Modern rock mixing - no transients

[Kadden Heart]

Originally Posted by Pastor Obviedo

They mixed that demo that is floating around GS, the final version was mixed by TLA and it is a fine example of what a great engineer can do.

oop.

agreed, though i can't help but think "TLA'S improvement upon that demo wasn't AALLL that huge sonically"
,...i would REALLY love to hear some things TLA, or CLA have improved upon,..such as the demo mix of a song they did, or raw version.

just to see what their "magic" actually is.

[MarkRB]

Originally Posted by Kadden Heart

agreed, though i can't help but think "TLA'S improvement upon that demo wasn't AALLL that huge sonically"
,...i would REALLY love to hear some things TLA, or CLA have improved upon,..such as the demo mix of a song they did, or raw version.

just to see what their "magic" actually is.

I've heard quite allot of versions of original album mixes against CLA mixes. In every case the CLA mix is really compressed in comparison, as in each instrument is obviously compressed more rather than an overall squash. It doesn't hurt that he is great at bringing out the key elements of a track at the right time either.
I remember going "uhh, is that it?" on several occasions but hearing the track on the radio is when it really shines. He's the man to call when you need a single mix that sounds good on the radio.

[casey_outlaw]

Originally Posted by Kadden Heart

"3rd party",..has anyone ever met CLA or TLA?
i've only read ike 3 interviews featuring either of them,..
i've never heard "i sat in on a session"
or "he mixed my sh**"

are these guys even real or is it just clearmountains alter sonic ego?

they're never featured in mix, eq, etc... i would frekain' kill, for thte oportunity to like,.be around while a band tracks, and then sit in on the mix with either of them.

if anyones ever even met them please share,... i think they're fictional characters.

CLA mixed two songs for my band in 2001, which came out great. The label chose them over the mixes by Neil Avron, who did the rest of the record. It kind of seemed like a faders up and go type of mix session.

I also have a friend who had him mix some songs, and they ended up getting in a fight (verbal, but loud). I think my friend wanted a certain vibe, and CLA wanted his (hits). I guess my friend got his way and CLA didn't... the songs never got any decent airplay.

[TheRealRoach]

How do these guys charge anyway? A set price for everything, a different price depending on what it is? How much would a CLA mix cost out of curiosity?

[Kadden Heart]

Originally Posted by TheRealRoach

How do these guys charge anyway? A set price for everything, a different price depending on what it is? How much would a CLA mix cost out of curiosity?

i heard it's like 10K a song or something ridiculous.

guess casey outlaw can tell us?

who's your band if you don't mind me asking?
man,..working with neil avron would be cool enough,...

[Louderock]

He's mixed a few things that I've engineered and I've been in the room before. The stuff he said in those interviews (links earlier in this thread) seem to be on par with what I saw. Drums were side-chained using the SSL small faders into a stereo Neve compressor. Distressor on the snare. He's not afraid of eq. Adds a good bit of high end and seems to carve out space for everything. Not much mix buss compression. No SSL comp on the stereo buss, he used the Focusrite Red and I think he may have put 2 Pultec Eq's across the stereo buss. It's a bit weird as an engineer to hear one of his mixes of a song you recorded because everything is really tweaked and sounds very different from how you've been used to hearing it during the making of the record. But, it does have that certain 'thing' and does seem to translate well on radio. It does seem like all of the radio processing doesn't change the sound of his mix too much. Also, he's a very 'big picture' kind of mixer. He seems to want to do his thing and not obsess over little tweaker details. If you have a micro-managing obsessive band member, it's best to keep him out of the studio with CLA.

[DontLetMeDrown]

Some gems from the mixonline article:

"Compression can be dangerous in the wrong hands. It's like a gun; once you shoot a hole in something, you can't plug it."

"When you're compressing drums, it depends on how aggressive the song is. If you have two pounds of baloney in a one-pound bag, and there's a wall of guitars competing with the drums, you've got to compress more and more to get the drums to stay punchy through the whole song. And if the snare drum isn't too high and it has some depth to it, that gets a lot easier."

Thanks for the links!

[WildCowboys]

Originally Posted by allencollins

I love Daughtry but then again I like the Bay City Rollers, Debbie Gibson
and the New kids on the Block!

I think I still have my Shaun Cassidy 45 of Da-do-runrun.....
What a great mix that was too. I may pop that on tonight.


Any Leif Garrett Fans? Howabout the Osmonds?

You forgot to mention your Milli Vanilli albums...

[WildCowboys]

Originally Posted by jfw3

Not going to sound any different, at least as the level/comp/limiting is concerned.


JFW

Not sure about that as CLA said in an interview that he hates it when his mixes are pushed into a L1 too hard....and this master has it´s RMS around -8 which is insane....so I guess the original mix will be quite different from the mastered one dynamicwise....but only the original mix can tell us that ;-(

[audiovisceral]

Originally Posted by WildCowboys

Not sure about that as CLA said in an interview that he hates it when his mixes are pushed into a L1 too hard....and this master has it´s RMS around -8 which is insane....so I guess the original mix will be quite different from the mastered one dynamicwise....but only the original mix can tell us that ;-(

not likely imo. he probably sends it for master at -12 or -10 and is just saying by doing so he's already pushed it to where heavy l1 will hurt not help.