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Post by basspro on Aug 30, 2024 9:19:14 GMT -6
In the social media era of the music business, more artists than ever want audio for live videos. I've heard a lot of different approaches to this, but have never really settled on any one thing. Some people tend to go for honoring what happened in the room - just a natural sounding mix of the performance. But some tend to take it much further and make it sound more produced - bigger verbs, more compression, bold EQ moves.
How do you approach these kinds of mixes? I'm working on something now where I like the overall vibe, but I'm wanting just a bit more excitement. Everything was tracked through an R88, which sounds great, but definitely on the roomy side. Struggling between adding a nicer sounding room verb or taking it further and adding a bigger sounding plate. I also sometimes struggle with whether or not to keep things super dynamic or to compress a bunch to even things out since most people are going to watch on a phone.
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Post by thehightenor on Aug 30, 2024 9:34:08 GMT -6
In the social media era of the music business, more artists than ever want audio for live videos. I've heard a lot of different approaches to this, but have never really settled on any one thing. Some people tend to go for honoring what happened in the room - just a natural sounding mix of the performance. But some tend to take it much further and make it sound more produced - bigger verbs, more compression, bold EQ moves. How do you approach these kinds of mixes? I'm working on something now where I like the overall vibe, but I'm wanting just a bit more excitement. Everything was tracked through an R88, which sounds great, but definitely on the roomy side. Struggling between adding a nicer sounding room verb or taking it further and adding a bigger sounding plate. I also sometimes struggle with whether or not to keep things super dynamic or to compress a bunch to even things out since most people are going to watch on a phone. I take the raw output of my band via a Behringer digital mixer - 16 individual feeds. This gets recorded to Reaper on a MacBook Air. I then transfer the files to Cubase and mix like it’s a record but with less automation and less EQ moves so it still feels a bit raw like a line performance. Then import into the video editor and I love watching us all playing with studio quality audio - to me it makes for a professional sounding video. My guys are pro players so the raw tracks are very tight, and I’m proud to say my vocals don’t need any pitch correction - in fact since moving to IEM’s the goal for me has been to get the vocals more edgy and less studio polished, as IEM’s do tend to make a singer kinda too tight, controlled and accurate for the required energy of a live performance. I love mixing live performances - it’s great fun and very rewarding. |
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Post by wiz on Aug 30, 2024 15:54:45 GMT -6
In the social media era of the music business, more artists than ever want audio for live videos. I've heard a lot of different approaches to this, but have never really settled on any one thing. Some people tend to go for honoring what happened in the room - just a natural sounding mix of the performance. But some tend to take it much further and make it sound more produced - bigger verbs, more compression, bold EQ moves. How do you approach these kinds of mixes? I'm working on something now where I like the overall vibe, but I'm wanting just a bit more excitement. Everything was tracked through an R88, which sounds great, but definitely on the roomy side. Struggling between adding a nicer sounding room verb or taking it further and adding a bigger sounding plate. I also sometimes struggle with whether or not to keep things super dynamic or to compress a bunch to even things out since most people are going to watch on a phone. I take the raw output of my band via a Behringer digital mixer - 16 individual feeds. This gets recorded to Reaper on a MacBook Air. I then transfer the files to Cubase and mix like it’s a record but with less automation and less EQ moves so it still feels a bit raw like a line performance. Then import into the video editor and I love watching us all playing with studio quality audio - to me it makes for a professional sounding video. My guys are pro players so the raw tracks are very tight, and I’m proud to say my vocals don’t need any pitch correction - in fact since moving to IEM’s the goal for me has been to get the vocals more edgy and less studio polished, as IEM’s do tend to make a singer kinda too tight, controlled and accurate for the required energy of a live performance. I love mixing live performances - it’s great fun and very rewarding. Would love to see some of these…can you post a link please? cheers Wiz |
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Post by EmRR on Aug 30, 2024 16:15:05 GMT -6
Throw the kitchen sink at it. Everyone's doing it. I'm honestly not sure what "honor what happened in the room" even means anymore. The classical guitar orchestra work I've done has more of a "don't process" aesthetic, but it's still heavily edited and has PLENTY of processing, just not obvious ROCK AND ROLL processing. The video in the link below is a remix, but is still pretty much what happened in the room - in that what happened in the (separate broadcast) room was me with an A&H digital console, every input getting EQ at very least, almost all getting light compression, another layer of vocal bus compression, some light reverb on vocals but hardly any needed since there's 4 ambient mics in the theater which is pretty reverberant, so hardly needed. 2 layers of overall bus compression. Lots of bus fader riding. Goal is to get a live mix that doesn't need post for syndication and podcast. It goes out livestream and stays up. The biggest things that happened in the remix were better vocal dynamics control between single versus 5 vocals on some choruses, and a fiddle was almost completely removed except at the end. I thought the guys parts were great, but he's "bluegrass busy" and they weren't into it. realgearonline.com/thread/17674/queen-bees-wild-kind-liveI've worked plenty of live gospel remotes where they only thing they keep is the audience response, almost everything got re-tracked. KISS ALIVE! etc I mixed one club gig for a band that needed a LOT of vocal tuning, I kept audience response ambience, but crossfaded that with a similar sounding IR ambience during the songs. Couldn't possibly use the live amb after the tuning. Another argument for capturing IR's at remotes for later use! |
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Post by nicksteinborn on Aug 30, 2024 19:23:12 GMT -6
I like to keep it on the edge of polished but leave a bit of the real in there. If you have crowd mics, it severely limits the amount of editing you can do, so I'd recommend riding them a lot. Drum Leveler fucking rules for making drums sound awesome. Linking some examples of stuff my bands have done:
-Tracked straight off our old Behringer X32 IEM rig and then mixed in Cubase. Some light tuning on vocals and bass but no samples or anything. Used some verb to give the drums life, but there's a little bit of space you get from the crowd mics as well.
-My singer and I in the middle of a field. Did maybe 4 takes. Two channels into a Focusrite Scarlett. I comped some of the Rhodes takes together and again did some light tuning. I think I comped in one word for the vocals. Wanted it to match the video. Also dropped in the ambience tracks from the record, but kept them much lower in the mix.
-This one is multi-tracked off the board with some SM81s on the front of the stage for crowd. Had to tune horns and vocals a bit heavier on this, but I still think it's got vibe. Tightened up a little of the bass/acoustic as well. Again, just some standard verbs on the drums to give them space. No samples or anything.
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