22-07-2017, 10:09 PM
(This post was last modified: 20-12-2018, 10:35 PM by James Cullis.)
Howdy.
Had a bit of a graft getting this mix to sit right with my ears, due to the spill which runs throughout most of the 'Live' recorded tracks.
The spill was out of sync between the tracks and phase was a big issue. So manually I cut every drum track/bass track and the worst offending guitar tracks to tiny pieces, to correspond correctly in time with each other, using the Drum tracks as the anchor. A difficult task, but it had to be done. Without this, automating the panning of these tracks would of been a right pain in the arse.
Drum samples helped bolster the Kick and the Snare. I muted the drum room track in favour of sending all the 'Shells' of the drums to a reverb send, along with the majority of the guitar and vocal tracks.
Sends to two parallel compression tracks for the Kick and Snare/Toms. The Kick was also sent parallel to a Metric Halo Thump track.
Guitars. Kept the majority of the original tracks, but had to Re-Amp a few parts too.
Bit of Delay and Reverb here and there in places to add a bit of ambience.
A lot of corrective EQ had to be done with the Guitars to make them fit right. And I mean some savage cuts. The midrange and the high end was where a lot of the problems were. But also the lower midrange was battling with the bass like two fat bald men fighting over a comb. Pointless. So Low Cut filters came into their own here.
The Bass was Re-Amped and mixed with the original. The ratio was 30/70 in favour of the Re-Amped track. Bit of EQ, not a lot. Bit of Compression, again just a sprinkle.
Vocals. Added a send for a Delay, and a Reverb (no shocker there). Terry West De-harsh, bit of EQ and Compression.
Busses for the Drums, Bass, Guitars, Vocals.
Master Buss EQ, Compressor, Limiter.
James, London.
Had a bit of a graft getting this mix to sit right with my ears, due to the spill which runs throughout most of the 'Live' recorded tracks.
The spill was out of sync between the tracks and phase was a big issue. So manually I cut every drum track/bass track and the worst offending guitar tracks to tiny pieces, to correspond correctly in time with each other, using the Drum tracks as the anchor. A difficult task, but it had to be done. Without this, automating the panning of these tracks would of been a right pain in the arse.
Drum samples helped bolster the Kick and the Snare. I muted the drum room track in favour of sending all the 'Shells' of the drums to a reverb send, along with the majority of the guitar and vocal tracks.
Sends to two parallel compression tracks for the Kick and Snare/Toms. The Kick was also sent parallel to a Metric Halo Thump track.
Guitars. Kept the majority of the original tracks, but had to Re-Amp a few parts too.
Bit of Delay and Reverb here and there in places to add a bit of ambience.
A lot of corrective EQ had to be done with the Guitars to make them fit right. And I mean some savage cuts. The midrange and the high end was where a lot of the problems were. But also the lower midrange was battling with the bass like two fat bald men fighting over a comb. Pointless. So Low Cut filters came into their own here.
The Bass was Re-Amped and mixed with the original. The ratio was 30/70 in favour of the Re-Amped track. Bit of EQ, not a lot. Bit of Compression, again just a sprinkle.
Vocals. Added a send for a Delay, and a Reverb (no shocker there). Terry West De-harsh, bit of EQ and Compression.
Busses for the Drums, Bass, Guitars, Vocals.
Master Buss EQ, Compressor, Limiter.
James, London.