I really enjoyed mixing "Tip Toe Through The Crypto", and noticed that they had this other track, which was even more fun :-)
There wasn't anything anything really problematic with this mix, just lots of compression, EQ to make space for each element, and automation, to make sure that all the details were coming out.
I replaced the snare since I wasn't really happy with the original sound, and blended in a sample for the kick to give it a bit more body.
Sibilance was a problem on the vocals. I don't really like using de-esser's; editing the track manually is more work but gives better results, but I eventually got sick of it
It's not too bad, but there's just enough still there to annoy me.
I tried a variant of my usual trick of bussing the key elements of the backing track together (guitars, keyboards and horns) and triggering a side-chain compressor off the kick and snare - this time I used Tokyo Dawn's Nova EQ, triggering a variable EQ cut at 140Hz (for the kick) and 1.2khz (for the snare) based on what was coming in on the side-chain. This made a big difference in helping those elements cut through.
I also used another of my common techniques, bussing the kick, bass, keyboards and guitars together, low-passing it at ~700Hz, compressing the snot out of it, then blending it back in at varying levels i.e. parallel compression for the low end. It's set low during the verse, but turned up for the chorus, and cranked up during the breaks and guitar solo, which really fattens up the sound.
There wasn't anything anything really problematic with this mix, just lots of compression, EQ to make space for each element, and automation, to make sure that all the details were coming out.
I replaced the snare since I wasn't really happy with the original sound, and blended in a sample for the kick to give it a bit more body.
Sibilance was a problem on the vocals. I don't really like using de-esser's; editing the track manually is more work but gives better results, but I eventually got sick of it
It's not too bad, but there's just enough still there to annoy me.I tried a variant of my usual trick of bussing the key elements of the backing track together (guitars, keyboards and horns) and triggering a side-chain compressor off the kick and snare - this time I used Tokyo Dawn's Nova EQ, triggering a variable EQ cut at 140Hz (for the kick) and 1.2khz (for the snare) based on what was coming in on the side-chain. This made a big difference in helping those elements cut through.
I also used another of my common techniques, bussing the kick, bass, keyboards and guitars together, low-passing it at ~700Hz, compressing the snot out of it, then blending it back in at varying levels i.e. parallel compression for the low end. It's set low during the verse, but turned up for the chorus, and cranked up during the breaks and guitar solo, which really fattens up the sound.