In Phase Studio

In Phase Studio Recording & mixing studio located in the peaceful Bedfordshire countryside. Friendly and professiona Welcome to In Phase Studio! Thanks

My name's Dan and this is my private studio which I built from scratch in 2016, away from the hustle and bustle in the Bedfordshire countryside. My love affair with music began aged 11 when I started playing the drums. Since then I have gained experience playing in rock bands, gospel bands, function and pit bands, as well as teaching. As an A-level student my passion began to move towards sound wo

rk and I was privileged to be accepted to study a BSc in Audio Engineering at SAE Institute, London. Here I was lucky enough to get the opportunity to work with top-end equipment including several SSL and Neve consoles. Since studying at SAE, I have worked on various projects ranging from recording, mixing and mastering music to working in post-production (foley, ADR, effects…) and mixing in 5.1. I am a creative and patient person who takes pride in my work and will always strive to capture and produce the best sound possible. I always try to work closely with the artist in order to get a good understanding of exactly what it is they are after so I can find the most effective way to achieve their vision. Please check out www.inphasestudio.com for more information and hopefully it will answer most of your queries. However, if you have any further questions, please don't hesitate to get in touch and I'll be sure to get back to you as soon as I can.

Dealing with less than ideal acoustic guitars?Too boomy? Don’t cut through enough? Too muddy?Here’s how you can avoid so...
08/02/2021

Dealing with less than ideal acoustic guitars?

Too boomy? Don’t cut through enough? Too muddy?

Here’s how you can avoid some of these issues and help it hold it’s place in a mix while competing with other instruments.

The first thing I did was take out pretty much all of the low end, removing any occasional hint of boom through the guitarist naturally moving.

Next up was, taming any muddiness that may have come through, and because there’s bass, kick and the meat of the snare all around 150 - 200hz and below, I really didn’t need it occupying much of that range either, especially seeing as it was sat alongside an electric guitar for the warmth...

The next thing to help it cut through a bit more was boosting some of the high mids around 5k for some presence and to get the sound of the strings come through a little more.

Cutting the lows naturally gives the top end more emphasis but in context with everything else, I just needed a bit more from it.

The LA2A is there for its character and to help smooth things out a little – only a few dB with of reduction, nothing major.

The multiband compressor is just in place to keep any slightly pokey areas around the 5 – 6k region from where it was previously boosted if it got a little toooo ‘stringy’ at all.

The result was an acoustic guitar that had a clearer and slightly more ‘percussive’ sound to it from the strings which fit nicely and appropriately in place alongside the rest of the arrangement without interfering with everything else.

Having trouble EQ’ing vocals?Obviously, everyone is different – male, female, 20’s, 60’s, tenor, soprano – and they’re a...
05/02/2021

Having trouble EQ’ing vocals?

Obviously, everyone is different – male, female, 20’s, 60’s, tenor, soprano – and they’re all going to respond differently to different frequencies, but some broad strokes here and there can help you shape your vocal part to something closer to what you’re after…

Here’s how I processed this female vocal part for this particular song…

79hz HPF - Any low rumbles, shuffling, floor noise, unused frequencies etc were pretty much entirely removed.

257Hz – Boosted, medium bell to bring out the fundamental frequencies and add more ‘warmth’, but not so much to reach that ‘boxy’ range.

771hz – A sharp, surgical cut to remove any whistle tone and to ‘clean up’.

2.1k – Fairly broad boost around this frequency range to help bring out a bit of ‘bite’ and the aggression from some of the consonants

4.9k – A small boost here as well, for a little more presence and to bring her voice more ‘forward’.

9.1k – High shelf, so little for some ‘sparkle’ and ‘air’, it’s probably barely noticed.

These are just my EQ moves for a specific performance, BUT, you can still use this as a guideline to help your vocal parts warm up, appear fuller, smooth out, appear less nasal, add a bit of shine etc.

Let us know how you get on!

Good luck folks! 😁👍

5 tips for mixing with reverb1 – Use multipleJust because you have one instrument, doesn’t necessarily mean you only nee...
05/02/2021

5 tips for mixing with reverb

1 – Use multiple

Just because you have one instrument, doesn’t necessarily mean you only need one reverb for it. Try using a couple, either at the same time, or automate different ones for different sections of the song… It can help bring elements appear closer or further away depending on what and how much you use.

2 – Make use of the pre-delay parameter

The ‘pre-delay’ essentially delays when the reverb is coming in. This can help manipulate or emphasize size and distance but is also brilliant for helping you keep the attack and attitude from the vocal (for example) because it doesn’t come in immediately and therefore doesn’t wash over or become too intrusive to the part it’s applied to.

3 – Know the different types

Not all reverb is the same, they’re created in different ways and give different feels depending on what you reach for. If you want a big, lush sound, you may want to go for a hall reverb. Something more natural? - Go for a room. Something typically less ‘warm’ more ‘metallic’? Try reaching for a plate or spring instead…

4 – Time them

Timing your reverb to the tempo of the track can help promote the feel. Having it disappear slightly late and going past the next beat can sometimes make it appear slightly washy, or positively speaking, it can help blend. Having it end fractionally early can emphasize the rhythm and draw more attention to it.

5 – Sidechain compress

This can be a great way to still have a lovely reverb on your track, but not let it get in the way. You can have a long decay and the compression will duck it down while your singer is singing, but when the end of the phrase or line etc comes, the reverb lifts back up in all its glory to add the size and space desired. Be careful to time it well though, it can quite easily sound too forced and more noticeable than it should be if it’s constantly bopping up and down!

I hope this helps and have fun making music!

5 (+1) tips for mixing bassOne element of mixing which helps the pros stand out is their ability to successfully mix a w...
28/12/2020

5 (+1) tips for mixing bass

One element of mixing which helps the pros stand out is their ability to successfully mix a well controlled ‘low end’ without it getting ‘muddy’, too overwhelming or jump about inconsistently… Here are some pointers you can try to help bring out the best in your work!

1 – Give it space

One of the easiest things you can do is just carving out space in the other instruments to create room for the bass to dominate with less effort. Not many other instruments have, or in the mixing context, need, to have energy sub 150 – 200hz especially panned straight up centre. By high-passing or cutting this area in other parts, you’re instantly give prominence to the bass before you’ve even done anything, which is good, because it means it’s competing with less in its natural frequency range.

2 – Compress, and then multiband compress

Even out those more aggressive hits or tame the recorded part with some compression. How much you need will depend on things such as the performance captured, the feel you’re going for (less compression often equals more natural and more dynamic movement) and the density of the arrangement.

Multiband compress… This can be a good tip for keeping the real low end in check if your part moves about a lot or is a little inconsistent. With compression operating on JUST the low end, it allows the rest of the part to move about more, get more attack in certain areas without either losing excessive amounts of low frequencies or the opposite; It can control the good stuff so it stays good and doesn’t become overwhelming.

3 – Complement the kick

The only other likely source of weighty frequencies is going to be your kick drum. Instead of battling with it, decide which instrument (bass or kick) you are going to give priority to in which frequency range. i.e. Is the kick drum going to provide the meat and bass give you warmth, or is the bass going to give you a solid low end and the kick give you the body. If you can decide this (genres come in to play here as well), you can have the kick drum and bass working together in a much more controlled manner, rather than against each other in a fight for who can be the loudest.

4 – Duck (More compression!)

Moving on from the previous point… There are still going to be areas which overlap because of the nature of the instruments and if it’s potentially becoming a little too much of an issue, bringing up a multiband compressor and using the sidechain is a valuable approach to helping them both. Setting the bass to duck slightly when the kick hits in the specific frequency range can allow the bass to still very much hold its own but also allowing the kick drum to not get lost for that split second. Go easy on it, use your ears.

5 – Re-Amp

If you have a DI recording, re-amping (live amp or with an amp sim) is a fairly versatile option. It gives you plenty of time to experiment with sounds, set ups, combinations etc without so much pressure in-the-moment. Having a great and appropriate sound to start with is a huge help, so this can be a great opportunity to give yourself a second ‘headstart’.

BONUS TIP

6 - Split or Duplicate

Another (maybe slightly less common) tip, would be to either split the signal or duplicate the track, then low pass one for JUST low end and process this separately to the split signal or duplicate. With your second bass track, do the opposite - High pass the subs etc and operate on frequencies which give you the attack, bite and aggression. You can EQ, saturate, parallel distort etc this differently without it affecting the tight low end you’ve just created.

I hope this help some of you guys out there – Let me know your thoughts!

www.inphasemixing.com for online mixing services

Have fun!

5 tips for mixing vocals1 - Gain automation for heavy liftingAn element of processing that is very commonly used is comp...
27/12/2020

5 tips for mixing vocals

1 - Gain automation for heavy lifting

An element of processing that is very commonly used is compression and vocals are potentially one of the most dynamic elements in a song. Before reaching for a compressor, think about using ‘Clip Gain’ (ProTools) or whatever your equivalent might be to automate the gain before it reaches it. This way, the signal going in to the compressor will be less erratic and your compressor of choice won’t be struggling or working so hard. This can help make it more transparent (which it should be!) and give you a ‘smoother’ result.

2 – Compress in series & automate

Moving on from tip number one, to help give you another smooth and well controlled result would be to use a couple of compressors in series (one after another), each one doing 50%, and then automate the affected signal. This can help you with a nice, even performance and automating the processed level can either even out some phrases or can add emphasis in certain places e.g. ‘accent’ some words, ‘crescendo’ into a section, or bring out a ‘growl’ over a sustained note.

3 - Delay with different timings

Here’s a cool but simple one which could be used to fill a gap or transition. Use the last word or phrase of a section and send it to a delay with your left and right set to different or unexpected subdivisions e.g. right side to 1/8th notes, and the left to dotted 1/8th notes. It can create an unexpected movement and be one of your ‘flourishes’ in the track to lead you in to a chorus maybe.

4 - EQ for the genre as well as the vocal

Now, obviously this is a bit of a generalisation and the singer’s voice comes first, but also think about how you want it to come across. Hip hop and rap might have slightly more emphasis in the lower frequencies to add aggression. Rock might have a bit more in the mids to make them more upfront and ‘in ya face’, shiny pop music might have less in the low end but have a super smooth and silky top end. Don’t just think about the individual voice or instrument, consider how you want it portrayed in context!

5 - Saturate

I bloody love saturation. It goes on pretty much everything. You love your vocal performance but want a little more ‘warmth’ without over-doing the EQ? Add saturation. You want a little more sparkle and excitement without it becoming too harsh? Add saturation. Now don’t go crazy with it; I’d add a little until you like what you hear and then maybe roll it back a touch to be safe.

‘Saturation Knob’ by Softube is a nice little freebie and you can also select which frequency range you want it to affect. Go get it :)

BONUS TIP

6 – Somewhere typically around 700 – 800hz there’s often a whistle tone or note that can be heard. Boost with a real tight Q setting and sweep to find it. It will stick out like a sore thumb. Then cut surgically as much as you need and get that ‘ring’ out of there!

Have fun. Go make music. Let me know if this helps.

Be safe people.

5 Tips For Natural-Sounding DrumsSo, a few tips here to help some of you guys keep live drums sounding ‘human’ in your p...
18/12/2020

5 Tips For Natural-Sounding Drums

So, a few tips here to help some of you guys keep live drums sounding ‘human’ in your productions…

1 – Don’t over-edit or tighten the performance.

Yes, you want a real solid performance and for everything to lock in well but the small movements and fluctuations keep it real and ‘true’. Those tiny imperfections are what makes us human.

2 – Try to see the kit as one instrument.

Sure, you may have 8, 10, 12, 14 or however many mics around the kit, and yes, they absolutely capture different elements of it, but they’re all there to work as one. Don’t forget to see how each change you make affects the whole kit in context.

3 – Don’t over-process.

Okay, this partly depends on the genre and the sound you’re going for but adding a bucket load of compression, boosting the hell outta 60hz, saturating it, parallel compressing a kick drum doesn’t necessarily mean it’s the right thing to do, just because it’s a kick… It might be more appropriate for a heavy rock track, but that same heavily processed, weighty drum that hits you in the chest would likely be more than terrible in jazz.

4 – Use the overheads.

There’s so much in the overheads that can help bring the kit to life and really emphasize the human feel you get from it. The room alone is a part of it and how the instrument interacts with its surroundings. It might not be perfect, it may well be a little wacky, but providing it’s not sounding terrible and you’re not getting anything nasty from it, the room will impart character. Exploit it.

As for the performance, the detail a drummer naturally puts into playing and balancing the kit will come through nicely from a birds-eye view. Those hi-hat accents on the beat, the ghost notes in between them, the tasteful touches on other cymbals, the slight hint of a shuffle on the offbeat… A good drummer will give you an awesome performance from the overheads alone. Consider using your close mics to support this.

5 – Re-amp them.

If they weren’t recorded in a great room or maybe you want the feel of room mics which you didn’t get etc consider sending a rough mix to an amp or PA system in a bigger room, set up a couple of mics further back, play the drum performance, and record what you hear in the new big room. Depending on the character of your ‘live’ room, this can add loads of energy a life to the performance.

This is obviously not the be all and end all, but hopefully one or more of these tips should help keep your drums sounding natural and resulting in a potentially better mix.

Dreams can come true...So I've seen a few people doing before and afters lately and so I thought I'd do similar.The 'Bef...
26/11/2020

Dreams can come true...

So I've seen a few people doing before and afters lately and so I thought I'd do similar.

The 'Before' is a sketch of how I imagined my studio looking before it was built...

The 'After', is how it actually looks! (Photo taken yesterday)

I think it turned out pretty damn close considering I didn't have measurements when drawing it from a thought however many years ago...

I know why your snare sounds like sh*t!!! 😂👍Okay, I don't, but I'll give you 4 tips or reasons why it COULD be...1. It's...
16/11/2020

I know why your snare sounds like sh*t!!! 😂👍

Okay, I don't, but I'll give you 4 tips or reasons why it COULD be...

1. It's just simply the wrong sample...

It could be that you're listening to the sample in isolation and think it sounds wicked. You love the sound of it, but when playing it in context, it just doesn't cut the mustard... (Is that the phrase?) It may be too thin, too 'pop-y', not enough grit when competing mixed with everything else and no matter how much processing and faffing you do, it just won't hold it's own...

2. HP too high!

This is more so aimed at live drums... You have a killer sound and the performance is awesome, they pack a punch but when it comes to the snare, it sounds too thin or 'small'. Stop high passing, or stop going so high. All that glorious beef, weight, body and guts is being cut out. If you want a full bodied snare sound and you're filtering out areas of 150, 200, 220hz, I'm pretty confident you're losing all the body and fullness that you're actually wanting...

3. You're OVER-PROCESSING things...

If you find your inserts and list of processing is getting quite full, then there's a fair chance you're over-doing it. Try backing off the bucket loads of compression, gating, drastic EQ moves, saturation and anything else you might have and let that snare drum breaaaaath! You've squashed it, cut it short, set it on fire and wonder why it's not sounding so good... Stop trying to bring back to life something you've already killed. Let that snare breathe and sing with energy!

4. It's the gear, not the ear...

If you're recording a drum that hasn't been serviced or taken care of, the tuning pegs wind loose, the batter head is knackered, not seated evenly, you're playing with inappropriate sticks, you get a 'boing' sound, it's not tuned properly or any other 'lack of care' reasons; it doesn't matter how good your mic'ing technique is, how expensive your chain is, it's not going to sound like a mint Supraphonic...

Obviously this isn't exhaustive - it may help some of you, it may not but they could be good starting places...

Here ya go folks...Just to help you out a bit more at this crazy time, here's a borderline ridiculous deal for you to ta...
04/11/2020

Here ya go folks...

Just to help you out a bit more at this crazy time, here's a borderline ridiculous deal for you to take full advantage of.

Let me help you finish that track you're proud of and beyond excited to release!!

Let's make music!!

Check out the website below for examples of my work, read about the process and nice things other people have said...

www.inphasemixing.com

LET'S DO THIS TOGETHER!!

And normality has been restored after a messy couple of weeks...The studio is tidy again after my wife and I became fole...
13/10/2020

And normality has been restored after a messy couple of weeks...

The studio is tidy again after my wife and I became foley artists; walking/running on leaves, sticks, stones, throwing paper and various things around, slamming things, drawing lines and following different movements while re-creating the sound for an old movie trailer...

An incredibly talented friend has been composing the music for it.

But now, the place is tidy(er) and ready for your projects, whether it be coming in and recording or remotely mixing your music.

Let's hear what you've been upto below 😁👍

10/09/2020

Drum solo done!

Transcription got finished today. Now on to the duet!

Been a busy boy making improvements to the studio.Got an extra 53 sq/ft of treatment around the listening position.Looks...
03/08/2020

Been a busy boy making improvements to the studio.

Got an extra 53 sq/ft of treatment around the listening position.

Looks good 'n all...

Pop, Rock, Country guys, head on over to the site below to hear examples of my work and read nice things people have said if you haven't already 😉

If you need a recording or mixing engineer, feel free to get in touch and we can have a chat about your latest project!

Better room = Better results = Even happier clients

Now, who wants to help me put it to the test?! 😁

www.inphasestudio.com
www.inphasemixing.com

Address

Totternhoe
LU61

Opening Hours

Monday 10am - 6pm
Tuesday 10am - 6pm
Wednesday 10am - 6pm
Thursday 10am - 6pm
Friday 10am - 6pm

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