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morespaceecho

Platinum Blonde

Posts: 2,323 Member Since:29/01/2011

#21 [url]

Jan 24 17 9:21 AM

i didn't like 'em then, and i don't like 'em now!

is CLA really doing 30db boosts? like, really 30? i don't think i've ever cut or boosted anything remotely that much.

of course, i am not a hot shot mixer so what do i know.

www.oldcolonymastering.com

morespaceecho.bandcamp.com

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chrisj

Gold Finger

Posts: 988 Member Since:22/02/2011

#22 [url]

Jan 24 17 10:58 AM

extrememixing wrote:
Yuck!!! Thanks, Paul! NOT!!!

I actually think that if you add 30 or 40db at 10k you wind up with mostly distortion and overs up there. I guess it's a good sound. It definitely makes for a nice click on the beater of the kick and snare drum that my not even be a part of the original sound.

Steve

Hey, equal time is totally fair as far as I'm concerned. Rock on, Paul :)

I need to post a video I recently made. Know what makes a really good beater click? Piezo on the shell of the kick drum :) I tried it hoping to get a trigger for driving a little drum synth I had…

Chris Johnson, airwindows.com

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extrememixing

Platinum Blonde

Posts: 2,341 Member Since:02/02/2011

#24 [url]

Jan 24 17 3:25 PM

WW, I thought you didn't really like for your mixes to change much at Mastering. Do you think he does? I think his mixes come into mastering very much the way he wants them sounding.

It's interesting to be able to open up someone's session and see what they started with and what they did.

Steve

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gtoledo3

Aqua Marine

Posts: 4,190 Member Since:23/10/2013

#25 [url]

Jan 24 17 4:19 PM

This thread makes me think of some (most?) of those old Eagles mixes.

They can be sort of bright, and there is a pronounced lack of body and weight to so many of the sounds. A lot of times I think "man, was this instrument recorded through a telephone or something?".

BUT, overall they work and were giant hits.

What really stands out to me and is my personal favorite, is when I hear a mix that has some low mid heft to it while maintaining clarity. Things can sound more realistic.

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soapfoot

Ruby Baby

Posts: 7,406 Member Since:04/02/2011

#26 [url]

Jan 24 17 5:31 PM

gtoledo3 wrote:
This thread makes me think of some (most?) of those old Eagles mixes.

They can be sort of bright, and there is a pronounced lack of body and weight to so many of the sounds. A lot of times I think "man, was this instrument recorded through a telephone or something?".

BUT, overall they work and were giant hits.

What really stands out to me and is my personal favorite, is when I hear a mix that has some low mid heft to it while maintaining clarity. Things can sound more realistic.

Yes, there has been an overall rather dramatic shift in the frequency balance of pop records over the past 40 or 50 years, for sure. It's amazing how little low end some of those hit records have compared with today. 

brad allen williams

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weedywet

Ruby Baby

Posts: 5,960 Member Since:20/01/2011

#27 [url]

Jan 24 17 6:06 PM

Steve, 
i suspect his mixes get a lot of additional work in mastering. 
 And most of those records sound very heavily Limited. 

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extrememixing

Platinum Blonde

Posts: 2,341 Member Since:02/02/2011

#28 [url]

Jan 24 17 6:23 PM

weedywet wrote:
Steve, 
i suspect his mixes get a lot of additional work in mastering. 
 And most of those records sound very heavily Limited. 
You may be right.  I don't know first hand, but I think he's the one doing the heavy compressing and limiting.  That's kind of his thing.

Steve

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weedywet

Ruby Baby

Posts: 5,960 Member Since:20/01/2011

#29 [url]

Jan 24 17 6:33 PM

Lots of individual compression for sure. 

I know from the horses' mouthes how much they sometimes do in mastering. 
And certainly loads of limiting on most. 

 

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zmix

Aqua Marine

Posts: 4,189 Member Since:20/01/2011

#30 [url]

Jan 24 17 7:49 PM

weedywet wrote:
When people say 'I compared my mix to CLA's mixes...'
I'm wondering where you got copies of his unmastered mixes. 

I've heard a few dozen of his unmastered mixes..  they are largely the same, and pretty conservative in level, too...  The kicks and snares are usually popping out quite a bit more than they are when Ted Jensen is through with them...

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weedywet

Ruby Baby

Posts: 5,960 Member Since:20/01/2011

#31 [url]

Jan 24 17 8:56 PM

Yes. I've been there with Ted comparing and I'd agree that his mixes are mostly there. But still they are adding a fair amount by of we and a LOT of limiting in some of those records. 

Enough that i'd be wary of matching a mix in progress to that mastered product. 

 

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kats

Platinum Blonde

Posts: 1,099 Member Since:22/01/2011

#32 [url]

Jan 24 17 9:56 PM

weedywet wrote:
When people say 'I compared my mix to CLA's mixes...'
I'm wondering where you got copies of his unmastered mixes. 

"Funnily", the notes with the mixes given to me by CLA  (to paraphrase) were: "Give this to your mastering engineer, tell him not to touch anything and just put his name on it." 

Last Edited By: kats Jan 24 17 10:03 PM. Edited 1 time.

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Cirrus

Tin Man

Posts: 46 Member Since:08/12/2014

#34 [url]

Jan 25 17 5:07 AM

Seems to me that the dry sound was pretty terrible, it's waaay dull. So the video is valid as a "Here's how to rescue a snare with no reference to the OH/Room/Kit mics with Slate stuff if you think you're fucked" demonstration.

I mean, if the source tracks are way too dull, yeah it'll take a lot of boost to bring up stuff that's barely there.

I have to admit on my last few mixes I've used Waves' DBX160 on the snare track, 2:1 or so doing like 1-2dB gr. I will return to my dungeon now. image

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maarvold

Aqua Marine

Posts: 3,145 Member Since:23/01/2011

#35 [url]

Jan 26 17 9:59 AM

Cirrus wrote:
...I have to admit on my last few mixes I've used Waves' DBX160 on the snare track, 2:1 or so doing like 1-2dB gr. I will return to my dungeon now. image

 
I've seen Tommy Vicari (Oscars music mixer, Tom Newman film scores, Gordon Goodwin's Big Phat Band) do this as well.  

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waltzmastering

Platinum Blonde

Posts: 1,665 Member Since:02/02/2011

#36 [url]

Jan 26 17 10:51 AM

Not sure I've ever seen an Eq with a 30dB throw in either direction.


Cirrus"Here's how to rescue a snare with no reference to the OH/Room/Kit mics with Slate stuff if you think you're fucked" ...
 

..which then, most likely gets relaced with a sample.



 

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gtoledo3

Aqua Marine

Posts: 4,190 Member Since:23/10/2013

#37 [url]

Jan 26 17 11:02 AM

I didn't see the last vid, but I was watching a vid on Slate Trigger yesterday. They pull up the dry, I'm thinking, "yep sounds like a kick drum, cool...they just need to add a little more lows on it".

Then they setup the triggering, pull up the Slate kick...my initial reaction: "it's that f*cking annoying sound!".

I'm not against the concept of replacing or augmenting drums though, especially when it's a genre where it sounds pleasing.

I usually just use Logic's audio->midi function. Sometimes it winds up with a couple things that need to be corrected after, but it's pretty good. If I was getting a lot of false triggers, I'd just gate the audio track, and then convert to midi.

PT still doesn't have this built in, right?

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gtoledo3

Aqua Marine

Posts: 4,190 Member Since:23/10/2013

#38 [url]

Jan 26 17 11:04 AM

PS - I really like the audio -> midi feature in Logic when it comes to doubling instruments with synth lines, octave doubles, or harmonizations.

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extrememixing

Platinum Blonde

Posts: 2,341 Member Since:02/02/2011

#40 [url]

Jan 26 17 1:49 PM

Drum replacement or augmentation is pretty common practice among mixers. The thing is to find a sample that you like, so when you see the slate demo, keep in mind that you will be choosing one that you like.

As for Pro Tools, there is not direct audio to midi feature. I use the Massey plug. If I want a part, I use Melodyne and export that as midi.

Steve

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