bass, and some chords, and then you quickly copy‑paste that so you can crack on with writing a song over it. By the time you’re done, you’re beginning to get a bit bored with the bare‑bones arrangement you’ve heard looped so many times,...
Although this new stereo guitar presentation certainly helped the chorus make an impact, and allowed me to fade the guitars up reasonably high with little danger to vocal intelligibility, a side–effect of it was that the clean bass guitar at the centre of the panorama now felt incongruously p...
Despite the improvement, it felt like something was missing. But rather than snip and warp the life out of the guitar part I tried a favourite trick: I added a stealthy tambourine part. Let me explain... The initial mixes had spread this guitar across the sound stage with two opposite-pa...
As with most mixing decisions, it helps to have some idea of the demands of the style before coming to any firm conclusion, and fortunately the band had provided me with a handful of commercial productions for reference purposes, much as they had done for the mix contest. The main one was...
(through the Fender and Vox amp models in Softube’s Vintage Amp Room plug-in), as well as editing together some additional layers (primarily the ‘fake’ double-track which balances the guitar texture’s stereo image during the solo sections and a few sustained chords copied from the verse...
I chopped up the audio part so that only the first eighth‑note chord in each bar was sounding. I tidied up the timing of each of these chords, then added an eighth‑note delay with plenty of feedback, the idea being to create a tight rhythmic part with enough movement to drive th...