producer pack
we need to remix unwater before it hits duplication. can we get jon on the blog for communication? singing along feels good.
i've been listening to the song, (how does 'held for a while now' sound?) and just loving it. but oh jesus does it need to be mixed. i declare my incomplete mix insanity.
first. bring greg's guitar way down in from the intro. the tone, in its awesomeness, overpowers the fender. and roll a little bass off?
could be could be so powerful. the piano is too loud.
set the mix: start with all faders down. bring just the overheads to unity. now bring the piano in until it is clearly audible but not overpowering. use different combinations of mikes instead of eq-ing.
now bring in the bass. low, just enough to be felt, from the oktava. roll the low end off the di, and turn it up to conquer the toms in the overheads.
next, vocals.
start with the entry. first line, frank sinatra loud. build the other vocals around it. bus them all to a stereo compressor, maybe the vintage warmer, where you can roll off the lows also. drive to taste.
now the guitars. the most complicated part. i think start by hearing cary's against the vocals, don't worry about letting it fill the sonic space. it will. bring in greg's part, so that it only makes the song a little louder on entry. this one has to build.
now - pull the vocal submix down 'into the mix'. listen again, and
add guitar overdubs. greg's lead into the storm (G3) is the next most important, as far as listening to when adding to the mix. build around that, bringing in the ego-capstone producer lead. you shouldn't have to automate the drums at this point. listen to them, and bring in the rest of the guitars, considering extensive automation of the guitars, other than the two leads mentioned.
change focus. the next critcal element is will's coda vocal level. set this, and vocal panning at the end. now listen from the top, and think about changing guitar levels after the storm.
love on you baby, i'm a wafflehead.
you're almost there. now comes the horrible and necessary part of critiquing what you've done, and making all those minor adjustments that could theoretically rob your mix of all its potency. here, be conservative and wise. if it ain't broke, don't fix it. maybe look twice at your overall vocal level.
that's all i've got for mixing. on the Jon Cohrs front - thanks Jon, for bringing attention to unwater. i think it does warrant a remix. i'm eager to hear what the mastering sounds like on one of the better mixes, maybe Cremasta or ATHP?
working on those monitors was such a gig. thanks again!
as far as singing along goes, i've tried it, and i like it. as far as the unwater (insanity mix) goes, its makes me uncomfortable in such in a way that makes it sound quite punkish. phuey! i guess what it is is that the insanity mix doesn't agree well with being played loud. i hope jon can make all things have passed work well when turned up loud. (all that low end, so fun in the studio, but does it translate?) but cremasta would be nice to hear also. we'll hear them all, in time.
i've been listening to the song, (how does 'held for a while now' sound?) and just loving it. but oh jesus does it need to be mixed. i declare my incomplete mix insanity.
first. bring greg's guitar way down in from the intro. the tone, in its awesomeness, overpowers the fender. and roll a little bass off?
could be could be so powerful. the piano is too loud.
set the mix: start with all faders down. bring just the overheads to unity. now bring the piano in until it is clearly audible but not overpowering. use different combinations of mikes instead of eq-ing.
now bring in the bass. low, just enough to be felt, from the oktava. roll the low end off the di, and turn it up to conquer the toms in the overheads.
next, vocals.
start with the entry. first line, frank sinatra loud. build the other vocals around it. bus them all to a stereo compressor, maybe the vintage warmer, where you can roll off the lows also. drive to taste.
now the guitars. the most complicated part. i think start by hearing cary's against the vocals, don't worry about letting it fill the sonic space. it will. bring in greg's part, so that it only makes the song a little louder on entry. this one has to build.
now - pull the vocal submix down 'into the mix'. listen again, and
add guitar overdubs. greg's lead into the storm (G3) is the next most important, as far as listening to when adding to the mix. build around that, bringing in the ego-capstone producer lead. you shouldn't have to automate the drums at this point. listen to them, and bring in the rest of the guitars, considering extensive automation of the guitars, other than the two leads mentioned.
change focus. the next critcal element is will's coda vocal level. set this, and vocal panning at the end. now listen from the top, and think about changing guitar levels after the storm.
love on you baby, i'm a wafflehead.
you're almost there. now comes the horrible and necessary part of critiquing what you've done, and making all those minor adjustments that could theoretically rob your mix of all its potency. here, be conservative and wise. if it ain't broke, don't fix it. maybe look twice at your overall vocal level.
that's all i've got for mixing. on the Jon Cohrs front - thanks Jon, for bringing attention to unwater. i think it does warrant a remix. i'm eager to hear what the mastering sounds like on one of the better mixes, maybe Cremasta or ATHP?
working on those monitors was such a gig. thanks again!
as far as singing along goes, i've tried it, and i like it. as far as the unwater (insanity mix) goes, its makes me uncomfortable in such in a way that makes it sound quite punkish. phuey! i guess what it is is that the insanity mix doesn't agree well with being played loud. i hope jon can make all things have passed work well when turned up loud. (all that low end, so fun in the studio, but does it translate?) but cremasta would be nice to hear also. we'll hear them all, in time.
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