I hear a lot of room in most everything. The performance is good. Sounds a bit too washy for my liking. If your getting a lot of early reflections from the room, then artificial verb isn't really needed as much.
I hear a lot of room in most everything. The performance is good. Sounds a bit too washy for my liking. If your getting a lot of early reflections from the room, then artificial verb isn't really needed as much.
OK, I'm using 2 reverbs: One is a room emulation and one is a plate (using a Softube Tzar1). Perhaps I'm sending a bit too much to the room verb. I can definitely pull that back a bit. Think that's what you're hearing?
OK, I'm using 2 reverbs: One is a room emulation and one is a plate (using a Softube Tzar1). Perhaps I'm sending a bit too much to the room verb. I can definitely pull that back a bit. Think that's what you're hearing?
Thanks Cowboy,
Keith
Probably yeah. The whole thing just lacks some attack.
Ok, this is great. I'm gonna take some of that room verb out for sure. I have a tendency to go a little overboard with ambiance sometimes. I also tend to make snare drums annoyingly loud.
Thanks for the help all. It's so helpful to get criticism from folks who have no emotion invested in the band or mix. What else ya got?
That's what I'm talking about. Hear how the attack of each voice in the mix jumps out of the speakers? Reverb is necessary to gel a mix, and there is plenty of reverb on that you tube mix, you just can't hear it as much. That's when reverb sounds best, when you don't know your hearing it (so says my teacher many years ago ). Short tails that coincide with the BPM of the music, (same as setting up a delay) work best for a tight punchy mix. Here's an example of one of my mixes with the kind of verb I'm talking about (hall). Notice around 3:02 when it's just the vocal, how the reverb comes out but we can't hear it in the busy mix because of the short tail. It's simply acting as glue.
That's what I'm talking about. Hear how the attack of each voice in the mix jumps out of the speakers? Reverb is necessary to gel a mix, and there is plenty of reverb on that you tube mix, you just can't hear it as much. That's when reverb sounds best, when you don't know your hearing it (so says my teacher many years ago ). Short tails that coincide with the BPM of the music, (same as setting up a delay) work best for a tight punchy mix. Here's an example of one of my mixes with the kind of verb I'm talking about (hall). Notice around 3:02 when it's just the vocal, how the reverb comes out but we can't hear it in the busy mix because of the short tail. It's simply acting as glue.
OK, I took out a significant amount of the room. Now that I hear this one next to the first, I really hear what you're talking about:
You got it now, man. Great mix here. Tight. I'd bring that great vocal up a db or so but that's just my preference. Excellent use of verb here like we were talking about!!
You got it now, man. Great mix here. Tight. I'd bring that great vocal up a db or so but that's just my preference. Excellent use of verb here like we were talking about!!
Thanks Cowboy. It's amazing how easily we get so close to a mix where we lose perspective. As soon as I read your initial critique I could hear it. Now it seems so obvious it's just silly.
Believe it or not, this one critique has, I believe, greatly improved my ability to listen objectively to the ambience I'm applying to a mix.
Thanks you guys. And yes, I pulled that vocal down about 1.5 dBs because it seemed a little too on top. I should have left it alone or maybe cut it by half of that amount.
yeah I like that more for sure. you might find you benefit from using a pultec EQ. possibly in some sub groups and across the mix. and possibly for your vocal. The T-Racks suite is good but can be a little power hungry. though I have heard it said that the various components of the plug-in can be made to show up as a full set of individual plug-ins. one should be the pultec. other people would probably have other suggestions about other pultec re-creations. maybe cowboycoalminer has some ideas about that.
yeah I like that more for sure. you might find you benefit from using a pultec EQ. possibly in some sub groups and across the mix. and possibly for your vocal. The T-Racks suite is good but can be a little power hungry. though I have heard it said that the various components of the plug-in can be made to show up as a full set of individual plug-ins. one should be the pultec. other people would probably have other suggestions about other pultec re-creations. maybe cowboycoalminer has some ideas about that.
Thanks Muser. This mix is indeed using both the TRacks Pultec and the UAD Putec Pro on some elements. Mainly kick drum and bass guitar for low end and on the vocal for air.
Please elaborate on what you would want to do with the Pultec on this mix.
Thanks Muser. This mix is indeed using both the TRacks Pultec and the UAD Putec Pro on some elements. Mainly kick drum and bass guitar for low end and on the vocal for air.
Please elaborate on what you would want to do with the Pultec on this mix.
well I was really just thinking about injecting more grime. but, I think it might be good to use on your vocal and potentially use that to get more level. some way of getting closer proximity, which is often associated with low end. btw, you might get some use out of Antares Microphone Modeler. though I haven't used it recently, in the past I got some very useful results out of that thing. I thought the ribbons in there were really good. especially at killing transients. they were also good for extra proximity. just ideas about what I'd try. not that these would do the job best. I've also heard some interesting properties in Fabfilter Saturn. might be useful to demo if you haven't already.
well I was really just thinking about injecting more grime. but, I think it might be good to use on your vocal and potentially use that to get more level. some way of getting closer proximity, which is often associated with low end. btw, you might get some use out of Antares Microphone Modeler. though I haven't used it recently, in the past I got some very useful results out of that thing. I thought the ribbons in there were really good. especially at killing transients. they were also good for extra proximity. just ideas about what I'd try. not that these would do the job best. I've also heard some interesting properties in Fabfilter Saturn. might be useful to demo if you haven't already.
Ah, OK, so it's more harmonic distortion you're after, maybe - and a bit more low end weight on the vocal? I was told by another mix engineer (for whom I have a lot of respect) that the vocal could be a tad warmer.
Ah, OK, so it's more harmonic distortion you're after, maybe - and a bit more low end weight on the vocal? I was told by another mix engineer (for whom I have a lot of respect) that the vocal could be a tad warmer.
yes, those properties are tricky ITB. I think a lot is that the transients are really suppressed in these recordings. a bit like when someone puts a Tea Towel on a snare. the less transients you have the more instruments can hit at the same time. I was listening to some stems of moonage daydream recently and it's incredible how much instability is in the drum sounds. a lot to do with how the transients are so low that, when you hear the drums on their own, you almost think it sounds horribly poor. but when you put it all together ... Bingo!!
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). Short tails that coincide with the BPM of the music, (same as setting up a delay) work best for a tight punchy mix. Here's an example of one of my mixes with the kind of verb I'm talking about (hall). Notice around 3:02 when it's just the vocal, how the reverb comes out but we can't hear it in the busy mix because of the short tail. It's simply acting as glue.
