17-08-2017, 05:48 AM (This post was last modified: 03-09-2017, 08:16 PM by Mixinthecloud.)
Colleagues,
I took a very simple approach to this interesting composition. Very little EQ and compression were used throughout until the mastering where some gain was added to even presence through the sound field.
I hope you find this to your liking.
As always, comments are encouraged and appreciated.
Lorenzo Price - Changing Things
8/17/2017
Lorenzo Price - Changing Things - Refined
8/17/2017
As a result of refining the space I placed the players in with this mix, it engendered a re-balance. I also got a little creative with the arrangement in the Piano solo. In the mastering this time, I carved out a deeper slice of 200 Hz using a M/S EQ.
I think it reads deeper with the refined space. It supports the ensemble while giving every player good space. What do you think?
Lorenzo Price - Changing Things - Nicely Refined
9/3/2017
I keep creating different spaces for this ensemble, and this is another take on location and stereo imaging. Added a trick to the bass for some needed gnash and narrowed the drums and re-positioned the guits. And, as stated, modified the room I placed the ensemble in. There are no individual in-line effects or bussed effects on any of the instruments or groups. There is only an in-line CR based room reverb with plenty of control (too much even...). I'd really cherish some feed back on the clarity of the space, what is good and what is bad. I tried very hard to keep the best of the dynamics of this song and could possible use some tweaking here and there. Not a lot of automation, but did add a nice wash into reverb at the end of the piece.
Enjoy and as always, your thoughts and ideas are appreciated.
I took a very simple approach to this interesting composition. Very little EQ and compression were used throughout until the mastering where some gain was added to even presence through the sound field.
I hope you find this to your liking.
As always, comments are encouraged and appreciated.
Lorenzo Price - Changing Things
8/17/2017
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Nice! I like the natural sounding drums. You kept the ring in the toms and they sound very much like a strict Jazz kit. Mix balance is great.....like the mix a lot. I took a different approach with the drums......beefed the toms and gated them, added some low end bump around 40hz on the kick and dipped the low mids, etc. I love to listen to so many different approaches to the same material. It's a fascinating thing and it's very educational. Bravo again on a nice mix.
I took a very simple approach to this interesting composition. Very little EQ and compression were used throughout until the mastering where some gain was added to even presence through the sound field.
I hope you find this to your liking.
As always, comments are encouraged and appreciated.
Lorenzo Price - Changing Things
8/17/2017
-----------------------
Nice! I like the natural sounding drums. You kept the ring in the toms and they sound very much like a strict Jazz kit. Mix balance is great.....like the mix a lot. I took a different approach with the drums......beefed the toms and gated them, added some low end bump around 40hz on the kick and dipped the low mids, etc. I love to listen to so many different approaches to the same material. It's a fascinating thing and it's very educational. Bravo again on a nice mix.
Tom
Tom,
I just finished listening to your mix and would echo your sentiments. One of the benefits of great musicianship is not needing to do much to bring out the artistry. When I listened to the individual channels for the drums they are wide open, especially the kick, which is a refreshing change. You can almost hear how new the head is on the kick. I did do some slight control on the first tom for its solid ring by dipping the low mids, but hey, that's the way it was tuned so I did not suppress it completely. And the way it is played brings different tone base upon the strike. Over-all the drums have deep low end boosted and the upper highs boosted as well, all done on the stereo drum buss. I was very cautious about making them sound too processed or altered. The only effects are an in-line convolusion reverb on the stereo master to add a sense of place and to deepen the sound field slightly to give a bit more space to each player.
My stereo placement for the drums was based on the overheads and listening carefully to where individual instruments appeared in them. Not sure this is the best approach, but it seemed to work in this instance. The piano was a bit of a challenge only in that the stereo spread was predefined. I used some trickery to modify that so I could effectively pan it slightly to provide more of a live mix yet keep a stereo mix of it. It required no EQ nor compression. The same can be said for the guitars. They are essentially flat. I did some minor compression of the bass to make it a bit more consistent, but not more than a 3 db drop.
(17-08-2017, 05:55 PM)flyrecords Wrote: nice sounding, im user of S.O 3 too. good work!!
Thanks, Fly. Are you on PC or Mac? For me S1V3 is the most intuitive DAW out there and getting better all the time. When I try to work in PT, I am completely lost.
(17-08-2017, 05:55 PM)flyrecords Wrote: nice sounding, im user of S.O 3 too. good work!!
Thanks, Fly. Are you on PC or Mac? For me S1V3 is the most intuitive DAW out there and getting better all the time. When I try to work in PT, I am completely lost.
I also think the same, and more, I think in a few years it will become a standard of professional recording as much or more than the PT.
I use it in Pc and it has given me great satisfactions, it's great, I come from analogue recording is the most similar that I use, after trying countless daw's
I took a very simple approach to this interesting composition. Very little EQ and compression were used throughout until the mastering where some gain was added to even presence through the sound field.
I hope you find this to your liking.
As always, comments are encouraged and appreciated.
Lorenzo Price - Changing Things
8/17/2017
-----------------------
Nice! I like the natural sounding drums. You kept the ring in the toms and they sound very much like a strict Jazz kit. Mix balance is great.....like the mix a lot. I took a different approach with the drums......beefed the toms and gated them, added some low end bump around 40hz on the kick and dipped the low mids, etc. I love to listen to so many different approaches to the same material. It's a fascinating thing and it's very educational. Bravo again on a nice mix.
Tom
Tom,
I just finished listening to your mix and would echo your sentiments. One of the benefits of great musicianship is not needing to do much to bring out the artistry. When I listened to the individual channels for the drums they are wide open, especially the kick, which is a refreshing change. You can almost hear how new the head is on the kick. I did do some slight control on the first tom for its solid ring by dipping the low mids, but hey, that's the way it was tuned so I did not suppress it completely. And the way it is played brings different tone base upon the strike. Over-all the drums have deep low end boosted and the upper highs boosted as well, all done on the stereo drum buss. I was very cautious about making them sound too processed or altered. The only effects are an in-line convolusion reverb on the stereo master to add a sense of place and to deepen the sound field slightly to give a bit more space to each player.
My stereo placement for the drums was based on the overheads and listening carefully to where individual instruments appeared in them. Not sure this is the best approach, but it seemed to work in this instance. The piano was a bit of a challenge only in that the stereo spread was predefined. I used some trickery to modify that so I could effectively pan it slightly to provide more of a live mix yet keep a stereo mix of it. It required no EQ nor compression. The same can be said for the guitars. They are essentially flat. I did some minor compression of the bass to make it a bit more consistent, but not more than a 3 db drop.
Thanks for your words.
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Indeed, as you did, I always listen to the overheads to determine approximately where the toms should be panned. I think most every mixing engineer does that unless some type of special effect is being employed.
Indeed, as you did, I always listen to the overheads to determine approximately where the toms should be panned. I think most every mixing engineer does that unless some type of special effect is being employed.
Cheers.....
Tom
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Tom,
Are you sure of that. Especially in a jazz environment? When I listen to the overheads on this song, I hear the snare coming from the left. I often assume there are evenly spaced matching mics used overhead, but that is only conjecture. There are plenty of excellent mic techniques which do not adhere to this 'standard'. Here is the Glyn Johns technique (https://www.recordingrevolution.com/the-...ng-method/) Very interesting and excellent results. I remember doing a session in a great sounding space and as I was walking up to the kit the drummer was hitting the kick and I could hear the snap and punch of that drum coming right off the floor. I put an RE20 there, about 6 ft. in front of the kit angled at the floor 3 ft. in front of the kick. It was one of the best kick sounds I ever got and gave tremendous depth to the entire kit in the mix. Who knows what's going to work? As a side note, I tried that rig again in other studios and it did not work the way it did in that earlier space.
Check out my new mix. The space I put the players in, is more refined which dictated a new balance.
