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Ikebe Shakedown: 'The Last Stand' kapu mix
#1
nice room sound. ^_^


.mp3    ikebe_shakedown___the_last_stand_kapu_mix2.mp3 --  (Download: 8.64 MB)


.mp3    ikebe_shakedown___the_last_stand__kapu_mix3.mp3 --  (Download: 8.56 MB)


.mp3    ikebe_shakedown___the_last_stand__kapu_mix4.mp3 --  (Download: 8.56 MB)


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#2
Hi, Kapu. Kick/bass sounds great, way better than what I could get! Mix got energy and character without feeling overdone.

Left side feels a little empty, maybe some reverb from the bongos could sit there to help full the image, or maybe from the guitar.
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#3
(07-01-2019, 01:09 AM)Deliza Wrote: Hi, Kapu. Kick/bass [...]

thanks for feedback! maybe the guitar could indeed be panned more left. and snare could go a bit down.

kick workflow:

duplicated kick track

added some overly transient enhancing compression to duplicate and rendered it.

now i get waveform with visually very distinct transients.

used reapers dynamic split on rendered duplicate to generate midi notes from transients.

changed the chromatic continuous midi notes to 1/128 lenght and c4 pitch through midi editors note properties function (selected all notes > note properties).

deleted the duplicate 'kick waveform guide track'.

inserted reasynth to kick midi track. default settings, 0 attack , 1 decay, sustain 0 and release 8.

now reasynth is generating pretty accurate trigger 'bleeps' for every kick hit.

these bleeps dont go to mix. theyre only used as sidechain source for the actual kicks. in this case, gating.

kick mics are group into a bus (i think reaper calls it a folder), and processed together. super tight gating (with the bleep as sidechain source), and quite big. eq cuts between 100-200 and 1k. and low cut at 35.

kick bus is then send to parallel compression (1176-style fet-smashing).

kick bleeps are also source for sidechain compression for bass, ducking the bass a few dBs.

the signal chain is basically the same for snare too, but without generating the midi bleeps. on rock/metal stuff that can be helpful too.

kick and snare use the same parallel compression bus. bass is sidechained also to snare.

bass is basically just la2a-compression a few dBs. low cut at 32 and broadish 5 dB cut at 160. and then the kick and snare sidechains.

hope that will give some ideas. ^_^
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#4
added second version. ^_^
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#5
V2 is a tad sparkier and crunchier, improving most things altogether, thou guitar loses some presence and kick might cut just a little too much sometimes.

What did that bleep creating workflow add to the gating, Kapu? Wouldn't it be just the same if you just gate the kick, adjusting the attack and predelay times? Maybe there was just too much bleed.

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#6
Hey Kapu, nice one the last mix when the horns got a bit more fancy Big Grin (Y) gj, really good volume are you cliping it thru a soundcard or something?
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#7
cool! vinyl sound.
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#8
(08-01-2019, 08:53 PM)Deliza Wrote: V2 is a tad [...]

basically the accurate (bleep) external sidechain source for gating eliminates the hysteresis problem, and gives much more precise control over hold and release time. for me it kinda turns the gate into ASR volume envelope generator, which relies on musical information rather than audio signal. as long as the triggering midi notes are accurate. and, as reaper (and many other daws) provides pretty accurate transient-to-midi functionality, its just very practical and requires very little if any manual correction for the midi notes. as 'studio mixing' is mostly work with pre-recorded offline sources, that's just a practical method. unless the gate by itself is adding/producing some kind of wanted sound effect when reacting to the audio signal. which for me is mostly not the case.

in theory that could be possible with just by the gate itself, but it would require a ton of threshold automation. in practice for every single event. ^_^
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#9
(08-01-2019, 09:31 PM)crownoise Wrote: Hey Kapu, nice [...]

sometimes i clip through apogee rosetta 200, but not here. in this case the mix bus is:

uad api 2500 with 4:1, 30ms attack, long auto release, soft knee, normal tone. uad headroom set a notch lower, so every know and then it clips at -3 dBFSish, adjusted with make up gain. doing 1-2 dBs of gain reduction.

huge fabfilter disco smile preset linear phase multiband compression with ~35% mix. doing loads of gain reduction, overall effect adjusted with the mix by ear.

uad precision maximizer (3 band saturation), with around 40% effect/shape and 60% mix (ear adjusted). usually end up with somewhere between 40-60% for both parameters.

uad elysia alpha master compressor. no compression, only the clipping stage. as much clipping as possible (ear adjusted).

ozone limiter. standard irc 1 mode. slow speed. threshold so, that it kicks in every now and then, just to cut the 'empty' headroom. ^_^
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#10
(09-01-2019, 01:20 AM)Frank Lima Wrote: cool! vinyl sound.

thanks. i usually try to monitor the 'feel' or 'punch' with speakers, and frequency balance with headphones. might end up with less highs and more vintagy sound. ^_^
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