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And movement can be damn near anything: harmonic movement like chord changes, key changes, and inversions are
essential for taking progressions to the next level. Harmonic movement comes in the composition stage. Today we’ll be
focusing on production movement, or all the additional life you can add through the production, mixing, and arrangement
environment. In other words, this is what your DAW was built to do.
Introducing movement into your music isn’t a single decision like choosing a kick drum or determining the key of your song.
Music is dynamic by definition, and movement is the arm of dynamics. At every stage in your production, you should be
asking yourself “What am I working with?” and “How can this change?” Whether that’s a warm synth pad, a hi-hat track, a
lead vocal, or even an entire section of your song, you can give it life and energy through change. Doing so will work
wonders in improving the professionalism of your tracks, and infuse your music with the energy and excitement it deserves.
Along these lines, movement is really just code for automation. Working in the digital domain we have the ability to find
and sculpt advanced parameter changes over time. Automation is available in every DAW because it’s automation that
makes our music sound alive.
The Six Most Important E ects to Automate
In the production environment, it’s easy to set levels and never touch them again. Sometimes that’s okay – like honing in on
the volume of your kick as an anchor for your other tracks. But there are some elements in a mix that are practically begging
to be automated. In fact, if you don’t automate these six parameters, chances are your mix isn’t up to professional
standards.
1. Volume
This is #1 for a reason. It is the most widely used and powerful automation move at our disposal. It’s common practice for
mixing engineers with analog desks to “ride the faders”, which means adjusting the levels of individual tracks as the song
moves through sections. When working in a DAW, it’s important to use a gain/utility plugin to adjust the volume of your
track, leaving the faders free for setting the initial level. Otherwise, the main volume control will bounce all over the
place and make it nearly impossible to change the relative balance between instruments.
“Getting the relative volume levels of each instrument correct is a more important task than EQing. New producers often prefer
a sound after it’s been EQed and in many cases, it’s only because the levels have changed.” – Porter Robinson
2. EQ
EQ – Since EQ is really just a volume control for specific frequencies, it should make sense on this list. Filtering with high-
pass/low-pass EQ can do wonders to make space in a mix, especially for low/mid-range elements. Try filtering out the lows
over the course of a build, and bringing them back in once the drop hits. The reverse effect (filtering out the high
frequencies) makes a sound feel farther away, which you can use to pull sounds back in the mix for transitions and builds. A
filtering plugin like RC-20 Retro Color is great for coloration and analog vibe, and you can use the F6 EQ from Waves and
the Wavefactory Trackspacer as dynamic EQs to pull down on clashing frequencies in response to other tracks. Short of
those plugins, any standard DAW’s stock EQ will do the trick.
3. Saturation
Saturation is king. It’s the ultimate mixing tool for making a digital signal sound warm, rich, and full. Saturation does so
much to improve a sound that you might be tempted to set it once and leave it. And sure, that won’t hurt. But think about all
the possibilities for automating saturation: you can bring in subtle warmth through the course of a verse. Or hit that second
drop at a higher drive setting. You could automate the Dry/Wet to change the mood during an outro, taking it from fully
clean to mangled and distorted. Automating the drive amount will change the character of the distortion, while the dry/wet
(or mix amount) will affect how much saturation is present. Both have their benefits: but think about the growl you would
get from twisting that drive knob while your synth grows in energy during a build. That type of attention to detail will give
your music an expressive edge over someone who sets a plugin and forgets about it.
4. Delay
Delay is the Ferrari of effects. It’s a thrill to crank up and has a ton of horsepower to give your mix energy, but it’s easy to get
trigger happy and irresponsible with it. Delay is NOT a “set-it-and-forget-it” effect. Shorter, slap-back style delays with low
feedback can work as an always-on way to thicken your sound or add space, but anything with more than one repeat should
be automated swell in between phrases, and then get out of the way once the lead comes back in. Automating the feedback
is a sure-fire way to draw attention to the delay, which can useful for dubbed out breakdowns. Vintage, tape-modeled
delays have a characteristic pitch-shifting sound when the delay time is adjusted, and in combination with the feedback and
mix levels, there are some spaced-out, psychedelic sounds at your fingertips through a little automation. The PrimalTap and
EchoBoy from Soundtoys are automation goldmines. Here are the keys: remember, you drive the delay, it doesn’t drive you.
Experiment and have fun.
5. Reverb
5. Reverb
Reverb – Like delay, the most common mistake with reverb is simply cranking it too high until it washes out the mix. Resist
the urge to dime the send level on every track. Automating the mix will put your sounds closer or further back in the space,
and can be useful during transitions or as swells between phrases. Automating the decay times and pre-delays will change
the character of your space. This is best in subtle doses, a hair below the noticeable threshold.
1. Velocity
When working with MIDI, there are only three parameters to consider:timing, pitch, and velocity. Velocity determines how
loud the note plays, and it has a HUGE effect on the character of the sound. The original name for the piano was the
pianoforte because it could play both soft (piano) and loud (forte). In other words: it has velocity sensitivity, where it’s
predecessor the harpsichord did not. In that sense, the piano is objectively a more expressive and dynamic instrument. If
volume automation is the #1 effect to automate, velocity automation is the #1 MIDI parameter for the same reason. I can’t
say this any other way: editing the velocity of your MIDI to get the feeling you’re after is an absolute must.
4. Layering
When producers start layering, their songs come alive. In fact, we have an entire week dedicated to layering in the
Masterclass. For those already layering sounds, or looking to get started, there are some ways to apply these automation
and movement philosophies to your stacked tracks. First, not all layers need to hit at once. In fact, it’s more effective to add
layers to the more important parts of your track to increase the power of those sections when they hit. It’s also possible to
have a big, full sound that feels static. Stacked sounds need movement too, so try filter automation on individual layers to
carve away conflicting frequencies while creating motion and space in the mix.
3. Use Curves
Real life isn’t linear. Neither is convincing automation. By using automation curves, you have more fine tuning over the
speed and feel of your changes. To create an automation curve in Ableton, hold Alt while dragging the automation line. In
Logic, hold Shift + Control to achieve the same result.
5. Snap Automation
For those times you want slightly less organic movement, you’re able to snap automation points to the grid to get exactly
the changes you need, synced in-time with your tune. Using snap automation along with the copy and paste functions will
allow you to create rhythmic gate and stutter effects quickly and easily.
A Call to Action
Creating a song that feels alive and full of movement comes down to details. Velocity edits, filter movement, stereo width,
riding the faders (figuratively speaking – it’s worth repeating that you should be using a gain plugin for volume automation)
… These subtle changes add up to create a mix that’s energetic and dynamic in the right ways. There’s a concept every
producer learns after some time; it’s better to make several small moves than one overblown gesture.
Automation in music is simply too important to overlook. You know how important writing a chord progression is for your
composition? It’s inseparable. You wouldn’t have a song without it. That’s how important automation is to the mixing and
production stage. You wouldn’t have a mix without it. You would have something, but it would be a long ways away from
what it could be. The automation stage of production is also one of the most fun. It’s where you can experiment, get hands
on, and bring your track to life. So I’m asking you this: for your next production, schedule 45 minutes to focus on automation.
You’ll have more fun, and I think you’ll be surprised at just how much your song comes together in that session. Any favorite
automation tips of your own? Sound off in the comments! We’d love to hear.