LITTLE CRICKET

Plug-in Order: A Real-World Example

Here's an example of how I might order the plug-ins on a typical channel strip.

Let's talk about how the order of your plug-ins can (but doesn't always) affect the ultimate sound of your tracks.

Depending on the specific plug-ins and their specific parameters, their order on the strip can make a difference.

What a Little Cricket Session Looks (and Sounds) Like Right before I Record Vocals

Here’s what I accomplished throughout the week and a little bit about how and why I planned my week this way.

I try to do something music-related every day.

A bus is almost exactly what it sounds like. It’s the vehicle by which a producer’s audio “travels” from one track to another.

You can always add your effects plug-ins directly to your tracks, but there are a few reasons it sometimes makes more sense to use a send.

But the auxiliary jack doesn't produce anything. It simply relays the signal it receives from something else, like an mp3 player.

I decided to revisit the mix over the past few weeks.

Just like sound, light can be broken down into 3 core "dimensions."

Creative people tend to thrive on spontaneity. This makes for good art, but poor time management can be a huge barrier to productivity.

About 80% of a mix's overall sound (levels and tone) will emerge in the first 20% of the total time I spend on that mix. The last 80% of...

I like to spend the second hour of the mix adjusting the tone of my tracks.

So you've finished recording your tracks, and it's time to get down to mixing. What do you do first?

The bass has a way of gluing the other elements together, mediating the rhythm and the melody, and telling the song where to go.

I wanted to give a brief example of how to use them properly in a real-life mixing scenario.

This is the reality of bedroom production. Composing and producing are two very different tasks, and they don’t always get along.

I've found that there are generally 2 main ways I use automation in a mix.