Thread: MiX iT! 3d - Discuss It: tannoy

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  1. #1
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    Default MiX iT! 3d - Discuss It: tannoy

    And the award for the most amount of documentation goes to... tannoy.

    He did a ton of work documenting his mix (19 pgs worth!), so I've invited him to post it here.

    Once he's posted the notes, please feel free to discuss.

    Thx!
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    Default Re: MiX iT! 3d - Discuss It: tannoy

    Hi all,

    so, thanks a lot for this award!

    Since the MixIt!-Events are supposed to be a learning experience, I've decided to document my mix deeply. The goal was to create a kind of 'manual' so that anyone who's interested might be able to rebuild this mix on what DAW ever. Mostly freeware-plugins were used, except for the spl-deesser. So this thread is less about my mix (of which I hope that it's at least decent enough to be an incentive for some to try the documentation out) but more about to give an example of how it can be done with the onboard-gear most DAWs deliver + some free plugs.

    The doc's are divided in several posts - Some leading words, channel settings, additional processing and automation.

    If you have questions or comments to whatever, feel free to ask. And sure, feel free to discuss the mix as well.

    Happy reading to those who dare,

    best,

    Marco.

    P.S.: Mix and Session file are attached.
    Attached Files
    Last edited by Charles Dye; May 5th, 2008 at 06:47 PM. Reason: attached session file
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  3. #3
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    Default Re: MiX iT! 3d - Discuss It: tannoy

    Some words....

    This thing was written in order to give anybody who’s interested the possibility to redo the mix on any kind of DAW. This mix was done within Cubase/VST32 connected to an echo layla 3g audiointerface, Monitors are Tannoy Reveals Active. Room treatment : If there actually is some I would be shocked.

    Song starts at 00:00:15:00 (Left locator position in Cubase)

    Turn it up, please....! This one can't stand against the compressed music that you can listen to at the radio loudnesswise - in no way! You've got to turn it up, because the goal was to achieve a dynamic mix.....open and more like the stuff we've listened to till the end of the 80's.

    Therefore most of the automation happened - I've tried to build up a tension from the almost whispering beginning to the climax at the bridge and the following chorus, back to a quieter quality at the end of the song. Also some edits / mutes were applied on the room and overhead tracks - mostly at the beginning of the song - in order to achieve that aforementioned goal. Those edits / mutes are not specifically explained here but are obviously (I hope) when you listen to the track. I’ve gone into detail here as far as I thought it was necessary. Some might think, that some points here are obvious and don’t need explanation. Please keep in mind that they are obvious to you – but maybe not to the next reader.


    The posts are divided as follows:

    1. Channel settings - Includes Volume / Pan / Dynamics / EQ

    Dynamics and EQ are the DAW - integrated ones. Cubase VST/32 Pan-settings are from L 64 to R 63, referring to the midi standard of 128 steps.

    Q values are from 0 to 18 (higher value = smaller Q). If something’s not mentioned, e.g. there’s nothing written about eq-settings for a specific channel, it wasn’t used. You’ll sometimes find the term ‘initial value’. This one is used for tracks at which automation was applied. If it’s volume-automation, the correspondending fader position is always 0dB. The initial value refers to the first one at the volume envelope, not to the fader position, since both are relative to each other (lower the fader and the initial volume is not the same anymore, it will change relatively to the fader position).



    2. Additional processing

    Cubase VST/32 offers no possibility to create aux-tracks for effect-returns. Therefore the names for the types of effects are different here :

    Send effects are directly driven from the channel's send knob. Since there are no values available for it, I'm referring to the midi 128 steps standard. Pre or post fader is mentioned.

    Aux effects are driven full scale (128) via channel's send knob to a subgroup channel. The effect is there used as an insert, similar to the aux-tracks at most DAW-applications. Effect-level, pre or post fader is mentioned.

    Insert effects are insert effects....that was smart, huh ?


    3. Automation

    This one is kind of tricky to represent. I've decided to include jpegs showing the volume / pan envelopes. The problem is, within those pictures you can't see the different values, only the points at which they are changing. The initial values are included in the channel settings post, so the first 'automation-line' refers to that value. I know it's kind of guessing, but I didn't find another way to make it visible.
    Last edited by tannoy; May 5th, 2008 at 08:11 PM.
    "Here ain't there..." - Unfcknblvbl, June 17th, 2010
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    Default Re: MiX iT! 3d - Discuss It: tannoy

    1. Channel settings:


    Channel 1 / Kick :

    Volume : - 1.2 dB

    Pan : center

    Dynamics:
    Treshold: -29.5 dB
    Ratio: 4.0 : 1
    Attack: 11.9 mS
    Release: 10.0 mS
    MakeupGain: 9.5 dB

    EQ:
    1. Frequency: 76 Hz
    Gain: + 1.8 dB
    Q: 4.1
    No Shelf

    2. Frequency: 3045 Hz
    Gain: + 2.7 dB
    Q: 0.6


    Wanted to achieve some deepness/low end from the kick and a certain amount of character/kicksound itself.



    Channel 2 / Snare:

    Volume : - 2.1 dB

    Pan : center

    Dynamics:
    Treshold: -20.0 dB
    Ratio: 3.0 : 1
    Attack: 15.7 mS
    Release: 10.0 mS
    MakeupGain: 3.0 dB

    EQ:
    Frequency: 10141 Hz
    Gain: + 3.7 dB
    Q: 1.2
    No Shelf

    Little high frequency boost for the air of the snare.



    Channel 3 / Toms L:

    Volume : - 7.5 dB

    Pan : L 32



    Channel 4 / Toms R:

    Volume : - 6.7 dB

    Pan : R 19



    Channel 5 / OH L:

    Volume : - 10.8 dB initial, changed via automation - see referring post

    Pan : center initial, changed via automation - see referring post



    Channel 6 / OH R:

    Volume : - 10.8 dB initial, changed via automation - see referring post

    Pan : center initial, changed via automation - see referring post



    Channel 7 / Tamb.:

    Volume : - 8.0 dB

    Pan : R 46

    EQ:
    Frequency: 679 Hz / Low cut


    Didn't want the spilling kick drum low bass frequencies on that track.



    Channel 8 / Room L:

    Volume : - 7.7 dB initial, changed via automation - see referring post

    Pan : L 37



    Channel 9 / Room R:

    Volume : - 10.8 dB initial, changed via automation - see referring post

    Pan : R 63



    Channel 10 / Room mono:

    --- Not used ---


    ---<-----<-----<-----<-----<-----<-----<-----<-----<-----<-----<-----<----<-----<----<----<-----<----<-----
    ! All of the above tracks except for the tambourine are routed to a drums subgroup, volume changes are done there via automation, see referring post. !
    --->--->--->--->--->--->--->--->--->--->--->--->--->--->--->--->--->--->--->--->--->--->--->--->--->--


    Channel 11 / Bass Amp:

    Volume : - 19.5 dB

    Pan : center

    Dynamics:
    Treshold: -29.0 dB
    Ratio: 2.0 : 1
    Attack: 10.0 mS
    Release: 10.0 mS
    MakeupGain: 8.5 dB

    EQ:
    1. Frequency: 30 Hz
    Gain: - 3.4 dB
    Q: 0.0
    No Shelf

    2. Frequency: 2810 Hz
    Gain: + 2.7 dB
    Q: 1.0



    Channel 12 / Bass Di:

    Volume : - 1.2 dB

    Pan : center

    Dynamics:
    Treshold: -29.0 dB
    Ratio: 2.0 : 1
    Attack: 10.0 mS
    Release: Auto
    MakeupGain: 9.0 dB


    The goal was to add the clearness from the deepend of the di'ed signal to the characterful midrange of the amped signal.



    Channel 13 / Guit Rakes:

    Volume : - 8.0 dB

    Pan : L 32



    Channel 14 / Guit Ryan:

    Volume : - 2.7 dB initial, changed via automation, see referring post

    Pan : R 63 initial, changed via automation, see referring post

    EQ :
    Frequency: 2735 Hz
    Gain: 0dB to - 18.6dB, changed via automation, see referring post
    Q: 8,2

    I didn't want to lose the long lead guitar tail at the end, imo it is appropriate to the longer rhodes outro - but the part incorporates some hum that made me not so sure about keepin' it.
    In the end I've tried to quiten the hum down with some eqing and kept it.



    Channel 15 / Guit prog delay:

    Volume : - 1.0 dB

    Pan : L 37

    EQ:
    Frequency: 154 Hz
    Gain: 2.4 dB
    Q: 1.0


    Tried to achieve a sound that makes one think that the guit prog delay track might be a second vocal.



    Channel 16 / Guit feedback:

    Volume : - 1.0 dB

    Pan : L 32



    Channel 17 / Rhodes:

    Volume : - 6.0 dB initial, changed via automation, see referring post

    Pan : R 55 initial, changed via automation, see referring post

    EQ:
    Frequency: 2500 Hz
    Gain: 4.0 dB
    Q: 1.0

    For the ‘ping’ of the Rhodes.



    Channel 18 / B3 L:

    Volume : - 6.0 dB initial, changed via automation, see referring post

    Pan : L 64



    Channel 19 / B3 R:

    Volume : - 3.8 dB initial, changed via automation, see referring post

    Pan : R 62



    Channel 20 / Vocals:

    Volume : - 10.5 dB initial, changed via automation, see referring post

    Pan : center

    Dynamics:
    Treshold: -22.5 dB
    Ratio: 2.5 : 1
    Attack: 18.7 mS
    Release: 10.0 mS
    MakeupGain: 11.5 dB

    EQ:
    Frequency: 34 Hz / Low cut


    Low cut to keep rumble away.



    Subgroup Drums:

    Volume : - 4.3 dB initial, changed via automation, see referring post

    Pan : L 64 / R 63
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    Default Re: MiX iT! 3d - Discuss It: tannoy

    2. Additional processing


    Channel 2 / Snare:

    Send effect : Magnus / Smartelectronix Ambience

    Post fader

    Send level : appr. 34

    Settings :



    Click for fullsize image



    The send is automated and used for the 1st to the 4th snare hit. It's purpose is to rebuilt the snare room signal that was recorded to the room tracks. Used for having the room sound on the snare without the other ingredients of the given room tracks at that point of the tune.


    The reverse-reverb snare was created using the Ambience plugin as well. The correspondending snare hit got reversed, the resulting reverb was tracked to 2 channels and was reversed, too. It was then mixed in front of the re-reversed and therefore not reversed-playing anymore snare hit....my apologies, couldn't stand the temptation to express it that way...:-))



    Channel 7 / Tambourine:

    Send effect : Kjaerhus Audio Classic Delay
    Post fader
    Send level : 128

    Settings :



    Click for fullsize image

    This one is syncing to the song-tempo. I chose 128 bpm - it's definitely not the throughout song-tempo, but it worked for that part.



    Channel 14 / Guit Ryan:

    Aux effect : Magnus / Smartelectronix Ambience
    Post fader
    Effect level: L - 31.6 dB
    R - 10.5 dB
    Pan: L 64
    R 63


    Settings:



    Click for fullsize image


    Channel 16 / Guit Feedback:

    Sent to the same aux effect as Ryan's guitar, post fader.




    Channel 17 / Rhodes:

    The Rhodes was sent via aux-bus to a line6 pod 2.0 to receive some overdrive there. This happens during 00:01:20:32 to 00:01:43:08. No pod necessary for creating an similar effect, I'm pretty sure that one of the many free overdrive/distortion effects will do the job as well.


    Channel 20 / Vocals:

    Insert effect : SPL de-esser

    Settings:

    S-Reduction : 5
    Auto-Treshold: On
    Male: On


    Aux effect : Magnus / Smartelectronix Ambience
    Post fader
    Effect level : - 16.7 dB initial, changed via automation, see referring post
    Pan : center

    Settings:



    Click for fullsize image


    The sharp 's' delay as you can hear at the word 'distance' in the beginning of the song was created by editing the vocal track and copying the correspondending 's' - sounds to a new track. These 's'es where put into:

    Send effect : Kjaerhus Classic Delay
    Send level : appr. 64
    Pre Fader, fader-position is 00 for getting the delay only - the 's'es are already there on the given vocal track .

    Settings:



    Click for fullsize image


    The very quiet “aren't you proud...?” at the end of the song was created similar to how the 's' delay has been done - delay setting (time/s) was correspondending longer for that one.


    Masterbus:

    Effect: Kjaerhus Classic Master Limiter
    Treshold : -5 dB
    This one is used with care...doesn’t effect the mix (surely, except for amplification) till the really louder parts occur, adds some ‘smack’ to them.
    Last edited by tannoy; May 5th, 2008 at 08:59 PM.
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    Default Re: MiX iT! 3d - Discuss It: tannoy

    3. Automation


    Channel 5 and 6 / Overhead L and R:

    This one is easier to describe: Level step to -8.8 dB at the point where the reversed snare reverb ends, just at the following snare hit. This level stays the same from that point on.

    Pan : Set to L 64 and R 63 respectively shortly before the 4th snare hit.


    Channel 8 and 9 / Room L and R:

    Level step to -8.8 dB at 00:01:32:19, right before the 1st chorus. Next step to -7.7 while snare transition during 00:02:19:00 to 00:02:20:15. Back to -8.8 dB right after the break, before Ryan starts singing "over and over you're laughing again..."


    Channel 14 / Guit Ryan:

    Volume envelope :



    Click for fullsize image



    Pan: (upper part is the right channel)



    Click for fullsize image



    EQ:

    Switches on at 00:03:01:00 and slides down at the following part of the guitar fade gainwise from 0 dB to -18.6 dB, reached at 00:03:06:00.



    Channel 17 / Rhodes:

    Volume envelope :



    Click for fullsize image



    Rhodes panning(upper part is the right channel):



    Click for fullsize image



    Channel 18 and 19 / B3 L and R:

    Volume envelopes:



    Click for fullsize image



    Channel 20 / Vocals :

    Volume envelope:



    Click for fullsize image



    Subgroup drums :

    Step to -2.3 dB while snare transition during 00:02:19:00 to 00:02:20:15, back to -3.1 dB right after the last hit of the transition part, back to -3.4 dB at 00:02:26:00 and finally back to -4.3 dB right after the break where Ryan's singing "over and over you're laughing again...". That level is kept till the end.



    Aux effect vocals:

    Step to -14.6 dB right before the 1st chorus, step to - 11.5 dB right before the bridge ("Goodbye daydream...."), back to -14.6 dB before the next chorus ("won't you |step up| let it out...") and finally back to -16.7 dB right before Ryan sings "I'm just a story to tell...".






    _______________________________________


    That’s it.... hope it's useful and that it's a help to understand what I wanted to achieve and how I got there.

    Talk to you soon,

    Marco.
    Last edited by tannoy; May 5th, 2008 at 09:11 PM.
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    Thumbs Up! Re: MiX iT! 3d - Discuss It: tannoy

    Marco,
    Awesome job on the notes. If you tell me that you have a strong background in windows server management, I'll offer you a job as a consultant.

    Will be listening to the mix tonight and mapping your notes up to what I' hearing.

    Thanks again for taking the time to document everything in the manner that you did.
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    Default Re: MiX iT! 3d - Discuss It: tannoy

    The mix has now been attached to tannoy's 1st post.

    Please see above to hear the mix.
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    Default Re: MiX iT! 3d - Discuss It: tannoy

    Joe,

    Marco,
    Awesome job on the notes. If you tell me that you have a strong background in windows server management, I'll offer you a job as a consultant.

    Will be listening to the mix tonight and mapping your notes up to what I' hearing.

    Thanks again for taking the time to document everything in the manner that you did.
    thanks for your nice comments...I hope the whole thing is useful somehow. And thanks for the job offer as well.

    Best,

    Marco.
    Last edited by tannoy; May 6th, 2008 at 11:19 AM. Reason: ...server pun sucked...
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    Default Re: MiX iT! 3d - Discuss It: tannoy

    Hey Tannoy,

    I second the congrats on the mix notes. Some useful insight there.

    Seeing as you went to so much trouble I thought I'd make a comment!

    FYI - I've been listening to all the mixes on my computer, an old emac stereo speakers on the front - and in earbuds (sennheiser ones - highly recommended BTW). I do this because it's good to get a gut reaction to a mix and listen the way most other people do nowadays. I hear alot of mixes that sound great in control rooms and don't really translate so I think it's a valid way of hearing things.

    From listening to your mix I think that we share a similar approach to the use of fx. IOW, we like to keep it subtle (I personally hate gratuitous reverb - it sounds like karaoke to me).

    So, on a gut reaction, I love what you did with the tambs in the first verse - not too theatrical - which is another gripe of mine. I probably wouldn't have had it so loud and up front though - feels like you're giving the game away rather than hinting at it.

    Overall the mix was balanced fairly well for me, seems like a fairly controlled low end - I'm listening on little speakers and they distort like a mutha if the low end is too resonant and boomy.

    The thing that detracts from the mix most for me is the level of the room mics and tamb from the second verse onwards. I think the idea is a sound one, to open things out a little and arrangment wise there wasn't too much to distinguish the first verse from the second - right?

    One thing I notice with pro mixes (and something I try my best to acheive) is that tonal and spacial changes shouldn't be recognisable to the listener - you kind of just "arrive" in another place. The other way is that spacial and tonal changes are sudden and drastic which to the listener says "ok change scene". The level of the room mics in the second verse is somewhere in between if you follow me. It just sounds like a new element arrived without warning. The rest of the ambience in the mix doesn't seem to move with it, only the drums which as a result makes the vocal sound a little dry in its new context.

    After I listened to what was happening in this track musically and emotionally, I charted a journey of where I thought the mix needs to go sonically. For me this song needed to start fairly intimately almost conversationally, open up during the more cathartic moments and end with quite a dry pay off (almost angry). It sounds rather flowery, but that laid the foundations for how I judged the use of ambient mics and ambience throughout the whole track!

    For me, I think your mix paid homage to the content of the song and was one of the more successful ones for it.

    Anyway, quite a ramble. Hope this is helpful in some way.

    Paulie.
  11. #11
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    Default Re: MiX iT! 3d - Discuss It: tannoy

    Hi Paulie,

    thanks a lot for your comments!

    The thing that detracts from the mix most for me is the level of the room mics and tamb from the second verse onwards. I think the idea is a sound one, to open things out a little and arrangment wise there wasn't too much to distinguish the first verse from the second - right?

    Absolutely. The idea was to start the song quite intimate with lowered attention to the signals that came from the room and overhead tracks. Those parts where muted at that part of the tune. The hi-hat still is to hear as it spills on the snare track but it's very subtle. I had to rebuilt the room for the snare as far as I was able by using the ambience-plugin, for I didn't want to lose the impact of that snare-sound + room mics for that 4 hits. The problem was the width which the room-signal added to the snare. The ambience-plug was convincing sonically, but the width of the created signal was not competitive. Therefore I decided to build a transition between the 1st and the 2nd verse by using the reversed reverbed snare thing. This was created from the next snare hit and contained the information from the room-mics, kind of blending into the section where the full setup gets in - again, with lowered volume on the room-tracks compared to the volume at the choruses in order to built a dynamic line towards the chorus and the following parts.

    One thing I notice with pro mixes (and something I try my best to acheive) is that tonal and spacial changes shouldn't be recognisable to the listener - you kind of just "arrive" in another place. The other way is that spacial and tonal changes are sudden and drastic which to the listener says "ok change scene". The level of the room mics in the second verse is somewhere in between if you follow me. It just sounds like a new element arrived without warning. The rest of the ambience in the mix doesn't seem to move with it, only the drums which as a result makes the vocal sound a little dry in its new context.
    Totally agreed. The spatial and tonal changes which happen here were made for the purpose of giving the image of changing the scene as you've mentioned. It seemed to translate well on my monitors...and on a hifi-system...but I have to admit it's a bit drastic if you listen to it at a car stereo or on headphones. The rest of the
    ambience wasn't intended to move with the arriving room-mic and overhead sounds referring to the vein that I wanted to create. The idea was to build a step by step + elements/+ volume scene that would find it's greatest impact at the bridge/2nd chorus part and then goin' down to a more intimate quality again. Even said this, if I listen to it now I'm diggin' your idea that a slight more ambience on the other tracks - but really subtle - might be an good option. As for the vocals: I wanted them to sound as dry as possible until the "goodbye daydream..."-part begins. The reason for this is that I wanted to capture the anger that Ryan transported within his singing and for me it seemed suitable to do it "direct in your face" - dry and with settings like more anger = more volume. The voice gets a bit more wet at the bridge for transporting the feeling of desperation and the loss of a love, back to a dryer and even louder part at the 2nd chorus - to accent the final screaming at the hunter before devotion sets in.

    Thanks again,

    best,

    Marco.
    Last edited by tannoy; May 7th, 2008 at 03:58 AM.
    "Here ain't there..." - Unfcknblvbl, June 17th, 2010
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    Default Re: MiX iT! 3d - Discuss It: tannoy

    Hi Tannoy-

    I for one want to thank you for the extensive documentation. As I stated when I posted my mix, I am new to doing mixing ITB. Over half my time working on this mix was spent figuring out how to do what I wanted to do. I am used to working on a board and with outboard gear, where it is easy to make whatever changes I want to.
    So, here you are with a lovely description of how you did things, which is absolutely excellent for me to follow. I am working in Cubase as well, so its even in the same format

    I intend to go thru and use your instructions as you posted, just to help me figure out how to navigate my way around better.

    So, many thanx for your documentation, know that it will help at least person learn more.

    Heres my thoughts on your mix-
    The first thing that strikes me is the nice full bass tone. The instrument balance is great, everything is there and clearly defined. The vocal effects are good to me, noticeable but not overbearing. You have my coveted(?) "suck factor" going on for sure, I keep breathing with the song.
    Also nice is the balance you pulled off with the guitar. You achieved a nice big sound, without it burying anything.

    There's only 2 things that bother me slightly, and they are both nitpicking.
    The added effects on the tamb at the beginning, and the extra "arent you proud" at the end. I dont consider either to be horrible, but aren't choices I would make.
    The second is with the feedback gtr track. You panned it to the other side (as many, including me did), but the hard ending to that track sounds a bit odd as the guitar then goes back to the left. My solution was to fade the gtr feedback track a bit, to soften the end of it, helping move the guitar back to the other side a bit more naturally, instead of being kind of jarring.
    Like I said, small things that just bug me a bit, subjectively.

    Thanx again for the great notes, I will be putting them to good use for sure!
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    Default Re: MiX iT! 3d - Discuss It: tannoy

    Hi Audioboy,

    I'm glad about the documentation being useful for you. And thanks a lot for your nice comments about the mix!


    You have my coveted(?) "suck factor" going on for sure, I keep breathing with the song.
    As stated at the general-discussion-thread....I think this one's gonna make its way on my list for terms of the year.


    There's only 2 things that bother me slightly, and they are both nitpicking.
    The added effects on the tamb at the beginning, and the extra "arent you proud" at the end. I dont consider either to be horrible, but aren't choices I would make.
    The second is with the feedback gtr track. You panned it to the other side (as many, including me did), but the hard ending to that track sounds a bit odd as the guitar then goes back to the left.
    I've used that delayed tambourine hit in order to create a kind of tension within that section. I'm not quite sure if that sound was even intended to be on the original track or if it happened accidently. I'm not quite sure about the guitar-feedback panning that you've mentioned...listening to it right now, the feedback seems to be panned as the lead guitar is. Could it be that you mean the 1st Chorus ingoin' Guitar sound that's shortly panned right and then abruptly to it's end-position to the left ? If so - I thought about panning that way in a manner of creating some kind of attention for what's coming up next since it's out of context for a little amount of song-time. Referring to the delayed "aren't you proud...?" at the very end of the tune....I have to admit that I'm not very enthusiastic about it sonically. Should have put more work into that one, especially on the attack/transients of the first word. The 'a' of the 'aren't' sounds a bit harsh due to editing...maybe proper use of a gate would help.

    Thanks again for your reply!

    Best,

    Marco.
    "Here ain't there..." - Unfcknblvbl, June 17th, 2010
  14. #14
    Ducked in here to avoid the paparazzi Home Skooled
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    Default Re: MiX iT! 3d - Discuss It: tannoy

    Tannoy--thanks for all the detail on your mix. Like the mix or not, seeing into someone else's process is tremendously educational. And documenting it is a feat--I don't think I have the patience to go into such detail with my work! Thanks.

    In any case, here are the notes I made while I listened; apologies for the brevity:

    All a bit wet for me. Vocals not quite as in front as I prefer. Digging the guitars. Shape of the mix is good, but I never quite got chills. I do appreciate the build-up, though... neat to hear things just get bigger and bigger throughout.
  15. #15
    A mother-in-law's nightmare Bug Tussle Town Dogcatcher
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    Default Re: MiX iT! 3d - Discuss It: tannoy

    Hi uncleozzy,

    Tannoy--thanks for all the detail on your mix. Like the mix or not, seeing into someone else's process is tremendously educational. And documenting it is a feat--I don't think I have the patience to go into such detail with my work! Thanks.

    In any case, here are the notes I made while I listened; apologies for the brevity:

    All a bit wet for me. Vocals not quite as in front as I prefer. Digging the guitars. Shape of the mix is good, but I never quite got chills. I do appreciate the build-up, though... neat to hear things just get bigger and bigger throughout.
    Thanks for your kind words! I'm very glad that you feel my notes are useful. And thanks for listening to the mix and for your comments as well. If you hear that things just get bigger and bigger throughout than I'm a happy man! (but I have to admit that I would've been even happier if you got chills )

    Best wishes,

    Marco.
    "Here ain't there..." - Unfcknblvbl, June 17th, 2010

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