Let me know what you think.
Felt like the beatboxing was lackluster so I sampled some electronic stuff and some world drums as well, ("African tom-toms," as some people call them, to go with the djembe, or "dun-dun," "sangban," and "kenkeni," as they're actually called.)
I felt moderately passionate about this mix because the vocals were so powerful, and it ended up being almost 70s of work after the vocal comping, rhythm section editing, and drum sampling/arranging, which I'd consider extraneous or "project-variable," in the amount of time-consumed. Time between static and dynamic mix-downs was probably under 32 hours.
I'm unsure if the vocal lines are cut and pasted in a way that's true to the rhythmic intention of the soloists in a few places, because its all so heavily edited that I perhaps lost some of their original "pushing or pulling" rhythmic tension on the LVs. If I decided to spend more time on this I would likely look at that first, but things like that might require attention and perspective from another set of ears on site.
This mix marks the first time I've had real plug-ins as well, thanks to waves recent sale. It features the R-Channel Vocal Suite, the F6 and C4 multiband compressors, H-comp, some random stuff like SuperTap and HReverb, the L3 mastering suite, and PRS supermodels on the scat solo. I have also the Bomb Facotry 1176 and some really good freeware plugins.
Next step real monitoring headphones! These ones have a cup in 4K and a slight low boost.
Cheers!
In retrospect I feel like I could have put the whole mix in a room and that might help blend the percussion elements with short reverb, the LVs with plate reverbs, the uke with a medium reverb, and the bvs with long reverbs, more cohesively in the same space.
After listening to a few other mixes as well, I feel like the super-reggae style delay on the uke is kind of mandatory, it completes the flavor of the music in a perfect way.
Felt like the beatboxing was lackluster so I sampled some electronic stuff and some world drums as well, ("African tom-toms," as some people call them, to go with the djembe, or "dun-dun," "sangban," and "kenkeni," as they're actually called.)
I felt moderately passionate about this mix because the vocals were so powerful, and it ended up being almost 70s of work after the vocal comping, rhythm section editing, and drum sampling/arranging, which I'd consider extraneous or "project-variable," in the amount of time-consumed. Time between static and dynamic mix-downs was probably under 32 hours.
I'm unsure if the vocal lines are cut and pasted in a way that's true to the rhythmic intention of the soloists in a few places, because its all so heavily edited that I perhaps lost some of their original "pushing or pulling" rhythmic tension on the LVs. If I decided to spend more time on this I would likely look at that first, but things like that might require attention and perspective from another set of ears on site.
This mix marks the first time I've had real plug-ins as well, thanks to waves recent sale. It features the R-Channel Vocal Suite, the F6 and C4 multiband compressors, H-comp, some random stuff like SuperTap and HReverb, the L3 mastering suite, and PRS supermodels on the scat solo. I have also the Bomb Facotry 1176 and some really good freeware plugins.
Next step real monitoring headphones! These ones have a cup in 4K and a slight low boost.
Cheers!
In retrospect I feel like I could have put the whole mix in a room and that might help blend the percussion elements with short reverb, the LVs with plate reverbs, the uke with a medium reverb, and the bvs with long reverbs, more cohesively in the same space.
After listening to a few other mixes as well, I feel like the super-reggae style delay on the uke is kind of mandatory, it completes the flavor of the music in a perfect way.