02-07-2017, 07:49 PM
(This post was last modified: 05-07-2017, 03:43 PM by Mixinthecloud.)
With three great choices to choose from for Perpetual Escape, I chose Sin Six to be my first after hearing so many interesting takes.
What I like about this song is the guitars, the bass, the drums and the vocals. What I don't like about this song are the guitars, the bass, the drums and the vocals. Well not entirely.
For the most part the drums were easy. Taming the significant ring in the top snare was a challenge but once dialed in added great character to the snare. Lots of gating took place with toms bussed to a stereo pair which was collectively gated and worked very effectively to take control of the toms. The room mics added some nice character too.
The bass was very straight forward. I added some grit for definition and placed it in a nice big room.
All guitars were bussed to a stereo pair and needed only EQ for the most part. Reverb was inserted into the buss and the decays set to work best at the cool break.
The guitars are thick and lush. I like that.
The vocals were the most work. Many of the parts had lots of overdubs where levels did not match. Once this was discovered adjusting those sections to match one-another made the vocal mix MUCH easier to mix. Somebody go slap MAN on the wrist for me. Once properly assembled the Leads and Backgrounds each had their own IR reverb inserted into their respective stereo busses which were then bussed to a stereo vocal master where a de-esser was inserted. The Lead Vocal buss was routed through a console shaper to give some legacy saturation and enhanced harmonic content.
There were two things I wanted to do but did not try. One was a harmonium/vocoder on the vocals in places and the other was an echo pan swipe of the last guitar figure for Guitar 4 at the end of the last vocal build. I chickened out on that one and just buried it.
There is lots of compression and limiters where needed. I hope it worked
Lots of choices and a treat to play with.
As always the secretary will disavow . . .
What I like about this song is the guitars, the bass, the drums and the vocals. What I don't like about this song are the guitars, the bass, the drums and the vocals. Well not entirely.
For the most part the drums were easy. Taming the significant ring in the top snare was a challenge but once dialed in added great character to the snare. Lots of gating took place with toms bussed to a stereo pair which was collectively gated and worked very effectively to take control of the toms. The room mics added some nice character too.
The bass was very straight forward. I added some grit for definition and placed it in a nice big room.
All guitars were bussed to a stereo pair and needed only EQ for the most part. Reverb was inserted into the buss and the decays set to work best at the cool break.
The guitars are thick and lush. I like that.
The vocals were the most work. Many of the parts had lots of overdubs where levels did not match. Once this was discovered adjusting those sections to match one-another made the vocal mix MUCH easier to mix. Somebody go slap MAN on the wrist for me. Once properly assembled the Leads and Backgrounds each had their own IR reverb inserted into their respective stereo busses which were then bussed to a stereo vocal master where a de-esser was inserted. The Lead Vocal buss was routed through a console shaper to give some legacy saturation and enhanced harmonic content.
There were two things I wanted to do but did not try. One was a harmonium/vocoder on the vocals in places and the other was an echo pan swipe of the last guitar figure for Guitar 4 at the end of the last vocal build. I chickened out on that one and just buried it.
There is lots of compression and limiters where needed. I hope it worked
Lots of choices and a treat to play with.
As always the secretary will disavow . . .
Perpetual Escape - Sin Six
7/2/2017
Perpetual Escape - Sin Six - Version 2
7/5/2017
In an effort to get better clarity through the low end, some master filtering was done and in the mix the reverb was cleaned up on the snare. A cleaner room definition was modified for the guitars and vocals were given more room. The toms were greatly enlarged and automated.
7/2/2017
Perpetual Escape - Sin Six - Version 2
7/5/2017
In an effort to get better clarity through the low end, some master filtering was done and in the mix the reverb was cleaned up on the snare. A cleaner room definition was modified for the guitars and vocals were given more room. The toms were greatly enlarged and automated.
PreSonus Studio One DAW
[email protected]
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