26-07-2013, 05:10 AM
Thought I´d share this mix with you along with my mindset constructing this mix.
I bought Pro Tools 11 when it was released thinking that most plugin manufacturers would tag along and release their 64 bit AAX versions shortly after. This wasn´t the case as many of you know. I am an avid UA fan (no pun intended) and run my mixes mainly on their plugins, and I´m really satisfied with their products.
However, i´ve felt an itch to try out the new Pro Tools and decided that I would only use stock plugins. I started mixing this song and it went really well until I came to the buss compression. Usually I´ll slap on a buss compressor on the master after I´ve found a solid balance for the song (before any plugins) but I had to settle for a D3 compressor or a BF76. I went with the D3. I honestly think that the BF76 should have been scrapped years ago but I also understand why they keep it around.
The D3 dosen´t work as well as a SSL Bus comp simply because it isn´t a modeling of a famous compressor that has been around for 30-40-50 years. And right about here the problems start. I´m so familiar to what the bus compressor is doing to my mixes that I instantly feel that something is missing. I try to remedy that with the D3 but of course I don´t even come close. I have some reduction going on, 1-3db approximately.
My typical order of mixing is Drums – Bass – Vocals(lead) – Guitars – and then the rest.
I started with the drums, it should be mentioned that this song is really well recorded with only Telefunken microphones and Neve preamps into a SSL6000E. When I inserted the 7 band Eq on the kick drum I immediately felt that this mix was going to be finished soon. Not because it was well recorded (it helped though) but because I didn´t have 30-40 Eq
to choose from. I had 3… 1 band Eq, 7 band Eq and the Channelstrip. I didn´t have to worry about which Eq would be best for this kind of kick drum, what all the pro´s are using right now and what the flavour of the month is. All those trail of thoughts wasn´t in my way anymore. I had it even easier with the dynamics. D3 or BF76… For the snare I used two reverbs, a room and a plate and kept it fairly wet.
After the drums were finshed I headed for the bass, this time I actually used the BF76 and a 7 Band EQ. On the guitars I used the channels trip with some compression and eq. Vocals were a little tricky with some heavy dynamics. Some automation, de essing and heavy compression sorted it out though. Hammond and Piano I used the 7 band eq, no compression and a plate reverb on the piano. There is also a delay on the intro piano as well as the solo guitar. It was 6 back vocal tracks. I panned the as 3 stereo pair. 100, 60 and 15 on the pan knob. I used the 7 band eq and the D3, added a plate and hall reverb to all the tracks and a delay to the 100 panned tracks.
Now to the part were I couldn´t resist anymore…
The mix sounded good and I felt very happy with myself doing so much with so little but the feeling that something was missing were getting the better of me…
I watched the VBC review from Graham at the Recording Revolution earlier today and according to him this was a must have plugin. Needless to say, I got it and he didn´t oversell it at all.
It raised my mix further just letting it pass through without any reduction. For this song I fell for the Fairchild model, adding some high mid and tightened up some low end with 1-2dB of reduction.
I have mixed emotions about this mix. I´m quite happy with it but a little frustrated that I couldn´t go all the way without falling for the "temptation". I guess it goes to show that the plugin manufacturers are here for a reason. Especially UA, Slate Digital, Softtube, Waves, McDSP, Izotope and so on..
Anyways, have a listen and let me know what you think.
Cheers,
/Marcus
I bought Pro Tools 11 when it was released thinking that most plugin manufacturers would tag along and release their 64 bit AAX versions shortly after. This wasn´t the case as many of you know. I am an avid UA fan (no pun intended) and run my mixes mainly on their plugins, and I´m really satisfied with their products.
However, i´ve felt an itch to try out the new Pro Tools and decided that I would only use stock plugins. I started mixing this song and it went really well until I came to the buss compression. Usually I´ll slap on a buss compressor on the master after I´ve found a solid balance for the song (before any plugins) but I had to settle for a D3 compressor or a BF76. I went with the D3. I honestly think that the BF76 should have been scrapped years ago but I also understand why they keep it around.
The D3 dosen´t work as well as a SSL Bus comp simply because it isn´t a modeling of a famous compressor that has been around for 30-40-50 years. And right about here the problems start. I´m so familiar to what the bus compressor is doing to my mixes that I instantly feel that something is missing. I try to remedy that with the D3 but of course I don´t even come close. I have some reduction going on, 1-3db approximately.
My typical order of mixing is Drums – Bass – Vocals(lead) – Guitars – and then the rest.
I started with the drums, it should be mentioned that this song is really well recorded with only Telefunken microphones and Neve preamps into a SSL6000E. When I inserted the 7 band Eq on the kick drum I immediately felt that this mix was going to be finished soon. Not because it was well recorded (it helped though) but because I didn´t have 30-40 Eq
to choose from. I had 3… 1 band Eq, 7 band Eq and the Channelstrip. I didn´t have to worry about which Eq would be best for this kind of kick drum, what all the pro´s are using right now and what the flavour of the month is. All those trail of thoughts wasn´t in my way anymore. I had it even easier with the dynamics. D3 or BF76… For the snare I used two reverbs, a room and a plate and kept it fairly wet.After the drums were finshed I headed for the bass, this time I actually used the BF76 and a 7 Band EQ. On the guitars I used the channels trip with some compression and eq. Vocals were a little tricky with some heavy dynamics. Some automation, de essing and heavy compression sorted it out though. Hammond and Piano I used the 7 band eq, no compression and a plate reverb on the piano. There is also a delay on the intro piano as well as the solo guitar. It was 6 back vocal tracks. I panned the as 3 stereo pair. 100, 60 and 15 on the pan knob. I used the 7 band eq and the D3, added a plate and hall reverb to all the tracks and a delay to the 100 panned tracks.
Now to the part were I couldn´t resist anymore…
The mix sounded good and I felt very happy with myself doing so much with so little but the feeling that something was missing were getting the better of me…
I watched the VBC review from Graham at the Recording Revolution earlier today and according to him this was a must have plugin. Needless to say, I got it and he didn´t oversell it at all.
It raised my mix further just letting it pass through without any reduction. For this song I fell for the Fairchild model, adding some high mid and tightened up some low end with 1-2dB of reduction.
I have mixed emotions about this mix. I´m quite happy with it but a little frustrated that I couldn´t go all the way without falling for the "temptation". I guess it goes to show that the plugin manufacturers are here for a reason. Especially UA, Slate Digital, Softtube, Waves, McDSP, Izotope and so on..
Anyways, have a listen and let me know what you think.
Cheers,
/Marcus