20-12-2015, 05:48 AM
Here's my attempt to Pony. It took me a while to put this one together. Mostly because I was experimenting with a bunch of Slate plugins.
I wound up retriggering the toms and the kick drum as they were simply too poorly recorded for me to get to work in the mix. I'm very happy with the snare sound I was able to construct between expanding the overheads by triggering them with the snare track, and pitch shifting a parallel track. I found that it created a fairly thick snare for having such a thin sound originally. However I wound up having to create a triggered snare track that I automated in, to cover up a section where the drummer did not hit the snare consistently as he had in the rest of the song. With the triggered kick and toms, they sit better in the mix and pop out appropriately. I also automated the kick and snare as needed to get them to sit better in the mix. I also utilized the FG-grey compressor on the drum bus. I found that it added a good amount of weight to the drums.
With how dry the drums were, I put together a room sound with a side-chain reverb track in which I mixed individual sends from all the drum tracks.
The guitars were extremely tricky to get to fit with all the low end rumble and room noise in the tracks. I was able to save them with a high-pass at 150hz on the bus and a multiband compressor clamping down the bottom end -5db to -6db. The biggest thing I'm happy about with the guitar tracks is the bit of emphasis on the guitar on the right channel that did an octave riff; I was able to highlight it with a lot of well placed automation. I found this pleasant in contrast to the chuggy guitars all around.
The bass track I wound up splitting into two. On one I lowpassed at 500hz and the other highpassing in the opposite direction and sent to the stock bass amp on Amplitube with a touch of distortion and with that sent to Two Notes Wall of Sound plugin with "The Fridge" loaded up. With it like this I was able to control the low end, highlight the bass a little more without overcrowding the guitars.
With the vocals I wound up EQ-ing and compressing the lead vocal like normal, and parallel processing it with a touch of distortion to glue it better to the mix and add a bit of weight. The back up track i wound up sinking it down into the mix, but sending a lot of it to the reverb to add a little bit of ambience.
I added a touch of reverb to the lead vocals and the guitars. I really tried to add some depth to the song by panning the guitar sends left and right, and bringing them up as certain guitar parts came up; particularly the softer sections of the song.
On my master track I utilized the FG-grey to glue the mix together a little more solidly.
To master it, I EQed it to add a bit of sub-bass back in, add a little more life into 1khz, and a considerable amount of top end as a shelf at 5khz. I compressed it lightly, added harmonics with the PSP Mix Saturator 2, and added volume using the Slate Digital FG-X.
Please, let me know what y'all think, and what critiques you may have.
I wound up retriggering the toms and the kick drum as they were simply too poorly recorded for me to get to work in the mix. I'm very happy with the snare sound I was able to construct between expanding the overheads by triggering them with the snare track, and pitch shifting a parallel track. I found that it created a fairly thick snare for having such a thin sound originally. However I wound up having to create a triggered snare track that I automated in, to cover up a section where the drummer did not hit the snare consistently as he had in the rest of the song. With the triggered kick and toms, they sit better in the mix and pop out appropriately. I also automated the kick and snare as needed to get them to sit better in the mix. I also utilized the FG-grey compressor on the drum bus. I found that it added a good amount of weight to the drums.
With how dry the drums were, I put together a room sound with a side-chain reverb track in which I mixed individual sends from all the drum tracks.
The guitars were extremely tricky to get to fit with all the low end rumble and room noise in the tracks. I was able to save them with a high-pass at 150hz on the bus and a multiband compressor clamping down the bottom end -5db to -6db. The biggest thing I'm happy about with the guitar tracks is the bit of emphasis on the guitar on the right channel that did an octave riff; I was able to highlight it with a lot of well placed automation. I found this pleasant in contrast to the chuggy guitars all around.
The bass track I wound up splitting into two. On one I lowpassed at 500hz and the other highpassing in the opposite direction and sent to the stock bass amp on Amplitube with a touch of distortion and with that sent to Two Notes Wall of Sound plugin with "The Fridge" loaded up. With it like this I was able to control the low end, highlight the bass a little more without overcrowding the guitars.
With the vocals I wound up EQ-ing and compressing the lead vocal like normal, and parallel processing it with a touch of distortion to glue it better to the mix and add a bit of weight. The back up track i wound up sinking it down into the mix, but sending a lot of it to the reverb to add a little bit of ambience.
I added a touch of reverb to the lead vocals and the guitars. I really tried to add some depth to the song by panning the guitar sends left and right, and bringing them up as certain guitar parts came up; particularly the softer sections of the song.
On my master track I utilized the FG-grey to glue the mix together a little more solidly.
To master it, I EQed it to add a bit of sub-bass back in, add a little more life into 1khz, and a considerable amount of top end as a shelf at 5khz. I compressed it lightly, added harmonics with the PSP Mix Saturator 2, and added volume using the Slate Digital FG-X.
Please, let me know what y'all think, and what critiques you may have.
Check out my latest work at http://discussion.cambridge-mt.com/showt...?tid=17468