3. Hip-hop compositions like a construction set are pretty often assembled from separate samples. They can be drum loops, some instrumental loops and other sounds from different sample libraries. It partly simplifies the task of studio of professional mixing. But be careful – what sounded perfectly on its own can require some updating in the context of a mix to elaborate a certain sound plan and not to conflict with key elements of a song. The other side of the same coin is the track assembled from the sounds of diverse sources. It can actually sound like a sample set, but not like a single music piece. The art of an mixing engineer is to give them cohesion and form up a splendid mix from a “construction set”. Each part of this mix strictly completes its task.
4. A little more about vocal. As stated before, to “drown” vocal in fat reverberation and to put it on the background isn’t encouraged when mixing rap music. It doesn’t mean that the voice is left completely dry – more often is short delay with enough feedback used or at least short reverberation. Vocal compression is also aimed at putting it at most forward. A palmary example although it isn’t the only right is preset Pensado RAP Squash 12 dB of the compressor RComp by Waves. When attack time is quite short and Ratio = 50 is maximum, the compressor works just like a limiter by cutting all peaks hard and giving powerful excitation to the sound. I know from my personal experience that only Renaissance compressor has a specific sound in this mode which perfectly suits aggressive vocal compression. Experiments with other kinds of compressors were far less successful.
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