Big hello to the Endicott Dread,
hi Mr. Fox and mixing fellows,
please enjoy my entry:
https://drive.google.com/file/d/1lzthi5 ... sp=sharing WAV 44100 LUFS int should be 16.0 (Mastering The Mix-EXPOSE)
https://drive.google.com/drive/folders/ ... sp=sharing screen shots
Very good recording, good initial balances, but with this, the more it becomes a challenge to take it to the next level, without becoming too cheesy and lost in gimmicks.
Some sounds are "modern", this sets the limit and can't be rolled back. But still, I used only effects that have been around since the 80ies.
That bipolar thing with being a Magaloniac
or what's that at all, comes into the mix with somewhat exaggerated dynamics (if you master it, you might create a smoother radio version), and with widening the chorus part. In the verses, sometimes a spooky phasing delay pops up, but very subtle.
I will refer to track numbers, which is faster, thanks to the numbered package in this season of the challenge.
I cleaned up 44, 45, 62, 63 in the audio editor, for little noises, pops and glitches, that might come up after compression and boosting air band. I used the spectral display and the FFT free-draw filters, for which I had a number of presets.
Editing by the producer was diligent already, so this means the last 2 percent only.
Also, it sounds all tuned the way the artist wanted, including "detune" effects, so I did not tune any vocals and did not mess with that.
I transformed everything to 48k and processed at that rate, after the fact used EZ-CD (top notch algo!) to convert the mix back to 44100. 48k available for external mastering at request.
I used 4 channel strips, see screen shots: 4000G, bx N(eve), Lindell X, and a free general Hornet console, for reasons of style and vibe by the particular instrument. This makes the sound also modern, because adding them up, it does not have a distinct flavor that comes from a particular vintage console. There are many channels in the mix not using a console strip.
3 EFFECT Auxes:
* Little Plate hipassed 600Hz with some extra EQ to brighten up, modulation is switched on only during the orchestral part
* SIR bright which uses a self-made gated impulse with a predelay
* Vault ghost echo, using MoebiusFilter (a phaser going upwards only), and a multitap delay, and some compression
VERSE
With the verse vocals, on 63 I went a bit further, and used RX7 DeClicker, DeEdger (TDR family), and then Klanghelm MJUCjr to smoothen the performance, and bring it forward at the same time, and ending with Airwindows ToTape6. Very little EQ, which is a hipass 62Hz/6dB, a little boost at 142Hz, and the "Pensado" proximity trick (shelf up at 820, down again at 5.6k, only half a dB), and this last EQ is bypassing the reverb send.
Trk 62 has less, but still the tape, Luftikus (air), and the SPL dual band De-Esser hi band only, with somewhat lower volume.
The vocal bus for the verse has the one-band SPL De-Esser.
Only 63 has a reverb send, it goes to LittlePlate (EMT 140 emu; the DAW causes latency here, which happens to have a useful few milliseconds), and there in the reverb plugin we do the classic "Abbey Road" 600Hz hipass, and modulation is on for the bridge only.
For some parts, there is a dynamic send to a "ghost effect".
I didn't search for a "better" reverb, because this EMT gadget sounds immediately familiar for this type of song.
I used another instance of the De-click/DeEdger combo on 68, as there was some harshness and some crackling; also tape and De-Esser, and a Haas delay.
CHORUS
The mega vocals are bussed in a complex way, see the screen shots. I used the analytic SPAN to find out what's going on.
I brightened up 41-43, I thought this cannot come in "shy".
A group of tracks sound fat with soft treble, I had to control that strictly with TDR Nova GE and used the intelligent function (has a minor similarity with soothe and gullfoss but not self-adapting after initial setup). Brighten up with Luftikus. Some of these have a Haas delay for "depth".
Other groups have tracks with bright and clear singing.
Some vocal tracks of that pack received individual treatment to push them up.
Only 46-55 have a send to the SIR bright gated impulse. There is no general reverb on the chorus. This cleans it up and makes it more punchy.
Nova with analysis mode was very crucial to get clear and strong chorus vocals.
DRUMS
Snare was processed with Lindell Channel X. Then bussed together with Kick, and runs into a clipping limiter, and then the old Ariesverb4a with strong modulation, this makes it very organic.
Toms run into that too.
The limiter together with the compressor in channel X have strong impact on the snare sustain vibe.
Drum ambience: 01f - Klangheim tape and mpressor; 01g - bright Melda saturator
Hihat, cymbal and tambourine see screen shots. Some tape, and tambourine also has a Haas delay and Little Plate rev.
11-13 were running through 1:1
STOMPS 04-10
Basic trick is a multed low f trk 04, it runs through a very short gate and aggressive saturation, and reinforces the deep attack sound.
The whole stomp bus runs through a limiter. That's all about it!
BASS
14 as well as 29(!) have an Ampeg SVT-VR with some crunch.
15 has a printed ADA flanger (this gadget refused to work live in this big mix, I created a separate edit with just one track to print this effect.)
No extra EQ on the bass, the Ampeg does it all, but there is a little final hipass.
I checked piano and guitars early, there was a lot to do to refine the sound.
GIT
20 has SPL Vitalizer, nothing else.
Acoustic guitars needed a full, classic sound with some variations:
26a has Lindell 354E which, the way I use it serves as an EQ plus dynamic exciter.
26b has Vitalizer and tape, to make a difference. Same functionalities but different feel.
26c has Lindell 354 and a saturator.
27 this pair has strong and different processings with 4000G, like compression, mid scoop, bass boost. I picked this channel strip because I judge the instrument as the clean rock melody guitar, and it sounds very straight.
26c and 27 are grouped to the Acu Mega BUS where we have another Nova GE, tuned with analytic mode, as there were many ringing frequencies.
Orchestral sounds
24 and 25 are grouped to the "Mellotron bus", that's what I aimed for. There is Thrillseeker LA as a saturating compressor boosting 2.5k, and then a little surgical EQ for profile.
Applause has just clip gain, in the middle of the song it was too loud.
22, 31-34 go to the orchester bus. The trick is SPL IRON with M/S mode, to keep things together, and push some sounds strictly to the sides. There is also a strong Haas delay for the 3D to put them behind the vocals, and a 4-band instance of Nova to even out the harsh and aggressive highs.
PIANOS
I invested a lot, please listen, I hope you will be satisfied. I created a piano bus for all piano tracks, for easy volume automation.
The little piano solo (bar 67) got Valhalla Supermassive with a lot of modulation, to make it sing a bit.
Now what happened to the acoustic piano:
No digital sample pianos back then
I really wanted something different.
Townhouse comp for the uneven attacks, it was automated to become more limiting from the middle of the song. This comp is really "disciplining".
To revamp the sound, there is Phil's Cascade which also changes phase relations, and then the incredible MorphVerb that makes the sound really alive and puts it in some real space. Then Console N for the mixing, and a send to the SIR bright reverb, but very decent.
EPIANO has practically nothing, but 17 needed a hipass, and the whole gets a Haas delay and the bright reverb, to put it into the same space as the acoustic piano, but on a different pan.
STEREO OUT:
iZotope Ozone Elements 8 was used to suggest a light mastering EQ, the maximizer was turned off. In case the mix should be delivered less bright, here with the autopilot it is easy to change. I made the footprint EQ early in the mix process, because it should reflect the production as such, and spare some EQ moves. Done again it would react in a different way. But this is potentially R2 version, hoping humbly..
Then we have a Melda Saturator, SPL Iron with "kissing the needle" for some glue in the chorus, and a Limiter that shaves off some peaks, but is inactive most of the time.
