Sitemap - 2024 - Jamie's list
There are two ways to make something louder in the mix
MIDI velocity expressiveness approaches
Blackbird's useful attributes for a recording engineer
Listen to your work really loud sometimes
What does it mean to push harder into the master bus?
Three strategies for evening out an uneven bass guitar
On not taking no for an answer
Working with both bar and time rulers visible
Grouping tracks that go together
There are two kinds of artists in a time of crisis
On speaking your truth in a time of crisis
About that Substack "Here's $10" email
Centering play in your mixing practice
High-cut EQs: shelf vs LPF, normal vs linear phase
When choosing a vocal compressor, listen for the curves
Master bus limiter "lookahead": what's that *for*, anyway?
Fitting bass boosts around the bass notes
It's not a de-esser, it's a de-harsher
First, we chase sounds ... eventually, we chase feelings
Knowing when to stop is half the job
Everything you hear is controllable
The emotion will wear off, and that's okay
Help it be more of what it wants to be
Does it need more mixing, or does it need more production?
Help your bass sounds speak better with harmonic boosts
Does it need to take up more space?
Instead of a volume boost, kick on another reverb
Pairing a broad boost with a narrow cut
Instead of turning down the volume, try EQ
Saturation and compression for a dynamic vocal
It only has to sound good to you
ADHD hacks for music producers — Adam Sliger
Using pre and post EQs to fine-tune distortion processes
Find something weird and accentuate it
How to support Jamie's list: an FAQ
A place for everything, and everything in its place
Put the kick poke between the bass notes
Just because you notice something ...
The performance comes first (so don't over-automate)
Automation: clip gain vs. volume line
Encouragement for a beginning mixer
Only insecure people don't use presets
Four simple questions for focusing in on your EQ
Differentiating song sections: a coda
Is it a journey, or is it a place?
Working too quietly vs working too loud
Think of the sections of your song classically
Try a fast delay instead of reverb
A good trick for dialing in a high-frequency shelving EQ
Push frequencies into dynamic processes
Emotion first, technical details second
No EQ on the master bus = #goals
Try a limiter on your overheads
Only work loud when things are working well
Even a perfect recording won't make you a whole person
If plugins are weighing you down, hide them
A good trick to make chorus 2 pop
No matter what, make the vocal sound right
Practice with the goal of transformation: another angle
Practice with the goal of transformation
Backup strategies for musicians, advanced topics: Network Attached Storage (NAS)
Accumulated knowledge vs. beginner mind
Being aware of confirmation bias
Using a delay plugin to create a snare pocket
On making art for your living in an algorithmic world
Alex's advice for past Alex, part 2
Alex's advice for past Alex, part 1
Jean Baudrillard's stages of simulacra
Working with a fixed number of sounds
Target your low-end boosts as precisely as possible
If the sound isn't working, change it
Encouragement for an anxious beginner
Help; my mix is driving me nuts!
Instead of HPF/LPF, try shelves
Learn your body's signs — and don't ignore them
Positioning sounds in a mix, part III
Positioning sounds in a mix, part II
The interior decorator model of positioning audio
Plugin experimentation strategies
Sounds are louder in the center
A short conversation about reverb
Differentiate vocals with EQ pokes
A good starter master bus chain
Automate the compressor threshold on the lead vocal
I spent 12 hours working on a vocal sound
Set the drums a bit on top of the mix
What is a "boxy" snare sound, anyway?
To finish a mix, get distracted
Work on the things you're not working on
When love and skill work together, part 2
When love and skill work together
Modulate pitch to enhance emotion
How to measure LUFS (Integrated) for a song you're working on
Sends on the mains: advanced use cases
Aux tracks: what's the difference between routing to an aux and sending to an aux?
Using automation to create movement
What we can learn from old samplers
Automate as little as possible
Separate tracks for different sections
Mono vs stereo reverb on guitars
Undermining chorus 1 will not make chorus 2 sound cooler by comparison
Unmute the room mics at the chorus
How it sounds in the room doesn't matter
The top 2-5 dB of every sound is basically garbage
No contempt prior to investigation
Exporting from Ableton for mixing elsewhere
Exporting from Logic for mixing elsewhere
Dogmatism probably doesn't help
Substack's content-moderation problem
If you can't tell the difference, get rid of it
Using blind A/B to check your work
It doesn't have to be "finished"
"Treat everything as experimental"
An extremely nerdy post about 32-float