
You can fine-tune families of instruments by boosting their volume with this handy technique.
Welcome to another Dojo! This month, I’d like to show you the benefits of creating and using VCAs (Voltage Controlled Amplifiers) when mixing, for added control and nuance. Tighten up your belts. The Dojo is now open.
Diving right in, what is a VCA? Think of it as a glorified volume-only control that uses voltage to adjust the amount of a signal’s/track’s volume when routed to its output.
Say you want to easily adjust the overall volume of your drum tracks within your mix. Perhaps you have several drum-loop tracks, drum machine soft synths with MIDI sequence tracks, and a full drum kit with multiple mics spread over multiple tracks (you know, a typical session). Or you might want to combine (sum) four individual rhythm-guitar track outputs into one VCA and be able to control the overall volume of all four from one channel. You can create a single VCA channel for all the drum tracks, another VCA for the rhythm-guitar parts, and then assign the outputs of those grouped tracks to their dedicated VCAs. Now, you can globally tweak the overall volume of all your drum tracks and all your rhythm guitars in your mix without changing the routing, plug-in levels, or effects sends, or the panning of any other tracks or groups.
The benefits of using VCAs really emerge after a mix has come together. For example, you might need to make an “all guitars up” version of the mix, or a “drums down 2 dB” version, etc. You may even want to automate volume rides in certain sections of a song—particular licks and fills, or even solos. You can also do this with vocals, background vocals, synths, etc.
Following the hypothetical example above, I’m going to show you how to create a VCA within Pro Tools and assign it to tracks of your choosing. Remember, every DAW has its own idiosyncratic way of creating and setting up a VCA channel, so be sure to consult your help section and/or read your instruction manual. Key commands may differ, but the process is essentially the same.
Fig. 1
Fig. 2
First, group (Cmd+G) all the tracks you want to be assigned to a VCA and name that group. I’ve named my group “DRUMS” [Fig.1]. Now, I’m going to create a VCA. Cmd+Shift+N, select VCA, and name it. I’ve named this “DRUMS” as well [Fig.2].
Fig. 3
Notice the new VCA channel and how there are no options for FX inserts, EQ, or panning [Fig. 3]? That’s exactly what we want, and it’s proof that we’ve set it up correctly.
Fig. 4
Finally, I’m going to assign my drums into a single VCA by clicking on the “no group” button and selecting “DRUMS” from the dropdown list [Fig.4]. That’s it!
Now you can rinse and repeat as many times as you like for as many instrument groups as you like. This is where VCAs really shine and can help you fine-tune specific volume relationships of instruments (and groups therein) within the fluid environment of a mix.
If you’re new to using VCAs, allow me to offer some suggestions that will help you get the most out of employing them. I use VCAs after I’ve shed proverbial blood, sweat, and tears obsessing over all aspects of the mix. Only after I feel like I’ve worked out a solid approach to EQ, compression, effects, parallel processing, outboard gear, aux busses, and all automation do I start using VCAs. On a self-judged scale of 0 to 10, my mix should be hitting about a 9. Then, I’ll typically fold all drum tracks into a single VCA, all bass (synth, stringed, etc.), all electric guitars (minus the solos), all synths and keys, all background vocals, and then group the lead vocal(s) and instrument solo(s) if appropriate. In this case, I have six VCAs to control the entire mix from a high level, and I can automate gain (volume) rides as needed to get that extra bit of focus and excitement out of the mix.
Next month, I’ll be guiding you through how to use aux busses to make your mixes better at an earlier stage.
Blessings and keep rockin’! Namaste.
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Be sure to locate your sample library where it can be quickly referenced on your DAW.
Improve your recordings using your own samples. Bryan Clark, house producer at Nashville’s Blackbird Studio, tells you how to take the final steps in building your own sample library.
Mastering the sample import process in your chosen DAW can significantly enhance your creativity and streamline your workflow. With a clear understanding of the tools and techniques available, you will be better equipped to bring your musical ideas to life and make your productions stand out.
This month, we finish up a three-part series on creating your own sample libraries. In this final installment, I’m going to give you the basic ways to import your samples into various popular DAWs. Each one has its unique workflow and user interface, but the fundamental process remains very similar. This Dojo guide will cover how to import samples into Ableton Live, LUNA, Logic Pro, Pro Tools, and Studio One.
Ableton Live
Steps to Import Samples
Drag and Drop: Simply locate the sample file in your computer’s file explorer, then drag and drop it directly into an audio track in the session or arrangement view.
Browser Window: Use Ableton’s built-in browser (on the left-hand side). Navigate to the sample’s location on your hard drive, then drag it into the workspace.
Create a Simpler or Sampler Instrument: Drag the sample into a MIDI track with Simpler or Sampler loaded. This allows you to trigger the sample using MIDI notes.
Tips: Use the warp feature for time-stretching and syncing samples to your project’s tempo.
Organize your samples into collections using the “Add Folder” option in the browser.
LUNA
Steps to Import Samples
Drag and Drop: Drag the sample from your file explorer directly into the timeline. Then hold the CTRL key down, click on the end of the loop, and drag it to the length it needs to be.
Browser/Workspace: Use the media browser to navigate to your sample’s location on your hard drive. Drag it into an audio track in your session.
Audio Track Import: Right-click on an empty area in the timeline or a track and select “Import Audio” to locate and add your sample.
Tips: Use LUNA’s built-in varispeed capabilities to match your sample to the session’s tempo.Logic Pro
Steps to Import Samples
Drag and Drop: Drag the sample from the Finder directly into an audio track in the workspace.
File Browser: Use the file browser (accessible via the media sidebar or “F” key) to locate and drag samples into the timeline.
Quick Sampler: Drag your sample onto a MIDI track with the Quick Sampler plugin loaded. This lets you play the sample chromatically.
Tips: Use Logic’s flex time feature to sync samples to your project’s tempo. Organize samples into Logic’s library for quick access.Pro Tools
Steps to Import Samples
Import Audio Dialog: Go to File > Import > Audio; then locate your sample and click “Convert” or “Add” to bring it into the session.
Drag and Drop: Drag the sample directly from your file explorer into an audio track.
Workspace Browser: Use the workspace (accessible via Window > New Workspace) to locate your sample. Drag it into your session.
Tips: Use the elastic audio feature for tempo matching and pitch adjustments.
Place your samples into playlists for efficient access during editing.
Studio One
Steps to Import Samples
Drag and Drop: Drag your sample directly from your file explorer into the timeline or browser.
Browser: Open Studio One’s browser (on the right-hand side), navigate to the folder containing your sample, and drag it into your project.
Sampler Track: Drag the sample onto a MIDI track, and use the Sample One sampler for additional manipulation.
Tips: Enable the “Stretch Audio Files to Song Tempo” option in the browser for automatic tempo synchronization. Create sample folders within Studio One’s browser for quick access.General Best Practices
Regardless of the DAW you use, it is important to maintain a smooth and efficient workflow. Organize your sample library with clear folder names and categories to make locating files easy (see last month’s installment for detailed strategies). Where possible, learn DAW-specific shortcuts for importing and editing samples to save time. Always check if your DAW offers a feature to sync the sample’s tempo to your project to ensure seamless integration. Finally, regularly back up your sample collection to avoid losing important audio files and preserve your creative assets! Seriously. Do it now.
Next month, we’re off to “console” land and I’ll be investigating console emulations (hype or not?), summing bus processors, and more to give you a more “studio” sound. Until then, blessings and namaste.
Stretching the boundaries of reverb’s realm through dynamic and pitch control.
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When the first Moog synthesizer appeared, it freaked out a lot of musicians—not least for the way it blurred the divisions between instruments and their roles. Was it percussion? A keyboard? A reed instrument? Many effects makers build from this philosophical foundation. The Latvian company Gamechanger often seems to revel in it—an attitude that’s manifest in the company’s Auto Series pedals, which includes the Auto Reverb.
There’s no reason you can’t use the Auto Reverb in a very straightforward fashion. The plate, spring, and hall settings are all very nice digital representations of their analog inspirations—and I’d be perfectly happy playing an instrumental surf set with the spring mode, for instance. But because you can control the parameters like the reverb’s level, decay, tone, and the filter with changes in pitch and dynamics, the Auto Reverb can function in highly orchestral ways, transforming itself from subtle to outlandish as a musical piece shifts in intensity or rises from low to high keys toward a blurred, hyper-spacious climax. While these attributes make the Auto Reverb a great fit for prepared guitar and conceptual pieces—and invites many themes and compositional ideas within those forms—it can just as easily be configured to create an especially dynamic and dramatic pop song arrangement on stage or in the studio that might otherwise be relegated to automations within a DAW. It’s fun to use, if not always intuitive. But knowing its ways can expand your musical options significantly.
Black Sabbath to Reunite for First Time in 20 Years—Ozzy Osbourne’s Final Performance
The original Sabbath lineup will reunite on July 5 in Birmingham, England, and be joined by Metallica, Pantera, Slayer, and more.
The concert will feature founding members Tony Iommi on guitar, bassist Geezer Butler, drummer Bill Ward, and singer Ozzy Osbourne. Profits from the show, called "Back to the Beginning," will be donated to charities including Cure Parkinson's.
On future Black Sabbath plans, Ozzy's wife, music manager, and TV personality Sharon Osbourne had this to say (via Reuters) about Ozzy: “While other bandmembers might continue to make records and perform, Black Sabbath's gig at the birthplace of the band will certainly be the 76-year-old's final performance.
"For Ozzy right now, it's definitely: 'I love you and good night'," she said.