29-06-2018, 01:19 PM (This post was last modified: 15-05-2019, 07:17 PM by Deliza.)
Sweet rola, nice arrangement and a great voice (also good mic technique, perhaps?); this was very enjoyable to mix. Btw, is this really about a cow or just kinky innuendo?
I was surprised how wide the overheads were, didn't think it'd fit and tried to make the drums smaller and less of a stereo hog. Eventually, I think I could have gone even more mono. One thing I tried for the first time was to use a transient controller on the OH's and cut a good amount of sustain. "That did put a smile on my face".
Also modestly proud of my first quick fadeout. I would have to check out if I made it while mixing or "mastering".
And because of damned cans, I'm dubious about the overall tonality, specially the low end, which I'm fearing could be too much. I didn't want a bright mix, but some fellows here have done that and got quite sweet sounding mixes.
Any help is warmly appreciated, as always… and have a terrific weekend!
12-07-2018, 03:32 AM (This post was last modified: 12-07-2018, 03:34 AM by KMuzic.)
Hi Deliza
Very nice sounding mix.. balance is nice. tones work good together.
Its clean. The bottom sounds fine, I don't think its too much. Only thing that bothered me was the reverb on the dobro, it sounds really sweet at the end when there isn't much around it, but earlier it gets washy inside the mix, maybe pull back on that reverb, or try another.
Sounds very cool with the reverbs and panning you did. Very nice work. BTW the fadeout was perfect
I think your right on the innuendo part..lol
I think I might try this one again but go really old school 50's, no effects just EQ, close to mono. its a cool song to play with
12-07-2018, 09:56 AM (This post was last modified: 12-07-2018, 07:09 PM by Deliza.)
Yeah, it's too soaked in spring reverb. I was looking for a Hawaiian tone because of the extremely laid back and pleasant vibe of the tune, but it'd probably feel better if dobro shared space properties with electric guitar, since they are panned the same and take turns. Good point.
Funny thing is, to nail that 50's sound, I think you ought use even more plugins than usual. If you check out the tracks from the StreetNoise songs, you can see how much different every part sounds compared to what we're used to nowadays, which is neutral and much more upfront (and those are middle 70's recordings, so not even close). Bass guitar, for example, didn't have a lot of bottom end, and there was no harshness at all generally speaking. I guess it was a combination of extremely coloured gear every step of the chain, distant mic positioning (more ribbon mics, maybe?), and of course almost no multitracking so everything was done at recording time (I guess if you have 2-track machines and final mixes were mono, you could do some overdubbing, but we're still talking of an almost alien workflow). Besides, it was rare to use more than one or two mics for drums back then. Virtual console and hissy tape emulators aside (which I'd use beyond insane), ducking compression on everything and grainy plate reverb plus slap tape, that's what I think it'd take to get close.
Anyway, hoping you do it, K. Thanks for your opinion!
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