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Tracking & Mixing with Outboard Gear

Lesson 12 of 13

Effects Created with Hardware

Kris Crummett

Tracking & Mixing with Outboard Gear

Kris Crummett

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Lesson Info

12. Effects Created with Hardware

Lesson Info

Effects Created with Hardware

Let me go over some hardware effects that weakened dio and unless there's, anything else I skipped out on that you guys want to talk about before that? I think that was everything covered, the guitar stuff cool. So when we go to that intro vocal part, this is a great song show vocal effects on because it has this really bear awesome layered vocal section in the beginning, I'm so mad at myself to give it in through what I want never the way not always cool, but it's not really how I envisioned it. I threw that on there this morning to have something to kind of sound like the album when we put a when you put a delay from the even diet age eight thousand on there because those delays were really, really cool and I'll show you how to set up delays with limited controls and calculate the pm's quarter notes and eighth notes and vpn versus milliseconds first, I'm gonna make an ox track actually don't even need to make an ox track because I have one right here and at this point, I'm pretty sur...

e I'm out of ohio out of the inputs, so I'm gonna take off a mixed bus compressor right now and we'll focus on this delay, so I'm gonna take off the to plug ins I have on and I'm gonna unpatched the hoops I actually don't want patch that I want owen patch the nif and I'm going to go through the same io for the even tied delay so I'm just going to switch these over to even tied on the patch bay I'm so mad at myself I'm so mad at myself right now um uh dubler set up on this but I want to do a delay let me find out one of my delay presets that I normally start with this's more how I would want the beginning of this song the sound or how I had it going in the real mix so insert and of course since it's time based I want to put time a gesture in here to compensate for the delay make sure to zero never forget that feeling I'm so mad at myself give it in to what I want never again that feeling you one second to make sure that everything is set up right here we actually I had a technical difficulty when I got here and I had to hook this up slightly differently got about fifteen minutes thank you yeah actually move on yeah let's know because we were talking a break and you have more that yeah you know yeah yeah definitely so I could definitely come back to this another time and really it's just a delay and I was gonna explain how to calculate bpm two milliseconds but we can actually do that with this which open will work, which is another really cool effect that I could have used on this part and I almost did on the song, but I'd already used it a couple times on the record and kind of like what we were talking about yesterday like how many times can use the same effect without feeling like you're overdoing it? And I decided to go with a straight up delay, but this effect that I'm about to show you is on the on this processor called the kurzweil mangler I'm not sure if they're able to get down here, but it's really just is pretty cheap processor that came out in the mid two thousands and get him for a couple hundred bucks and it has all kinds of really bizarre distortions and delays and it has a thing called laser verb and it's the and half the reason I bought it because I saw a preset called laser like I gotta have that thing I want to hear the laser and I've actually ended up using it on a ton of records um yeah, you can almost see this one's called laser waves I'm gonna go to laser verb here cool, perfect and with this I can also show you howto calculate that calculate delays from bp ems so um I was run this through non time base to make sure it works waiter sounds kind of ridiculous on its own, but it's a really cool support for vocals. And the first thing I want to do, though, is because it's time based it's actually a delay, you know, it's called verb it is it away. I want to make sure it's in time because again, it's the intro there's barely any music. I want to hear that I want to feel that rhythm so I know the songs one hundred thirty five b p m I have a super handy calculator called music math, and I will click in one hundred thirty five b p m and right here click milliseconds and that tells me that a quarter note one hundred thirty five bpm is four hundred forty four point four four milliseconds. And the reason that's important is because there are a lot of vintage delays that are really cool and even pedals that air really, really cool. But the only calculate in milliseconds and not in b p m with note divisions. So with a calculator like this, you can, you know, calculates a lot of other rhythm based stuff. That's really cool music math for for a macintosh, um, apple, but it's important so I could just instantly take my bpm that aiken look at this whole graph. You know if I wanna have no no no it's eight hundred eighty eight and this one's easy because it's a normal number but summer like you know three seventy nine point six and I can't just do that in my head times for divided by six so you have all your numbers right there I think quarter notes probably what we want so we'll go four hundred forty four I'm going to go into this on laser verb on the first parameter when you click parameters on this which I really like it's laid out really nice is that what they call course delay which is increments of twenty c can get to where you want to be really fast so I go to four forty and the next thing is find a way but I'll have four milliseconds to I can actually add four point four which equals four hundred forty four point four which is a corner now so I could get another parameters here the spacing contour feedback different stuff of the effect but really what I'm most concerned with is that is just in time for the first time I listened to it so I'm so mad at myself give it way you called way and I never been so mad at myself so obviously totally not the right effect for this song but it's a very cool special effect there's another effect in this in the laser verb setting is called laser waves and what this processor I have to go back and reset this for forty four point four four forty four point four on I'll show you the laser waves which is another cool time based effect I'm so mad at myself for giving it to that one never way you called it off and I never been so mad at myself this one actually sound a lot cooler with the feedback turned up to get the feed back a little bit lower turn this down place back wait take the idea of delay and actually get more interesting stuff and if you heard multiple records I've done you've definitely heard these effects there also really cool for courses if you really want a chorus to space out or if you have a bridge that you want to be more ambien can bring that effect up so track that you kind of write him up but it gets kind of a ghostly spacey effect um there's a couple other really cool laser versions in this two laser verbs fun we can go through a couple more of these get this on the booth never forget teo one thirty five p m I want a longer delay so let's say we'll go all the way to the whole note so one thousand seven hundred seventy seven I'm almost there on this go one seven six at seventeen point seven milliseconds to seventeen point that's closes again wait really cool blend of different effects going on that was a little awkward on this you have to do some different math because it hasn't naturally and naturally does a dotted delay along with the longer delays but it's definitely very cool cool, cheap box to get into um if you just want some cool outboard effects for not very much money, I'll get in a couple of cool, interesting drum effects you can do with this real fast so let's take this off because effects aren't just for vocals, drum effects or superfund again, you've probably heard this on records that because I love these in the mangler again that's called the kurzweil mangler it mangles things and makes weird sounds, so I just accidentally made an audio track here one more time shift command and I'm gonna make a stereo ox and I'm gonna feed some drums into this I'm going to set up another strip here another set of sense on cng and I want to select all my drums for this because it's cool that have symbols going through this um we're doing effects like the ones I'm about to show you we'll make this uh affects go bus sixty five and sixty six like I was showing you guys yesterday with the headphone mix if you do something on your many fader and you want to match it option command h I want panning and muting and this is gonna copy to send but I wanted to copy this n g press ok and now I have a cool track to six from sixty six to effect drums on I have seven eight oh it's gonna be gnarly let's bring that down trump said super cool transition sound you've got a song and you don't really know how to put it into the next song you got a song you don't really know how to put it in the next song a really cool thing you can do is just take a clip of drums uh from the end of the song or something that's the same bpm and put it at the end of the song going into the next song and just get weird with the effects like this in this box is perfect and it's the mangler in mangles things could have been a serial killer that was a human toll great just get really weird with that box and that's something that's cool about outboard gear with effects is you gonna find cheap stuff and old and I have some other stuff at home to that I just didn't have time to bring uh these line six modules to not expensive at all um honestly some of her cell a bomber are cheaper than a plug in would be and you can get hands on and do real weird creative stuff with them uh, stack him up. You can even do it with guitar pedals. That's something I didn't go through the day, but you can also use guitar pedals, effects running in and outta your a d converters. Something probably already have lying around could make really cool drum and vocal effects, and just need special effects in general.

Class Description

Pairing outboard gear with your digital set-up is a sure-fire way to get a professional-grade audio recording. In Tracking & Mixing with Outboard Gear, Kris Crummet will show you how adding some basic analog gear to your recording toolbox will lend pro-level character and depth to your mixes.

Outboard gear adds analog warmth and punchiness to a mix that simply can’t be replicated by software. If you’re an at-home producer who wants to add a little more sonic flavor than you can get in the box, you’ll need to incorporate outboard gear into your recording process. In Tracking & Mixing with Outboard Gear, you’ll learn analog gear basics from the guy who has produced some of this generation’s most dynamic rock/post-hardcore bands including; Sleeping With Sirens, Dance Gavin Dance, Alesana, Issues and more.

If you want to learn how to warm up your tracks with outboard gear, watch Tracking & Mixing with Outboard Gear and get an inside look at Kris Crummet’s approach to audio production.



OK I bought this course to watch at my leisure. Lots of Respect for Kris - if you go to his personal website, his experience and track record (no pun!) is impressive. Clearly he knows his stuff and has developed a very efficient way of working. I am a singer songwriter in the UK with many years of experience playing live. I have my own project studio (Pro Tools 11, lots of vintage hardware, UAD, Avalon, Tube Tech etc) and all the software plug ins, virtual instruments. Also a comprehensive guitar collection, acoustics, electrics, keyboards, DW drums etc. My problem is this. here again is a well organised Creative Live presentation with a competent presenter, but the content is inappropriate for the majority of viewers. Like many people watching this stuff, I find the material used to demonstrate the techniques is awful. Grahame Cochrane is the same - over produced American soft rock which has absolutely no musical or creative merit. This 'music' isn't going to stand the test of time and will be gone within a year. I understand that the material isn't Kris's personal stuff, but he says he likes it and I'm sure he does. But what your listeners want to hear is how to produce recordings which have space and clarity. Listen to Jackson Browne, Mary Chapin Carpenter, Mark Knopfler, Ry Cooder, Dylan, Van Morrison - these artist's recordings are the ones to emulate! So please, can we kick out the over compressed X Factor style stuff and get back to basics? Show us how to get quality sounds and how to create space in a mix. Its the natural sounding music which will be with us in 50 year's time - just like the Motown stuff is now. No doubt there is a whole generation out there who think this sort of material has credibility, but I have to tell you it has almost no musical or creative merit, and I for one don't need to know how its produced.


This was the single most helpful source of information for improving my mixing that I have ever come across. I loved it and i know everybody else here will too. Buy it so this man can come back again

a Creativelive Student

Awesome course, super relevant as Issues is my favourite band and as a producer/engineer I aspire to their tone, the drum mixing was especially great, just a shame that there was no mention of electric guitar mixing