Fig. 1

Using templates when recording makes a big difference in streamlining your workflow, and will leave you more time to get creative.

Hello and welcome to another Dojo! This time I’d like to focus on the benefits of using templates in your recording and mixing process. I’ll also show you some ways in which you can increase your productivity by using customized templates for your particular workflow regardless of what DAW(s) you use. Whether you’re recording a live band or a solo artist, you can create templates that include the necessary tracks, processing, and routing setups to meet your unique requirements. Tighten up, the Dojo is now open.

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Note the ability to make pinpoint-precise fixes in both Ozone's Izotope Dynamic EQ (Fig. 1— top) and Fab Filter's Q3 (Fig. 2 — bottom).

Want to surgically fix that "ice pick in the forehead tone?" Check into dynamic EQ.

Greetings everyone, and welcome to another Dojo installment. For my next two columns, we're going to be examining the differences between using a dynamic EQ or a multiband compressor. This month, I'm going to discuss the benefits of using a dynamic EQ in your recordings.

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How to use an indispensable DAW tool to focus tracks, find space in a mix, create vintage-style sounds, and more.

Hello everyone, and welcome to another Recording Dojo installment. You may recall that back in November 2020 I introduced you to the mighty HPF (high-pass filter) and how to employ its power. This time, I'm going to focus on the other side of the spectrum: the LPF (low-pass filter). A DAW's LPF does exactly what its name implies: It allows low-frequency information to pass and attenuates the high frequencies. Strategic use of an LPF can really help clean up your recordings and mixes by allowing you to control where and how much high-frequency information you want—especially on groups of tracks where there might be a lot of high-frequency overlap.

Like its cousin the HPF, the LPF also has many of the same parameters and controls—most importantly, the slope of the filter. The slope of the filter is represented by dBs per octave, and the higher the value, the steeper the slope. Typically ranges include -12 dB to -48 dB per octave, but sometimes higher values can be really effective, as we will see.

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