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Post by wiz on Jul 30, 2014 1:38:59 GMT -6
It happens to me all the time.
Been working on a tune all day, well all week actually, well OK I been working on it for months.. there are you happy , I said it! 8)
I pull VCC off the mix, get rid of VTM off the two buss.
Bingo, all my beautiful top end air is back. All the detail that I go for in the first place.
(yes I know how to gain stage the goddam plug in 8) )
Sure, its not as "glued". I will give these things that, they level out the mix for sure, and you notice things poking up a 1/2 dB or dB or so here and there that were previously seated.
But nothing that an hour riding faders won't fix.
This has happened to me time and time again.
Now maybe it has something to do with the fact I have only about 12-16 tracks running in a project.
Anyone else have this happen. Everywhere I read on the net, dudes are all over these two things... for me its always .. feh
Maybe if I was mixing things will a zillion tracks and had a deadline, things would be different.
cheers
Wiz
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Post by henge on Jul 30, 2014 5:12:00 GMT -6
Do you start your mixes with VCC and VTM?
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Post by wiz on Jul 30, 2014 5:21:30 GMT -6
Do you start your mixes with VCC and VTM? Yep. They always end up without it 8) Cheers Wiz |
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Post by henge on Jul 30, 2014 6:38:27 GMT -6
Well you have to go with what your ears are telling you for sure. I had the same thing happen a while ago and came to the realization that everything doesn't sound better with a console and tape emu. Sometimes the sound just sounds good on it's own.
These days though I'm liking the vtm,vcc combo on almost everything but won't hesitate to pull them off if it feels better without them.
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Post by svart on Jul 30, 2014 7:03:43 GMT -6
I do this fairly regularly. I feel that a lot of people probably do it too. You A/B your instruments during mixing, why not A/B your signal chain as well?
Then again, I'm finding out that what I thought were "clarity" and "dynamics" in the music I listen to, were interesting ways of creating the effects of clarity and dynamics using frequencies, good mixing and well done playing, the tracks themselves are still limited to like -6dB RMS.. It can be done, it's just hard to do.
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Post by jcoutu1 on Jul 30, 2014 7:41:40 GMT -6
Then again, I'm finding out that what I thought were "clarity" and "dynamics" in the music I listen to, were interesting ways of creating the effects of clarity and dynamics using frequencies, good mixing and well done playing, the tracks themselves are still limited to like -6dB RMS.. It can be done, it's just hard to do. Any examples of this? |
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Post by svart on Jul 30, 2014 8:19:50 GMT -6
Then again, I'm finding out that what I thought were "clarity" and "dynamics" in the music I listen to, were interesting ways of creating the effects of clarity and dynamics using frequencies, good mixing and well done playing, the tracks themselves are still limited to like -6dB RMS.. It can be done, it's just hard to do. Any examples of this? Pretty much anything on top 40 radio I guess..? I mean, there are tons of examples of "squashed to oblivion" on there too, but there are a lot of examples of songs that don't sound squashed to bits that truly are. Unfortunately I only listen to the radio for background noise, so i can't really name any of the artists. I'll see if I can pick out some examples. Actually, come to think of it, i think noah shain talked about it in another thread, getting the illusion of dynamics through mixing tricks, where there is no real dynamics.. Or do i remember it wrong? |
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Post by jeromemason on Jul 30, 2014 14:22:49 GMT -6
Definitely is not hard to over saturate or "glue" a mix.
I dealt with this, when I figured something was up, was when i sent a mix off to get mastered and it came back with no noticeable changes in dynamics, just volume. The guy masters everything on country, so it wasn't him.
I started to explode my waveforms against his res commercial stuff so I could see what was going on in the peaks. I was getting more of a really flat tootsie roll of a waveform, and the commercial stuff, while the same volume, still had some peaks and valleys. So I took the version before it was mastered, blew it up, and sure enough, the peaks in that were rounded and flat, even though the file was at about -6db when I sent it. I was using tape sims, mainly the massey on a lot of the percussive elements, and also tape on the front of the buss, into a buss comp. So I just pulled all the tape stuff off the tracks and kept my buss the same and the mixes got much more punchy and the clarity shot up.
This game is nothing but learning you know, I'm always evolving, but can get caught up in hype just as fast as I'm learning. So, I've sworn to myself from now on that unless something needs to be tamed don't mess with it. I used to do all this warming up of my OH's and guitars, and I also would run the snare and kick through layers of tape to round them off.... not sure why, just did it. Now I will use the UAD studer on the buss and keep it driving really low while I'm mixing, get the mix nice and punchy with detail and if I feel like it needs to be tamed I bump up the drive on the studer and it really does sort of gel everything consistently while also giving me a lot more control over how much "glue" i'm achieving.
So in short, it's totally not just you. I think it's something everyone goes through and get's caught up in. And, after I had determined this, I called up the mastering engineer and told him about everything, his remarks were, and i'm paraphrasing obviously, it was about 6 months ago, "everyone believes you have to add all this saturation to make mixes thick, but if you would send me a nice punchy clean mix I can do much more with it and give you a better product". He went on to tell me it's something that the mastering guys are fighting constantly. They bitched so much about folks putting limiters on the buss, now I guess they are going to have to bitch about people using too much saturation.
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Post by matt on Jul 30, 2014 15:38:33 GMT -6
So in short, it's totally not just you. I think it's something everyone goes through and get's caught up in. Yep, I'm going through this as well, using plugs based on reputation. That's not a good enough reason. Plus, I am not an experienced mixer so I am susceptible to what others say and do. Time to use my ears and think for myself. |
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Post by odyssey76 on Jul 30, 2014 18:05:02 GMT -6
So in short, it's totally not just you. I think it's something everyone goes through and get's caught up in. Yep, I'm going through this as well, using plugs based on reputation. That's not a good enough reason. Plus, I am not an experienced mixer so I am susceptible to what others say and do. Time to use my ears and think for myself. Yeah, same here. I use VCC and VTM on my mixes and when I started I automatically went to the Neve setting based on what people were saying about it. Wasn't long before I was dissatisfied with the low-mid bump and high end attenuation. I actually like the SSL setting paired with the VTM. It's by far the most subtle but I think it stills adds just a bit of depth and excitement. Wiz, have you tried a hardware eq on the mix to put some air back in? I know you won't get it back on all your individual instruments but I like the tone I get with a mix of the Slate plugs and a nice hardware eq on the mix bus. |
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Post by wiz on Jul 30, 2014 18:15:28 GMT -6
Yep, I'm going through this as well, using plugs based on reputation. That's not a good enough reason. Plus, I am not an experienced mixer so I am susceptible to what others say and do. Time to use my ears and think for myself. Yeah, same here. I use VCC and VTM on my mixes and when I started I automatically went to the Neve setting based on what people were saying about it. Wasn't long before I was dissatisfied with the low-mid bump and high end attenuation. I actually like the SSL setting paired with the VTM. It's by far the most subtle but I think it stills adds just a bit of depth and excitement. Wiz, have you tried a hardware eq on the mix to put some air back in? I know you won't get it back on all your individual instruments but I like the tone I get with a mix of the Slate plugs and a nice hardware eq on the mix bus. Air might not be the right term. "Clarity" might be a better way to put it. Its something, that boosting an EQ doesnt give. Geeze, describing minutia of sound is like "tap dancing about architecture " 8) I am really trying to avoid A/D D/A conversions. I want ONE ...if I can at all do it. I am running through all my tasty outboard at the tracking stage, and re tracking like a mofo to get what I want, rather than "fix" it. Its for my own material, so time is no biggie. What i find is is lose, the sparkle, the magic, the whole reason I am working so hard, to gain really, not a lot other than things "Glueing" somewhat. Don't get me wrong here. If I had a project come in that i had to mix for a client and I had budget/time constraints (and who doesnt) then I would be using them. I am talking about chasing the ******** whatever the ***** might be. Wiz |
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Post by tonycamphd on Jul 30, 2014 18:36:13 GMT -6
wiz your stuff sounds really GREAT man, but i would venture to say less is more, there is no need to put anything AT ALL across your 2? I can already feel the flames for saying that, but imo, it's actually a mistake, it's a false sense of security mixing into things strapped across the 2??? It's like worrying about the icing before the cake is made..why? If you can get things sounding great(maybe a little unglued or whatever?) without 2 buss measures, by the time the mastering engineer gets it, he's gonna be in love with you, then you probably with him? All that plugin movement ITB inflames digititus and creates phase incoherency(or maybe something more inexplicable?) IME.
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Post by odyssey76 on Jul 30, 2014 18:50:57 GMT -6
Yeah, same here. I use VCC and VTM on my mixes and when I started I automatically went to the Neve setting based on what people were saying about it. Wasn't long before I was dissatisfied with the low-mid bump and high end attenuation. I actually like the SSL setting paired with the VTM. It's by far the most subtle but I think it stills adds just a bit of depth and excitement. Wiz, have you tried a hardware eq on the mix to put some air back in? I know you won't get it back on all your individual instruments but I like the tone I get with a mix of the Slate plugs and a nice hardware eq on the mix bus. Air might not be the right term. "Clarity" might be a better way to put it. Its something, that boosting an EQ doesnt give. Geeze, describing minutia of sound is like "tap dancing about architecture " 8) I am really trying to avoid A/D D/A conversions. I want ONE ...if I can at all do it. I am running through all my tasty outboard at the tracking stage, and re tracking like a mofo to get what I want, rather than "fix" it. Its for my own material, so time is no biggie. What i find is is lose, the sparkle, the magic, the whole reason I am working so hard, to gain really, not a lot other than things "Glueing" somewhat. Don't get me wrong here. If I had a project come in that i had to mix for a client and I had budget/time constraints (and who doesnt) then I would be using them. I am talking about chasing the ******** whatever the ***** might be. Wiz Might be cool to do an A/B comparison of one of your mixes with and without the Slate plugs just to see how much glueing is actually going on. I wonder how obvious it really is? Having heard your tracks and mixes, I know exactly what your talking about when you talk about detail. You've got it in spades and I'd want to protect those hard earned sounds also. I think you'll have plenty track cohesion (I didn't want to use the word "glue" again) with your arrangements and instrument tones. BTW - any update on when your album's going to be finished? Looking forward to hearing it! |
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Post by wiz on Jul 30, 2014 18:51:40 GMT -6
wiz your stuff sounds really GREAT man, but i would venture to say less is more, there is no need to put anything AT ALL across your 2? I can already feel the flames for saying that, but imo, it's actually a mistake, it's a false sense of security mixing into things strapped across the 2??? It's like worrying about the icing before the cake is made..why? If you can get things sounding great(maybe a little unglued or whatever?) without 2 buss measures, by the time the mastering engineer gets it, he's gonna be in love with you, then you probably with him? All that plugin movement ITB inflames digititus and creates phase incoherency(or maybe something more inexplicable?) IME. I don't ever want anything to end up in flames.... its sad when that happens, and its been happening where I live for the last few days..... really sad. Anyways, I think I am in your (Tony)camp on this one.... (see what I did there? 8) ) I have nice preamps, good comps, nice mics.... It just seems the less I do to it, the better. thanks bud cheers Wiz |
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Post by wiz on Jul 30, 2014 18:55:40 GMT -6
Might be cool to do an A/B comparison of one of your mixes with and without the Slate plugs just to see how much glueing is actually going on. I wonder how obvious it really is? Having heard your tracks and mixes, I know exactly what your talking about when you talk about detail. You've got it in spades and I'd want to protect those hard earned sounds also. I think you'll have plenty track cohesion (I didn't want to use the word "glue" again) with your arrangements and instrument tones. BTW - any update on when your album's going to be finished? Looking forward to hearing it! What I need to do, is open up my wallet, send one of these tracks off to mastering, and see what the end product will be. That will probably be the only way that I will end up being happy. Re The Album delivery date. I am unbelievably slow when it comes to my own material. You want to see me mix other peoples stuff, or produce other peoples stuff, I am Zen Decision Master 8) On my own material, I am an insecure teenage girl before her high school dance...8) I really try to get to "perfection" on my own stuff. I don't mean that to sound inane, I just keep working till its there. My best guess, 1st quarter 2015 8) cheers Wiz |
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Post by jeromemason on Jul 30, 2014 19:20:27 GMT -6
wiz your stuff sounds really GREAT man, but i would venture to say less is more, there is no need to put anything AT ALL across your 2? I can already feel the flames for saying that, but imo, it's actually a mistake, it's a false sense of security mixing into things strapped across the 2??? It's like worrying about the icing before the cake is made..why? If you can get things sounding great(maybe a little unglued or whatever?) without 2 buss measures, by the time the mastering engineer gets it, he's gonna be in love with you, then you probably with him? All that plugin movement ITB inflames digititus and creates phase incoherency(or maybe something more inexplicable?) IME. Some people can do this, on the other hand I was taught to mix into the buss compressor on a 6000E, so mixing with the buss naked is weird for me. I do think thought that I would be floored when things came back from mastering if I did mix with nothing on there, but I'm not really hitting anything hard, the needles really don't even move, just flicker between 0 and -1. Now, I was taught to mix into the SSL's buss compressor where it was digging into it pretty hard, like -4 -5, but that's a totally different compressor, I use the UADFC670 now. If you hit it and are knocking -5db off on the buss you're going to for sure skinny it down. I guess the SSL is just different. |
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Post by tonycamphd on Jul 30, 2014 19:24:00 GMT -6
Might be cool to do an A/B comparison of one of your mixes with and without the Slate plugs just to see how much glueing is actually going on. I wonder how obvious it really is? Having heard your tracks and mixes, I know exactly what your talking about when you talk about detail. You've got it in spades and I'd want to protect those hard earned sounds also. I think you'll have plenty track cohesion (I didn't want to use the word "glue" again) with your arrangements and instrument tones. BTW - any update on when your album's going to be finished? Looking forward to hearing it! What I need to do, is open up my wallet, send one of these tracks off to mastering, and see what the end product will be. That will probably be the only way that I will end up being happy. Re The Album delivery date. I am unbelievably slow when it comes to my own material. You want to see me mix other peoples stuff, or produce other peoples stuff, I am Zen Decision Master 8) On my own material, I am an insecure teenage girl before her high school dance...8) I really try to get to "perfection" on my own stuff. I don't mean that to sound inane, I just keep working till its there. My best guess, 1st quarter 2015 8) cheers Wiz lucky.... i'll be lucky if im done this stupid build by then... 8( |
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Post by noah shain on Aug 3, 2014 12:58:06 GMT -6
Pretty much anything on top 40 radio I guess..? I mean, there are tons of examples of "squashed to oblivion" on there too, but there are a lot of examples of songs that don't sound squashed to bits that truly are. Unfortunately I only listen to the radio for background noise, so i can't really name any of the artists. I'll see if I can pick out some examples. Actually, come to think of it, i think noah shain talked about it in another thread, getting the illusion of dynamics through mixing tricks, where there is no real dynamics.. Or do i remember it wrong? You remember it right. I think I talked about creating contrast in a mix from section to section. The chorus explodes because it sounds DIFFERENT from the verse or pre chs...not necessarily louder. That was the gist of it anyway. This topic of saturation is the same topic as the discussion about compression. I'm a saturation junky and I have the debt to prove it, so I have a big investment of time and effort in this subject. I've found that saturation and compression are both more satisfying (for sure on the 2 bus) when I don't rely on 1 plug or 1 piece of hardware to supply all of the saturation. The magic button compressor or saturation machine/plug doesn't seem to exist. BUT...in my experience, getting a little help from a few different boxes or plugs can really do something cool. I read in an interview (can't remember who) "I use a lot of compressors but not a lot of compression". That's the ticket for me these days...even with EQ (on the bus). I just finished a record that I mixed "through" or "in to" compression and EQ. 7 different boxes (hardware) on the 2 bus. Each one doing just a tiny bit. Like, meters barely moving. So...the mixes aren't squared off on the peaks. There's dynamic movement and healthy transients but it's nice and loud and full. Now...I do a lot of bussing when I'm going after more saturated "commercial" sounding tracks. So things are getting lots of tiny amounts of compression on the way to the 2 bus. Of course I hit some stuff hard, but that is when I WANT to hear the compressor...I want it sounding degraded, or pumping or something. So...I think you can get lots of saturation and still maintain lots of detail, clarity and punch. I just think you probably have to do it in little stages along the way. I always think of Tchad Blake's work. This is probably a misquote but he said something like, "what DON'T I put on the 2 bus?". End of rant |
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Post by tonycamphd on Aug 3, 2014 13:27:30 GMT -6
noah shain good and interesting stuff, as i understand it, "saturation" IS compression in every form, it's the over driving of a pieces headroom which creates distortion and shrinks the sources dynamic range, i can hear the dynamics as well as visibly see the meters in my daw both mellow when running a mix hard through vp28's. Sometimes it rules, other times not so much IMO
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Post by jeromemason on Aug 3, 2014 14:00:40 GMT -6
You remember it right. I think I talked about creating contrast in a mix from section to section. The chorus explodes because it sounds DIFFERENT from the verse or pre chs...not necessarily louder. That was the gist of it anyway. This topic of saturation is the same topic as the discussion about compression. I'm a saturation junky and I have the debt to prove it, so I have a big investment of time and effort in this subject. I've found that saturation and compression are both more satisfying (for sure on the 2 bus) when I don't rely on 1 plug or 1 piece of hardware to supply all of the saturation. The magic button compressor or saturation machine/plug doesn't seem to exist. BUT...in my experience, getting a little help from a few different boxes or plugs can really do something cool. I read in an interview (can't remember who) "I use a lot of compressors but not a lot of compression". That's the ticket for me these days...even with EQ (on the bus). I just finished a record that I mixed "through" or "in to" compression and EQ. 7 different boxes (hardware) on the 2 bus. Each one doing just a tiny bit. Like, meters barely moving. So...the mixes aren't squared off on the peaks. There's dynamic movement and healthy transients but it's nice and loud and full. Now...I do a lot of bussing when I'm going after more saturated "commercial" sounding tracks. So things are getting lots of tiny amounts of compression on the way to the 2 bus. Of course I hit some stuff hard, but that is when I WANT to hear the compressor...I want it sounding degraded, or pumping or something. So...I think you can get lots of saturation and still maintain lots of detail, clarity and punch. I just think you probably have to do it in little stages along the way. I always think of Tchad Blake's work. This is probably a misquote but he said something like, "what DON'T I put on the 2 bus?". End of rant That's just cool man. I remember that thread. I'm with you on mixing into the compressors. I need to invite him over here, although I don't think he does message boards, but John Kerzweg helped me out, guy was all about sharing knowledge. We had him come into our studio and he stayed for a while producing a band we had signed out of North Carolina called "Parallel". I was listening and watching everything but he would stop the entire thing to tell you about something if you wanted to know, really great dude. I'm digressing, anyway, we went to mix the album and before he ever did anything else to the console he went straight to the buss compressor on the board. We had a 6000e but it had a 4000 compressor in it. His settings were always slowest attack and auto release. It was really interesting how he would use that compressor, he used as another musical piece. Like he would solo the drums and start hitting it until the drums were on the verge of pumping, then he'd stop, pull up the guitars, push those into it so that the needle would hold steady at like -4 and the transients on the drums would tip it to like -6 or something like that. Then he'd start throwing everything else in it and if something started getting covered up he'd notch some stuff out and then it would come back. That's why I loved working on the SSL, you could just so easily and quickly reach up and do what you needed to do and move on. But, he was the one that taught me how to use that buss compressor, and no shit, he'd mix into it so that it was knocking about -6db off, but it was the way he did it, the way I described it, and it just worked. I don't do that anymore though, that was for slamming rock and I just don't do that music anymore. If I did though, I'd go right back to that method, you can't argue with a guy that's mixed albums that have sold 53 million copies world wide 8) And that was just one of his bands lol. Now he's just chilling out in New Mexico, playing and gigging, that's what he loved to do really, dude was a freaking SICK guitar player OMG. We had Junior Marvin in once (dude could smoke some weed) and he and John did like a back and forth solo'ng and picking thing and I wish iPhone's had been around back then, but we didn't have anything to video it, but it was an orgasm for the ears. Ok, now I've talked too much and got completely off subject, but those were fun times with big budgets, oh the days. |
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Post by Martin John Butler on Aug 3, 2014 14:38:15 GMT -6
I've gone back and forth with this issue for the last two years, and settled somewhere in the middle. I use the UAD Pultec on drums, then the UBK Clariphonic to bring a little life back to the Superior Drummer sounds. On vocals, a lot of processing to get them to sit. On stringed instruments, usually no plugs at all, except for a little verb on a bus. I've discontinued using tape sims on all but a track or two if any. I think that's where some of the loss is. I do mix into the 2 bus with a standard group of plugs, including VBC, UAD's Ampex, AOM Stereo Widener, but leave the limiter out until the very last mixes. If sending something to master, I leave the limiter out, or use it sparingly if it's giving me the tonal change I want, but leave room for the mastering engineer. Now, budget being what it is most of the time, I've begun "mastering" my demos that I show to people. On some occasions one of my friends here lends a hand and masters a track for me that will be released in some form. When I say "Master", I mean getting my demo up to a volume that will compete with what people are hearing, but I refuse to go nuts and just crush something for loudness sake. I just want it not to be a huge drop in volume when someone hears something different, and then my track right after.
So, where I've landed when trying to get the clarity you're looking for Wiz, is by using very little EQ on tracks. Maybe 2 or 3 tracks might get a little Waves SSL, but mainly for the slightest bit of color and as a high pass filter, I barely move the EQ knobs, and perhaps 1 track out of 15 has a tape sim, (Kramer Waves is OK) for softening. I'm still trying to resolve this issue myself, but I'd look at those two factors first, and in general, use less of what a plug can do. The UBK Clariphonic can help in the 2 bus sometimes, as it touches only the harmonics in the high frequencies, not the fundamentals, giving you some air back if it's disappeared, but I try not to use it.
Noah hit it on the head when he said, "I've found that saturation and compression are both more satisfying (for sure on the 2 bus) when I don't rely on 1 plug or 1 piece of hardware to supply all of the saturation." This is what I do, a combination until it's right.
* passing along one small tip, when I use the Waves SSL EQ, i add the very slightest bit of volume on the plug itself, then lower the track an equal amount. That volume knob is where the SSL tone is.
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Post by Martin John Butler on Aug 3, 2014 14:59:07 GMT -6
 Here's a screenshot of a track, with the SSL on it. This is how little I use EQ, when I do use it. There's the 2 bus plug combination I mentioned also. Oh, I always render drum tracks now after cowboy's suggestion. It somehow helps with realism, don't know exactly why. |
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Post by noah shain on Aug 3, 2014 16:50:05 GMT -6
You remember it right. I think I talked about creating contrast in a mix from section to section. The chorus explodes because it sounds DIFFERENT from the verse or pre chs...not necessarily louder. That was the gist of it anyway. This topic of saturation is the same topic as the discussion about compression. I'm a saturation junky and I have the debt to prove it, so I have a big investment of time and effort in this subject. I've found that saturation and compression are both more satisfying (for sure on the 2 bus) when I don't rely on 1 plug or 1 piece of hardware to supply all of the saturation. The magic button compressor or saturation machine/plug doesn't seem to exist. BUT...in my experience, getting a little help from a few different boxes or plugs can really do something cool. I read in an interview (can't remember who) "I use a lot of compressors but not a lot of compression". That's the ticket for me these days...even with EQ (on the bus). I just finished a record that I mixed "through" or "in to" compression and EQ. 7 different boxes (hardware) on the 2 bus. Each one doing just a tiny bit. Like, meters barely moving. So...the mixes aren't squared off on the peaks. There's dynamic movement and healthy transients but it's nice and loud and full. Now...I do a lot of bussing when I'm going after more saturated "commercial" sounding tracks. So things are getting lots of tiny amounts of compression on the way to the 2 bus. Of course I hit some stuff hard, but that is when I WANT to hear the compressor...I want it sounding degraded, or pumping or something. So...I think you can get lots of saturation and still maintain lots of detail, clarity and punch. I just think you probably have to do it in little stages along the way. I always think of Tchad Blake's work. This is probably a misquote but he said something like, "what DON'T I put on the 2 bus?". End of rant That's just cool man. I remember that thread. I'm with you on mixing into the compressors. I need to invite him over here, although I don't think he does message boards, but John Kerzweg helped me out, guy was all about sharing knowledge. We had him come into our studio and he stayed for a while producing a band we had signed out of North Carolina called "Parallel". I was listening and watching everything but he would stop the entire thing to tell you about something if you wanted to know, really great dude. I'm digressing, anyway, we went to mix the album and before he ever did anything else to the console he went straight to the buss compressor on the board. We had a 6000e but it had a 4000 compressor in it. His settings were always slowest attack and auto release. It was really interesting how he would use that compressor, he used as another musical piece. Like he would solo the drums and start hitting it until the drums were on the verge of pumping, then he'd stop, pull up the guitars, push those into it so that the needle would hold steady at like -4 and the transients on the drums would tip it to like -6 or something like that. Then he'd start throwing everything else in it and if something started getting covered up he'd notch some stuff out and then it would come back. That's why I loved working on the SSL, you could just so easily and quickly reach up and do what you needed to do and move on. But, he was the one that taught me how to use that buss compressor, and no shit, he'd mix into it so that it was knocking about -6db off, but it was the way he did it, the way I described it, and it just worked. I don't do that anymore though, that was for slamming rock and I just don't do that music anymore. If I did though, I'd go right back to that method, you can't argue with a guy that's mixed albums that have sold 53 million copies world wide 8) And that was just one of his bands lol. Now he's just chilling out in New Mexico, playing and gigging, that's what he loved to do really, dude was a freaking SICK guitar player OMG. We had Junior Marvin in once (dude could smoke some weed) and he and John did like a back and forth solo'ng and picking thing and I wish iPhone's had been around back then, but we didn't have anything to video it, but it was an orgasm for the ears. Ok, now I've talked too much and got completely off subject, but those were fun times with big budgets, oh the days. Rad. John produced a track for my band American Pearl in the 90s. We were on WindUp records with that other band he produced  . Great dude. Super cool vibe. Gentleman all the way. |
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Post by cowboycoalminer on Aug 4, 2014 18:57:30 GMT -6
We can have a tight mix or an alive mix with dynamic but we can't really have both. To degrees yes, but I too often opt for the alive/dynamic version. Sounds live and that's what I like.
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