08-06-2015, 11:12 PM
(This post was last modified: 09-06-2015, 10:22 AM by londonmatt.)
Lots to do on this one - autotuned the vocals, did some drum replacement, reamped the guitar and smashed it all into a brickwall limiter...... jokes. Really, really nice to work on a song when your main task as a mixer is not to screw it up i.e. do as little as possible.
Complete channel treatment:
Kick - NLS channel, C1 gate, Pultec EQ to make it just a bit less woolly. Gate became necessary because once it was EQ'd the spill became too prominent.
Snare - NLS channel + reverb send
OH - NLS + Flux Stereotool (it's brilliant and free) to narrow the width - the overheads were wider than the rest of the band otherwise!
Toms - drummer didn't play the toms once. Muted
Bass mic + Bass DI - NLS only
Piano - NLS, hi-pass filter to get rid of the worst of the pedal noise, V-EQ3 to add a little more weight and a definition + reverb send
Elec - NLS + reverb
Sax - NLS + reverb
Vox - NLS, H-EQ with a very narrow notch around 500Hz, a wider cut at 1.5KHz and a slight air lift, CLA-2A just catching the peaks + reverb
Master buss - NLS buss, VBC Mu model with no more than 1-2dB GR just to glue things together, Kramer Tape
Reverb send (just the one) - Quantum Leap Spaces Small Stage + hi-pass filter.
Then at "mastering" (hardly deserves the name) ran everything back through the Kramer Tape with a pinch of added noise, wow and flutter for that "authentic analog vibe" (!!) and used Slate FG-X for another 1/2 dB compression and to bring the peaks up to something close to zero - don't think it even reaches 0dBFS at any point though. Tiny bit of 16KHz added with Pultec as well.
So that's it. Hope that's helpful, any comments or feedback welcomed, cheers, Matt.
** EDIT ** have tweaked the kick drum a little as there were a couple of hits poking out, also de-essed the vocal just a bit as the sibilance was a bit sharp.
Complete channel treatment:
Kick - NLS channel, C1 gate, Pultec EQ to make it just a bit less woolly. Gate became necessary because once it was EQ'd the spill became too prominent.
Snare - NLS channel + reverb send
OH - NLS + Flux Stereotool (it's brilliant and free) to narrow the width - the overheads were wider than the rest of the band otherwise!
Toms - drummer didn't play the toms once. Muted
Bass mic + Bass DI - NLS only
Piano - NLS, hi-pass filter to get rid of the worst of the pedal noise, V-EQ3 to add a little more weight and a definition + reverb send
Elec - NLS + reverb
Sax - NLS + reverb
Vox - NLS, H-EQ with a very narrow notch around 500Hz, a wider cut at 1.5KHz and a slight air lift, CLA-2A just catching the peaks + reverb
Master buss - NLS buss, VBC Mu model with no more than 1-2dB GR just to glue things together, Kramer Tape
Reverb send (just the one) - Quantum Leap Spaces Small Stage + hi-pass filter.
Then at "mastering" (hardly deserves the name) ran everything back through the Kramer Tape with a pinch of added noise, wow and flutter for that "authentic analog vibe" (!!) and used Slate FG-X for another 1/2 dB compression and to bring the peaks up to something close to zero - don't think it even reaches 0dBFS at any point though. Tiny bit of 16KHz added with Pultec as well.
So that's it. Hope that's helpful, any comments or feedback welcomed, cheers, Matt.
** EDIT ** have tweaked the kick drum a little as there were a couple of hits poking out, also de-essed the vocal just a bit as the sibilance was a bit sharp.