Making your tracks sound larger
- Thread starter TheWinterSnow
- Start date
P-E
Munchkin
Yep I understand, mine sounds a bit more processed (I decided to brighten the guitars a bit), with a bit less synths compared to yours. I used parallel compression to make the kick punchier too. I fixed the ultracompression, now it's about -12.5 RMS. Sounds to me as if there's more "space" and "air" in the music than before, thanks!
Here's the link if you wish to listen to it : http://files.getdropbox.com/u/1149356/Saturation is truly ace -12.5RMS.wav.
Here's the link if you wish to listen to it : http://files.getdropbox.com/u/1149356/Saturation is truly ace -12.5RMS.wav.
slayercannibalsuffohead
Get a dog up ya!
Thanx Winter, you are a gem, now filing away in the darkest part of my brain ............ oooopppsss!!! Forgot it already,
I CALL FOR A STICKY!
I CALL FOR A STICKY!
Says the master of orchestra melodeath, thx dude
Thanx Winter, you are a gem, now filing away in the darkest part of my brain ............ oooopppsss!!! Forgot it already,
I CALL FOR A STICKY!
hahahaha, good to hear I helped.
Sticky this shit plox!
well, inspired by this thread i tried to give the whole tape plugin stuff another shot and used it heavily on my latest project.
you can listen to the final mix at
www.myspace.com/retaliationdeath (first song)
as well as here
http://www.ultimatemetal.com/forum/...rutal-death-roughmix-real-amps-ssd-3-0-a.html
one of the last posts in this thread has a link to a download that's way better than myspace obviously lol. it's not quite the final mix, but i think i only changed the snare volume so it get's the point across.
anyways, as i already said i made heavy use of the techniques described here, and the result was most of all way different to what i've done before.
i gotta say that i did a whole lot of the mix through a full mastering setup including some heavy tape coloration, so the unmastered mix sounds like total shit - in retrospect i should have paid more attention to getting a rocking mix and THEN add the mastering stuff, but then again, nobody will ever hear the unmastered version lol.
on the technical side, i used ferox on the guitars (just a bit though) and drums (once again, just cranking the recording level a bit and playing with the hysteresis for highend voicing), and later on used heavy coloration on the master bus.
i also used the free bootsy tessla SE, and it's GREAT on the 2bus! it has a transient control that makes stuff real sticky and in your face, check it out.
so, thank's to the OP
while i feel that i've sorta overdone the whole processing for this one (well, i was referencing some dew-scented mix by andy classen, and his stuff is also processed as fuck), i'll surely add these techniques to the trickbag and use them in a more mellow fashion on many other projects!
you can listen to the final mix at
www.myspace.com/retaliationdeath (first song)
as well as here
http://www.ultimatemetal.com/forum/...rutal-death-roughmix-real-amps-ssd-3-0-a.html
one of the last posts in this thread has a link to a download that's way better than myspace obviously lol. it's not quite the final mix, but i think i only changed the snare volume so it get's the point across.
anyways, as i already said i made heavy use of the techniques described here, and the result was most of all way different to what i've done before.
i gotta say that i did a whole lot of the mix through a full mastering setup including some heavy tape coloration, so the unmastered mix sounds like total shit - in retrospect i should have paid more attention to getting a rocking mix and THEN add the mastering stuff, but then again, nobody will ever hear the unmastered version lol.
on the technical side, i used ferox on the guitars (just a bit though) and drums (once again, just cranking the recording level a bit and playing with the hysteresis for highend voicing), and later on used heavy coloration on the master bus.
i also used the free bootsy tessla SE, and it's GREAT on the 2bus! it has a transient control that makes stuff real sticky and in your face, check it out.
so, thank's to the OP
while i feel that i've sorta overdone the whole processing for this one (well, i was referencing some dew-scented mix by andy classen, and his stuff is also processed as fuck), i'll surely add these techniques to the trickbag and use them in a more mellow fashion on many other projects!
well, inspired by this thread i tried to give the whole tape plugin stuff another shot and used it heavily on my latest project.
you can listen to the final mix at
www.myspace.com/retaliationdeath (first song)
as well as here
http://www.ultimatemetal.com/forum/...rutal-death-roughmix-real-amps-ssd-3-0-a.html
one of the last posts in this thread has a link to a download that's way better than myspace obviously lol. it's not quite the final mix, but i think i only changed the snare volume so it get's the point across.
anyways, as i already said i made heavy use of the techniques described here, and the result was most of all way different to what i've done before.
i gotta say that i did a whole lot of the mix through a full mastering setup including some heavy tape coloration, so the unmastered mix sounds like total shit - in retrospect i should have paid more attention to getting a rocking mix and THEN add the mastering stuff, but then again, nobody will ever hear the unmastered version lol.
on the technical side, i used ferox on the guitars (just a bit though) and drums (once again, just cranking the recording level a bit and playing with the hysteresis for highend voicing), and later on used heavy coloration on the master bus.
i also used the free bootsy tessla SE, and it's GREAT on the 2bus! it has a transient control that makes stuff real sticky and in your face, check it out.
so, thank's to the OP
while i feel that i've sorta overdone the whole processing for this one (well, i was referencing some dew-scented mix by andy classen, and his stuff is also processed as fuck), i'll surely add these techniques to the trickbag and use them in a more mellow fashion on many other projects!
My first final was a bit over the top in processing but it was to get the point accross as to what it does. The reuploaded version shows how it would sound in moderation. Almost seems like you have to do less to gewt the same results and they sound more realistic when you use analog coloration before your mixing process as it leaves you with very minimal to do afterwards. I think a lot of theEQ'ing and compression and all that which is done very heavily is to compensate for the lack of the real analog sound. Not to say analog is the end all say all, but its a great thing to have the best of both worlds.
Which statements in particular are you talking about?
I know a lot is controversial, thats just the black and white nature of the situation. I was just providing how to get the best of both worlds and stating my opinion based on personal experience and from the knowledge i am aware of from the theory side of things, which are proven as a fact such as the harmonic content etc, the exact use of that coloration (or use in general) is more of a personal prefereance.
only using G-Clip to take of the top (extreme peaks) and not enough to lower the RMS. That's just my result. Think it has a lot to do with really undynamic drums.
Pablo333
Member
- Jan 13, 2009
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- 16
Cool , i'm getting a clean -13 to -12dB RMS on my latest tracks using your suggested chain - thanks man - I think this is what i was missing in my chain to give it some colour - I only use the Tapebus and Gclip though.
thanks for the kind words. Its unfortunate that I am given quite the bad sounding equipment, at least in the drum department, as it is hard to make a good sounding mix from the recorded tracks to begin with. I just mixed a track that was posted here in the forums a few days ago and that made me realize just how good the analog coloration was and that is wasn;t my mixing skills that sucked, I just have really bad drums and too cheap of a mic pre to get anything useful out of my recordings.
That fact right there makes it more difficult for people to see the usefulness of the method becuase they still hear an overall amateur sound and either will think, this guy doesn't know what he is talking about or this shit really doesn't work, but when you are given good recording clips to mix you will see just how usefull it really is.
That fact right there makes it more difficult for people to see the usefulness of the method becuase they still hear an overall amateur sound and either will think, this guy doesn't know what he is talking about or this shit really doesn't work, but when you are given good recording clips to mix you will see just how usefull it really is.
Pablo333
Member
- Jan 13, 2009
- 355
- 0
- 16
Totally agree - The thing about ITB mixes is you definitley need some kind of analog coloration - as Digital mixes for me really seem to emphasize that upper midrange area that Analog Tape smears and softens .
BTW, what are you using to Lowpass gtr's at 12khz with?
I use a waves Q10 but a low shelf at -18dB to kill fizz.
Pxz
Member
I think digital mixes actaully don;t have enough of the upper mids and contain too much of the upper highs. Tape not only bumps up the upper mid area, it smears it and smoothes it out so that not only is there more upper mids, its actaully easier on the ears than before, which the upper mids are the area that cause ear fatigue so bumping them can make things worse.
I use GBand becuase "I R 2 po0r to aff0rd stuff" but sometimes I also do a light high shelf at maybe the 16K area just to make sure the fizz is gone and to emphasize the mid warmth.
A lapdance by teh hawt white wimmenz? sweet!
:Smokin:
Uncle Junior
Member
These scandinavian motherfuckers really know how to make and mix music.... Nordlig Bror RESPECT!!!
Uncle Junior
Member
Winter you sound pro...
and guitars have to have that low pass you did like this guys.. you sound similar dude:
Last edited by a moderator:
Taurean
\m/ \m/
In general, those main points about harmonic content do apply and have validity. They do help with fullness or 'bigness' but that too is all in context. So the aspect of 'bigness' is something relative within a mix.
The normalization however I'd stay away from. Normalization started out as an early partial automatic way of adjusting the peak levels of groups of songs, this way to raise in unison to the highest point dicatated by the highest peaking track. There is really no need for this knowing that we have professional mastering engineers who can, by ear, adjust levels properly. On individual tracks there just isn't any reason for it. It's just another plain DSP process that actually is adding noise or quantization distortion to the signal.
The normalization however I'd stay away from. Normalization started out as an early partial automatic way of adjusting the peak levels of groups of songs, this way to raise in unison to the highest point dicatated by the highest peaking track. There is really no need for this knowing that we have professional mastering engineers who can, by ear, adjust levels properly. On individual tracks there just isn't any reason for it. It's just another plain DSP process that actually is adding noise or quantization distortion to the signal.
