14-08-2014, 05:38 PM
Thanks for all the comments guys!
I haven't heard about that technique "running the vocal through multiple parallel compressors". The only stuff I've read about him regarding this matter is the fact that he uses different inserts/FX for different sections of the song. One track for verse vocals and another for chorus vocals to create musical dynamics. And also about those infamous guitar pedals that he puts on parallel.
You can see from the images that my lead vocal is only a single track (all the lead vocs have been consolidated to it) although you're correct about the parallel distortion: One of my LV inserts is saturation plugin with a blend knob.
I also read from some of the judges notes that it simply was a good laugh
. I kept it initially simply to keep the joke going on.
The reason why it's audible in my mix is because of aliasing. I'm using quite a lot of distortion everywhere in my mix (including some of those infamous console summing plugins).
After investigating about this matter I found out you can create that same sound with a tone generator set to 20 kHz and putting a distortion plugin after it. Depening what is your session sample rate, the aliasing tone will be different (quieter with higher sample rates). This aliasing coming from distorting (=creating harmonics) the top end is actually a first time I've found a reason whatsoever to use higher sampling rate for mixing (even if the final format will be 44.1k).
(10-08-2014, 11:39 PM)pauli Wrote: Just briefly... I'm a Spike Stent fan myself and referenced one of his mixes while working on this track. I hear echoes of his style in your work... lots of parallel distortion, and maybe you used his technique of running a vocal track through several separate parallel compressors in varying amounts? It would explain some of the cool tonal effects I'm hearing.
I haven't heard about that technique "running the vocal through multiple parallel compressors". The only stuff I've read about him regarding this matter is the fact that he uses different inserts/FX for different sections of the song. One track for verse vocals and another for chorus vocals to create musical dynamics. And also about those infamous guitar pedals that he puts on parallel.
You can see from the images that my lead vocal is only a single track (all the lead vocs have been consolidated to it) although you're correct about the parallel distortion: One of my LV inserts is saturation plugin with a blend knob.
(10-08-2014, 11:39 PM)pauli Wrote: Why can I hear the dog whistle in your mix and bmullens when only my dog could hear it when I was trying to figure out what weird reason they'd included it (FYI, it's been suggested to me that it was probably a joke)?
I also read from some of the judges notes that it simply was a good laugh
. I kept it initially simply to keep the joke going on.The reason why it's audible in my mix is because of aliasing. I'm using quite a lot of distortion everywhere in my mix (including some of those infamous console summing plugins).
After investigating about this matter I found out you can create that same sound with a tone generator set to 20 kHz and putting a distortion plugin after it. Depening what is your session sample rate, the aliasing tone will be different (quieter with higher sample rates). This aliasing coming from distorting (=creating harmonics) the top end is actually a first time I've found a reason whatsoever to use higher sampling rate for mixing (even if the final format will be 44.1k).