0:00

Hey Inside the Mix podcast fans

0:02

, it's Matt Leffler-Schulman . Follow me

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or find out more information at Mobtown

0:06

Studios on Instagram . You are

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listening to Inside the Mix podcast .

0:11

Here's your host , mark Matthews . Hello

0:13

and welcome to the Inside the Mix podcast . I'm

0:16

Mark Matthews , your host , musician

0:18

, producer and mix and mastering engineer

0:20

. You've come to the right place if you want to know

0:22

more about your favorite synth music artists

0:24

, music

0:29

engineering and production , songwriting and the music industry . I've been writing , producing

0:31

, mixing and mastering music for over 15 years and I want to share what I've

0:33

learned with you . Hey

0:36

, folks , and welcome back to

0:38

the Inside the Mix podcast . As

0:40

always , new listeners , you are very much

0:42

welcome . Make sure you hit that follow

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button on your podcast player of choice and also

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subscribe and notify as well

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on YouTube so you get notified when there's a new episode

0:50

. And , as always , if you're a

0:52

returning listener , a huge , huge

0:55

welcome back Now in this episode . I'm

0:57

very excited today to welcome a

0:59

returning guest , my friend

1:02

VYLT Viola , a singapore

1:05

horror synth , dark synth , synth

1:07

metal music producer music

1:09

producer rather with a love for

1:11

witchy and occult vibes for a

1:13

producer kickstart strategy . We were talking off

1:15

air that we did this approximately

1:18

a year ago . We did one , so it was amazing and

1:20

it's almost three days

1:23

off , one year since we last spoke on

1:25

the podcast . Time really does fly , violet . How are

1:27

you today ? How are you ?

1:28

Hi hi , thank you so much for having me back

1:30

. I'm doing great . I'm

1:33

just pumped to be back on the podcast

1:35

. It's really been like a whole year

1:37

and it's kind of crazy to think about that . I know it's mad

1:39

isn't it ?

1:40

And I've been following your stuff

1:42

online as well and obviously you've had really

1:44

really good success with your music in

1:46

the streams . I noticed on one track , vibrancy , in particular

1:48

, which got in excess of 100,000 plays

1:51

, and the live shows as well , are really

1:53

really exciting .

1:54

Yeah , thanks in part to you , by the way , I should

1:56

mention because , for those who

1:58

don't know , mark here did

2:01

the mastering for my track . Vibrancy

2:03

is an amazing

2:05

job thank you very much .

2:06

Thank you for the shout out . It's a , it's

2:08

a great track , it really is , and um , it's

2:10

, it's . It's always nice to see good music

2:13

getting the exposure

2:15

and the streams that it deserves . So , yeah

2:18

, very much deserved so and it's also really

2:20

cool . We were once again talking off air of

2:22

how I'm finding

2:25

that . I'm talking to individuals who are finding the podcast

2:27

and then they're finding you as an artist as well , and we were

2:29

. We were discussing one chap in particular and

2:31

how he listened to episode 75

2:34

. So , audience , if you want to listen to the first episode , it's

2:36

episode 75 , how to mix bass frequencies

2:38

and he found uh , violet

2:41

v-o-i-l-t . Um through

2:43

that episode and a spot Spotify playlist . So it

2:45

just goes to show that it's quite nice that

2:47

you , coming on the podcast , you're then

2:49

reaching that audience as well , that sort of evergreen content

2:51

, which is really really cool yeah , honestly

2:54

thanks .

2:55

Because of Inside the Mix , I guess . So thank

2:57

you for listening .

3:00

You're very much welcome and also it

3:02

does help that your music is really really good as well . So , yeah , it's

3:04

been a year . You're very much welcome and also it does help that your music is really really good as

3:06

well . So , yeah , it's been a year . So we got you back on today for

3:08

a producer kickstart session and in the notes that

3:10

you sent over to me , you mentioned

3:12

about mixing low end , which I think is one

3:14

of those ones for artists and

3:17

music producers . It's

3:23

probably one of the most common pain points that I see in particular . But you mentioned about mixing

3:25

guitars in general is quite tricky

3:27

, so I've got some tips here

3:29

that I'm going to share with you today on mixing guitars , in particular

3:31

, with compression and EQ . But can

3:33

you just go through at

3:37

the moment ? So let's say you're mixing or producing a song

3:39

right now , what's the general sort of guitar

3:41

setup that you use ? Are you using more

3:43

than one guitar and are you using VSTs

3:45

or are you recording guitar through

3:48

a cab ? What is your current process

3:50

?

3:51

Oh gosh . So I've

3:54

changed my process a

3:56

lot . Like every song is

3:58

basically a completely different process Because

4:01

I'm constantly trying to search for like the

4:03

tone that I'm happy with , because

4:06

I don't come from a band

4:08

background so I don't have that much experience

4:11

with tone setting for guitars and

4:13

stuff . I came from primarily an

4:15

electronic music background . Let

4:19

me think I believe for Visions

4:22

use

4:24

, I record it directly out from

4:27

my amplifier . So I use a

4:29

Boss Katana Mark

4:31

II , I believe is what

4:33

it's called . So I just

4:35

like I play the amplifier out loud straight into

4:37

a condenser mic and

4:40

I just record the audio . That way I

4:43

run it through like a little bit of pedal stuff

4:45

, but not that much like a noise and

4:47

a distortion

4:49

, just for like slight boost before going into

4:52

the amplifier . That

4:54

was for Visions . For

4:56

my latest , I have a

4:59

track coming soon . It's the

5:01

remix of a friend's track . For

5:04

that one I actually opted

5:06

to direct my input

5:08

straight into my audio interface and then use a

5:10

guitar sim .

5:11

I was going to mention then about DIing

5:14

the guitar . So one of my first points

5:16

was going to be sort of like could you DI

5:18

the guitar and record it from the amp as well at the

5:20

same time ? But it sounds like you're doing it

5:22

one way or the other . I think that's always quite

5:25

a good thing to do is capture the di signal

5:27

, in particular with bass . I find I know bassists

5:29

do that a lot . Um , when

5:32

I've been in the studio with our bass guitar , so when I recorded

5:34

bass for some songs of my own last

5:36

year , we di'd the bass and then

5:38

we also had um we were recording the bass for a bass

5:40

cab as well . But that's always something to bear

5:42

in mind . If you've got the facility to do it , I

5:44

would recommend do it . It's just to capture the clean

5:47

signal of the guitar as well . If you can do it , if you can get like

5:49

a splitter going from

5:51

your guitar , obviously one would

5:53

go into your cab and then one , you've got the DI going

5:56

straight into your . It's been a while since

5:58

I've done it so

6:09

I might butchering that description , but basically you want to capture the di of the guitar

6:11

into your audio interface and then obviously you can record it going out through your cab as well . So I always

6:13

think that's a really good tip is to record both . That way you've got that clean signal and then you can if

6:15

you're not happy with the guitar tone that you've captured going through

6:17

the cab . You can do what you've done in your

6:19

second track , which is to then just use that

6:21

clean di and then use an amp . Sim just

6:23

give you , gives you extra possibilities if

6:25

that makes sense .

6:26

That is fascinating , because I've

6:29

never thought of that as an option

6:31

.

6:33

It's fairly simple . It's really easy

6:35

to do . You just need to get a splitter

6:37

.

6:39

Yeah and they're quite .

6:39

I'm thinking off the top of my head now it's been a while since

6:42

I've done it , but yeah , that's just a random

6:44

thought that just came into my head when you were talking

6:46

. But I think in terms of tips

6:48

with regards to mixing guitar . So

6:50

you say you're not really happy with the tone . I think when

6:53

I was playing guitar I was constantly

6:55

tweaking the tone of my guitar . I don't

6:57

think it ever particularly stayed

6:59

in one particular setting on my amp

7:01

. So

7:06

I don't think you're alone in that respect . But with regards to actual

7:08

mixing so in the notes I've got here you mentioned about that

7:10

you have a problem figuring out how

7:12

to mix the lows together without

7:14

losing punch in the guitars . I

7:16

think if you just get the

7:18

fundamentals of mixing down , I think that would just come

7:20

anyway with regards to not

7:24

losing the guitars in the mix . So , for example

7:26

, if you're looking at EQ , when you're EQing

7:29

a guitar , how do you start that particular

7:31

process ? Are you EQing

7:33

and removing unnecessary frequencies

7:36

, then compressing and then EQing again ? How does

7:38

that look in your mix at the moment ?

7:40

Oh , it's hell of messy

7:43

. Well , okay . So I think

7:45

the number one thing I immediately start off

7:47

is I just cut out the lows , Like

7:50

below , like okay

7:52

, I don't remember the exact number like maybe 150

7:55

or 200 and everything below that . I just take

7:57

it out , and

7:59

then I

8:01

tend to approach EQ

8:04

from a very like not

8:06

standardized way where

8:09

sometimes . Sometimes I try like

8:11

scooping out mids a little

8:13

bit to see how that sounds , and sometimes I actually boost

8:15

mids to see how that sounds in the whole

8:18

mix itself . Um , and

8:21

then after that I

8:23

don't really use a compressor because

8:25

, like for me , I run my guitar when

8:27

I di , at least I run it

8:29

through a distortion pedal , and

8:32

then I think I ran it through

8:34

a compression pedal , um , or

8:37

and , and then it went di

8:39

, so like it was a very like compressed signal

8:41

already it was like zero

8:43

, zero dynamics

8:45

yes , I , I

8:48

get what you're saying now .

8:48

So I think you're doing the right thing with the eq

8:51

in rolling off the low end . My I

8:53

always say this to people as well when you're doing that , obviously

8:56

you want to do it in the context of the mix and also

8:58

make sure you're not using too steep a slope

9:00

as well . I've seen some mixes

9:02

and and heard sort

9:05

of reports of where the slopes

9:07

. The slopes rather sort of like 24 db

9:09

, I think . If you want to have like a nice gradual

9:11

slope of something like 6 db like a first

9:14

order slope , because what can happen

9:16

is if it's too steep you can

9:18

get sort of resonant bumps around

9:20

that cutoff point , and obviously the more of those

9:22

you have then it's going to introduce

9:24

anomalies into your track . So I would be wary

9:27

of that . And the other one as well is the other

9:29

side . So you've you , you can think of it

9:31

like a band pass . You've got your high pass filter

9:33

. Are you doing anything in terms of low

9:35

passing sort of , let's say , around sort

9:38

of eight , the eight kilohertz range

9:40

? Are you doing anything around there ?

9:42

uh , not at all . Um , I

9:44

usually like I I reduce

9:46

the shelf maybe if I find that the highs are

9:48

too like screeching

9:51

and things like that , um , but usually

9:53

I let the highs sit . Um

9:55

, I think , yeah , because , like

9:58

for my music , I

10:00

have a lot of things going on and like the lows

10:02

and the mids so I try

10:04

to find space in the higher high-mid

10:06

area for the guitar to sit . So

10:09

that usually leads me to just let

10:11

the highs just kind of shrill out .

10:14

I see what you're saying , yeah , it does make sense

10:16

. And I think when you're looking at sort of like 5

10:18

to 8 kilohertz that's

10:21

the range where your guitars are going to cut through

10:23

the mix and

10:29

then below that , in the mid-range , you've got the sort of presence frequencies , sort of like one to five

10:31

kilohertz . But right , I had this . I had a conversation with a mastering engineer the other day and they

10:33

mentioned a very valid point , which it

10:36

might be quite a sweeping statement , which was whereby when

10:38

you're recording a uh through

10:40

a cab , there is a natural

10:43

band pass filter going

10:45

on there . You're not , it's not producing frequencies

10:48

higher than then

10:51

sort of like 10 , 12k that

10:54

an amp sim would produce . So I

10:56

saw a really good tutorial online a few

10:58

years back where this guy mentioned it and he's like , yeah , basically

11:00

just band pass . Obviously

11:02

you want to do it in the context of the mix again

11:05

, but you'll get a much more natural

11:07

sounding guitar sound .

11:08

I don't know if that's ever something you've ever considered yeah

11:10

, no , not that you mentioned it , I think , actually

11:12

I think you're . I

11:14

think I didn't put a low

11:17

pass filter for the di guitar

11:20

. I didn't do it for the cab sim guitar

11:22

, so that actually um lines

11:24

up exactly with what you're saying yeah

11:27

, yeah , it's an interesting one , um , because

11:29

I never thought of it that way .

11:30

It's just something I naturally do anyway , when it

11:32

comes to mixing , I'm thinking , right , okay , well , I'm

11:34

going to go through and I'm just going to remove

11:36

or attenuate frequencies I don't

11:39

necessarily need , and it's great to hear that you're not automatically

11:41

reaching for a high

11:44

or low pass filter . You're actually using the , the

11:46

um , the shelves , the low and

11:48

high shelves , um , which

11:50

is a good thing to hear , because sometimes that's all you need . You don't

11:52

necessarily want to remove all that information , you

11:54

just want to duck it down by three or four db

11:56

rather than get rid of it altogether . So it's good

11:59

to hear that you're using those and not automatically

12:01

going through all the uh for the sort of

12:03

high and low pass filtering . So that's a good

12:05

thing .

12:06

I think I actually got that from you one

12:08

year ago .

12:09

Oh , amazing .

12:10

Yeah , that was something you mentioned to me that kind of stuck with

12:12

me of like you don't need to always high

12:15

pass all the lows out , you can just low

12:17

shelf it and just leave a little bit of information

12:20

there .

12:20

Yeah , 100% , because , again

12:23

, conversations this

12:25

is the great thing about the podcast . I have conversations with these other engineers and they're

12:27

like , yeah , that information , specifically in mastering

12:30

, if it's not there , then like you can't

12:32

boost what isn't there , essentially , if

12:34

you want to . So yeah , it's , it's

12:36

great , it's great that you're doing that . Um , so

12:39

, with regards to eq , it sounds like you're doing the

12:41

right things and , in particular , with the presence

12:44

frequencies in that mid range , and you're using that

12:46

to have your guitars cut through . With

12:49

regards to compression , now that's an interesting one , because

12:52

you're saying that , at the moment , you're compressing it as

12:54

it's coming in , which is fine , which

12:56

is fine , but I

12:58

think it'd be quite that's where , I guess , if

13:00

you were to record two signals , one that's not

13:02

compressed and one that is at least that

13:04

way , you've got the option , then , of

13:07

tailoring that compression in

13:09

the mix , if that makes sense oh yeah , no , I

13:11

do notice like when it runs through

13:13

the distortion pedal itself alone , I

13:15

don't really have much out to compress

13:17

anyway , because like the whole thing is just one fat

13:20

sausage and it's just like

13:22

.

13:23

You know , there's no such thing as dynamic

13:25

after that . Because , okay , I

13:27

, I'm gonna expose myself on , on , on

13:29

the , on the podcast . I don't know if this is controversial

13:31

I use a metal zone I

13:35

.

13:35

Metal zones are great . I used to use a metal zone

13:37

okay that's good years and years ago . Yeah , yeah

13:39

, um , I did use one , but many the

13:42

boss metal right , it's black , isn't ?

13:44

it , if I remember rightly . Yeah , I've

13:47

heard many things that it's been a very controversial figure in

13:49

the guitar scene .

13:52

I think it's one of those People

13:54

say there's certain equipment

13:56

that when you mention it you're

13:59

sort of reluctant to say you have it . There

14:01

are audio interfaces that are like the common

14:03

memes that you see online , like the common memes that you see online

14:05

like the Focusrite ones .

14:06

Oh , I've heard .

14:06

yes , but ultimately , if it does the job

14:08

you know , then use it Like

14:11

don't worry about what other people think , you know , just

14:13

go with it .

14:14

Oh man .

14:15

I love Boss pedals . I used to have quite

14:17

an extensive collection of Boss pedals . I had

14:19

the

14:21

NS2 Noisegate . I

14:23

had a few others as well , I can't remember . I had

14:25

the compressor , the Boss compressor pedal I

14:27

think it was like CP something or other , and

14:31

, yeah , the Metal Zone for a while , and then I moved

14:33

on . I got a PV6505

14:35

so I didn't need it anymore . Essentially still

14:39

a great pedal , though , but yeah , with compression

14:41

it sounds like if

14:43

you're running it through that distortion , that distortion , that distortion

14:45

pedal , sort of like doing it already for

14:47

you . It's kind of it sounds like it's limiting it for you

14:49

as well at the same time by absolutely

14:52

sort of slamming the signal

14:54

that you've got going in there yeah , it's

14:56

just like hard clipping everything , I think

14:59

but if it works for your sound and it's the

15:01

sound you want , then I don't see there's any

15:03

any problem with it , to be honest . But

15:05

what I would say is I would definitely

15:07

consider , like , if you're doing that , it's

15:09

just recording a clean di as well , I

15:12

would certainly , I would certainly do that , um

15:14

, and when you're recording , when you're recording

15:16

your guitars , are you just doing one guitar

15:20

? Are you doing like a left and right or you or you

15:22

, are you stacking ? Are you doing two lefts and two rights

15:24

?

15:25

um , yeah , I take like two

15:27

takes and then I uh , what

15:30

do you call it double track ? Yes yes

15:32

, yeah , I double track it . It's only two

15:34

okay

15:57

, that's fair .

15:57

Yeah , I mean we , we only we only quadruple

16:00

track , I think . I think that's the

16:02

one , because there were two guitarists . Essentially that's

16:04

that's the reason why we did it . But you

16:06

don't have to . I mean , left and right would be

16:08

fine . The EP I released last year I just did left

16:10

and right with me playing and

16:12

it worked fine . One thing I was going to say to you and

16:14

this is quite a cool little trick you could try is

16:17

, if you are double-tracking , your guitars

16:20

, pan left and right and

16:27

then send the signal from each of those left and right guitars to an auxiliary send with a

16:29

compressor on it and then have like 8

16:31

to 10 ratio

16:34

, sort of like 10 , 20 dB

16:36

of gain reduction on it , and

16:38

then have that left compressor

16:41

auxiliary send in the center and

16:43

then just have that underneath the left and right

16:45

guitars . It's uh , it's quite a cool trick

16:47

to do and it just means that your guitars sound

16:50

louder without actually being

16:52

louder , if that makes sense in the sense of

16:54

like it's one compressor

16:57

that's being acted on by both

16:59

signals but affecting both signals that's

17:01

correct . Yeah , so you've got your left and right

17:03

and then you've got your auxiliary

17:06

send with the compressor on it . Then you're sending

17:08

the left and right signal the same amount

17:10

to that compressor on that auxiliary

17:12

send in the center , and then you just

17:15

bring that in underneath and it's sort of like just

17:17

tucks in underneath the left

17:19

and right guitars and it just gives that sense

17:21

of the guitars being fuller and louder without

17:23

them , without you actually bringing up the volume

17:26

of the left and right guitars . It's quite a

17:28

cool little trick . Maybe you want to try out .

17:29

Would it be ? Because I'm imagining it

17:32

would have that sort of

17:34

thing where if , let's say

17:36

, the left side is louder than the

17:38

right side , would it bring the right side down too

17:40

much ?

17:42

Yeah , you'd want the same amount of signal

17:44

going from each of the guitars so

17:47

you could put it in . Trying

17:50

to think which way you would put it , you could put it in

17:52

pre-fade , because

17:54

are your ? Is your left left guitar louder

17:56

than the right guitar , is that ?

17:58

no , I mean it's supposed

18:00

to be the same but because , like sometimes I'll do like

18:02

sort of like um

18:04

chuggy rhythms that are like somewhat

18:07

not fully like the same , like it's

18:09

not always like I see chug strum

18:11

, chug , chug , strum . Maybe it's like I

18:14

I I might not perfectly do

18:16

the chug in one and the other one sounds like louder

18:18

kind of thing .

18:19

They're like those minor inconsistencies yeah

18:21

, I think , I think that'd be fine . I okay

18:24

, yeah , that wouldn't . You wouldn't notice that too much

18:26

, because I think if you're using a sort of eight ten

18:29

to one ratio on that , then

18:31

it's going to have an impact on

18:33

those transients and it

18:36

and also , because it's tucked in just

18:38

underneath , it's not going to be audible . Yeah

18:40

, I'm just thinking off the top of my head . I've never experienced

18:43

it whereby it has had a detrimental effect

18:45

on the other side . If that makes sense , I

18:48

think the best thing would be just to give it a try and

18:50

see what it sounds like . But I've used it to great effect

18:52

. I think it sounds great . I

18:54

mean , obviously , if you were to have a left and right

18:56

and the left was ridiculously

18:58

louder than the right , then it's going to have

19:00

a negative impact . But if it's just that subtle

19:03

variation in playing whereby it's just

19:05

a touch louder here and there , then

19:07

no , you're not going to notice that .

19:09

Right , I

19:14

think what I did for my latest upcoming release was that I had both sides

19:16

going into a bus that just

19:19

wave-shaped it . I don't know if it gets

19:21

a similar effect , because I really enjoy

19:23

using wave-shaping Okay it gets

19:25

a similar effect , because I really enjoy

19:27

using wave shaping . Okay , uh , which I probably should learn

19:29

to use compressors more , but , um

19:32

, so it all goes into one wave shaper . And

19:34

then , like I just I did this thing

19:36

, which I don't know if it's a cardinal sin or not

19:38

um , for each side

19:40

of the guitar , I

19:43

did reverse compression where

19:45

it would , uh , boost the

19:47

signal that was above a certain threshold

19:49

oh , expansion . So you

19:51

were using expansion on the guitars yeah

19:54

, I guess I yeah yes , yeah , yeah

19:56

, okay , that's interesting the

19:59

idea was that I wanted to emphasize

20:02

, um like certain , like

20:04

open strums compared to chugs , so

20:06

that it would give a more rhythmic sound , especially when

20:08

there was a lot of stuff happening

20:10

in the mix and it's not that easy to

20:12

make the guitars out and then having

20:15

those run through a clipper so that the

20:17

open strums would have almost like a different timbre

20:20

to the chugs or like a

20:22

more obvious difference in tomber

20:24

my first response would be like if it sounds

20:26

good , then do it .

20:28

If , if you get the , if you get , if the

20:30

effect that you get is what you want

20:32

, then there is no rule in my , in

20:34

my head . I mean , if you're using expansion

20:36

to do that and then you're running it through a clipper just

20:38

to to trim those peaks and you get the

20:40

sound you want , and it is

20:42

creatively changing the tombre of the

20:44

instrument as well , then I would continue

20:47

doing . It . Sounds like quite a cool trick . To be fair

20:49

, never considered it . I've never used an expand

20:51

, expansion or expander on the guitars , um

20:54

, but maybe it's something I'll get . I'll have

20:56

a look at going down in the future . There you go , audience

20:58

. Give that one a go . I've never considered it .

21:00

I I would , I would you know , place

21:03

a disclaimer on it , because I

21:06

is a thing where I have to manually

21:09

automate it to turn off whenever there

21:11

are long chugs or long strums

21:13

, so that it doesn't just randomly dip down

21:15

at some point in the strum .

21:17

Right , okay , so you've got to control it . It

21:19

sounds like it needs to be very much controlled .

21:22

I guess . So yeah , but I guess you're

21:24

right in the sense of there is always the golden rule

21:26

of if it sounds cool , it sounds cool yeah

21:29

, 100 you can often .

21:30

I often find that if I am mixing

21:33

something and then if I listen to it in

21:35

isolation and I'm like , oh , that sounds terrible . But

21:37

then in the mix I'm like actually it sounds quite good and

21:40

and it achieves the effect I want . And

21:42

it might be a slightly , um

21:44

, unhinged way of achieving

21:47

that effect , but if it works , then

21:49

just do it and then just continue doing it .

21:51

This is true , yeah .

21:52

That was always the way I've been told and that's

21:55

kind of what I preach on the podcast as well , and

21:57

for the most part it seems to work . I

22:01

realize , Violet , we're coming towards the end of this

22:03

producer kickstart , so

22:06

out of what we've been through today , what sort of actionable

22:09

steps do you think you'll take forward in your

22:11

next project ?

22:12

Yeah , definitely the splitting I'm going

22:14

to . I'm going to have to look into getting

22:16

a splitter because I

22:18

that's really never been an idea

22:21

in my head that I could do both at the same time , so

22:26

I'm definitely going to give that a try I

22:28

do . I am curious about , like

22:31

, the compression trick . It

22:34

sounds like I

22:37

don't know if the right term is glue compressing

22:39

.

22:39

Yeah , I suppose you could call it that in

22:41

a way , because it is kind of well

22:44

, it's definitely going to be gluing the two guitars together

22:46

and putting them in the same space

22:48

. I'll do something , some total tangent . Now I'll

22:50

do something similar with drums as well , whereby

22:53

I will have an auxiliary

22:55

send with , like , the

22:57

decapitator on it or some sort of saturation

22:59

, and then what I'll do is I'll

23:02

create it's almost like a

23:04

headphone mix for a recording

23:06

artist . I will send a

23:08

separate mix of the drums to that auxiliary

23:10

send , not all the same level , so I'm mixing again

23:13

into that auxiliary send and then

23:15

I'll use the decapitator on it just to add

23:17

a bit of for want of a better way of

23:19

putting it just punch and impact , basically for

23:21

drums . So it's not just guitars . You can

23:23

use that sort of trick on , I mean

23:25

, auxiliary sends . You can use on any instrument ultimately

23:27

. But again

23:29

, you could switch out the compressor for

23:32

something like a decapitator or saturation

23:34

or distortion , because in a

23:36

way they're kind of doing a similar thing . Now

23:39

, that's a sweeping statement , I'll probably get corrected

23:41

on that but in a way they are

23:44

sort of like slamming down on that signal and then

23:46

affecting that signal . So you

23:48

could try it . You could try compressors , saturation

23:50

, distortion , other tips , the wave wave

23:52

shaper element that you , you mentioned there as well

23:55

, but that's cool . The splitter will be good . It'd

23:57

be interesting to see . Um , let me know how

23:59

that goes when you , if , you , if and when you do implement

24:01

it and and how you get on

24:04

. So give yourself a bit of a shout out now . Where

24:06

can our audience find you online

24:08

? Where's the best place to go ? And also , have you got any key

24:10

dates , any releases coming up as well ?

24:13

Well , I'm so glad you asked , so

24:17

you can find all my links at

24:19

linktreecom slash

24:21

VYLT music no caps , no spaces

24:23

. You

24:25

can find me on Instagram at VYLT

24:27

underscore music . That's where I think

24:29

I'm most active

24:33

. I

24:36

think my most upcoming thing is

24:38

going to be on the 23rd of March , so

24:40

it's not too far off .

24:42

Cool .

24:44

It is a remix of a track done

24:46

by Falling Islands . I'm

24:48

not sure if you're familiar .

24:50

No , no , tell me more .

24:51

He's a really , really

24:53

talented producer from Singapore

24:55

as well , and

24:58

actually we're in the same because I'm in my

25:00

university's electronic club

25:02

. It's called Electronic Music Lab and

25:04

so Falling Islands islands . He's a

25:07

an assistant tutor at that club . So

25:09

, yeah , we , we . I

25:11

got a chance to work with him for

25:13

a remix of one of his tracks , um

25:15

manifesto . So it's

25:18

from his netwalker ep and

25:20

it's gonna be the . He's releasing a

25:22

whole remix EP of everything

25:25

from that EP , like remixed

25:28

by a really cool Singaporean artist , coming

25:31

out on the 23rd of March . So I'm

25:33

very excited . I'm so excited

25:35

for that .

25:37

I will put links to your link tree and

25:39

also that track as well , because this episode is going to go out

25:41

post that release date . So , audience

25:44

listening . You'll be able to click on the link in

25:46

the episode description and not only follow

25:49

VYLT Violet Online but also

25:51

check out that remix as well . So do

25:53

go and do that . And before

25:56

you go , folks , if you want to

25:58

be like my friend here at VYLT

26:00

and become a producer , kickstart , participant

26:02

, just click on the link in the episode

26:05

description . Or you can go to

26:07

the website , insidethemixpodcastpodiacom

26:11

, which will soon be changing to insidethemixpodcastcom

26:13

, because I have bought the domain for that

26:15

and I need to set the website up . And

26:17

so , yes , get signed up and join me on

26:19

the show . It's been an absolute pleasure to speak to you almost

26:22

a year to the day that

26:24

we last spoke , which is amazing . So

26:27

, yes , violet , good luck with the release and also

26:29

mixing guitars as well , and I will catch up with you soon .