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Full Version: Pedaling Prince Mix: James May - Don't Let Go
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When I finished my first rough mix of this I felt it was missing something. After listening to it a couple of times i knew: this was going to be one of those rare projects where I'll want to use much bigger reverbs than I usually do. Once I did, this thing just became magical. Angel

Normally, my approach to reverbs usually uses a combination of effects applied to individual tracks and sends to a master effect. On this project, I decided to dispense entirely with track-specific effects and send everything to the same master reverb; the only difference is how much of that master reverb each track is using. No tracks were left dry; all tracks used that reverb, even if only subtly. I also used quite a bit more reverb on the vocals than I usually do, and the reverb effect itself has a much bigger, open, airy feel than reverbs I usually use.

I think it turned out rather well. Smile Anyone have any comments or suggestions?
Yes, very very good. Balances and instruments sound very pleasing.

Some totally minor things came to my mind:
- Thing that bothers me is the reverb with acoustic guitar in some places when the player slaps the string. For example 0.33.
- Also that slap sound is quite metallic. Well, I know it's very metallic also in reality, but when that hit comes thorugh otherwise pleasant and warm sound it feels little distracting to me in this song.

One thing that is totally personal preference and nothing to do with quality: I would prefer slightly less reverb with vocals. I think it would suit better the conversational feeling and message of this song.

But why only one reverb? I think with couple of reverbs one could create better spatial image.

(06-05-2014, 11:54 AM)Olli H Wrote: [ -> ]Some totally minor things came to my mind:
- Thing that bothers me is the reverb with acoustic guitar in some places when the player slaps the string. For example 0.33.
- Also that slap sound is quite metallic. Well, I know it's very metallic also in reality, but when that hit comes thorugh otherwise pleasant and warm sound it feels little distracting to me in this song.

One thing that is totally personal preference and nothing to do with quality: I would prefer slightly less reverb with vocals. I think it would suit better the conversational feeling and message of this song.

OK. In this version I backed off the reverb on the guitars and the vocals slightly and completely revamped the EQ on the guitar. I was going for a brighter guitar sound (which I prefer when there's a bass in the mix, especially one with so much body and warmth as this one) but maybe the original EQ boosted the highs a little too much. Blush The EQ here still boosts the highs but not nearly so much; it's much more subtle.

(06-05-2014, 11:54 AM)Olli H Wrote: [ -> ]But why only one reverb? I think with couple of reverbs one could create better spatial image.

Well, I was going for a unified feel, as if James May and the musicians were all on one stage together and the reverb was the natural acoustics of that auditorium. I figured using a single reverb as a send effect on all tracks would be the best approach. I did tweak the amount each track sent to the reverb but they's all using the same effect.

That part I left alone; the sound was exactly what I was going for. Smile

So what do you think now?
I like more the new version. It's more three dimensional.

(07-05-2014, 02:34 AM)Pedaling Prince Wrote: [ -> ]Well, I was going for a unified feel, as if James May and the musicians were all on one stage together and the reverb was the natural acoustics of that auditorium. I figured using a single reverb as a send effect on all tracks would be the best approach. I did tweak the amount each track sent to the reverb but they's all using the same effect.

If you want to create stage image where players are in line, then one reverb is probably ok, but if you want to have more dimension to that, for example singer and guitar in front, bass and drum more back, then it might work to use two different reverb setting. Notice it could be the same room algorithm, butc with adjustment where other has more early reflections, and the other more later reflections. It's the same way in real room. Distance of the source from the listener changes the balance of early and late reflections.

I agree with the fact that if there's very heavy bottom, then there should be also brighter elements.
If you want to have bright guitar sound, then you might consider using de-esser to cut off only those hits. That way you can have both, bright guitar with controlled hits.

Also suitably adjusted de-esser in the reverb buss could nicely diminish the metallic tail of those hits. Or use different, not so bright reverb for guitar.

(07-05-2014, 02:34 AM)Pedaling Prince Wrote: [ -> ]That part I left alone; the sound was exactly what I was going for. Smile

And that's the right way to do it. I think one should always follow one's instinct in mixing issues (at least when one is practicing), even if it guides you to bottom of ditch. To develop one's own taste is one of the most important issues in mixing. If one only tries to follow other's tastes, one will never be a good mixer. Somewhere Dave Pensado said that he is not selling his skills but his taste.

I like the second mix more its sounds cleaner..
Good job.
I like your way of mixin, it reminds me of when I used my trusted 4 track tape recorder and my only effects were L C R pan and a stereo graphic equalizer. One makes very clear and uncluttered mixes that way.
I dont mind the bas is a bit uneven, its a very lively mix.
My only suggestion is the lvl of solo guitar. The rhythm part is louder and I think it should come up to that - at least - in lvl. Then again Im a guitarist :-)

Very very nice eq on the shaker !
(07-05-2014, 02:53 PM)Voelund Wrote: [ -> ]My only suggestion is the lvl of solo guitar. The rhythm part is louder and I think it should come up to that - at least - in lvl.

How's this? Smile