Shawn Colvin's "Steady On"

HudHudson · 2nd February 2007, 12:55 AM

Hi Kevin -

This record is a desert island disc to me, great songs, great performances, great tracking and a fabulous mix. What do recall about your approach to mixing this record?

Thanks,

Hud

Kevin Killen · 3rd February 2007, 03:55 AM

Hud,

I remember being nervous in the beginning as the record to that point had a certain tension associated with it. The production team had split and I was hired to help finsh it.
I was very concious in the first couple of mixes to see how far I could push certain aesthetics almost in a way to establish boundaries. John Leventhal and Shaun seemed very receptive so I kept trying to keep the mixes warm, but also have a certain sheen to them in the top end.

When I listen to the album now , it does have a 80's character to it but the songs and performances are so compelling that I don't mind the amount of reverb on it.

Obviously it was imperative to make her vocals the focus of the track and we did a lot of arranging of parts during the mix sessions. That may have harkened back to stylistic choices by the production team, but we eventually stripped away a lot of layers to reveal
her voice. I think in the end, everyone was thrilled.

It was mixed on an SSL E Series at Skyline Studios, NYC.

Kevin

timtoonz · 3rd February 2007, 04:05 AM

A while back Shaun Colvin supplanted Mr. Gabriel as my fave singer/songwriter and 'Steady On' is a big reason why...

Any more insights you can share about how her vocals get such an intimate, in your face sound? Reverbs, mics, room vs. booth... I'm looking for any tidbits you can offer because this is a sound I often find myself striving for with other (albeit lesser) singer/songwriters I encounter.

And as for the arrangements, it always seems to me that John Leventhal has an amazing number of guitar and percussion parts going on in his productions, and yet somehow magically they don't get in the way of the voice. Any tricks/tips/pointers you can share on that front?

(PS. THANKYOU THANKYOU THANKYOU for being here. Or wherever it is you are right now.)

Kevin Killen · 3rd February 2007, 09:30 PM

TimToonz,

I believe in the mix I used a combination of Lexicon224 plus a tape slap. In terms of the intimacy achieved, that is down to the original performance to a certain degree which sadly i was not involved in. Also during the mix we ensured that we removed any element that was obscuring her voice.

One trick I use is to keep the center position for LVocal, Kick Drm,Snare drum and bass only. Everything else is panned to some other position and I remember John and I spending hours on different panning arrangements before we settled on the final version.

We also experimented with the level of the reverb return and send, perhaps using less in the opening verses. Equalising the send ( either brighter of darker) can also create the intimate sense.

I suggest you experiment with that panning idea. it can really be helpful in clearing out a mix.

I hope that helps you.

kevin

timtoonz · 3rd February 2007, 10:07 PM

Wonderful - great stuff. THANKS.

While I do tinker with panning quite a bit, I think I've been pretty lazy when it comes to eq'ing the send/returns. Your info and inspiration are much appreciated.

TIM

Kevin Killen · 4th February 2007, 04:30 AM

Tim,

You are welcome. Cool questions....

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2nd February 2007, 12:55 AM	#1
HudHudson Lives for gear Join Date: Sep 2004 Location: Austin, Texas USofA Posts: 1,183	Shawn Colvin's "Steady On" Hi Kevin - This record is a desert island disc to me, great songs, great performances, great tracking and a fabulous mix. What do recall about your approach to mixing this record? Thanks, Hud __________________ "The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side." - Hunter S. Thompson www.myspace.com/steventoddhudson

3rd February 2007, 04:05 AM	#3
timtoonz Gear maniac Join Date: Sep 2003 Location: Mr. & Mississauga Posts: 264	A while back Shaun Colvin supplanted Mr. Gabriel as my fave singer/songwriter and 'Steady On' is a big reason why... Any more insights you can share about how her vocals get such an intimate, in your face sound? Reverbs, mics, room vs. booth... I'm looking for any tidbits you can offer because this is a sound I often find myself striving for with other (albeit lesser) singer/songwriters I encounter. And as for the arrangements, it always seems to me that John Leventhal has an amazing number of guitar and percussion parts going on in his productions, and yet somehow magically they don't get in the way of the voice. Any tricks/tips/pointers you can share on that front? (PS. THANKYOU THANKYOU THANKYOU for being here. Or wherever it is you are right now.) __________________ "I'll play it and tell you what it is later" Miles

3rd February 2007, 10:07 PM	#5
timtoonz Gear maniac Join Date: Sep 2003 Location: Mr. & Mississauga Posts: 264	Wonderful - great stuff. THANKS. While I do tinker with panning quite a bit, I think I've been pretty lazy when it comes to eq'ing the send/returns. Your info and inspiration are much appreciated. TIM __________________ "I'll play it and tell you what it is later" Miles

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3rd February 2007, 03:55 AM	#2
Kevin Killen engineer / producer / mixer Join Date: Jan 2007 Posts: 312	Hud, I remember being nervous in the beginning as the record to that point had a certain tension associated with it. The production team had split and I was hired to help finsh it. I was very concious in the first couple of mixes to see how far I could push certain aesthetics almost in a way to establish boundaries. John Leventhal and Shaun seemed very receptive so I kept trying to keep the mixes warm, but also have a certain sheen to them in the top end. When I listen to the album now , it does have a 80's character to it but the songs and performances are so compelling that I don't mind the amount of reverb on it. Obviously it was imperative to make her vocals the focus of the track and we did a lot of arranging of parts during the mix sessions. That may have harkened back to stylistic choices by the production team, but we eventually stripped away a lot of layers to reveal her voice. I think in the end, everyone was thrilled. It was mixed on an SSL E Series at Skyline Studios, NYC. Kevin

3rd February 2007, 09:30 PM	#4
Kevin Killen engineer / producer / mixer Join Date: Jan 2007 Posts: 312	TimToonz, I believe in the mix I used a combination of Lexicon224 plus a tape slap. In terms of the intimacy achieved, that is down to the original performance to a certain degree which sadly i was not involved in. Also during the mix we ensured that we removed any element that was obscuring her voice. One trick I use is to keep the center position for LVocal, Kick Drm,Snare drum and bass only. Everything else is panned to some other position and I remember John and I spending hours on different panning arrangements before we settled on the final version. We also experimented with the level of the reverb return and send, perhaps using less in the opening verses. Equalising the send ( either brighter of darker) can also create the intimate sense. I suggest you experiment with that panning idea. it can really be helpful in clearing out a mix. I hope that helps you. kevin

4th February 2007, 04:30 AM	#6
Kevin Killen engineer / producer / mixer Join Date: Jan 2007 Posts: 312	Tim, You are welcome. Cool questions....