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Chris Lord Alge Audio Legends 2 Mixing Masterclass
Old 6th January 2018
  #31
Lives for gear
 

The mix sounds very warm and analog imho.
What I miss is a bit more clarity and separation between the parts.
The guitars are such a huge wall of sound that they kill most of the other
parts - among them the vocals.

I dont know if this is CLAs interpretation
or a consequence of his unusual itb mixing.
Old 7th January 2018
  #32
Gear Maniac
 

Great course thus far... (I've done MWTM and think this is just as worthy/supportive learning... good job Slate, CLA and Team). Steven, is it possible to get the presets for the LX480 that Chris used in the original session? I like verbsuite and all, but use it mostly for the Sony and Eventide impulses and am taken with the Relab for Lex stuff. Getting the presets for those effects in the session that CLA used (vocal rev and drum room), was a big part of the initial appeal. Let us know if there may be a way to get those and thanks.
Old 7th January 2018
  #33
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I am an everything plugin subscriber. I would like to know what extra plugins are included in the course purchase, and what options are there to keep them past a month.

Thank you.
Old 7th January 2018
  #34
Quote:
Originally Posted by bigfurry View Post
I am an everything plugin subscriber. I would like to know what extra plugins are included in the course purchase, and what options are there to keep them past a month.

Thank you.
No extra plugins. Just plugins from Everything Bundle, so you're good
Old 7th January 2018
  #35
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shatz's Avatar
So I can’t just purchase the course for the $79, I have to sign up for a month of plugins for $99? I already own everything Slate has.
Old 7th January 2018
  #36
Gear Head
 

Quote:
Originally Posted by shatz View Post
So I can’t just purchase the course for the $79, I have to sign up for a month of plugins for $99? I already own everything Slate has.
There is definitely a link for existing subscribers.
I used it myself. You only have to pay for the course.

Not sure, however, if there is any recourse for individuals who have outright purchased every single thing (including the third party inclusions like verbsuite and repeater)..
Old 8th January 2018
  #37
Really wish the style of the song was a little different from the first course. Sounds like same "hard rock" genre as before. I did find course one useful and def worth the money, but this go round will probably wait for more reports.
Plus, CLA & MWTM is releasing an in-depth Carrie Underwood vid in a few days. All in all the courses are really a great tool to have and I'm glad they are available.
Old 8th January 2018
  #38
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Quote:
I’ve heard his OtB vs ITB and the difference is night and day. Can’t even compare them.
Are these examples available anywhere, or only for subscribers?
Old 8th January 2018
  #39
Quote:
Originally Posted by lydpik View Post
Are these examples available anywhere, or only for subscribers?
Not in the Slate courses but there's one I know of for Mix With The Masters where CLA mixes the same song OTB and ITB.
Per usual, the ITB was more focused and direct sounding... the OTB was wider, deeper and a bit fatter.

Anyhow, since this is a Slate thread I won't mention MWTW again as it's a competing product. Slate has great courses and plugs. Best wishes for success is both categories.
Old 8th January 2018
  #40
Slate Pro Audio / Slate Digital
 
Steven Slate's Avatar
 

Quote:
Originally Posted by littlesicily View Post
Really wish the style of the song was a little different from the first course. Sounds like same "hard rock" genre as before. I did find course one useful and def worth the money, but this go round will probably wait for more reports.
Plus, CLA & MWTM is releasing an in-depth Carrie Underwood vid in a few days. All in all the courses are really a great tool to have and I'm glad they are available.
Hi! While the genre is similar, the course is quite different.

First, the song was tracked more independently so CLA is starting from something more home-brew and raw.

Second, there is an entire section of the course revealing his pre-Mix process. Very in depth, and very valuable.

Third, we filmed him mixing in real-time. See his pace, his thought process, how much he solos, how much he switches monitors, and witness HOW he tweaks.

Last, the Mix technique analysis is much more in depth. We really dove in deep.

Cheers,
Steven
Old 8th January 2018
  #41
Quote:
Originally Posted by Steven Slate View Post
Hi! While the genre is similar, the course is quite different.

First, the song was tracked more independently so CLA is starting from something more home-brew and raw.

Second, there is an entire section of the course revealing his pre-Mix process. Very in depth, and very valuable.

Third, we filmed him mixing in real-time. See his pace, his thought process, how much he solos, how much he switches monitors, and witness HOW he tweaks.

Last, the Mix technique analysis is much more in depth. We really dove in deep.

Cheers,
Steven
Very cool and good to know, Stephen. Sounds like a very insightful tutorial.
Old 8th January 2018
  #42
Is there a place to discuss the details of the course without giving away precious secrets for those who haven't purchased it?
Old 9th January 2018
  #43
Slate Pro Audio / Slate Digital
 
Steven Slate's Avatar
 

Quote:
Originally Posted by samzilla View Post
Is there a place to discuss the details of the course without giving away precious secrets for those who haven't purchased it?
Hi, there is not right now but I think it's a great idea! I'll see what my team can do!

Cheers,
Steven
Old 9th January 2018
  #44
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doom64's Avatar
Any tips on landing major label gigs? This is something I've struggled with since I'm not in the club.
Old 9th January 2018
  #45
Quote:
Originally Posted by doom64 View Post
Any tips on landing major label gigs? This is something I've struggled with since I'm not in the club.
Nowdays...
Good band, good songs, good contacts and alot of luck.
Same as in the old days
Old 9th January 2018
  #46
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doom64's Avatar
Quote:
Originally Posted by mattias78 View Post
Nowdays...
Good band, good songs, good contacts and alot of luck.
Same as in the old days
I'm referring to mixing or recording for the major label acts. I'd pay $1,000 to find out this information.
Old 9th January 2018
  #47
Quote:
Originally Posted by doom64 View Post
I'm referring to mixing or recording for the major label acts. I'd pay $1,000 to find out this information.
There's a section on GS for these kinds of questions.
https://www.gearslutz.com/board/career-work/

You'll probably get better answers there than in a new-product thread.
Old 9th January 2018
  #48
Quote:
Originally Posted by doom64 View Post
I'm referring to mixing or recording for the major label acts. I'd pay $1,000 to find out this information.
Even with the clarification; mattias78's answer still stands. Work with good bands that write good songs and go on to do good things and be better than everybody else in your town and you will get noticed. You cant buy your way into the industry!
Old 9th January 2018
  #49
Gear Maniac
 

Quote:
Originally Posted by doom64 View Post
I'm referring to mixing or recording for the major label acts. I'd pay $1,000 to find out this information.
You hope one of your clients get signed and the label likes the work you did for him/her. Sometimes it worked for me, it never became a super steady giig but I get quite a few every year.
Old 9th January 2018
  #50
Quote:
Originally Posted by T-Lloyd View Post
You cant buy your way into the industry!
Well...
Old 10th January 2018
  #51
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ghostwriter's Avatar
Quote:
Originally Posted by doom64 View Post
I'm referring to mixing or recording for the major label acts. I'd pay $1,000 to find out this information.
PM me with your credit card number.
Old 10th January 2018
  #52
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Arichlsss's Avatar
Quote:
Originally Posted by Steven Slate View Post
Hi! While the genre is similar, the course is quite different.

First, the song was tracked more independently so CLA is starting from something more home-brew and raw.

Second, there is an entire section of the course revealing his pre-Mix process. Very in depth, and very valuable.

Third, we filmed him mixing in real-time. See his pace, his thought process, how much he solos, how much he switches monitors, and witness HOW he tweaks.

Last, the Mix technique analysis is much more in depth. We really dove in deep.

Cheers,
Steven
Hey Steven, Great Video!

I though these tracks sounded great!
Could you possibly elaborate on the shortcomings or weakness of these tracks vs a major label session?
Old 10th January 2018
  #53
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Quote:
Originally Posted by Arichlsss View Post
I though these tracks sounded great!
Could you possibly elaborate on the shortcomings or weakness of these tracks vs a major label session?
Excellent question. I thought there would be more weaknesses, truthfully, but I haven’t delved in as deeply as I will to the source tracks.
Old 10th January 2018
  #54
Slate Pro Audio / Slate Digital
 
Steven Slate's Avatar
 

Quote:
Originally Posted by Arichlsss View Post
Hey Steven, Great Video!

I though these tracks sounded great!
Could you possibly elaborate on the shortcomings or weakness of these tracks vs a major label session?
You should hear something recorded by Ross Hogarth or Jay Baumgardner or Mike Plotnikoff. Those guys are so good you basically get a fader balance and call it a night!

Cheers,
Steven
Old 10th January 2018
  #55
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Quote:
Originally Posted by Steven Slate View Post
You should hear something recorded by Ross Hogarth or Jay Baumgardner or Mike Plotnikoff. Those guys are so good you basically get a fader balance and call it a night!

Cheers,
Steven
I’m sure that would be instructive!

But could you answer the question?
Old 10th January 2018
  #56
I love the mix. I love the course. I love the tips and tricks. But lets be real. Even pre-comp'd, those tracks came in sounding pretty bulletproof. If the CLA comping vid was accurate and he barely did any EQ before levelling and comping, then pull the session up and kill the samples and you'll see with a slight bit more tweaking you'll get the drums slamming. And thats because they were recorded very well. No parallel comp (a CLA staple), barely any rides (another CLA staple). I get it, this track didn't need any. But are we to believe the days of CLA dancing around 150 tracks of "Welcome To The Black Parade" are behind him? This mix is great, and yeah he whipped it up in no time (this is how he works), but I wish the course dove in with a track that was a challenge to CLA, as much as it would be a learning experience to the consumer.
Old 10th January 2018
  #57
Here for the gear
 
sigmundsuperstar's Avatar
Would be interesting to see Curves Settings (attack, sustain...) in Trigger for Kick and Snare Amb. Is it possible Steven?
Thanks
Old 10th January 2018
  #58
Gear Maniac
 
Sacha's Avatar
Quote:
Originally Posted by sam guaiana View Post
I love the mix. I love the course. I love the tips and tricks. But lets be real. Even pre-comp'd, those tracks came in sounding pretty bulletproof. If the CLA comping vid was accurate and he barely did any EQ before levelling and comping, then pull the session up and kill the samples and you'll see with a slight bit more tweaking you'll get the drums slamming. And thats because they were recorded very well. No parallel comp (a CLA staple), barely any rides (another CLA staple). I get it, this track didn't need any. But are we to believe the days of CLA dancing around 150 tracks of "Welcome To The Black Parade" are behind him? This mix is great, and yeah he whipped it up in no time (this is how he works), but I wish the course dove in with a track that was a challenge to CLA, as much as it would be a learning experience to the consumer.
That's a lesson in itself I think, all the pro sessions I've seen where the mix SLAMS have started with awesome engineering, great playing and source tracks. Yeah you can polish turds to some extent, especially with MIDI and sample replacement / vocalign etc., but all those tricks only go so far IMO.
Old 10th January 2018
  #59
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doom64's Avatar
Quote:
Originally Posted by Steven Slate View Post
You should hear something recorded by Ross Hogarth or Jay Baumgardner or Mike Plotnikoff. Those guys are so good you basically get a fader balance and call it a night!

Cheers,
Steven
Well duh. Those guys have access to whatever microphones and whatever outboard gear they want. On top of the talented musicians and great sounding instruments in the great sounding rooms.

Mixing on the way in as it were during recording is achievable with a s__t load of money! The vast vast majority of us don't have that luxury like those guys do!

I don't say that to knock them...in fact I aspire to stand alongside them one day. If I won Mega Millions that would have happened a little sooner though...
Old 10th January 2018
  #60
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andy3's Avatar
 

I got the course, yet have to go into it tho.

I think that courses like these, to me, are helpful to get the general idea more than the tiny smart tricks.

I.e does he high-pass everything? How many reverbs? How much compression? How many, if any, limiters and so on. Stuff like that.
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