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Digital Only Logic Proz Kat Wright
#1
Holy crap, can someone tell these Telephnuken peeps to please redub the freaking vocals?? Strugglesvile population me. Honestly, I get you're trying to demo your microphones, and they are awesome, but honest to Moses large diaphragm condensers will pick up everything. Mans gotta mix over here.

Anyways, have a listen. I mixed this just for you.

Yes, you.


.mp3    Kat Wright_ContactM1.1.mp3 --  (Download: 12.42 MB)


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#2
(30-07-2019, 09:56 AM)Quathamer Wrote: Holy crap, can someone tell these Telephnuken peeps to please redub the freaking vocals?? Strugglesvile population me. Honestly, I get you're trying to demo your microphones, and they are awesome, but honest to Moses large diaphragm condensers will pick up everything. Mans gotta mix over here.

Anyways, have a listen. I mixed this just for you.

Yes, you.

This all just adds to the fun! There are always compromises and trade offs with these recordings, but also work arounds which are super rewarding when found. The reference track shows us what can be extracted.

Having a quick listen everything sound pretty good but with maybe too much emphasis on the drums overall. I like the width, but I think you can afford to push the instrument parts a little harder here especially the ones out wide. (Keep checking your balances back in mono) The reference mix of this track shows how exciting and emotionally charged the song can become when things are pushed a bit. Also, Guy Sebastian's "The Memphis Album" is a good album to listen to for a modern take on this style. Press on Quathamer and hit this one for six.
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#3
Hello Dave,

Yeah good points, though I'll admit I usually spread my mixes right out wide because width is life, I brought this one in because there were just too many uneven tones from the various instruments.

As for the drums, I had to emphasis them, I didn't really have a choice, but well spotted that you noticed that I made a point of making the drums a thing. I didn't have a choice because there was so much bleed in the vocal mic, so it was either I clean up the drums and make them a focal point, or soften them up and the bleed in the vocal mic becomes blatantly obvious.

Thanks Dave, your comments are always constructive and well thought through mate.
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#4
OK, I'm not crazy about the saturation on her voice. However, there is really nothing wrong with your mix and you have presented a professional result regardless of the YUGE problems with leakage into her vocal mic. Although you complained bitterly about it, as did many other mixers, you've done a fine job with it.

I think we should give the engineers at Telefunken a bit more credit. They are faced with limitations too (read: the politics of dancing with performers, musicians and producers).
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#5
Mmmm, yeah that's a very good point.

Not sure if you're the same, but I've spent the most of my experience doing live shows, so these kind of issues are pretty normal and I shouldn't complain. I suppose I just wanted to throw some proper compression on the vocal and knuckle it down a bit because she is very dynamic.

You make a very good point.
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#6
(30-07-2019, 02:56 PM)Quathamer Wrote: Mmmm, yeah that's a very good point.

Not sure if you're the same, but I've spent the most of my experience doing live shows, so these kind of issues are pretty normal and I shouldn't complain. I suppose I just wanted to throw some proper compression on the vocal and knuckle it down a bit because she is very dynamic.

You make a very good point.

I started in the studio and then did live sound for years. Now I'm mixing in the comfort of my home and DAW. I went to school for Studio Music and Jazz then switched to architecture and ended up designing, building and owning studios. My design skills led me to computers and then into computer networking and systems management. I am a systems guy with one foot in live, one in the studio and one in networking. Yes, I look weird...
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#7
(30-07-2019, 03:06 PM)Mixinthecloud Wrote: I started in the studio and then did live sound for years. Now I'm mixing in the comfort of my home and DAW. I went to school for Studio Music and Jazz then switched to architecture and ended up designing, building and owning studios. My design skills led me to computers and then into computer networking and systems management. I am a systems guy with one foot in live, one in the studio and one in networking. Yes, I look weird...

Man of many talents and limbs it seems.
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#8
I love the echo you put on her Smile
And your drums have a cool punch.
I think this sounds more like a possible studio-album version than a LIVE-version, which is both good and bad. Good because it would sound cool if the source-tracks were cleaner, and bad for the same reason; they're not clean enough to mask out that LIVE-tone.

I like it, but could have used a bit more definition. It becomes very 'gray' (opposite of vivid) I think, when you compress it all into a studio-type sound when the source material is not super-clean.
But on a studio-recording I think this would be very nice Smile
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#9
(02-08-2019, 04:11 PM)JEL Wrote: I love the echo you put on her Smile
And your drums have a cool punch.
I think this sounds more like a possible studio-album version than a LIVE-version, which is both good and bad. Good because it would sound cool if the source-tracks were cleaner, and bad for the same reason; they're not clean enough to mask out that LIVE-tone.

I like it, but could have used a bit more definition. It becomes very 'gray' (opposite of vivid) I think, when you compress it all into a studio-type sound when the source material is not super-clean.
But on a studio-recording I think this would be very nice Smile

Well, you might be right, but to be honest I think the studio vibe comes out well when you treat your material properly, and to be honest I didn't use a whole lot of compression.

The only real compression I did was on the snare, and the rest was automation, some good eqing (just logic's eqs) and I just used my ears. Honestly, its as simple as - would I want to listen to this track if I wanted to listen to music? And the answer might be yes, or no, but that's the goal I work towards.

I don't ever mix a live version to sound like it was recorded from a FOH console, because nobody owns a FOH speaker system. I mix studio always because I'm mixing for headphones and ipod docks, so I need to get the most out of the tracks.

No lazy mixing.
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#10
I have heard the argument that you should mix for what most people listens on, which may be good advice.
Mixing for phone earbuds and blutooth-speakers might be a smart idea.
I'm of the older generation though, so I don't listen to music that way myself, so it would take some getting used to if I should begin to do that Smile

I use studio-monitors and studio-headphones, but of course not many 'normal' people use such things.

I don't know the smartest route to take. If I did I would be rich and famous lol Wink

I do prefer the final sound to reflect the recording though, which is why I mentioned the thing about it being recorded in a LIVE-session.
The LIVE-albums I listen to myself always have a distinctly different sound to them than the same artists' studio-albums. Maybe it's not intentional by those who made them, but that's what I've gotten used to over the years Smile (but of course; no rules are truly rigid)

Yes, laziness is rarely leading to good things Smile

But as said; I do like your mix Smile
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