Tag: mixing

Basics of Mixing – 10.1 Modulation Effects (Part 1)

Hi everyone! This is Jooyoung Kim, a mixing engineer and music producer.

Today, I want to talk about modulation effects, which are often overlooked during mixing.

(These concepts are based on my book Basics of Mixing, published in Korea.)

What are Modulation Effects?

In simple terms, modulation effects involve changing certain parameters over time.

Do you frequently use modulation effects when composing or mixing?

Do you ever have tools like these but rarely touch them?

I believe modulation effects, along with reverb and delay, are crucial in determining the quality of a track. However, even if you understand the theory behind these effects, you might hesitate to use them if you’re unfamiliar with how they sound in practice.

That’s why I encourage you to experiment with modulation effects regularly, even if it feels forced at first.

Types of Modulation Effects

Let’s break down some common modulation effects:

  1. Tremolo
  2. Vibrato
  3. Flanger
  4. Phaser
  5. Chorus

Before diving into these, we need to discuss two foundational concepts: the All-Pass Filter and the Comb Filtering Effect.

All-Pass Filter

An all-pass filter allows all frequencies to pass through unchanged. But why would we use such a filter?

The answer lies in phase.

When a signal passes through an all-pass filter, the phase shifts depending on the frequency. Combining this filtered signal with the original creates unique sounds due to constructive and destructive interference at different frequencies.

For more details on phase and interference, check out “Basics of Mixing – 2.2 Phase and Interference.”

Comb Filtering Effect

The comb filtering effect occurs when an original signal is combined with a delayed version of itself. This results in a frequency response that looks like the teeth of a comb.

It’s easy to understand this concept through simple experiments.

When every frequency in a signal is delayed by the same amount, some frequencies cancel out (destructive interference), while others amplify (constructive interference). This creates the characteristic comb-like frequency response.

Effects like flanger, phaser, and chorus are built on these principles of phase manipulation.

That’s all for now! In the next post, I’ll delve deeper into each modulation effect.

See you next time! 😊

Sonnox Drum Gate & Envolution Plugin Sale (~10/27)

Hello, I’m Jooyoung Kim, an audio engineer and music producer.

Today, I’d like to introduce a few Sonnox plugins that are currently on sale. The products were provided by Plugin Boutique as NFR (Not for Resale) versions.

Let’s dive right in!

Sonnox Drum Gate

Click Image to buy Sonnox Drum Gate plug-in at Plugin Boutique

(Purchasing through the link above and below will earn me a small commission, which greatly helps support this blog!)

Sonnox Drum Gate is a gate plugin specifically designed for drums. On the left side, you can set the threshold like a typical gate using the Open Threshold. For kicks, snares, and toms, the Match Transients feature on the right allows for more precise separation.

When working with real drum recordings, it’s often better to avoid using a gate due to various issues. However, if you plan to use one, I can confidently recommend this plugin as it’s very well-made.

This plugin isn’t just a simple gate. Instead of a traditional release control, it offers a frequency-based delay adjustment, and you can boost the transient levels using the Leveller. The Leveller feature also allows you to set a Loud Target and Soft Target, enabling you to manage dynamic ranges effectively.

I tested it on some live-recorded drum tracks, and it did a great job isolating them. It seems particularly useful for handling tracks with heavy bleed.

Moreover, the MIDI Out feature allows you to extract MIDI from drum tracks with great grooves. This could be quite helpful for those learning to program drum MIDI.

Sonnox Envolution

Click Image to buy Sonnox Envolution plug-in at Plugin Boutique

There are many plugins that adjust envelopes, but Sonnox’s Envolution, even after nearly 10 years since its release, remains one of the most powerful and highly recommended plugins.

It’s intuitive and easy to use. The oscilloscope shows what adjustments you’ve made, and it produces exactly the sound you’re expecting. It’s one of the best transient-focused plugins out there.

As for the parameters, the upper section controls the transients, while the lower section manages the sustain. Additionally, if you click on FREQ on the left:

You’ll see options for Tilt EQ or Parametric EQ, allowing you to EQ the sound precisely.

The Warmth knob on the right is simply a harmonic generator… haha.

This month, if you make a purchase from Plugin Boutique, you’ll receive either Air Music Technology’s Solina virtual instrument or Zynaptiq’s Orange Vocoder Nano for free. Both plugins are excellent, so if you’re considering any plugin purchase this month, I recommend checking out Plugin Boutique.

See you in the next post~:)

Basics of Mixing – 9.1 Harmonics and Saturation

Hello, I’m Jooyoung Kim, an audio engineer and music producer.

Today, I’d like to talk about two crucial aspects of sound: harmonics and coloration. As audio engineers, we know from experience—and from measurements—that the audio signal changes when it passes through hardware or plugins.

For example, why do sounds processed through vacuum tubes and tape machines end up so different from each other?

It’s a topic worth considering for anyone involved in sound production: how exactly does the signal change, and why?

Of course, if it sounds good, that’s all that matters. But if we take that approach, we could say the same for EQs and compressors—if it sounds good, it’s good enough, right?

That said, this chapter will focus on explaining the devices that introduce coloration to sound.

When an analog audio signal passes through analog devices, harmonics are generated due to the non-linear behavior of these devices.

OP Amp
Vacuum Tubes

For example, when components like transistors (such as OP Amps) or vacuum tubes are part of the circuit, they create non-linear responses in the output, which results in harmonic distortion.

Legendary Marinair Transformer used in Neve Hardware (Photo from AMS Neve)

If you’re a fan of hardware, you’ve probably heard the term “transformer.” When you insert a transformer like the one shown above at the input or output stage of hardware, it creates non-linearities that result in harmonics.

This is why different components alter the character of a device, and why those who modify gear often swap out transformers, tubes, or transistors!

Why do non-linear behaviors generate harmonics? We could explain this through Fourier analysis, but I’ll spare you the math to keep things interesting.

(If you’re curious, look up non-linear systems and functions.)

Harmonics

If you’ve studied music, you might recall learning about harmonics and harmonic series in class. Generally speaking, even-order harmonics sound more harmonious and pleasant, while odd-order harmonics tend to create dissonance and can sound harsher.

So, if a device emphasizes odd-order harmonics, it will sound sharper. On the other hand, if it emphasizes even-order harmonics, it will blend more smoothly into the mix.

Now, are there analog devices that exclusively boost even or odd harmonics? Not really.

UA 1176LN Legacy Plugin that boosts only odd harmonics

As shown above, you’ll find this kind of control in plugins, but not in analog hardware.

Additionally, because of non-linear responses, the levels of second, third, fourth, and other harmonics also vary in non-linear ways.

So how should we understand these devices? Do vacuum tubes and transistors have unique characteristics?

We’ll continue exploring these questions in the next post.

My New Book, “The Basics of Mixing,” is Now Published in Korea!

Hello! I’m Jooyoung Kim, an audio engineer and music producer.

I’m excited to announce that the book I’ve been working on for quite some time about mixing has finally been published in Korea!

Find About The Basics of Mixing

Since I first started diving into audio engineering head-on, I’ve gone through countless books and resources. One of the biggest frustrations I encountered was the lack of educational materials available in Korean. As I continued my studies, I made a promise to myself that I’d one day write a book on mixing.

After finishing the manuscript, I sent it to several publishers, but many found the content to be too complex. While navigating those hurdles, I discovered the POD (Print on Demand) service offered by Kyobo Bookstore in Korea, which allowed me to publish the book online. Although it’s a bit limiting, the book can now be purchased through Kyobo’s website.

I’m deeply grateful to my mentor, Director Yongsoo Choi, and Professor Minho Jang from my university, for reviewing my manuscript. I’m also honored that the renowned engineer, Director Jongpil Koo from Klang Studio, read the book and wrote a recommendation for it. There are so many people to thank for their support and encouragement throughout this process.

To be clear, I’m not claiming to be an expert or someone with an extraordinary career. But I’ve worked hard to organize and share everything I know in the most comprehensive way possible. While the content isn’t exactly easy, I believe it’s worth the effort.

Since this blog is mostly in English, I know most of you won’t be able to read the book. However, if you have any questions about its content, feel free to reach out to me at joe1346@naver.com, and I’ll be happy to respond.

That’s all for today’s post. Thanks for reading!