the vocals, to see if it’d compliment the instrumental any, and to be completely honest, i might have placed the mix in too low so it didnt make a whole lot of difference, shame on I. Ill keep trying to find the right balance.

I forgot to mention, I am using KRK rock it 5s to monitor and Shure SRH840 headphones. Since I am not involved in the instrumental making, do you see it better to mix with the KRKs or the SHUREs? Again, thank you so much for your input.

The base I’m stationed at has more frogs than people, and a zombie following in music production. With mixing you want to get as much individual control over elements as possible. I wouldn’t want to have to process the vocals all in a summed track, because the adlibs will probably sound best processed differently than the main vocal track. How many adlibs you do is up to your personal taste as an artist. I generally feel less is more, but for trap stuff or down south stuff I’ll hear 4, 5, 6, stacks of vocals.

So it depends what you like and want. For reverb, listen closely to the snare in your instrumental track – that will give away an audible reverb to match. Finding the right level is important, I usually don’t like the reverb on the vocals up too much – just a subtle hint.

It should be more about making it “feel” like a part of the track. With monitoring – I would say use both. Do most of your mixing on the KRKs, but switch to the Shure headphones.

Your mix should sound decent on both. Frogs tend to make for pretty poor comrades in my experience, but zombies are usually worse. Try not to let either bite you.

If you’re still having trouble, shoot me an mp3 of your track, and I’ll give it a listen. See if I can give you any specifics. Hi Tanch, First, keep reading the articles on here. There’s a lot of good ones. So, keep that site on deck. I like Gearslutz.com and Futureproducers.com as a source of shared info.

Also, check out “Pensados Place” – it’s a web series hosted by one of the best mixing engineers in the world – Dave Pensado. I’ve been tossing around the idea of doing some more in depth writings as well so be on the look out for that stuff. Product wise, I’ll say this – there’s a lot of stuff out there, and 90% of it is good. Any DAW can be used as a mixing platform. When I started, you pretty much used Pro Tools, or Digital Performer. Now, there’s Logic, Cubase, Nuendo, Sonar, Fruity Loops, Garage Band, Acid, Reaper – and they’re all good. I’d say go for Reaper – it’s 40$ and the functionality is incredible.

The learning curve on all these programs can be a little rough at first, but eventually you learn it and you get good. Plugin wise, start with the stock plugins – see how far that stuff can get you. You’ll figure out what you really need on the way. And if you have any questions, I’m always available as a resource, here, or at, my email being. Routing – I believe the MV8000 has an RBus I/O point.

It looks like a blue monitor connector. I believe you can use that as additional input points, which would allow you to skip the need for a mixer or a patchbay given your setup.

Double check the manual about that. I would skip the mixer. 2 line in from the Fantom, 2 line in from the Kurz, Bottle mic —- Behringer Tube —– line in on the MV8000. I would skip the compressor and mixer all together. The reason Behringer gets bashed is because most of their stuff doesn’t usually sound that good or it breaks easily. But regardless of that, the simplest signal path is often the best. I would use the compressor as an external processing unit, and probably sell the mixer.

I don’t think you have quite the amount of equipment necessary for a patchbay. I would mix and master the same way I would mix or master in any other setup – with my ears. The platform makes little difference. Again, I would try to be minimal. Use the best sounds you can from the get go – the better they sound to begin with, the easier the mix.

I would mix primarily on your KRKs, but I would switch to headphones just as another reference point to help get a mix that translates. I would master what you have at your finger tips now.

I would look into acoustic treatment, but outside of that you have everything you need to make a track. Ultimately it’s going to come down to your creativity and your skill – no matter what equipment you do or don’t have. If you need anything else, feel free to ask. First of all you are the man! Thank you so much for the timely response. I’m not at home so I will have to check that RBus solution later. I should have mentioned my recording/listening space is in a large basement (roughly 20 x 40 with 7 ft ceilings It has been treated with 2 roominator kits with priority given to the front and rear walls and the ceiling directly over the listening position.

I have also added a few homemade treatments of my own such as 4 – 3x3x1′ basstraps made from discarded couch cushins and the ever popular fast food drink holder wall treatment in a 8 ft strip across the ceiling front to back. This is placed over 1 inch of styrofoam.

The treatment is also on the side walls in a 4ft strip around the remainder of the roominator treatment. As far as using the compressor as an external processor – please explain.

Acapella Voice Box

You recomended discarding the mixer but since I sample from different sources (CD Tape MP3 and Live) on both the MV and the Fantom wouldnt it be easier/better to have all those sources on seperate mixer channels and use the tape outs of the mixer to the audio ins of the Fantom or the MV? I’m not being a smart a$$ I’m sincerly seeking your input.

That was actually the reason I asked about the patchbay because I get tired of hooking/unhooking sources to and from the Fantom and MV. I hope I’m not working your nerves but I’m usually the guy my circle of friends go to for info ( kind of like the one eyed man in the land of the blind ) so its good to have MY questions answered by someone with more knowledge and experience than myself. Hey matt sure you have heard it a million times great article, i’m new to home recording i’ve always been the mc now learning the listening game. I have a dbx preamp i feel the settings are ok have been checking articles all over for adequate settings because i work alone very hard to hear and change you know. Any setting suggestions? I also have it paired with the c214 what are your thoughts on that combo as far as quality. And everyone is using their own made beats im using non instrument tracks strictly left an right wav mp3s already made what are you suggestions to mix vocals an the beat?

Sorry for the book lol lastly i usually do main track a double and adlibs how do you go about beefing up the volume without clipping? Wowzers – lot of questions there! Ok, here we go.

Dbx preamp – I’m guessing it’s the 286A? I’m not a huge fan, but I would say, skip the compressor and just control your own dynamics through delivery.

The finer points of compressing vocals I would address in the mix. If your voice isn’t “essy”, I’d skip the de-esser. Maybe a.touch. from the enhancer would sound good – but go really light on it. Those things give immediate gratification, but ultimately screw up the sound when pushed. My qualm with things like the 286A is that they give you way more than what you need. Inline processing during the tracking phase is really best for people who are very experienced, not people who are buying their first preamp.

C214 – I’ve never used this mic. What the heck is a non instrument track strictly left right wav mp3?

Is it an instrumental or not? Is it a wav or an mp3? Mixing vocals to a 2-tracked beat. It totally depends on what the track and the vocal sounds like. But the first thing I would do is turn the track down about 10db.

Get your vocal to stand nice and clear, then re-limit everything up 9db at the end. Need to use a limiter though, you can’t just regain the overall volume. Beefing up vocals – that could be a book unto itself. A lot of times I skip the doubles. For slower raps a doubled track can be good, but for anything fast it usually blurs the main vocal too much. One cool trick for adding body, is copying the main take onto a separate track and running it through some heavy distortion. Then filter the distorted version with a lo-pass around 2khz, and a hi-pass around 200hz.

Blend that track in with the clean vocal take at 15db quieter than the main. Specifically for volume, it’s all about compressing the signal to where it thickens up heavily, and eq’ing the “presence” up.

Just gotta make sure you don’t overdo it on either of those points. Matthew said: “Mixing vocals to a 2-tracked beat. It totally depends on what the track and the vocal sounds like. But the first thing I would do is turn the track down about 10db. Get your vocal to stand nice and clear, then re-limit everything up 9db at the end. Need to use a limiter though, you can’t just regain the overall volume.” Could you expound more on relimiting at the end?

Voice Trap Download

What type of limiter do you suggest for this? Such as a Maxim limiter w/ pro tools? Won’t putting this on the master track cause compression/distortion of the sound?