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Old 5th May 2003
  #31
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Quote:
Originally posted by no ssl yet
Ok so where's e-cue when you need him?
Locked up in the studio for 60 hours straight. (I think I'm the only one working in LA right now... shesh) must...take...shower....

Quote:
Originally posted by no ssl yet
I know he has some "in the box solutions"
and Thrill would you care to share tricks? (drum tricks of course not some newfangled form of prostitution LOL)
Check your PM no ssl for a couple specific songs I mixed in the box with several parallel techniques.

I don't usually parallel my entire mix. There's a lot of problems, specifically with phase cancellations that can get too furry on the entire mix. The main time I DO parallel the entire mix is when I only have a 2 mix (all the instruments on a stereo channel) and vocals to work with. Most of the time I mult my kick across 3-5 mults, depending on what I have to start with. 1 for the attack (a clicky deathmetal kick drum sound, which I don't turn up as much as I used to because it's starting to sound dated but I still keep it loud enough so you can hear the kick nicely on auratones), 1 for the mid (similar to a lot of Dre sounding kicks), 1 for the sub (this is the one that craps out your NS10's like no nobodys business). My out of the box chains usually go as follows:
1 SSL 9000J channel strip. Slight tweeks bus via small fader pre lg fader to:
Hi Chain: DBX 160XT overeasy or Distressor-> API 550b (usually a HPF on channel strip return)
Mid Chain: Vac Rac comp -> Vac Rac EQ
Lo Chain: Distressor (usually higher than 8:1, I like the Dist2) -> Pultec Blue (usually a LPF on the channel strip return) or Moog Graphic EQ
Lo Fi / SP1200 chain: Distressor (set to link with no cable plugged into back. dist 3 setting on nuke) -> Sans Amp Classic pedal (via Little Labs PCP)
Forat F16 return

The EL8 usually tames the 20-30 htz range pretty good but sometimes it's a little much, in which case eq'ing pre compression usually takes care of it.

My in the box chains usually go as follows (time adjusted accordingly):
1 Filterbank to tweek
Hi Chain: Digi gate -> Digi compressor (don't sleep, this thing is pretty dope) -> Filterbank
Mid Chain: either McDsp 4 band Multiband compressor, or Compbank->
Low Chain: Ren Comp (sometimes too slow) / CompBank -> Pultec eq
Lo Fi / SP1200 drum sound chain: -> Lo fi (8 bit, Saturation turned up if I need more low end)
I encourage hitting the red's, or I should say, I'm not discouraged when they do. Mix with your ears, not your eyes. Sometimes things sound better out of the reds, sometimes they don't. I've noticed when I do live based music in the box, my meters hardly hit the reds ever.

My bass chains out of the box are usually:
Stock bass on SSL 9000j with minor tweeks bussed post LG fader.
Distressor -> Moog Eq (drive at around 3 o clock, with the mid band on the low frequencies) Sometimes I use the 31 band moog for more subtle basses.
160XT (overeasy) -> Blue Pultec I usually bus this to the Roland Dimension D with either 1&4 pressed in or all of them pressed in. This gives the bass a width, if you want that on your bass. I usually send hot signal into the unit and bring the returns up lower than usual to taste.

Bass chains in the box:
1 Stock
Multed Ren Comp -> Pultec Blue
Multed Digicomp -> Ren Bass "Fuzzbass" setting added in very lightly to give bass an upperrange growl. -> Filterbank (usually to cut out frequencies with a hi Q that screw with the way this path sounds added into the original)
Sometimes the MC4 multiband compressor, or if it's a ballad C4.

I wish I could say "run this through this chain and it will sound awesome", but it totally depends on what you have to start with and how to mess with these tools. Once in a blue moon, I'll pull up the kick and not change a thing, but more often that not, I have to process it a little so it has it's place by the end of the mix.