¶ Creative De-Esser Techniques for Mixing Beyond Vocals
You've probably used a de-acetatame harsh S sounds on vocals . But what if we told you this tool can fix harsh cymbals and possibly even control kick drum boxiness ? Are we all underusing one of mixing's most powerful secret weapons ? Who knows ? You're listening to the Inside the Mix podcast with your host , mark Matthews .
Welcome to Inside the Mix , your go-to podcast for music creation and production . Whether you're crafting your first track or refining your mixing skills , join me each week for expert interviews , practical tutorials and insights to help you level up your music and smash it in the music industry . Let's dive in .
Hey folks , welcome back to Inside the Mix , or welcome if you are a new listener or watcher . Today I am joined again by my good friend from Watch it , tim Benson , aka Aisle9 . And we are answering a question from one of you folks how to use de-essers creatively . But before we dive into that , tim , how are you ? And welcome .
Thanks , de-essers creatively . But before we dive into that , uh , tim , how are you ? And welcome ? Um , thanks , yeah , I'm good . Thanks , yeah , I've been uh enjoying the uh lovely sunshine by the sea and uh not doing much music over the weekend , just uh barbecuing and seeing family .
So I'm pretty good , pretty rested yeah , you know what I'm jealous man ? Barbecues . I love a barbecue and not having a garden , I I routinely have to go to the beach to have a barbecue , which is not a bad thing to do , but you do have to travel there . So I'm jealous in that respect . But we are blessed that we live so close to the coast .
Indeed , we have this available to us Folks before we dive into this . So again , just to recap , we are talking about how to use DSs creatively . If you do have a question you'd like us to talk about , click the SpeakPipe link in the episode description to submit your questions and also share your social media handles or your website .
And if you're releasing anything as well you've got something coming up you can also stick that in there as well , and we will endeavor to answer or at least talk about your question on the podcast . And one lucky person each month will win a coffee voucher . So again , as I mentioned , we in this episode we're talking about the creative use of ds's .
So ideally , we're going to be discussing beyond vocals and we're breaking down how to this one plugin can fix problems and be used creatively . But I think it's probably quite important to chat about what a dsa is . So we are attenuating or we're we're controlling , we are simulant frequency .
So s is sounds , sounds which I find when I edit the podcast I get a lot of those sounds , basically trying to get rid of any snakes you could say in a recording . But that's what we're doing with ds's . But maybe it'd be quite interesting to start with the history behind ds's .
So we were discussing this before we started recording about what we or not necessarily myself , because I think I've always been , I guess , blessed that I've used DSs in plug-in format , so I've never actually had to daisy chain or side chain a compressor to an EQ to create a DS .
Have you had to do that yourself or have you just ever done it out of interest ?
Yeah , I have . Yeah , I mean so sort of . If you've got
¶ What Is a De-Esser? History, Function & How It Works
a you're in a more sort of old-school conventional studio with an analog compressor , you would some of them have got built-in filters in in in in them that you can switch in . I had one that had a built-in set of filters that you could switch in to the path of the EQ .
Or you could , as you say , you could sort of insert into the compressor an eq off your desk or an outboard eq and then essentially , yeah , you're , you sort of using the side chain on the compressor . You set the compressor to sort of be triggered by a certain frequency range . That's what you're trying to do when you're de-essing .
So you say to the compressor right , when , say , the sound's between 4k and 6k , when you get a lot of energy in this band above the threshold level that you set on your compressor , trigger the compressor . The compressor reduces the gay ads applies gain reduction to the signal when that goes over the threshold .
But you use your EQ to sort of key in that that frequency band so you might roll off all the bottom , roll off all the top and end up , you know , with a narrow band in the middle .
Yeah , because there's a multi-band compressor , isn't it right that is going into and then um no , so it's just a , it's not a multi-band .
So yeah , yeah , that's what I meant . Yeah , it's a , it's a broad band compressor .
It's a broad band compressor , yeah so I'm going into using .
That , of course , is different , because , which is relevant , I think , to this is because you're just using a broadband compressor . It will key the compressor but all that will happen is it will . It will affect all frequencies the same and it will just turn down the volume .
So you're singing along and you make an s sound and the overall volume of the vocal will just dip at that point and then come back up , so it won't actually selectively reduce the s sound .
In that instance , using the analog compressor and an eq , which is conventionally what I think they had to start off using in studios to do this , but as you said you could . You know there are . Then other options became available , like multiband compressors or like dynamic EQs and other things , and now we have so many options .
You know your standard de-essing plug-in in a DAW can do many things , a lot of which we don't even know what it's doing so .
We're not quite sure I was going to say that's the beauty , isn't it , of the plug-ins available to us now . I think years , decades ago , when they would have had to cobble all this together and think creatively of how they're going to control the siblings .
I mean , ultimately , if you have the studio time , you possibly go back and think about your mic choice and where you're recording the vocal to try , and yeah yeah , yeah , yeah . And then think , actually , you know what ?
I'm going to solve this now , rather than have to rely on um , cobbling together an eq and a compressor further down the line , but now like having these available to us and just the ability to actually , with an EQ sorry , with a de-esser plug-in , the ability to be able to just listen to the results , the attenuation of the sibilant sounds I can't remember what
it's called now Isolate , and in some way it changes in plug-ins .
I personally I use the iZotope De-esser plugin and you can switch between standard , which might not be the correct name for it , or classic I think it's called classic , which is like the easy version of using it , and then it goes into a more sort of like granular controls of De-essing , much like you said there about like there's a lot you can do with the
de-esser that you probably don't ever dig into . I certainly don't . I mean , when I was putting the notes together for this episode , I was thinking , actually , how creative am I with a de-esser ? Probably not that creative and I probably reach for other tools first . But I use the iZ , isotope de-esser , um and I put it and I I say it routinely .
I read online trying to look okay . Well , what are people doing with de-essers ? Are they putting them at the end of the signal chain of a vocal or they put them at the beginning ? I tend to put them at the beginning , but sometimes I also have them at the end as well .
Um , but then again I might switch around the other way , but I was interested in what your thoughts are . Generally , my thought process is , if I put it at the
¶ Where to Place a De-Esser in the Signal Chain
beginning , I'm attenuating the sibilant frequency , so I'm not then sending those frequencies or that frequency content , that sonic content , into the next plug-in in the chain , but others say differently and they'll put it at the end .
Which way around do you usually do , or does it depend ? I sometimes even do it on both , both ends actually . Yeah , that's what I was saying .
Yeah , um , particularly if you think , if you're going to sort of put a saturation plug-in in there because if you're going to put a saturation plug-in in you're going to increase the harmonic content you are likely to push up some of that sibilance in the in a vocal like with some saturation .
So you might want to then cut that a little bit , like with um , attenuate it with a de-esser on the end . Um , I like the waves de-esser . By the way , I like that one quite a lot and that seems good and I I use cubase has got an inbuilt one which I find quite good , and I use a T-Rex one as well , which I like .
But they yeah , I think all of mine are doing things in a fairly conventional sort of way . I think the Waze one gives me a few more options , sort of EQ wise sort of you know , to select the bands and stuff .
I mean now there's even AI , I think , coming into this , because of course you can imagine how AI could sort of recognize sibilance in a voice and actually , you know , remove it in a much more sort of , you know , exacting way , because it literally recognizes the s sounds within the vocal rather than , you know , it just being a sort of more eq based and volume
based sort of thing . But , um , yeah , I , I . I also find a really good tip , I think , is to ds your reverb returns . I was just going to ask you about I was just going to say I do I ds .
was just going to say I DS my reverb returns , Do you ?
do the same . I do indeed .
Yeah , I do , do that , yeah , I do do that Not always but if it's yeah , very subtly , very subtly , I do it . Yeah . What about delays ? I don't think I ever do it with a delay return .
Do I do it ? I don't think I have done with a delay that would suggest I never needed to . I guess it's probably an interesting idea because you could , you could need to at times . I mean , having said that , you might just sort of sometimes you sort of roll off the top of a delay or something , don't you ? So it becomes um darker as it goes away .
So , yeah , depends on the delay you're using , maybe on a very sort of open digital sounding delay , that's very sort of full frequency . On the repeats you might find it useful to ds so that the s sounds don't interrupt . But often they're at quite a low level , aren't they ? So it depends on the level I suppose in the mix .
Yeah , I was thinking then , because sometimes and I've never done this , but it's got me thinking actually I send a crash or something out to a delay just to get the thereafter and I'm thinking , actually , is there again ?
This goes back to what I said just now the the fact that I haven't used it on the delay probably suggests I don't need to , but I wonder if there is a cause for it there . But I think this goes back again to what I said earlier about re-recording the vocal if I've got a crash .
that is inherently like that sort of sound yeah , I would probably just choose a different sample choose a different crash unless it was like the the perfect one . Other than that , I'd probably get a different one if you're recording live drums .
I've used ds's before on live drums . I mean , I'm using them and this comes into something we'll probably touch on about like that . You're often using these things almost more like conventionally . Nowadays you probably use a dynamic eq to do this , this .
But you could use them and this was , I think I started doing this when I didn't really have a dynamic EQ plug-in . It just wasn't something I had . But I had a de-esser and you could use it to sort of reduce crashes in the overheads or sort of harshness in the overheads on a drum recording .
So if you've got overheads and you're getting sizzle from your cymbals , you could set the de-esser to just sort of reduce that a little bit , those frequencies that were annoying you . And you could do that with anything . As you said , I think , boxiness or harshness in a recording .
You can set your de-esser to kind of listen to that sort of part of the frequency spectrum and just basically duck it a little bit when it gets too loud .
Yeah , for intensive purposes . It's what you'd use a dynamic EQ for , isn't it ?
Yeah , that's the bottom line .
Yeah , go back right to the beginning , when I said could we use it for controlling boxiness in a kick drum ?
Yeah , or in acoustic guitars or that boxiness you get from the body or any acoustic instrument where you get that resonance , or like twang twang noises , I don't know why I clicked my tongue then , because that's not what it sounds like , but um , but you're probably going to reach for a dynamic eq .
Now this got me thinking , racking my brains again . It's just like if , if , if we've got , because you can get free dynamic eqs like the nova , nova eq uh is free to download and it's a dynamic eq . Why wouldn't we just go for a dynamic eq over a de-esser ?
Is it because , if we're using , does it come down to processing power and the colour Colour , quote unquote . When I say colour , I mean obviously , if we're using the plug-in , it's going to have some effect on the sound , not colour , as in warmth .
Yeah , it wasn't the fact that the TD Nova was blue and the de -esser was white , Although I say that , sometimes I have been put off using plug-ins purely on the basis that the GUI is not present , because the GUI is horrible yeah . I genuinely
¶ Using De-Essers on Instruments, Reverb & Delay Effects
yeah , yeah .
I'm just like I should probably look beyond the fact that this GUI looks bloody horrible and think , actually it sounds really good , but sometimes I can't .
Do you know , I opened a waves plug-in ovox the other day which has got I mean it looks really great on its gui . The trouble is , but I mean maybe other people understand that plug-in but every time I open it up it's bewildering in the number of things it can do . And it's meant to be a sort of vocoder but sort of it's way more complicated than that .
It can do all kinds's . Meant to be a sort of vocoder but sort of it's way more complicated than that . It can do all kinds of stuff . And I just nearly always give up because it's just just too complicated in the gui and um and I I just end up not being able to do what I want to do in it .
But like , here's a point to this in the sense of vocoding might be a good use for a ds .
So you , you think vocoding can make really quite sibilant sounds like kind of really push the harshness up , um , when you're doing vocoding so you could use a de-esser after that on a vocoder to reduce the sort of you know harshness and get a smoother sounding vocoder sound .
So there are quite a lot of things where you can use your de-esser to make an a better creative sound . You know a better sort of use of something .
Maybe in itself it's not creative , but , like we're saying , with reverbs , with coders , with all kinds of other things , like you know saturation , all sorts of things that you might be using creatively use a de-esser as well and you might get a slightly better result yeah , interesting what you mentioned about the vocoder .
I never thought with a vocoder , but going back to what you mentioned about interfaces , it kind of reminds me . It's a bit of a bit of a tangent here . It's like when you go into a restaurant and you get a menu , I find this , and then if there are so many things on that , it just takes me forever to choose what I want .
If I go to a restaurant and then there's a menu and it's got three starters , four mains , three desserts , I'm like , ah , easy , it's easy , I'm gonna find out why I want easy . Alternatively , I'm gonna decide actually , no , this isn't for me , and I can make a quick decision . Um , and I think that's .
That's the kind of the uh , the way I live my life with most things , I want it nice and simple and sometimes as well .
It's that sort of . I mean , the things that we go to . I think a lot in plugins are ones that are simple but sound good , quickly . They get you where you're trying to get quickly , without too many decisions and like I don't know I could change billions of . Sometimes you get like that .
I always remember behringer used to make some classic sort of hardware that had a billion options on it , like their compressor . They made a behringer composer compressor , which was a cheap compressor . Everyone had that um , and I'm sure people tell me they got amazing sounds out of it .
Every time I used it I gave up and just found my DBX one that had two buttons over , easy job done and sounded lovely . But the Behringer always sounded pretty shit , no matter what I did with it All the controls and all the extra bits .
So yeah , sometimes I really do go for the same as you simple and sometimes that one slider de-esser where you bring it down the threshold , the S sounds start going and job done .
That's the beauty of the iZotope one .
When you put it in classic mode , you've got the threshold and you drag it down and then it starts to attenuate those sibilant sounds and then obviously , like I said earlier , you can just flip it so you can just hear the sonics that are being attenuated , and just being able to do that that's all I wanted to do , and then I think , with logics , you can
sweep around , which is pretty useful . You can sweep around to find that particular frequency . That's that's sticking out . So those are the two key ones .
For me really is that is the threshold and then just being able to sweep around , if I , if I want to , to find those frequencies , because , like you mentioned earlier , but if I actually want to use it on a boxiness of a kick , I'm gonna have to go the other end of the uh , the frequency spectrum to find that in the low mids or what have you , rather
than the um , the high mids and whatnot .
And you , I guess you might want to use two um ds's .
You might want to use them sort of one after the other , so you use one to sort of catch a particular frequency and then one to catch a slightly higher frequency , maybe like in a vocal , where because vocals could be funny like that you can be catching the sort of like upper mids , and then there's sometimes , maybe in a female vocal , a really higher sort of
sibilance in the top sort of frequencies , so you might not just just be able to attenuate it all with one one de-esser .
I mean I I find as well , like backing vocals is a really good use for de-essers , because like I'm often put on a backing vocal group , like you have your group bus or whatever of backing vocals and I will essentially sort of compress them quite hard , the backing vocals , because you want them to sit behind the vocal , but then I might well ds them quite hard
, because there's nothing worse than when you've got Ten vocals all making an s sound at the same time and that that starts to really pop on mixes really badly .
Yeah , do you no-transcript channel for the backing vocals ? Yeah , yeah , that's the way I do it . Yeah , I was thinking there . I was working on the track the other day and there was some and it was quite prominent and now I was having to do that . Um , but changing tactics slightly . So we're talking about so so far we've been through .
Uh , obviously we've got vocals . We can use it on effect sends as well . So you talked about possibly on delays vocodas as well . Uh , boxing us in kick reverbs , possibly on delays Vocoders as well , boxiness in kick drums . So we can use it there we're sweeping around . Remember folks to find these ? Sizzle on cymbals ? Yeah , sizzle on cymbals as well .
String noise on an acoustic guitar . Yeah definitely Squeaks and things like that . All things you can use a dynamic EQ for if you wanted to , rather than using a de-esser , but pick whatever you want to use , ultimately mastering . I've never used a de-esser in mastering , have you ?
yes , you have very cautiously and sparingly , because you've got to be so careful , haven't you ?
You can really , you know , I mean , in mastering , I always think , like you know , if you're attenuating those sort of um , you've got some s sounds that are popping out in a , in a vocal , in a , in the final mix , um , ideally it's better to go back to the mix and sort them before the mastering stage .
You don't really want to have them in the mastering stage , but obviously some of the things you might be adding in the mastering might be bringing them out a bit more as well . If you're adding saturation , you're adding compression , you're adding limiting
¶ De-Esser vs Dynamic EQ: When to Use Each
. So , yes , a little bit of de-sing can just sort of help , but it's got to be really subtle so that you don't swallow the brightness and detail in the in the mix . Yeah , yeah , that's the key with mastering , isn't it ?
anything you do , ultimately your effect it's not just , whereas in a mix we can do it on an instrument or an instrument group , in mastering it's going to affect everything that is in that pocket . So yeah , I suppose again , it's probably where I'd use dynamic EQ . But to be honest with you , I don't use dynamic EQ much either .
It's not something I often use .
I don't use it very much on mastering . Certainly I'm sort of wary of it a little bit sometimes on the bass end I find like a low shelf yeah like a low shelf . That again you've got to be careful if something gets too dynamic that that could be bad news on your , if your thing is constantly moving on sort of high or low frequency , and master isn't it .
But little bits can help . I was going to say what about in mixing , though , Just going back to the mixing phase , because I think it's important to talk about dynamic EQ as well . Do you use it much in mixing ? Again , it's not something I often use . If I do use it , it's generally on a group rather than an individual instrument .
Yeah , I started using it a lot more . I would have said at one point that I never used it really , but I suppose the tools are there a lot more and almost any EQ you pick up , like Frequency , which is one built into Cubase or Pro-Q 3 or whatever . They all do the same thing now on the Nova one , don't they ? So you've got that option .
Um , I think I I definitely use it on things like um vocals , the sort of when you get that sort of uh , lower resonance when someone's coming a bit too close to the mic and they're getting proximity effects or you know the kind of low the low mids are getting sort of up and down a little bit .
I will maybe sort of set a dynamic eq on that to sort of reduce some of the resonance , so that I mean , I think you don't want to .
That's because you don't want to take all of that warmth away from the end of the vocal with eq , but you do want to attenuate it a little bit when the proximity effect kicks in , because it can start to sound too sort of boomy in the mix .
Yeah , I think that's where there's potential there . If you do the other way , which is to just use like a high pass filter or a low cut and then you remove it , but then you're removing that content that you probably want there in the vocal .
Possibly the warmth in the vocal . Yeah , it's going to sound a bit thin . Yeah , it's probably where I use it low mids a lot .
I mean , I think I don't tend to use it a lot in something like synth stuff , but then again you might sometimes find that I think a certain range , then again you might sometimes find that I think a certain range in a sound feels resonant and the overall balance of that sound sounds nice , but those resonances are creeping in every now and again .
So I find it useful to tame those . I mean , something like Soothe is very useful , like that , isn't it ? And I've used soothe a surprising amount recently .
Um , you know well , something like soothe , um , like a sort of similar kind of you know um , plug-in , but like those , those are , those are great , um , uh , but you have to be very careful because they can be very heavy-handed and I find that it's , uh , I use yeah , I use um , isotopes , uh , nectar , and it's got , uh , it's got unmask and it's got sculptor
and like you've got to be so , so careful with it .
I was using it on a mix quite a while ago and , um , I was using unmask and I was I was keying the vocal to , I think , I think it was the drums , and my light suddenly just got really bright in my eyes . I don't know what's going on , and I was , and then , and then I was like why is that snare sounds so weird ? Like everything ?
It was just it was sucking the life out the snare and at some point , for whatever reason I hadn't gone in and properly checked , but it was because I was using that , I was keying it to the vocal and every time the vocal was coming in it was just sucking the life out the snare .
So I learned the hard way when I , when I was using these , that you've got to be so . I think you've got to be very precise in what it is the frequency range that you're trying to attenuate or want to attenuate , and also the amount .
The amount , because it shouldn't be that much , really , really it shouldn't , it shouldn't be a huge amount I use track spacer quite a lot which is , I've heard , track spacer . I've not used it , but I've heard of it .
Um yeah , again like subtly is , that is the thing . But that is essentially using dynamic eq in a very similar way , um , to what we sort of talked about at the very beginning . Really , um , because it's just like a compression that's being sort of keyed by some other element in your , your dynamic um compression .
So you know , I mean like I'll have , I mean you can do it with like all kinds of things , but you might have like , uh , say you've got , I mean you could do it with a kick drum and a bass drum .
You could have it that every time the kick drum comes through it attenuates , but not the whole of the bass drum , but just certain frequencies yeah , yeah , they're like the fundamental of the kick . Yeah , yeah rather than maybe sort of side chaining , like as heavily as you might do otherwise , like just with a standard compressor .
But there again , I don't know , sometimes one works , sometimes the other works . Depends what you're aiming for , doesn't it ? So I , I definitely use it quite a lot that that plug-in , but like sparingly , yes .
I find that I think that is the key word there sparingly , I think anything like that . And then I've been using and trialling the Waves IDX plug-in , which is like some form of compression I'll do it to service , if I try and describe it , but it's very good . But again , you've got to be so subtle with it . I was using it on . What was I using it on ?
I think I was using it on a drum bus , I think , and I was listening to it and this might be my own ignorance and not saying it up correctly , because I'm still playing around with it . But I was just like why are my claps ? Why ? Because I'm still playing around with it . But I was just like why are my claps ?
Why is that clap pulling so far to the left ? And then I was listening . I was like why is it doing that ? And then you do that thing where you just disable plugins until you get to the root cause of what it is . And it was that and I couldn't figure out why .
Probably should have gone in soon and figure out why Somebody listening or watching this will probably be able to tell was doing that . Um , but it's another one of those , again like you get these , you get these . Fantastic this .
We're gonna find a proper tangent here yeah , yeah , no , I think you're right , um , but a lot of these things are using a similar sort of process . I think they're all you know from we .
We may have digressed a bit , but ds's , ds's and um sort of intelligent plugins , uh that abound now are sort of a lot of those are based in some way on dynamic processing , that sort of dynamic eq . And dynamic eq is some form of frequency conscious compression .
So you know , um , yeah , I think that's the thing you get with the dynamic eq , which might be better suited to whatever you're trying to do than just using a de-esser , is . You've got q width , so you can . You know , and I mean you may well have on some of them , you get attack and decay and release , sort of . You know , um , you get .
You get kind of more control over the sort of the envelope of the compressor , but it depends , some of them don't really give you that control , but like , yeah , so you're not going to get that on most DSs they're kind of preset , but that can be a good thing if what you're doing is DSing something and you don't want to sit there faffing with all that .
You just want to go . I want to get rid of the S sound .
This is it . This goes back to what we were saying earlier about the interface and thinking actually , I wanted to do this
¶ Subtle De-Essing Techniques & Final Mix Considerations
. I wanted it to be straightforward , I know what I want to do , so I'm going to go with that , rather than have to go to a dynamic EQ and then , as you , a lot of them . Now you've got your envelope controls , you've got you need to to set the queue and whatnot , rather , you know what .
Sorry , I'm just going to use ds and go down that route , um , but I think I think that's . That's 30 minutes . Now talking about ds's , which is , which is longer than I thought .
30 minutes too long , no yeah , which is longer than I thought we were going to get with ds's , uh .
So just to summarize , obviously again , I did this briefly just now we've got , obviously we can use it on vocals , but we've talked about vocodas as well . We've talked about taming the harshness of cymbals , boxiness and reverb sends delays . We briefly spoke about using it in mastering as well , but being very , very cautious with using it .
So hopefully , folks listening , there are some examples there , uh , that you can take away and possibly using your own .
Now , we haven't explicitly said how to use them in those scenarios , but maybe it's one of those ones where you think , okay , well , I'll give it a try and I'll experiment , which is it's an advice buffet , buffet , buffet , buffet , um , for you to take away . But before we finish this episode , any releases Tim .
Yeah , I have . I'm trying to decide its title still , but like it's either called Future no More or no Future no More . But like you know , there we go , which is a single which I'm going to be releasing at the end of the month , on Friday . Is it the 27th ? Is that what it is ?
I believe it is . It's the same as me . Yeah , yeah , 27th .
Yeah , so that'll be coming out , which is a bit of a departure from what I've been doing recently , in the sense that it's a vocal-based song , this one , whereas I've been doing a lot of instrumental synthwave recently . So you know that'll probably drive everyone into hiding who likes me , so you know . But no , it's good .
I have released quite a few vocal ones before , but I haven't released one for a while . So it's a track that I was doing a collab with someone and they kind of disappeared and the track never happened , and so I revisited it myself and sort of rewritten it . But like , yeah , so it's good to have that coming out .
So this should be out when you get to listen to this , hopefully it will be when this episode drops .
It will be the Tuesday after the 27th of June , so , audience listening , I'll put a link in the episode description , and I myself am also releasing a track on the 27th Dark Light , dark Light actually , it's all one word technically and that drops on the 27th . Dark Light , dark Light actually , it's all one word technically and that drops on the 27th as well .
I'm collaborating with a singer that I've worked with before called Indigo , so give that a spin , folks . Dystopian EDM with haunting melodic vocals and whatnot .
It's very haunting . It's cool With some trancy bits at the end . Yes , give that a spin . Thank you , mate .
I appreciate that . I appreciate that .
With Indigo Synthwave , isn't it yeah ?
Yes , I've done a couple songs with her in the past . Very , very good , so quick . The turnaround is ridiculously quick . It's very professional , so good .
I have to say , my track uses lots of de of dsing , actually , because my vocals were really s-y . Because my vocals , for some reason , are really s-y , um , so , uh , yeah , that that's a good use of dsr . I also didn't do my best vocal recording for one reason or another and I think I made it , you know , more s-y than it should have been .
So , um , yeah , and yeah , yeah . So I had to smooth it out with lots of DSs . So there we go , there we go .
What we should do is you should give the well , release , the stems for those listening to go and practice their DSing on your vocals .
You're not seeing my stems on this . They're terrible . Yeah , no , yeah yeah , so it came out all right in the end Nice .
And again , we'll put links to both tracks in the episode description . And whilst we're on that topic , folks , if you've got a song actually technically , yeah , if you've got a song . If you've got a question again I said this at the beginning that you would like us to discuss on the podcast , click the SpeakPipe link .
You don't need an account , you don't need a mic , we do . You need your phone , uh , but you don't need a special setup . It's just like sending an audio message record your question and we'll we'll have a chat about it on the podcast and give you a shout out . And you can also mention if you've got some release or something coming up .
And and if you do not want to use speak pop , you can just send me an email or dm me on instagram at inside the mix podcast . So until next time , folks , stay inspired , keep creating and don't be afraid to experiment inside the mix . Goodbye , Tim , I'll catch up with you soon , buddy .