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Post by jcoutu1 on Sept 13, 2016 11:47:18 GMT -6
Let's get a list cooking of what guys are using for reference tracks these days. I'm mostly interested in quality tracks released within the past 10 years or so. What do you guys use?
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Post by jcoutu1 on Sept 13, 2016 12:04:38 GMT -6
Here's a few that I use for testing monitors...
Dance - Width
Motown - Depth
Rap - Sub
Loud Pop/Punk/Rock - CLA
Hard Rock - Loud Ref Rock
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Post by mhbunch on Sept 13, 2016 12:10:56 GMT -6
Let's get a list cooking of what guys are using for reference tracks these days. I'm mostly interested in quality tracks released within the past 10 years or so. What do you guys use? RnB and hiphop - Anderson Paak - "The season/carry me" *or* Chance the rapper - "Angels" Indie/lofi - Yellowbirds - "Stop Tonight" Singer songwriter - Tiny Ruins - "Reasonable Man"
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Post by ChaseUTB on Sept 13, 2016 14:59:37 GMT -6
Any Maserati, Marroquin, Tchad Blake, or Phil Tan in the past ten years... Haha ok I know you want specific tracks.... Have a peak here when you can. There are so many amazing mixes from many genres to choose www.mannymarroquin.com/Discography.phpFrom John Mayer, Monica, Rihanna, Kanye West, Sia, Usher, U2, Meghan Trainor, Pitbull etc. This can give you many genres depending on what you are looking for. Tony Maserati also has a wide variety o amazing mixes from many genres. Jason Mraz, Beyoncé, Lady Gaga, Alicia Keys, Christina Aguilera, Britney Spears... Again with Tony's mixes the vocal and the center of the mixbus always so solid. Everything sits in its own pocket, and that's in whatever genre he works in, amazing mixer. Tchad Blake is more rock, alternative focused with acts like Bonnie Raitt, Sheryl Crow, Robert Plant, U2, Tracy chapman, and Black keys. www.allmusic.com/artist/tchad-blake-mn0000017254/creditsPhil Tan is mostly RnB/ top 40/ pop/ rap music and some of his Mariah Carey mixes are impeccable! I go to him for vocals honestly because he has mixed a lot off female vocalists with wide ranges. Mariah, Whitney, Jill Scott, Jennifer Hudson, Leona Lewis, Keyshia Cole. Leslie Brathwaite I met personally and got to do a thorough breakdown of the Pharrell " Happy" mix which was awesome. He also mixes a lot of current trap rap if you are looking for that genre. Rick Ross, 2chainz, Jeezy, Ludacris, Chris Brown etc I don't have set references because music is always evolving and every track I get to mix is different. I always choose references from these mixers and a few others that are less known. If I didn't mention a specific artist or genre it's because I probably don't work in that area too much.
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Post by popmann on Sept 13, 2016 16:54:55 GMT -6
The last thing I heard that I went "wow" at the sonics was Esperanza Spalding's Radio Song in 24/96. DR12. But, note I really only heard it this year...
But, I don't really use "reference tracks" as in pulling them up while I'm working as "how loud is the X" or "how much reverb is one the Y"...old or new.
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Post by Deleted on Sept 13, 2016 17:05:26 GMT -6
Four Year Strong - Stolen Credit Card (Kurt Ballou/Kick and Snare balances) Reliant K - Forget and Not Slow Down (Andy Wallace/this whole record is really midrangey and sometimes if you make your decisions against it you can avoid scooping the mix too much) Broadway Calls - Be All You Can't Be (Bill Stevenson/Jason Livermore) Green Day - American Idiot (CLA/brightness check) Boys Like Girls - Love Drunk (TLA/Bottom end check) Natalie Imbruglia - Torn (don't know the engineer but the sibilance is awful, I make sure I'm nowhere near this one)
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Post by jeromemason on Sept 13, 2016 21:30:25 GMT -6
This is my #1 reference mix. It sounds the same on just about any system so if the low-end seems it's missing something or if it's not cracking or bright enough, adjust, because Mike Shipley kicked this songs ass. This song to me is like a pair of NS-10's except in reverse. No matter what studio or mix room I got into I always play this song a few times to get me familiar with the monitoring.
I like this one if I'm doing anything rock as a reference of getting the chorus to open, and because it's a badass song.
I use some Adele, Brad Paisley, Alan Jackson, Huey Lewis and the News etc. etc. Just depends what type of music I'm working on, but for the most part if I just play that Tim McGraw song a few times before I get going and in the middle of mixing to keep me straight I'm good.
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Post by ragan on Sept 13, 2016 23:29:30 GMT -6
I'm in a little different spot sonically than most on the board I think but here's the first track I usually throw on to get my bearings. I love all things Jeff Lynne.
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Post by ragan on Sept 13, 2016 23:31:53 GMT -6
Here's another. No one does low end like Tchad Blake.
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Post by schmalzy on Sept 14, 2016 8:40:47 GMT -6
Four Year Strong - Stolen Credit Card (Kurt Ballou/Kick and Snare balances) Reliant K - Forget and Not Slow Down (Andy Wallace/this whole record is really midrangey and sometimes if you make your decisions against it you can avoid scooping the mix too much) Broadway Calls - Be All You Can't Be (Bill Stevenson/Jason Livermore) Green Day - American Idiot (CLA/brightness check) Boys Like Girls - Love Drunk (TLA/Bottom end check) Natalie Imbruglia - Torn (don't know the engineer but the sibilance is awful, I make sure I'm nowhere near this one) Awesome ... call (?) ... on the Broadway Calls stuff. I reference their "Comfort/Distraction" record a lot. Ellie Goulding's "Lights" album also pops up in my references, less that specific song but there's some really cool stuff on that record. Here's a few more: Selections from Interpol's discography. If the artist is looking for less hi-fi, I'll reference stuff from "Turn on the Bright Lights." If I'm looking at a touch more polish, Rich Costey did some great stuff on their "Our Love To Admire." Next up is more Rich Costey work: the album "Antenna" by Cave In. Some really massive tones. Some really interesting songs. Some great arrangements. The payoff in "Rubber and Glue" is awesome but the entirety of "Youth Overrided" and "Woodwork" just do it for me. Plus...damn..."Sea Frost" is just awesome. I was about to say Jimmy Eat World's "Futures" but apparently that's also something Rich Costey did (I didn't realize it)...I guess I dig Costey's productions. Hot Water Music's "Exister" is a pretty good example of a punk rock record. Stevenson and Livermore really nailed their end of it, I think. Their / They're / There have a record called "Their / They're / There" that I dig the sound of as well. More raw than the others it seems but it just feels good.
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Post by Martin John Butler on Sept 14, 2016 8:52:47 GMT -6
For bass tone and volume reference, I use Mark Knopfler's "Sailing to Philadelphia". It's clean and natural, no exaggeration at all, but full and deep. It's also an excellent example of a Neumann vocal mic.
For male vocal/singer/songwriter/ Alt Country/: Lyle Lovett's "Road to Ensenada". He's using a U67 for voice, and a C-24 for stereo acoustic simultaneously. Besides the tone, the recording shows plenty of "esses", but is natural, not sibilant. So, it's great way to see if your mic's too shrill, because any more "ess" would be too much. It won the Grammy I believe.
For volume, size, bass level, stereo separation, and overall balance, Ryan Adam's "Two" from Easy Tiger. First second of that track, and you know what big is, it's also my benchmark for the low end in general for folk-Rock, pop, Country Rock, etc. This is the one where I see where my balance and levels really are, (Too little bass? Too tubby bass, volume, stereo field), and if my mastering is competitive. I don't care about equalling this overall level, I just don't want to be a mile off.
Last, as a reminder not to overdo my production at all, and as a reminder what real vibe sounds like, Whiskey Town's "Tennessee Square"
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Post by jcoutu1 on Sept 14, 2016 9:15:43 GMT -6
Four Year Strong - Stolen Credit Card (Kurt Ballou/Kick and Snare balances) This guy's place is fairly close to me. I'd love to go check it out sometime. I chatted with him a little about the Thermionic Fat Bustard when I was hellbent on getting one. I'll give this record a spin today.
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Post by Ward on Sept 14, 2016 9:28:17 GMT -6
Part of modern reference is referring to what you;re competing with... and what your clients want to sound like, or also compete with.
And whether you love or hate it, this needs to be listened to:
And this...
And this...
And before you protest that this is not what you mean, because you want to listen to exquisite mixes done by heroes whose work you so admire that you emulate it and tune every system to match. Well, double-think it. Because this is just as important to listen to now as Bruce Swedien's work with MJ was in the 80s.
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Post by jcoutu1 on Sept 14, 2016 9:50:41 GMT -6
And before you protest that this is not what you mean, because you want to listen to exquisite mixes done by heroes whose work you so admire that you emulate it and tune every system to match. Well, double-think it. Because this is just as important to listen to now as Bruce Swedien's work with MJ was in the 80s. I'm going to protest about these, not because it's not what I mean, but because already know and listen to these on the reg. I've got the pop stuff down cold, but don't really work on this type of stuff. I'm looking for more modern rock / folk / type stuff that I should aspire to, while still catering to the client needs of sounding modern. More along the lines of this I guess. That mix is drenched in reverb eh? Man.
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Post by Ward on Sept 14, 2016 9:54:29 GMT -6
Yes... that mix appears to be one-third midrange, one-third reverb and one-third lumber-sexual beard hairs.
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Post by jeremygillespie on Sept 14, 2016 10:16:46 GMT -6
Ryan Adam's Ashes and Fire sounds fantastic to me. Glynn Johns - not surprising.
I don't do heavy rock - so I usually use The Wallflowers Bringing Down the Horse (TLA) or Sheryl Crow's self titled album that Tchad mixed. Not within the past 10 years but they sound amazing to me.
Ryan Freeland's work is pretty inspiring also. Love the God Willing the Creek Don't Rise album. For more folks stuff - the Milk Carton Kids album The Ash & Clay. Acoustic duo, two voices. He does great work with the sparse arrangements.
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Post by Martin John Butler on Sept 14, 2016 11:45:39 GMT -6
One thing I've noticed about Ward's and Jesse's reference tracks posted here, they're squeeky frickin' clean, amazingly clean, bass kicks my ass, vocals are right there and yet not annoying. Makes me think I better spend some time cleaning my dirty tracks up more.
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Post by donr on Sept 14, 2016 12:00:18 GMT -6
+1 on Phil Tan. His mix of "We Found Love" got me into Rhianna. There's a Pensado's place interview where he goes into that record. I think he's pretty much ITB too. Shows you it can be done.
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Post by Deleted on Sept 14, 2016 12:17:29 GMT -6
Bit of Bob Clearmountain's work here.... interesting mix as mono right up to the mids, almost antethesis of CLA American Idiot which disappears in mono... c'mon guys, hows someone meant to learn the dark arts when you keep breaking the rules ...? Others include Norah Jones for "that vocal" , Ocean Colour Scene for sitting the instruments "just so" and finally a confession that I can get nowhere near any of this but I do reference when, ahem, "mixing" .....
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Post by ChaseUTB on Sept 14, 2016 12:22:10 GMT -6
Rodney Mills ( Producer, Engineer, Mixer, and Mastering )
Rodney mills work with Lynyrd Skynyrd on free bird, that smell, simple man, Tuesday 's gone, well all their albums with the original members and even after is inspiring to me. The balance of some of those records is amazing, every instrument is in accord with the next, each instrument having their highlight role at some point, the performances, and the way records/ mixes sound like the band live! I saw Johnny with "Skynyrd" open for Zz top live 30 years later and the live show sounds dam near exactly like the cd recordings.
**I know Al Kooper was the producer as well did some of the mixing for Lynyrd Skynyrd during their recordings and credit goes to him as well for being a great producer.
Rodney Mills other work with Atlanta Rhythym Section, Allman Bros., Journey, The outlaws, 38 special, and the Doobie brothers I enjoy as well. I listen for multiple Instrument balancing in similar frequencies, instrument panning, how the panning affects the mix, and overall feel of the records.
He started a Mastering House and has done very respectable work in many genres from southern rock to dirty south rap music like Baby D, Oomp Camp, David Banner, and Bone Crusher.
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Post by Deleted on Sept 14, 2016 13:34:07 GMT -6
Four Year Strong - Stolen Credit Card (Kurt Ballou/Kick and Snare balances) This guy's place is fairly close to me. I'd love to go check it out sometime. I chatted with him a little about the Thermionic Fat Bustard when I was hellbent on getting one. I'll give this record a spin today. Jesus you're just close to all the spots that do all my favourite records. Definitely go check it out
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Post by Deleted on Sept 14, 2016 13:35:29 GMT -6
Four Year Strong - Stolen Credit Card (Kurt Ballou/Kick and Snare balances) Reliant K - Forget and Not Slow Down (Andy Wallace/this whole record is really midrangey and sometimes if you make your decisions against it you can avoid scooping the mix too much) Broadway Calls - Be All You Can't Be (Bill Stevenson/Jason Livermore) Green Day - American Idiot (CLA/brightness check) Boys Like Girls - Love Drunk (TLA/Bottom end check) Natalie Imbruglia - Torn (don't know the engineer but the sibilance is awful, I make sure I'm nowhere near this one) Awesome ... call (?) ... on the Broadway Calls stuff. I reference their "Comfort/Distraction" record a lot. Ellie Goulding's "Lights" album also pops up in my references, less that specific song but there's some really cool stuff on that record. Here's a few more: Selections from Interpol's discography. If the artist is looking for less hi-fi, I'll reference stuff from "Turn on the Bright Lights." If I'm looking at a touch more polish, Rich Costey did some great stuff on their "Our Love To Admire." Next up is more Rich Costey work: the album "Antenna" by Cave In. Some really massive tones. Some really interesting songs. Some great arrangements. The payoff in "Rubber and Glue" is awesome but the entirety of "Youth Overrided" and "Woodwork" just do it for me. Plus...damn..."Sea Frost" is just awesome. I was about to say Jimmy Eat World's "Futures" but apparently that's also something Rich Costey did (I didn't realize it)...I guess I dig Costey's productions. Hot Water Music's "Exister" is a pretty good example of a punk rock record. Stevenson and Livermore really nailed their end of it, I think. Their / They're / There have a record called "Their / They're / There" that I dig the sound of as well. More raw than the others it seems but it just feels good. Existed is unreal as well as futures. Great picks
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Post by wiz on Sept 14, 2016 14:15:01 GMT -6
I dont do much referencing really at all.. though when I do some of the ones I use are in this thread.
Sailing to Philadelphia - Mark Knopfler Slow Turning - John Hiatt Ashes and Fire - Ryan Adams
Pop I love the song summer rain by Belinda Carlisle
cheers
Wiz
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Post by Ward on Sept 14, 2016 18:40:13 GMT -6
Jesus is here? And he's close?? Please be careful, you raise the hopes of all us Christians when you speak about our Lord being close.
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Post by Deleted on Sept 14, 2016 19:53:45 GMT -6
Jesus is here? And he's close?? Please be careful, you raise the hopes of all us Christians when you speak about our Lord being close. I thought the only religion people subscribed to around here was analog hardware sounding better but I'm sorry, last I heard he was nowhere to be found.
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