17-11-2016, 05:28 PM
Before saying anything technical about this mix, I'd just like to say that it has something about it that I associate with all my favourite mixes: namely, that even though I'm already familiar with the multitracks and various other mixes of them, there were numerous moments in this mix where I felt that I was rediscovering elements afresh. The backing vocals stunt is the most obvious thing -- an inspired choice to give us the chance to hear them on their own, because fundamentally they deserve it in terms of pure character. Another place that really opened my ears was Banjo during Outro 2 -- beautifully judged to come through clearly for a last-minute injection of interest, and fitting as if the mix had been just waiting for it to come along, even though it didn't seem as if anything was missing from the texture until then.
Sonically, though, this mix is also pretty impressive. Great sense of frequency bandwidth, with plenty of well-controlled low end to the bass guitar (one of the challenges on this multitrack), and an impressive sense of stereo width by virtue of the LCR panning. Perhaps counterintuitively, I think that the comparatively narrow drum image actually makes the image seem wider, given that it seems to put more horizontal distance between the drums/bass axis and outlying guitars. It also, incidentally, provides a nice little stereo pocket at mid-left and mid-right for those backing vocals to slide into.
Not that I'm implying that this is an overly 'technical' mix, because it still gives an enviable sense of excitement and rawness -- reminds me of some of Randy Staub's mixes, in fact, in that respect. It's a living breathing thing, and gives a powerful psychological impression (by virtue of what I'm assuming is no scarcity of compression!) of straining fiercely at some kind of leash. Not a bad impression to give for a song like this, I reckon!
My only real criticism is that perhaps some of the compression is a touch too fast, particularly on the drums, as the mix as a whole seems to lack some midrange punch. I'd prefer to leave a few more peaks in there to add more of a real 'slam' to the attitude and excitement that's already on offer. That said, as it stands this mix does, by virtue of its well-controlled bass and 'less voltage, more illusion' drum sound, respond ridiculously well to loudness processing, if that happens to be appropriate -- go on, try it for yourself, it's surprising how far you can go without unacceptable processing side-effects.
And if I'm really picking nits: is the vocal a bit too recessed in the Mid-sections? I reckon it might work better to give it a bit of a new effect, something with a tail, to support the more open sound of that section as well as allowing you to pull the vocal a bit up in level without ungluing it. Just a thought. That aside, though, I would agree with the other poster who complimented you on the vocal sound in general -- very commercial and contemporary sounding. We could all learn something if you wanted to go into more detail about your specific settings there, I imagine!
Anyway, as you can probably tell, I like this mix quite a bit.
Thanks Dangerous for the masterclass! It might not be everyone's cup of tea in terms of vision, but on its own terms it's pretty hard to fault.
Sonically, though, this mix is also pretty impressive. Great sense of frequency bandwidth, with plenty of well-controlled low end to the bass guitar (one of the challenges on this multitrack), and an impressive sense of stereo width by virtue of the LCR panning. Perhaps counterintuitively, I think that the comparatively narrow drum image actually makes the image seem wider, given that it seems to put more horizontal distance between the drums/bass axis and outlying guitars. It also, incidentally, provides a nice little stereo pocket at mid-left and mid-right for those backing vocals to slide into.
Not that I'm implying that this is an overly 'technical' mix, because it still gives an enviable sense of excitement and rawness -- reminds me of some of Randy Staub's mixes, in fact, in that respect. It's a living breathing thing, and gives a powerful psychological impression (by virtue of what I'm assuming is no scarcity of compression!) of straining fiercely at some kind of leash. Not a bad impression to give for a song like this, I reckon!
My only real criticism is that perhaps some of the compression is a touch too fast, particularly on the drums, as the mix as a whole seems to lack some midrange punch. I'd prefer to leave a few more peaks in there to add more of a real 'slam' to the attitude and excitement that's already on offer. That said, as it stands this mix does, by virtue of its well-controlled bass and 'less voltage, more illusion' drum sound, respond ridiculously well to loudness processing, if that happens to be appropriate -- go on, try it for yourself, it's surprising how far you can go without unacceptable processing side-effects.
And if I'm really picking nits: is the vocal a bit too recessed in the Mid-sections? I reckon it might work better to give it a bit of a new effect, something with a tail, to support the more open sound of that section as well as allowing you to pull the vocal a bit up in level without ungluing it. Just a thought. That aside, though, I would agree with the other poster who complimented you on the vocal sound in general -- very commercial and contemporary sounding. We could all learn something if you wanted to go into more detail about your specific settings there, I imagine!
Anyway, as you can probably tell, I like this mix quite a bit.
Thanks Dangerous for the masterclass! It might not be everyone's cup of tea in terms of vision, but on its own terms it's pretty hard to fault.