26-10-2014, 05:28 AM
First of all this is my first post here ever. Such an awesome resource and I'm glad to be taking part in this forum now. As a little background on me: I'm a longtime drummer and have been mixing, programming, recording, and producing music for 5 years now. I want to become better at mixing and plan to use the resources here to refine my skills over the next year or so and then begin charging more serious sums for my work and establish a profitable side business in addition to my full time job.
Anywho... So the demo for this song kind of grabbed me and I decided to go for it.
I didn't do anything too fancy on this one. All editing/mixing was done in Reaper; total work time was about 4.5 hours for everything. I would have liked to have done it faster but there was a a lot of bleed to try to filter out and this raw punk style was very new to me. Every track (except vocals, see below) first runs through the Sonimus Britson Channel (Neve 8014 Console Emulation) plugin with VU meters dancing well but not pushing into the red. All buss tracks ran Britson Buss with Vintage Crosstalk setting engaged; Fat-Mode disengaged. All EQ was done with Sonimus SonEQ Pro (analog modeled hybrid of Pultec and Neve among others). If you can't tell I love Sonimus and don't mind plugging their great products
1. Tamed low end poop on most tracks with good ol' hi-pass (12/24/48 db per octave) except kick and bass guitar tracks
2. Heavily de-noised the bass DI and reamped then blended DI with amp tone; applied additional gating, saturation, and EQ
3. Duplicated the guitar track and hard panned L/R then offset the right track by 19ms
4. Full drum-replacement on kick with vintage Ludwig sample (22x16)
5. Drum tracks treated with saturation, compression, EQ; snare and kick fed through plate reverb with a touch of high EQ
6. Vocals: rode for dynamics, then through hi-pass (48 db filter) -> console emulation -> touch of high eq -> compression -> more eq -> parallel delay/reverb/tape saturation -> through console buss emulation -> out to master
7. All tracks simultaneously fed through a pre-fx stereo buss for reverb (medium room sound) with some additional eq; this track is blended in under the mix and automated up in volume during the chorus sections for increased density and stereo spread.
8. Mastering chain: Britson Buss console emulation -> Bus Compressor (2 db GR) -> EQ -> Tape Saturation -> More EQ -> Limiting (peak 8db GR) -> render to WAV 24 bit/44.1 kHz; converted to mp3 320kbps through MediaHuman Audio Converter
Anywho... So the demo for this song kind of grabbed me and I decided to go for it.
I didn't do anything too fancy on this one. All editing/mixing was done in Reaper; total work time was about 4.5 hours for everything. I would have liked to have done it faster but there was a a lot of bleed to try to filter out and this raw punk style was very new to me. Every track (except vocals, see below) first runs through the Sonimus Britson Channel (Neve 8014 Console Emulation) plugin with VU meters dancing well but not pushing into the red. All buss tracks ran Britson Buss with Vintage Crosstalk setting engaged; Fat-Mode disengaged. All EQ was done with Sonimus SonEQ Pro (analog modeled hybrid of Pultec and Neve among others). If you can't tell I love Sonimus and don't mind plugging their great products
1. Tamed low end poop on most tracks with good ol' hi-pass (12/24/48 db per octave) except kick and bass guitar tracks
2. Heavily de-noised the bass DI and reamped then blended DI with amp tone; applied additional gating, saturation, and EQ
3. Duplicated the guitar track and hard panned L/R then offset the right track by 19ms
4. Full drum-replacement on kick with vintage Ludwig sample (22x16)
5. Drum tracks treated with saturation, compression, EQ; snare and kick fed through plate reverb with a touch of high EQ
6. Vocals: rode for dynamics, then through hi-pass (48 db filter) -> console emulation -> touch of high eq -> compression -> more eq -> parallel delay/reverb/tape saturation -> through console buss emulation -> out to master
7. All tracks simultaneously fed through a pre-fx stereo buss for reverb (medium room sound) with some additional eq; this track is blended in under the mix and automated up in volume during the chorus sections for increased density and stereo spread.
8. Mastering chain: Britson Buss console emulation -> Bus Compressor (2 db GR) -> EQ -> Tape Saturation -> More EQ -> Limiting (peak 8db GR) -> render to WAV 24 bit/44.1 kHz; converted to mp3 320kbps through MediaHuman Audio Converter
