DopplerShift Atrophy

[Dangerous]

My attempt. Enjoy working with these climatic tracks. Lot's of fun

Still getting used to new monitoring. Balances may be so so.

Dave

[Roy]

I like the fade in. The intro on this one always felt a little off and you smoothed that over.

Overall it feels pretty good but maybe a little thin. I just think the song could have a little more weight. Especially in the chorus. It feels a compressed when the chorus kicks in. The guitars could be bigger.

The keyboards are a little loud in the verse and mask the vocals.

Hope that helps.

[Dangerous]

I like the fade in. The intro on this one always felt a little off and you smoothed that over.

Overall it feels pretty good but maybe a little thin. I just think the song could have a little more weight. Especially in the chorus. It feels a compressed when the chorus kicks in. The guitars could be bigger.

The keyboards are a little loud in the verse and mask the vocals.

Hope that helps.

Yeah, It helps. Thanks.

I hated working with the bass in this one. I just struggled to do anything with it. Lots of mud and no definition. When I try to add more weight it just goes too thick and yuck.

I hear the issue with the guitars in the chorus. It maybe some //comp that's reacting to the louder guitar parts too severely. I should be able to sort it out.

Cheers.

[Roy]

I don't remember the bass tracks on this one. I will say I've had a lot of success with Michael Brauer's* technique of splitting the bass and having an "Anchor" channel and a definition channel and blending the two. I take it a few steps farther where the Anchor channel is almost all low end, anywhere from 150hz on down to 100 or 90 and the definition track is filtered at about 250hz on up. And even though they have their own compression I'll send them to another bus and do come compression and maybe some eq. Most of the time the bass isn't eq'ed it's just the blend of two.

*From Brauer's Q&A
"I've run into that problem many times. Sucks doesn't it? This is how I deal with it; I always bring the bass amp and direct on two channels, float them to two busses and bring the two busses back on two channels. One channel has a 747 across it and the other has a dbx on it. The function of the 747 is to be the anchor and hold down the bottom end. I'll eq and compress it so that it sounds warm and fat, no top. I take the dbx and squeeze the tits out of it. I'll eq out (sharp Q) any notes that jump out and I'll take out a lot of the bottom. So now I have my bottom end from the 747 and my mid range and clarity from the dbx. Then I put a crank call in to the guy that recorded it and I'm ready to mix."

[Dangerous]

I don't remember the bass tracks on this one. I will say I've had a lot of success with Michael Brauer's* technique of splitting the bass and having an "Anchor" channel and a definition channel and blending the two. I take it a few steps farther where the Anchor channel is almost all low end, anywhere from 150hz on down to 100 or 90 and the definition track is filtered at about 250hz on up. And even though they have their own compression I'll send them to another bus and do come compression and maybe some eq. Most of the time the bass isn't eq'ed it's just the blend of two.

*From Brauer's Q&A
"I've run into that problem many times. Sucks doesn't it? This is how I deal with it; I always bring the bass amp and direct on two channels, float them to two busses and bring the two busses back on two channels. One channel has a 747 across it and the other has a dbx on it. The function of the 747 is to be the anchor and hold down the bottom end. I'll eq and compress it so that it sounds warm and fat, no top. I take the dbx and squeeze the tits out of it. I'll eq out (sharp Q) any notes that jump out and I'll take out a lot of the bottom. So now I have my bottom end from the 747 and my mid range and clarity from the dbx. Then I put a crank call in to the guy that recorded it and I'm ready to mix."

Thanks for Sharing this.

Something that I will definitely explore.
I must admit, I haven't spent much time exploring the pro's of the industry nor their signature techniques. I need to be more open in this regard as I move forward.
As it is I'm one of those blokes that spends all day going around in circles trying all sorts of crazy moves only to find 1dB up on the fader was all that was needed. Anyway I'm learning heaps and sometimes discover crazy tricks that become part of my work flow moving forward.

Dave