Check the low end in context
Give bass and kick clear musical roles before making large low-frequency changes.
Read the noteTHE FAT BERRY DSP BLOG
Studio notes.
Less faff. Better sound.
Practical recording, mixing, mastering, and sound-design studio notes written by Rory Browne. Each note focuses on one Fat Berry DSP instrument or effect, with practical routing, source choices and creative workflows. Treat suggested settings as starting points for your own material.
Follow the RSS feed ↗Balance the chorus before processing
Use faders and arrangement context to identify the problem before choosing a processor.
Read the noteGain-match before deciding
A small level difference can distract from the change you intended to hear.
Read the noteShusssh: keep the consonant, calm the sting
Use Shusssh on an individual vocal to control distracting sibilance while keeping the words and the singer's delivery clear.
Read the noteMastering Tape Suite: choose the tape behaviour before adding drive
Use tape speed, formula and operating level to shape a drum group, a sustained instrument or a complete mix with a clear purpose.
Read the noteFinish Him: keep the groove while choosing the final level
Choose a limiter engine around the material, then balance gain, ceiling and recovery against the musical impact you want to preserve.
Read the noteThe G: make compression move with the part
Use attack, release and detector filtering to give drums, keys or a mix group a deliberate dynamic shape.
Read the noteCapital Punishment: choose a circuit for the instrument
Use five saturation characters to develop bass, drums and texture layers, with Tone and Mix shaping how the colour joins the source.
Read the noteInflated Ego: build density without losing the phrase
Use Effect and Curve to make bass, drums or an electronic layer feel more present, then compare the musical envelope at matched level.
Read the noteValence: focus an extra colour layer around the source
Use the valve path and its focused parallel return to add body, edge or movement while keeping the instrument's role clear.
Read the noteJuice: place the burn where the instrument needs it
Use Juice's three Burn controls and character sections to shape drums, bass and keys, keeping Flow distinct from a wet/dry blend.
Read the noteSummation: choose a colour for a group, then keep its balance
Compare three summing-circuit engines on drums, keys or a complete mix, with Drive and Transformer doing distinct colour work.
Read the noteApe Tape: separate tape drive from transport character
Use Ape Tape on drums or sustained instruments by choosing speed, tone and movement before balancing its processed return.
Read the noteBerry Console: build a track from gate to output
Use Berry Console's fixed channel-strip order to solve spill, tonal balance and dynamics on drums, vocals or rhythmic instruments.
Read the noteLunch Box: choose a compressor around the envelope
Compare Lunch Box's compressor engines on a picked instrument or a drum layer, using detector controls and Mix for different musical jobs.
Read the noteBand Practice: make EQ moves that answer an arrangement problem
Use Band Practice's static bands and channel choices to shape bass, vocals, guitars or stereo groups with a clear listening reference.
Read the noteTransient: separate the hit from what follows it
Use Attack and Sustain to reshape drums, picked bass or rhythmic guitar without inventing extra threshold and timing controls.
Read the noteEnd Times: distribute limiting pressure without erasing the accents
Use Gain, Character, Transient and Clip to shape a dense drum-led mix or an electronic group before its final true-peak ceiling.
Read the noteFandango: arrange the pitch and delay voices around the phrase
Use Fandango's two pitch voices, two delays and patch routing to build doubles, harmonies and answering textures.
Read the noteEndless Mistakes: decide what the repeats should remember
Use Loop, MultiHead or Studio delay with routing, pitch behaviour and ducking chosen around the instrument and the gaps in its phrase.
Read the note