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Yes, vocals recorded with different mics in different studios do sound different, but big deal! Just EQ them to make them sound the same! Plus everything is processed so heavily anyway, with different reverbs, delays, doublers and other effects, that in the end you barely notice that the original sounds were slightly different.” Painted On “We were just travelling, and enjoying ourselves, and because I have worked like this for so long now, I can play a song that I have listened to for a long time on a pair of monitors I don’t know, and I’ll very quickly get a sense of what I hear. In every place we used different mics, different mic pres, different monitors, and while it may have appeared like a nightmare to bring all that together, the technology makes it easy to do that. Sometimes I was sitting on a sofa with headphones on, sometimes I’d be in a studio working on NS10s, sometimes I’d be in Abel’s spare room using whatever speakers were there. “In writing and producing material for his latest album, Abel and I were in so many different studios and locations, and we were travelling so much, that I did not have a solid reference point. In this day and age and in this music industry it’s all about taste, it’s all about the ideas. But none of that is valuable to me any more at this point. There was a time when I fantasised about hardware gear, about having this or that keyboard, or monitors with a specific crossover point, or whatever, and spent lots of money buying some pieces of hardware. Instead, I use whatever is available to me. I have an issue saying stuff about hardware, because I don’t want to trick people into thinking that I use this hardware for a specific reason. But it does not matter.”Īfter another pause, Montagnese unburdens himself fully. I used to use Genelecs, and I really like the Yamaha NS10s. I’m also happy to work with anything for monitors. I have two sets of headphones, but frankly, I don’t mind which I use. When I’m travelling I use the same laptop with a UAD Apollo Twin soundcard. What I use is this: a MacBook Pro, in my studio together with a PCI chassis with two UAD Octo Cards, and the Metric Halo ULN8 soundcard. This elicits a long pause, and the thoughtful reply: He’s also a man who’s happy to answer any question put to him - until I ask what hardware he uses in his studio and on the road.
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Photo: Keith RichardsonĮngineer, mixer and producer Carlo Montagnese likens his work with the Weeknd to painting - and he’s not afraid to use plenty of colour!Ĭarlo ‘Illangelo’ Montagnese is the musician, beatmaker, producer and mixer who has played a central part in propelling the Weeknd to worldwide fame. If you still feel your kick is not as aggressive / in your face as you would want it, the next step I would advise is to either put a slight touch of saturation in your kick chain to add harmonics which will give it even more grit and presence.Carlo ‘Illangelo’ Montagnese at work on his beloved Cubase. Adjust the threshold for a higher gain reduction about 6-8dB with the same release amount.
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If you want your kick to be even more in your face, I would increase the ratio to about 5:1-6:1 with a slightly lower attack at 3ms. The attack level could of course be higher depending on how prominent the “click” transients are, and how much you actually want to pass through the compression process.Īdjust the threshold to about 3-4dB of gain reduction and set the release to about 150-200ms. With this in mind, you want your attack value around 3-4ms on a ratio of 4:1. As mentioned earlier, you want to make sure your kick is the leader of the low end area, making sure it’s drawing the attention to give it the desired weight and presence to cut through your mix. Be careful tho with your compression on the kick in particular. Compression is your next best buddy when it comes to mixing kick and bass.