01-02-2018, 07:03 AM (This post was last modified: 03-03-2018, 10:02 PM by davemcg61.)
I also had some challenges cleaning up mic bleed wherever I could. My first mix seemed to have no stereo separation, so I got a bit more liberal with some panning and it sounds a bit better, but only a little louder overall. I also took the mono guitar track and sent it to a stereo bus then found a complimentary delay. Your thoughts and suggestions are appreciated.
A lot of balance refinements were made in the mix, enough to allow the kick and snare drums, and the vocals, to move substantially forward. The Passive EQ in Mid-Side mode gave much better stereo separation than the directional mixer.
Peace,
Dave
Mid 2019 Mac Pro; Focusrite Scarlet 18i20 USB2 audio interface; Logic Pro X; FabFilter C2, DS, L1, Q3, R, Saturn2, Timeless2 ; Native Instruments Komplete 13; Waves 12 Gold; Rokit 6 G3 monitors; AKG K240 MKII and Beyerdynamic DT990 Pro cans.
01-05-2018, 05:45 AM (This post was last modified: 01-05-2018, 07:19 PM by davemcg61.)
I went back to this tune and applied some of the EQ tricks learned the last few months. The bass guitar low end now sits below the kick drum. A few other cuts were made in the overheads track, the chamber and room tracks to remove boxy sounds in the 250-400Hz range. The lead vocal automation was refined and the compressor removed from the track, then changing the compressor on the lead vocal bus for a more punchy sound.
The cumulative effect was that the overall volume went down considerably, leaving me 3dB of headroom instead of 1db. Well, there was nothing more I could add to the mix; there's plenty of reverbs and delays used on vocals and on the guitar track. I thought all evening at work what I could do to enhance or alter the sound, more as an experiment to see what I could get away with that still sounded good, and would be unique.
My answer came when I got home and played the mix. In the first drum beat, the kick punches through. So I grabbed all the drum tracks and sent them to a bus that had the same EQ as the primary drum bus, and then added a drum crusher. The send level on every track was just about 1.5dB lower than where the fader was sitting on the main drum bus - at -7.5db.
I played it back. Holy expletive batman, that's nuts! It's gotta break 0dB and I'm gonna have to lower it, but it didn't, so I left it alone and bounced that version too. Amy and the Handsome Strangers meet John Bonham. The mastering was kept at the same level; LUFS-I = 11.2dB.
Comments are expected to range wildly.
Peace,
Dave
Mid 2019 Mac Pro; Focusrite Scarlet 18i20 USB2 audio interface; Logic Pro X; FabFilter C2, DS, L1, Q3, R, Saturn2, Timeless2 ; Native Instruments Komplete 13; Waves 12 Gold; Rokit 6 G3 monitors; AKG K240 MKII and Beyerdynamic DT990 Pro cans.
08-01-2019, 03:49 PM (This post was last modified: 08-01-2019, 03:49 PM by Deliza.)
Hi Dave, listening to these drums and wow, this is definitely and acchievement unlocked! Last version is the one for me (because the more the better, ain't it?) though bass hat/kick/snare could be just 1/2 dB lower and the bass could give half a step forward to compensate. Also, drum fills sound incredible!
Main vocal sounds excellent, though I'm not so sure about how prominent is the male BV, since he doesn't seem to glue so well with her.
The mandoline sounds louder than the guitar, that's a shame. That guitar is well played, inventive and isolated. First part of the solo is specially offensive.
The mastering was kept at the same level; LUFS-I = 11.2dB.
