calling ermz .....

[Pablo333]

Am I right in thinking you are quite knowledgable regarding Chris lord Alge mixing techniques/procedures etc....?

sorry if im wrong, just find it hard searching for any info on this , I have Waves SSL (channel E and G comp) and have his presets and was surprised at how good they worked on guitars and drums (not normally a preset guy)

any info or specifics that you know re thed guitar bus/drum bus??

 

[Mikaël-ange]

Am I right in thinking you are quite knowledgable regarding Chris lord Alge mixing techniques/procedures etc....?

sorry if im wrong, just find it hard searching for any info on this , I have Waves SSL (channel E and G comp) and have his presets and was surprised at how good they worked on guitars and drums (not normally a preset guy)

any info or specifics that you know re thed guitar bus/drum bus??

I'm not Erm but you can find some interesting read here about 2buss comp for exemple

 

[Jaymz]

He wears a hat when he mixes, so he gets more headroom during mixdown.

 

[Metaltastic]

He wears a hat when he mixes, so he gets more headroom during mixdown.

Oooooh man was that a stinker, but I lol'ed

 

[-Noodles-]

He wears a hat when he mixes, so he gets more headroom during mixdown.

Surely he wears a golf visor instead of a hat?

(more headroom still..)

 

[Jaymz]

Surely he wears a golf visor instead of a hat?

(more headroom still..)

True, but that depends on what socks hes wearing on the day...if he has the whites with the 2 black lines on at the time, hes in 1176 crush mode so the hat proves just as effective. The golf visor would be overkill even for CLA.

 

[Ermz]

Vaguely. I know some rough things here and there, but here are some excerpts from an article which may aid you:

Electric guitars: SSL EQ, Teletronix LA3

"The guitars were multi-miked pairs, usually three microphones per amp, so during comping it was a matter of balancing the different microphones on each amp onto one track. It's a bit like finding the sweet spot with the drawbars on a B3. It's like adding salt and pepper or salad dressing, you flavour to taste. On the console I'm pretty sure that my main compressor on the guitars was the [Teletronix] LA3, moving 2-3dB, maybe 5dB, and I added some console EQ, 6-8dB around 8K. I'm not scooping mids out, because these guys have worked hard to get the mid-tone that they want. It's more a matter of making sure that the guitars are bright enough in the track. I don't think there were reverbs on the guitars, they were just dry."

Drums: Urei 1178, Neve 33264, Sony DRE2000

"As far as outboard effects are concerned, the drums were mostly treated with a [Urei] 1178 at 4:1 and a Neve 33264 at 2:1, all slow attack and quick release stuff with 4-5dB movement. The reverb was the Sony DRE2000, set to one second in length, just a short room. In terms of EQ, I tend to suck out the mid from kick drums, add top to snares, and make sure that the cymbals are not coming from everywhere. The whole thing with drums is once you have your overall mix in good shape, ride the faders to make they sit well in the track. You have to do one automation pass just for that. It's a lot easier to ride faders than to EQ. A lot of people over-compress and over-EQ drums, which lessens their impact. So get your hands on there and ride them to make sure the drums are balanced in each section and that each section works."

His presets can be a great starting point on drums. Bear in mind that his rather aggressive high end boosts are more relevant to working on a real console than the Waves plug-ins. Using Nebula with AlexB's SSL console programs gets you a LOT closer than just straight using the channels, because you can get away with more boosting and his presets immediately get more relevant.

 

[HDWR]

Vaguely. I know some rough things here and there, but here are some excerpts from an article which may aid you:





His presets can be a great starting point on drums. Bear in mind that his rather aggressive high end boosts are more relevant to working on a real console than the Waves plug-ins. Using Nebula with AlexB's SSL console programs gets you a LOT closer than just straight using the channels, because you can get away with more boosting and his presets immediately get more relevant.

Ermz- Just a quick question if I can hijack for a moment (Sorry OP). Would you use x-CLA preset followed by the AlexB SSL mic or line program followed by the SSL FX insert then on to the appropriate AlexB bus? So 2 instances of Nebula plus the bus? I've been trying to work this out myself and have been following your posts closely. Some great info in the Straub thread.

Thanks!

 

[Ermz]

I just print the ILC programs directly to all my audio tracks, and then run the MBC program on my master bus. I found that the others were giving me perhaps a little too much saturation for metal, and it was absolute overkill for my CPU. I'm waiting for the Slate Console plug-in to free me up to use more instances, provided it sounds as good as Nebula of course.

 

[HDWR]

Thanks for the info. About how much do you drive the ssl programs? I'm at about 5db for each instance.

 

[Pablo333]

thanks ermz for the reply - just found an old thread from gearslutz in which a few guys that watched him mix confirmed he runs the entire mix through a pultec an boosts 3db @60hz - mostly for the transformers sound.

 

[Ermz]

He's said he likes to do that because it gives his SSL board more of that 'Neve low-end'.

 

[Pablo333]

He's said he likes to do that because it gives his SSL board more of that 'Neve low-end'.

yeh I actually tried this on my most recent mix (Terminated slate/cla mix in the rate my mix section) and ran it through my UAD Pultec and boosted 60hz by 3db - I loved it!! - instant round bottom end.

 

[Ermz]

I doubt it's the same thing at all ITB, so I avoid doing things like that altogether. UAD haven't exactly been knowing for modeling nuances. Given that there is no saturation/harmonics on their old plugs, I highly doubt you're getting anything resembling transformer tone from them.

 

[Pablo333]

I doubt it's the same thing at all ITB, so I avoid doing things like that altogether. UAD haven't exactly been knowing for modeling nuances. Given that there is no saturation/harmonics on their old plugs, I highly doubt you're getting anything resembling transformer tone from them.

oh yes, I agree, but it did give me a sound that I couldnt get from normal EQing - Im just having some fun doing some tests on my mixes with these methods I picked up from his various interviews.

I always go through these phases, then move onto the next heh heh

what I AM liking though is harmonic exciter in ozone - it really thickens a mix in the low mids (tape setting) but gets nasty near the top end if your not careful.
the limiters "clipping" mode also seems to do very little damage to the source!!

 

[Ermz]

The Ozone Loudness Maximizer is one of the most amazing plug-ins I've ever used. I don't usually use any other aspect of it, but for the Maximizer alone it's worth the price of admission.

 

[Pablo333]

The Ozone Loudness Maximizer is one of the most amazing plug-ins I've ever used. I don't usually use any other aspect of it, but for the Maximizer alone it's worth the price of admission.

yeh but when it came out I remember it got the usual bashing by the G slutz guys funny thing is most of the best diy masters i've heard here and other forums Ozone has been used!! ah....I remember when Gslutz was a fountain of knowledge