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Devil's Words Remixed by Dcp
#1
I did a complete remix of this track using the method I've been working with on my most recent mixes. I also changed up the drum samples to give them alittle more punch in the mix and to fix a few mistriggers in the toms. The final revision of the previous mix is also included for comparison sake.

The 2 buss chain is the same pretty much as my other recent mixes but with 2 exceptions: 1. I used the SSL master section model in Waves NLS ala Chris Lorde Alge, and 2. Instead of Kramer Tape I used Waves J37 as my tape saturation this time. I felt this gave me some crunchiness that the Neve or TG master sections don't have and it fit the mix more.

The Drum samples are a mix of Metal Machine (Kick and Toms) and Drumkit from Hell (Snare). The snare in Drumkit from Hell is the high tuned Sonor Snare pitched down 4 semitones for some extra punch. The stock sound of that snare is pretty sharp so I dulled it down with a Neve 1073 emulation and compressed it slightly with a fairchild emulation to fatten it up some. The kick is the 18x24 Tama in Metal Machine and the toms are Ludwig Stainless Steels also from Metal Machine. The kick was run through the same neve emulation as the snare but with the highpass engaged at 50 Hz instead of 80 Hz and driven. I used RBass to beef up the low end of the kick and then used a transient designer to tighten it up. The toms I ran through an expander to tighten up the tails. The drum buss was just a Kramer PIE Compressor to glue it all together.

The bass is just the ampeg from Guitar Rig and some drive. Pretty much what I used on the last mix of this track.

Guitars was as simple as some minor eq to give some clarity.

Vocals are pretty much the same as last time, the only huge differences are the fact that the chorus vocals, with the exception of the backing vocals, aren't panned hard left and right which gives a more direct sound. The delay on the lead vocals is now mono aswell.

For mastering I used the TDR Nova Eq to clean up some resonaces that might build up in the mix, TDR Kotelnikov mastering compressor, Waves Aphex Exciter, T Racks Classic Clipper, and an L2 Limiter to bring it up to K12.

Overall I'm happier with this mix of the track now and I think it fits the Pop Punk style of this track more. Please leave your comments and critiques below and enjoy!

Update: Made a new mix using a reference track, see post below for details.


.mp3    Devil\'s Words Remix 1 Alt Mix.mp3 --  (Download: 4.47 MB)


.mp3    Devil\'s Words Master 2.mp3 --  (Download: 4.51 MB)


.mp3    Devil\'s Words Remaster 3.mp3 --  (Download: 4.61 MB)


Mixing is way more art and soul than science. We don’t really know what we’re doing. We do it because we love music! It’s the love of music first. Eddie Kramer

Gear list: Focusrite Scarlett 18i20, Mbox Mini w/Pro Tools Express, Reaper, Various plugins, AKG K240 MKii, Audio Technica ATH M50x, Yorkville YSM 6
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#2
Hi !

Your remix has more punch and clarity !

Some little things I would have preferred : the snare drum is a bit too loud, and has aggressive transients. Maybe some tape simulation on it can reduce them ? Second thing is the dryness of the vocals. It's not a big deal when instruments are playing, but you should use more delay and reverb when the singer is almost alone.

Nice job Smile
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#3
(23-06-2016, 10:23 PM)Mandubien Wrote: Hi !

Your remix has more punch and clarity !

Some little things I would have preferred : the snare drum is a bit too loud, and has aggressive transients. Maybe some tape simulation on it can reduce them ? Second thing is the dryness of the vocals. It's not a big deal when instruments are playing, but you should use more delay and reverb when the singer is almost alone.

Nice job Smile
Thanks for the critique!

The snare is quite loud but that's on purpose, for this genre I really like having a loud cracking snare, I'm already running 7-10 dBs of compression on a fairchild emulation plus saturation from a 1073 emulation with a cut at 3 kHz to decrease the attack. I'll try turning it down but for me, this track demands a punchy snare.

The vocals have alot of reverb on them, I'm using a short decay plate style verb which is quite dark and makes it seem less obvious. The delay I'm using is also lo fi and turned down in the mix so it acts more in the background. I'll definitely turn up the verb there.

Cheers,
Dcp
Mixing is way more art and soul than science. We don’t really know what we’re doing. We do it because we love music! It’s the love of music first. Eddie Kramer

Gear list: Focusrite Scarlett 18i20, Mbox Mini w/Pro Tools Express, Reaper, Various plugins, AKG K240 MKii, Audio Technica ATH M50x, Yorkville YSM 6
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#4
hi there,
i prefer the second version it is more balanced , there's just a thing that maybe i don't like is one of the tom that seem too panned in the right side and sounds like a different instrument.
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#5
(19-09-2016, 12:36 AM)vincentMIX Wrote: hi there,
i prefer the second version it is more balanced , there's just a thing that maybe i don't like is one of the tom that seem too panned in the right side and sounds like a different instrument.

Thanks for the feedback, by second version do you mean the remix version or the original Master 2? As for the toms, they really aren't panned as much as you think (the rack tom is panned 24% Left and the floor tom is panned 70% Right), also I just like for my toms to be wide in my mixes but I'll have a look at bringing them in abit.

Cheers,
Dcp
Mixing is way more art and soul than science. We don’t really know what we’re doing. We do it because we love music! It’s the love of music first. Eddie Kramer

Gear list: Focusrite Scarlett 18i20, Mbox Mini w/Pro Tools Express, Reaper, Various plugins, AKG K240 MKii, Audio Technica ATH M50x, Yorkville YSM 6
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#6
i meant original master 2
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#7
I made another remix of this track, the bass in the Remix 1 version is basically inaudible and is just dominated by drums and guitar kinda like a pop punk version of And Justice For All Big Grin. This time I used Paramore's That's What You Get as a reference for an overall balance and tone, it's by no means exact but it seems to have a similar character.

The trick here is trying to get an explosive sound without having it be too punchy and not having enough control. Modern pop rock recording use more and less compression than you think to deal with this and in different areas than you might expect, the drum bus on this mix for example has an upward and downward compressor on it to bring up the sound of the room and sustain without having it go over the top and freak out the master buss. There's also a limiter on the drum bus to keep the louder drum fills at bay.

The bass uses a multi band compressor on the sub 100 Hz area just to keep it from poking out and a limiter on the 800 Hz range to keep the attack under control and consistent in the mix. It also has some parallel distortion to keep it glued to the guitars and add some grind when it's by itself and a limiter to keep it locked in.

The dirty rhythm guitars needed some scooping in the 400 Hz range with a little multi band compression to make it fit nicer with the bass. After that I used a tube style compressor, it wasn't pulling gain out,it just was being driven hard to smooth out the top end with it's saturation on it's input stage. Finally a limiter to keep them tight.

Overall this version seems to be miles better than my original mixes and fits the band better. Either way I'm happy with this new version, I might tweak it later on though.

Cheers,
Doug


Mixing is way more art and soul than science. We don’t really know what we’re doing. We do it because we love music! It’s the love of music first. Eddie Kramer

Gear list: Focusrite Scarlett 18i20, Mbox Mini w/Pro Tools Express, Reaper, Various plugins, AKG K240 MKii, Audio Technica ATH M50x, Yorkville YSM 6
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#8
Very powerful mix, love how you enhanced the power of the lead vocal while keepig enough clarity! Also you got rid of most of the annoying resonances that are recorded on the vocal.
I just think the vocals during the verse are a bit too loud, creating a volume drop when the chorus begins and losing some excitement.
To my ears, to snare is a bit too boomy though. Cutting -0.6 Hz around 200 Hz helped in that regard, without losing the character of the snare.
The hi-hat is very prominent around 13.5 kHz, bringing them a bit too close to the listener, but that also could be the sound you were looking for. The crashes sound perfect, though.

Cheers, hoshi
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