Thread: While you wait for the next MixIt

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  1. #21
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    Default Re: While you wait for the next MixIt

    hey guys!
    i finally got some time to give this a try !

    i'm very courious to listen to the other mixes and discuss !


    this was mixed on a ssl4k (that i don't like anymore, but that's what is in the studio i'm working currently)

    any comment is much appriciated !
    Attached Files

    My Mixes on Soundcloud


    With great monitors its easy to hear and fix problems but hard to enhance things that already sound good.

    With hyped monitors, everything sounds good so you don't hear the problems.

    With bad monitors, it seems easy to make absolutely anything sound better because you are really fixing the sound of the monitors rather than the sound of the recording.
  2. #22
    Middle Handicapper...short game needs work Real purdy mouth
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    Default Re: While you wait for the next MixIt

    Yo... so I tried to make something out of it this afternoon.

    Hey Pär, you definitely need a new drum computer hahaha

    The song is mixed on a new monitoring system, not my trusted NS10s/Me-Geithain combo. So any feedback regarding translation would be really great. For best audio quality you can download the highres file, otherwise you'll listen to the crappy 128bit mp3 streaming.


    Cheers,
    Andy

    https://soundcloud.com/andygallas/andygallas-mixit2013
    hey Andy i liked your mix very much !
    it's well balanced i think...
    the voice is sounding great !


    i've just listened to my mix here at home to discover it has too much low end. . .in the studio there's a big listening problem on the low end . . .and today i didn't have my trusted cans . . .

    anyway . . .

    My Mixes on Soundcloud


    With great monitors its easy to hear and fix problems but hard to enhance things that already sound good.

    With hyped monitors, everything sounds good so you don't hear the problems.

    With bad monitors, it seems easy to make absolutely anything sound better because you are really fixing the sound of the monitors rather than the sound of the recording.
  3. #23
    In a world of ones and zeros...this one's the latter. Ron Jeremy's fluffer
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    Default Re: While you wait for the next MixIt

    hey Andy i liked your mix very much !
    it's well balanced i think...
    the voice is sounding great !
    Thank you very much


    i've just listened to my mix here at home to discover it has too much low end. . .in the studio there's a big listening problem on the low end . . .and today i didn't have my trusted cans . . .

    anyway . . .
    Hey it's really not that bad! Perhaps the sonics are a bit off, okay. But I can hear what you are aiming for... THAT big ballade concert hall sound with THAT rock guitar as a highlight. That's a good idea! The problem for me is that unfortunately the rock guitar is one of the weakest parts in the record. In other words you bring out way to much what is not so great (with initial good intentions) and hide a lot what is good. All a matter of taste I know, perhaps it's me who is off, hahaha.

    Cheers,
    Andy

    PS. I've noticed I haven't that "Brian May" guitars after the solo, they weren't in the package
  4. #24
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    Default Re: While you wait for the next MixIt

    The problem for me is that unfortunately the rock guitar is one of the weakest parts in the record. In other words you bring out way to much what is not so great...
    hell yeah, you're right....in the beginning i kept those guitars low...
    then i decided to try the opposite : expose the weak, to make it seem stronger....

    listening again. . .maybe this time didn't worked ! i tried to eq a bit those guitars too, something i usually do in a less invasive way on electric guitars . . .

    My Mixes on Soundcloud


    With great monitors its easy to hear and fix problems but hard to enhance things that already sound good.

    With hyped monitors, everything sounds good so you don't hear the problems.

    With bad monitors, it seems easy to make absolutely anything sound better because you are really fixing the sound of the monitors rather than the sound of the recording.
  5. #25
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    Default Re: While you wait for the next MixIt

    Here are the missing guitars for those who dl'ed the early version!

    Have fun.
  6. #26
    In a world of ones and zeros...this one's the latter. Ron Jeremy's fluffer
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    Default Re: While you wait for the next MixIt

    Cool!

    So here the version with the added guitars plus some tweaks.

    https://soundcloud.com/andygallas/andygallas-mixit2013


    Cheers,
    Andy
  7. #27
    Ducked in here to avoid the paparazzi Dated Paris Hilton before she was a tramp!
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    Default Re: While you wait for the next MixIt

    I gave my mix another listen and was almost killed by sibilance. So here's a revision where that's fixed...

    https://soundcloud.com/mereridiculosity/mix-it
  8. #28
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    Default Re: While you wait for the next MixIt

    So how about some talk/discussion about the mixes before this thread falls asleep?

    Rolling_beat you mixed on a SSL 4K, what else did you use and why? EQs, Compressors, Reverb, etc...

    Tapir, what was your approach and goal? Did you mix ITB, Hybrid? What and why did you use in your mix?

    Discuss? Cool?


    Cheers,
    Andy

  9. #29
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    Default Re: While you wait for the next MixIt

    hey,
    i mixed on the SSL 4K, and pretty much used just the board !

    there's a waves CLA 2A on the vocals, and a Kramer Tape after the SSL buss compressor on the stereo bus.
    There is some parallel compression on the drums (on the board).
    Reverbs are Lexicon 960, Delays are Waves HDelay.

    Ok stop with the tech stufff......

    My goal was to try to make things a bit more alive, expecially drums. . .i tried to do some parallel compression to add a bit of crunch to the drums...unfortunately i ended in adding too much low end i think.
    I used reverbs to give the song that ballad hall feeling Andy was talking about on his post.
    I highlighted the electric guitars (the distorted ones) a lot...i have to say i didn't like the sound of them very much, so i tried to highlight them to give the song a character, instead of hiding.

    Technically i don't quite remeber doing anything really special talking EQ and Compressors...i just deessed the vocals (Waves RDeesser), removed a tiiiny bit of some low mids and added a tiiiny of highs, for some clarity. Maybe the vocal is the thing i spent more time tweaking.

    In the choruses (and the prechoruses i guess) i threw a delay on the vocals, and i did some fader rides on it, to let things move a bit.

    I tried to set the orchestra BEHIND the band, there's a bit more reverb on it, and i removed some mids and mid highs, to have less harshness and presence.


    it's pretty much everything i think !


    if you have more specific questions, please ask !

    My Mixes on Soundcloud


    With great monitors its easy to hear and fix problems but hard to enhance things that already sound good.

    With hyped monitors, everything sounds good so you don't hear the problems.

    With bad monitors, it seems easy to make absolutely anything sound better because you are really fixing the sound of the monitors rather than the sound of the recording.
  10. #30
    In a world of ones and zeros...this one's the latter. Ron Jeremy's fluffer
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    Default Re: While you wait for the next MixIt

    Pretty cool rolling_beat!

    I never quite understood the benefit of parallel compressing though. Sure I tried it but I found I could always get similar results just with serial compressing. Perhaps its a workflow thing which leads you to the desired result when parallel compressing -> first squash then bring back the transients as opposite to do it more or less in one step with serial compressing (?)

    As for my mix I tried to get a kind of big dry/wet studio feel. From things like vocals dry but still dimensional in the front of the event to the horns, piano and strings being in a hall. I want to keep the mix as open as possible. I used quite a number of different reverbs, delays, chorus-effect, etc. to archive that. After all the raw tracks feels like a mixture of samples and dry bedroom recordings, so creating subtle dimension was a challenge here. Very nice song by the way Pär!

    The mix was done in logic 9 with an analog passive eq on the stereo bus where I pushed some air @16k (4dB), a bit of mid focus @2.5K (just a half dB) and a little bit lowend warmth (also just a half dB).

    I felt there is very little eq and compressing needed in the mix. I compressed the vocals (waves deesser, CLA 2a very little, with logics eq a dip at 300Hz for clarity and a cut at 3K for less hardness and after that an CLA 1176 blacky for an in your face sound).
    On bass a little bit of CLA 2a and on the stereo buss around 2dBs with the Vertigo VSC-2 plugin, thats it with compression. On the stereo bus was also a bit of harmonic distorsion from a Sonnox limiter (set to @30%).

    It was a pretty simple built mix with no bussing at all. Everything went direktly to the stereobuss. There was no eqing on the drums only a 3dB boost @4K with a logic eq on the snare.

    Cheers,
    Andy
  11. #31
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    Default Re: While you wait for the next MixIt

    Pretty cool rolling_beat!
    I never quite understood the benefit of parallel compressing though. Sure I tried it but I found I could always get similar results just with serial compressing. Perhaps its a workflow thing which leads you to the desired result when parallel compressing -> first squash then bring back the transients as opposite to do it more or less in one step with serial compressing (?)
    so far i'm still experimenting a bit with parallel compression....
    However i use it like that: i balance the drum tracks normally, eq and compress them without squashing (apart the snare in some cases). I don't compress, or at least not much the drums buss...
    Enter the Parallel drums !
    I squash the hell out of the parallel buss, or distort, or EQ in an extreme way (in this song it was just heavy board compression) and play with the two faders (the clean buss and the squash).
    I usually end up using not much of the parallel compression, but i had mixes in wich i did rides on the parallel buss and had it louder in some part of the song !

    this is just my workfow of course, and it is not so "fixed"...everything really depends on the song IMO !

    now back to the mix discussion !

    My Mixes on Soundcloud


    With great monitors its easy to hear and fix problems but hard to enhance things that already sound good.

    With hyped monitors, everything sounds good so you don't hear the problems.

    With bad monitors, it seems easy to make absolutely anything sound better because you are really fixing the sound of the monitors rather than the sound of the recording.
  12. #32
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    Default Re: While you wait for the next MixIt

    Here's a few extra facts. The song was recorded in two stages. The vocal track was recorded early on before the vocal booth and without high-end equipment. I think it was a Behringer B-2 mic into a Mindprint EnVoice w digital option (or perhaps EnVoice into Delta 1010). The drums was from Steinbergs VST drummer series which was drums tracked in a Los Angeles studio and cut up and REX-ified. It was the last drums-on-can I used before going Superior Drummer (or the like) and playing myself.

    The guitar solo is Lars "Mojje" Wallin on a semi drunk evening.

    The ac guitar (and all fill guitars except "Brian May") is Harry Kjoersvik (former Renegade 5 member) coming over during lunch break from the music store. They were tracked roughly two years after the song was initially recorded.

    The singer is Lisa Swanström whom I collaborated with previously. It was meant as a scratch take and to be retracked later. There is one word differing from the actual lyrics. I don't know why it wasn't retracked after the vocal booth was built and the proper vocal recording chain installed.

    I play all keys/orchestrals, bass, dist guitar and "Brian May" fills.

    It's a song within my ongoing work "Barriers" scheduled to be ready if I don't kick the bucket before it happens. It is a musical consisting of 18 pieces of which 6 are pretty much ready, 4 more in various stages of recording (awaiting vocals etc.) and the rest a mere glimmer in my eyes.

    Here's another typical Barriers song. The final touch. Composed by me. Arranged, played and recorded by Tony "Hackenslash" Murphy from Manchester. I retracked the bass (because it sounded distorted) and mixed the track. Bob Ohlson mastered.

    Here's another where I play all instruments - except the lead fills and solo guitar after the vocals start. They're done by Raoul Bertilsson who is my favourite blues guitarrist of all times. Restricted behaviour. Vocalist - Tony Murphy.

    Cheers - Pär
    Last edited by Knastratt; August 6th, 2013 at 11:16 AM.
  13. #33
    Ducked in here to avoid the paparazzi Dated Paris Hilton before she was a tramp!
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    Default Re: While you wait for the next MixIt

    I'm entirely ITB, so I won't be able to regale you with tales of gear porn.

    I guess my overall philosophy was to treat it as a rock song. Call it a personal bias, but you don't get to stick a guitar solo and cheesy tom rolls in a song and expect to get something else.

    So, I started with the drums, which probably took the longest out of anything. I experimented with room reverb, but I never got anything I was happy with, so I opted for parallel compression/saturation instead.

    The bass and and vocal were pretty straightforward. I sent the latter to a couple of short delays to give it some width, which were in turn sent to a spring reverb impulse. I sent most of the melodic elements, as well as more percussive stuff like the piano and acoustic guitar, to those delays. Toward the end of the song I added in a tempo sync'd delay on the vocal.

    The guitars seemed a bit scooped, but I'm all about cranking the mids. The bass was solid, so in the end it didn't really matter.

    Everything else got mixed around that core arrangement. I got a sub mix of all the orchestral elements going and then treated it like a pad. I muted the percussion overdubs on principle.

    I guess the most interesting thing I did was with the intro speech. I sent it through a pitch shifter, panning a third up to the left and a fifth up to the right, filtered it to mids, and flanged it.

    I don't even think you can tell that I did it, but it was the bit of creativity that kept me from running the strings through an amp sim.
  14. #34
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    Default Re: While you wait for the next MixIt

    I guess the most interesting thing I did was with the intro speech. I sent it through a pitch shifter, panning a third up to the left and a fifth up to the right, filtered it to mids, and flanged it.
    that's very cool ! i was wondering what did you do !



    apart of that, i like your mix....but now i kind of understood why the mix i like best is Andy's one:

    the vocals . . .

    IMHO Andy got the vocals just RIGHT, in terms of sound and presence


    I'm not saying your vocals aren't right, they're good in your mix...and personally i like this 70'Rock feel you gave to the song, but for reasons beyond our taste (IMHO) Andy's choice is the one that works best for this song !


    what do you guys think ?

    My Mixes on Soundcloud


    With great monitors its easy to hear and fix problems but hard to enhance things that already sound good.

    With hyped monitors, everything sounds good so you don't hear the problems.

    With bad monitors, it seems easy to make absolutely anything sound better because you are really fixing the sound of the monitors rather than the sound of the recording.
  15. #35
    Ducked in here to avoid the paparazzi Dated Paris Hilton before she was a tramp!
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    Default Re: While you wait for the next MixIt

    IMHO Andy got the vocals just RIGHT, in terms of sound and presence


    I'm not saying your vocals aren't right, they're good in your mix...and personally i like this 70'Rock feel you gave to the song, but for reasons beyond our taste (IMHO) Andy's choice is the one that works best for this song !
    I can't fault you for that. He nailed it.
  16. #36
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    Default Re: While you wait for the next MixIt

    I can't fault you for that. He nailed it.

    My Mixes on Soundcloud


    With great monitors its easy to hear and fix problems but hard to enhance things that already sound good.

    With hyped monitors, everything sounds good so you don't hear the problems.

    With bad monitors, it seems easy to make absolutely anything sound better because you are really fixing the sound of the monitors rather than the sound of the recording.
  17. #37
    In a world of ones and zeros...this one's the latter. Ron Jeremy's fluffer
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    Default Re: While you wait for the next MixIt

    Wow, thanks for your kind words rolling_beat and Tapir!

    The thing is I really didn't do that much on the vocals, it's all in her voice and of course in Pärs Behringer microphone, hahaha.

    For me it was mainly a test how I interact with my new Verdade-Monitors. This monitors are so damn cool I never worked with something like this! What sounds good is good, what sounds bad is really bad. I was first a bit shocked when I heard some well known major releases on that speakers that sounded hyped and hard in the upper mids and highs, kinda flawed. I thought the monitors were hyped but after I listened to some other really really good sounding records, I realized that it couldn't be the monitors, those were indeed the records which are like they sound (shock). The monitors are just super honest.

    Cheers,
    Andy
  18. #38
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    Default Re: While you wait for the next MixIt

    Going to drag this up from the past and try a mix of this song. Will there be anymore?
  19. #39
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    Default Re: While you wait for the next MixIt

    Not from me anyway. Not for now at least. Here's how it turned out.

    I'm releasing it under creative commons license so go crazy with it. Multitrack and all. Just quote the origin.
  20. #40
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    Default Re: While you wait for the next MixIt

    Not from me anyway. Not for now at least. Here's how it turned out.

    I'm releasing it under creative commons license so go crazy with it. Multitrack and all. Just quote the origin.
    Thanks, i'll give that listen

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