21-08-2019, 04:26 AM
(This post was last modified: 25-08-2019, 01:46 AM by Mixinthecloud.)
I took a long time with this mix as my approached evolved. I found the key to this mix was the bass and the figures and effects he used. When I got the focus on that down, the rest of it came together more easily.
The drums took a lot of work and a lot of critical listening to get pans, levels, filters, etc just right. I ended up with a gate on the snare to widen and deepen it. The buss had The Glue, a M/S EQ and an in-line Oril River ambiance patch on it. I like the space it ended up in. I used all of the overheads and the chamber as well. Each lent character to the space.
The sax was a bit monotonous so I have a lot of dynamics automation through the tune on it. I used both mics panned full L/R and the bus has an 1176 on it and an API 550B.
The guitars were a mysterious lot. Very dark and I tried to keep them that way and used their tone to fill the open space in the mix nicely. At times they sound almost keyboard-ish (funny, you don't look keyboard-ish...
).
The vocals were pretty easy. Just well filtered, Glued and shaped with an API 550B on the Lead vocal and BGV subs. Even with the amount of bleed on these tracks they required no muting or cleaning. The slight ambience they added was beneficial to my ears.
My first mixes had the drums dominating along with the sax, and that was the wrong approach. Once the bass came into focus I was able to drop the kit back, place the guitars and lay in the sax with the dynamic moves through the song. The vocals were static with some nice reverb to bring the spaces together.
-13.6 LUFS; 10.5 LU
Six Fox Whiskey - Hope and the Sea - Mix 5
As promised I made some mods to the voice and intermediate room as well as addressing the sax automation through the song. Took a few attempts to get where I wanted it to be.
That's my story and I'm sticking to it. I hope you find it a worthy listen.
Thanks,
mITc
The drums took a lot of work and a lot of critical listening to get pans, levels, filters, etc just right. I ended up with a gate on the snare to widen and deepen it. The buss had The Glue, a M/S EQ and an in-line Oril River ambiance patch on it. I like the space it ended up in. I used all of the overheads and the chamber as well. Each lent character to the space.
The sax was a bit monotonous so I have a lot of dynamics automation through the tune on it. I used both mics panned full L/R and the bus has an 1176 on it and an API 550B.
The guitars were a mysterious lot. Very dark and I tried to keep them that way and used their tone to fill the open space in the mix nicely. At times they sound almost keyboard-ish (funny, you don't look keyboard-ish...
).The vocals were pretty easy. Just well filtered, Glued and shaped with an API 550B on the Lead vocal and BGV subs. Even with the amount of bleed on these tracks they required no muting or cleaning. The slight ambience they added was beneficial to my ears.
My first mixes had the drums dominating along with the sax, and that was the wrong approach. Once the bass came into focus I was able to drop the kit back, place the guitars and lay in the sax with the dynamic moves through the song. The vocals were static with some nice reverb to bring the spaces together.
-13.6 LUFS; 10.5 LU
Six Fox Whiskey - Hope and the Sea - Mix 5
As promised I made some mods to the voice and intermediate room as well as addressing the sax automation through the song. Took a few attempts to get where I wanted it to be.
That's my story and I'm sticking to it. I hope you find it a worthy listen.
Thanks,
mITc
PreSonus Studio One DAW
[email protected]
[email protected]