11-02-2016, 01:25 AM
(This post was last modified: 17-02-2016, 05:02 PM by Mixinthecloud.)
Another interesting set of problems to solve for a wonderful and haunting song.
The key for me was finding the right environment to place the overheads into so the toms would enumerate without the cymbals getting crushed and too prominent. To that end I think I was successful and it shaped the rest of the mix from that point on. I was able remain very true to the recorded instruments without need of major equalization or compression tricks. Mostly, hi-passing everything was the key here, a technique I use on pretty much every mix I do but this one especially. Surprisingly, very little else was needed except for some subtle boosts where appropriate for the guitars and vocals. The double-tracking I found had little value except for the vocals which spread nicely when placed into a warm and large hall.
I hope you enjoy my take on this and will grace me with your comments.
The key for me was finding the right environment to place the overheads into so the toms would enumerate without the cymbals getting crushed and too prominent. To that end I think I was successful and it shaped the rest of the mix from that point on. I was able remain very true to the recorded instruments without need of major equalization or compression tricks. Mostly, hi-passing everything was the key here, a technique I use on pretty much every mix I do but this one especially. Surprisingly, very little else was needed except for some subtle boosts where appropriate for the guitars and vocals. The double-tracking I found had little value except for the vocals which spread nicely when placed into a warm and large hall.
I hope you enjoy my take on this and will grace me with your comments.
PreSonus Studio One DAW
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