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Patrick Talbot: 'Blue'
#21
Keep the kick low and let the bass do the work.The drums are bad here anyway. I have kept the vox a bit dry ish,as I said before you could end up with a big puddle.
The drums could do with a re start really but everything else is pretty good and useable I think.I could mix and mix,where do I stop.
I don't think I will mix again but if I did I would be looking at samples
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#22
Yeah, I agree... The drums have a lot of weird resonances, especially the kick that almost sounds like a bass synth, and once you notch them out you've got nothing left, while the weird resonances remain on the overheads... I've started over about 5 times because I believe in the song and I'm committed to getting a good sound for it.

Quick tip for anyone who's interested: I've found that when you use the midi data Patrick provided for us, there are a few interesting possibilities. For one, the bass sound is good but it's hard to keep the level of the sub content pinned down, especially if you're wanting the mix to translate well in phones or speakers, so you can high pass the bass and use the midi data to trigger a triangle synth, low passed, to provide a steady sub level... Just keep it down to where you feel it more than hear it. Another little trick I'm finding useful is to trigger a pad with lots of high airy content with the Rhodes/vibraphone midi data. Band pass that channels output so that only the upper registers are sounding and fade that in until you feel the track brighten up a bit. For me this serves two purposes: it brightens the overall tonality of the mix, which is very focused in the mids without a lot of help... Also, this frees you up to use the Rhodes or vibraphone more like instruments than pads, and helps blend any added high end content into the production without having to resort to heroic amounts of reverb. It's giving my current effort a lot more stereo width at no cost whatsoever... Highly recommend looking into that possibility.
I'm grateful for comments and suggestions. Thank you for listening!
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#23
FYI, the drums were done with Superior Drummer Roots Brushes SDX.
This SDX has tons of room/ambience mic, and even a chamber, but I think that (quite reasonably) Mike reduced them to 2.
In my version I've used quite a lot of the built-in effects in SD to get a reasonable (to my taste) sound out of it, plus there was some bleed in the various mics but I did a bounce in SD without any effects or bleed, because I thought people would prefer to build their own ambience artificially anyway.
About the kick, to me it sounds quite real. In a jazz kit, as much as I can tell more often than not the kick is quite big in sub but relatively floppy, which is probably what you have issues with. Smile

The bass was done with Spectrasonic Trillian upright. And I agree that it's quite noisy and transient. I struggled a lot with that, and I haven't done such a good job of it if I compare with what I've heard from a few mixes here.

And indeed I provided the MIDI to allow you to change/augment the sound at will.
Good idea about the airy pad tucked under the vibra/rhodes. Cool!
"Music, in performance, is a type of sculpture. The air in the performance is sculpted into something." - Frank Zappa

Some air moved here
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