ABSTRACT
Phase alignment directly combats the spectral damage caused by comb filtering, and complements the collective precision of transient energy. Gates are far less accurate at removing hiss/noise byproducts than waveform edits. With the bass, which features a single performance, it obviously makes sense to batch edit the collective tracks, applying the same control-group region removal, then fades. The mix process can be made a lot easier by separating performance sections with significantly different dynamics or timbre onto different tracks. High-standard drum sample libraries provide access to well-tuned, top-quality drum kits in world class studios, with multi-velocity hits expertly captured and processed through classic mic-pres, compressors, and EQ units. An effective kick sample for this style of production is typically low in pitch, with dense but controlled low frequencies, further emphasized through often heavily attenuated low-mids. Tuning uniformity is especially vital to the success of a reinforcing tom sample. Mix groups also make polarity reversal of composite sounds a lot easier.
