25-07-2018, 10:52 PM
Hi everyone,
Here's my first attempt at this (or anything else).
Sax - I kept all three sax mics level and pushed them all to their own mix bus, without doing anything else on the individual channels other than levels. On the Sax Mix Bus, I put the sax blend into Ocean Way Studio A... I setup the space for vocal performance as the sax was taking the lead, so this involved a re-mic with a c12 at 3ft, an M50 at 9ft, and a pair of KM54 offering ambient room (but barely dialed in at all). A little EQ was added with a narrow dip at about 400Hz, another dip of a couple dB at about 1.5K and a slight lift at about 3.1K. This was followed by some light compression (4:1 / Medium Attack and Release) to keep things under control. Lastly I added a little bit of saturation to warm it a little. Panned to 11 o clock.
Guitar - I balanced the three mic positions with DI being most prominent and then sent all of them to a Guitar Bus. On the Guitar bus, like the sax, I added the guitar to Studio A from Ocean Way; this gave me a more cohesive sound for the both of the instruments and players in the same acoustic space. I re-mic'd the guitar with a c12 at 3ft and a c12 at 12ft (but barely dialed just enough to give make the room sound noticeable). I compressed/limited the bottom end hard, as the percussive body strike to the guitar was really boomy. I dropped about 3dB at 100Hz to help with the boom, and added 2dB lift at 200 to keep the warmth. Lastly I added a shelf above 1K to bring the clarity out in the lighter strings. Panned to 1 o Clock.
I added a limiter/maximiser at the last stage to stop anything sneaking through above -1dB and to bring the average up to about -14 LUFS.
I've probably over thought this whole thing, done 10x more than I needed to, and made a hash of it. But we all start somewhere I guess.
Here's my first attempt at this (or anything else).
Sax - I kept all three sax mics level and pushed them all to their own mix bus, without doing anything else on the individual channels other than levels. On the Sax Mix Bus, I put the sax blend into Ocean Way Studio A... I setup the space for vocal performance as the sax was taking the lead, so this involved a re-mic with a c12 at 3ft, an M50 at 9ft, and a pair of KM54 offering ambient room (but barely dialed in at all). A little EQ was added with a narrow dip at about 400Hz, another dip of a couple dB at about 1.5K and a slight lift at about 3.1K. This was followed by some light compression (4:1 / Medium Attack and Release) to keep things under control. Lastly I added a little bit of saturation to warm it a little. Panned to 11 o clock.
Guitar - I balanced the three mic positions with DI being most prominent and then sent all of them to a Guitar Bus. On the Guitar bus, like the sax, I added the guitar to Studio A from Ocean Way; this gave me a more cohesive sound for the both of the instruments and players in the same acoustic space. I re-mic'd the guitar with a c12 at 3ft and a c12 at 12ft (but barely dialed just enough to give make the room sound noticeable). I compressed/limited the bottom end hard, as the percussive body strike to the guitar was really boomy. I dropped about 3dB at 100Hz to help with the boom, and added 2dB lift at 200 to keep the warmth. Lastly I added a shelf above 1K to bring the clarity out in the lighter strings. Panned to 1 o Clock.
I added a limiter/maximiser at the last stage to stop anything sneaking through above -1dB and to bring the average up to about -14 LUFS.
I've probably over thought this whole thing, done 10x more than I needed to, and made a hash of it. But we all start somewhere I guess.