Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 19, 2015 1:24:32 GMT -6
A DBX 266XL from an early 70's Neve console..
This mix was asking for an anti mixbus..
Greetings everyone.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 21, 2015 13:36:58 GMT -6
VCC N, FG Grey, API550A, VTM, Clariphonic. Generally the same stuff everyday, sometimes I swap the grey for the red and the N for the T on VCC.
|
|
|
|
Post by mulmany on Oct 21, 2015 15:04:18 GMT -6
Vp28 into nv73. L2 with max of 3dB reduction on peaks and that is only for final evaluation.
|
|
|
|
Post by Ward on Oct 21, 2015 15:14:12 GMT -6
Usually Focusrite Red 2 and Red 3, but lately the Warm EQs have been strapped across it. ITB contains SSL buss comp, Air stereo widening and then then L1 with ultra maximizer. And I do mix into all that. I like to "pre-master" and in doing so, I know that there's not a whole lot the mastering engineer can do to ruin my mixes.
After hundreds of records, I've found very few pleasant mastering surprises. It happens, but very rarely. So I play it safe in advance.
|
|
|
|
Post by mitchkricun on Oct 24, 2015 12:14:59 GMT -6
Depends on the song, but usually a pair of Awtac's, A-Designs Hammer, Smart C2M, Burl B2.
|
|
|
|
Post by Guitar on Oct 27, 2015 7:29:36 GMT -6
today:
UAD Ampex ATR-102 for drive and tone
FabFilter Pro-L to "make it loud" and compress (limit).
Really quick rough mixing. Surprisingly effective from just two plugins. The Ampex acts slightly as a master EQ also because of tape speed and type, and the HF and LF dials under the panel. Just what's needed for cranking things out at rush hour speed. I've done 7 songs in the past two days, very rough mind you, but they sound OK. It's really great how much you can accomplish just from tracking things the right way in the first place, eliminate the need to "fix it in the mix."
The best part about these songs is 2 mic drum recording, and all the microphones used in this session were designed and built by me personally. A pair of U67/C12 hybrids, one on vocal and one on drum kit, and a subkick for that low end on the kick without having to use any EQ. Very effective and simple.
|
|
|
|
Post by jcoutu1 on Oct 27, 2015 7:45:09 GMT -6
today: UAD Ampex ATR-102 for drive and tone FabFilter Pro-L to "make it loud" and compress (limit). Really quick rough mixing. Surprisingly effective from just two plugins. The Ampex acts slightly as a master EQ also because of tape speed and type, and the HF and LF dials under the panel. Just what's needed for cranking things out at rush hour speed. I've done 7 songs in the past two days, very rough mind you, but they sound OK. It's really great how much you can accomplish just from tracking things the right way in the first place, eliminate the need to "fix it in the mix." The best part about these songs is 2 mic drum recording, and all the microphones used in this session were designed and built by me personally. A pair of U67/C12 hybrids, one on vocal and one on drum kit, and a subkick for that low end on the kick without having to use any EQ. Very effective and simple. You can't tell us about this tune and not give us a link! |
|
|
|
Post by Ward on Oct 27, 2015 8:08:53 GMT -6
Yes, come on Guitar show off the work! |
|
|
|
Post by Johnkenn on Oct 27, 2015 8:17:24 GMT -6
I just had two songs with a trio that has three part harms, two girls one guy. Tons of doubles...so that 1-3 kHz range can really build up at points. Using the Fabfilter Pro-MB and just kissing that area. Really awesome. In fact, I'm finding that thing to be an indispensable tool - just pulling certain freq ranges back when they cross a certain threshold instead of EQing them out.
|
|
|
|
Post by lpedrum on Oct 27, 2015 8:21:26 GMT -6
I just had two songs with a trio that has three part harms, two girls one guy. Tons of doubles...so that 1-3 kHz range can really build up at points. Using the Fabfilter Pro-MB and just kissing that area. Really awesome. In fact, I'm finding that thing to be an indispensable tool - just pulling certain freq ranges back when they cross a certain threshold instead of EQing them out. Can you explain what you mean by "pulling freq ranges back" compared to EQing? |
|
|
|
Post by Guitar on Oct 27, 2015 8:58:56 GMT -6
Thanks for the interest guys. If you give me an hour or two I'll make a thread in the What Are You Working On? forum, since I feel like I have a lot to say and I don't want to hijack this thread. I'll post a link here when I finish making my post.
|
|
|
|
Post by Guitar on Oct 27, 2015 11:02:42 GMT -6
|
|
|
|
Post by Johnkenn on Oct 27, 2015 14:28:30 GMT -6
I just had two songs with a trio that has three part harms, two girls one guy. Tons of doubles...so that 1-3 kHz range can really build up at points. Using the Fabfilter Pro-MB and just kissing that area. Really awesome. In fact, I'm finding that thing to be an indispensable tool - just pulling certain freq ranges back when they cross a certain threshold instead of EQing them out. Can you explain what you mean by "pulling freq ranges back" compared to EQing? Just normal multi-band where it only compresses te certain freq range you tell it to. You set the threshold and it only compresses when it crosses the threshold you set. |
|
|
|
Post by jazznoise on Oct 27, 2015 15:16:34 GMT -6
I just had two songs with a trio that has three part harms, two girls one guy. Tons of doubles...so that 1-3 kHz range can really build up at points. Using the Fabfilter Pro-MB and just kissing that area. Really awesome. In fact, I'm finding that thing to be an indispensable tool - just pulling certain freq ranges back when they cross a certain threshold instead of EQing them out. Dynamic EQ is the way to go! Nova 67 is what I'm using for this stuff and it's great, though I never put it across the master - tend to use it for inserts. Not a bad idea, though... They're also great when used with a sidechain. You can use them to pull low end out of certain sounds that way - like maybe you want all the sub in the synth before the drums kick in, but you want the kick to come through so you get it to duck the low end. |
|
|
|
Post by Johnkenn on Oct 27, 2015 16:25:20 GMT -6
Is that what the Radix surfer thing is?
|
|
|
|
Post by jazznoise on Oct 27, 2015 16:36:45 GMT -6
Nope. That's a pitch detecting EQ. I guess so that if you're boosting the fundamental of an instrument and it goes up an octave, the EQ compensates. Not sure if I'm really into the idea, though..
|
|
|
|
Post by noah shain on Oct 28, 2015 1:45:21 GMT -6
Nope. That's a pitch detecting EQ. I guess so that if you're boosting the fundamental of an instrument and it goes up an octave, the EQ compensates. Not sure if I'm really into the idea, though.. I have an older version of surfer eq. It works great on basses and pad type stuff. Things that have long sustained notes. The version I have clicks audibly if it moves too far. I think they've fixed that in current versions. I never used it a lot but it is cool. |
|
ericn
Temp
Balance Engineer
Posts: 14,980 
Member is Online
|
Post by ericn on Oct 29, 2015 8:51:42 GMT -6
Nope. That's a pitch detecting EQ. I guess so that if you're boosting the fundamental of an instrument and it goes up an octave, the EQ compensates. Not sure if I'm really into the idea, though.. I have an older version of surfer eq. It works great on basses and pad type stuff. Things that have long sustained notes. The version I have clicks audibly if it moves too far. I think they've fixed that in current versions. I never used it a lot but it is cool. Yeah I have always found they are impressive with simple waveforms, but as the single gets more complex they get less impressive. |
|
|
|
Post by noah shain on Oct 29, 2015 12:43:17 GMT -6
I have an older version of surfer eq. It works great on basses and pad type stuff. Things that have long sustained notes. The version I have clicks audibly if it moves too far. I think they've fixed that in current versions. I never used it a lot but it is cool. Yeah I have always found they are impressive with simple waveforms, but as the single gets more complex they get less impressive. I wrote to them about it. I can't remember exactly how they responded but it was along the lines of there having been improvements made in later versions. |
|
|
|
Post by M57 on Jun 16, 2019 4:55:06 GMT -6
Bump
I just went OTB for the first time; putting the Audio-Scape Buss Compressor on the 2 has changed my life, so I'm rethinking the chain.
If they "re"-post, I think it will be really interesting to see how much has changed for some of the folks who posted in this thread almost four years ago.
|
|
|
|
Post by nomatic on Jun 16, 2019 7:03:14 GMT -6
Hendy Amp Michelangelo EQ , Into a Sage Diode Bridge Comp , Porter / Grinder Mastering EQ / Silver Bullet (With SSL clone in the insert) into A Foote Control Systems germanium Limiter.....
Magic....
|
|
|
|
Post by indiehouse on Jun 16, 2019 7:11:11 GMT -6
Hendy Amp Michelangelo EQ , Into a Sage Diode Bridge Comp , Porter / Grinder Mastering EQ / Silver Bullet (With SSL clone in the insert) into A Foote Control Systems germanium Limiter..... Magic.... Foote germanium? Is that a new thing? |
|
|
|
Post by nomatic on Jun 16, 2019 7:14:16 GMT -6
Yep.....
Its called a ClipSat but it is essentially a germanium limiter....
It sounds quite fat and gets you a couple of lovely DBs..
|
|
|
|
Post by indiehouse on Jun 16, 2019 7:38:35 GMT -6
Yep..... Its called a ClipSat but it is essentially a germanium limiter.... It sounds quite fat and gets you a couple of lovely DBs.. Nice! |
|
|
|
Post by indiehouse on Jun 16, 2019 7:41:07 GMT -6
My 2-buss:
Silverbullet -> IGS Tubecore -> Foote P4DMS -> Zulu -> Hendyamps Michelangelo.
|
|
