Okay, i have to pull the most fantastic mix out of my arse next week.

[-Gavin-]

I've been asked to rerecord one of my band's tracks for a big label and we're doing it in my studio.


This is not a "how do i mix", this is simply,

Does anyone who works on bigger releases have any advice on the best way to do things?

Tracking wee bands and my own pish is one thing. This is quite important.

And to anyone who is going to say "go to a professional place." Not an option, Scotland has none that are suitable and time is really of the essence here.

 

[-Gavin-]

Iäm a tit, please punt this to "production tips" brett!

 

[greyskull]

are you gonna be mixing and mastering it too?
my top tips are,
get the band to sign a basic contract , detailing the rate, times and terms of recording, just so they dont fuck you over later(it happens)

if you aint mixing or mastering it, you need to consolidate the project so all regions are one piece of continous audio for easy transfer in one project for each song, and back up the unused regions in case the mix engineer disagree 's with your choice of takes etc, in another version of the song.

if you need the song tranfered into pro tools for this purpose, let me know and ill help a fellow sneapster, even if he is from scotland
hehehe

 

[greyskull]

whoooops
i completely misread the post title
sorry gavin
what a dick.

are you mastering it too?

 

[LSD-Studio]

well, if going somewhere else is not an option you're stuck with you place...
doesn't necessairily have to be bad, at least you know your room etc.
So all you can do is get the best gear possible (rent a preamp and a greta mic or so)...
you still have the option to have someone else reampeing your guitars (as you nkow Oz does a beautiful job....I'd give it a shot,too ).
so the only thing that you should/could be concerned about is not being as skilled as a mixer as you'd like to be....
well....is anybody?
no, so all you can do is to give the best you can, and ask for advices here when you've got a ruff-version.

and:
think about letting someone else (you trust) doing the mastering, just to have some fresh ears on it...


and:
congrats on the job!

 

[-Gavin-]

Nah man, it has to be tracked and mixed here. Not mastered.

 

[-Gavin-]

well, if going somewhere else is not an option you're stuck with you place...
doesn't necessairily have to bad, at least you know your room etc.
So all you can do is get the best gear possible (rent a preamp and a greta mic or so)...
you still have the option to have someone else reampeing your guitars (as you nkow Oz does a beautiful job....I'd give it a shot,too ).
so the only thing that you should/could be concerned about is not being as skilled as a mixer as you'd like to be....
well....is anybody?
no, so all you can do is to give the best you can, and ask for advices here when you've got a ruff-version.

and:
think about letting someone else (you trust) doing the mastering, just to have some fresh ears on it...


and:
congrats on the job!

Lasse, did i tell you who the new label is?


And thanks for the advice bro!

 

[LSD-Studio]

Lasse, did i tell you who the new label is?


And thanks for the advice bro!

no...go ahead

 

[everybody's x]

you could always track it and throw it on the FTP and let everybody go nuts on it. pick the stuff apart you like, 86 the stuff you don't

 

[-Gavin-]

you could always track it and throw it on the FTP and let everybody go nuts on it. pick the stuff apart you like, 86 the stuff you don't

Normally i would but not an option in this case, sorry...

 

[everybody's x]

just an idea man
what do you need to know?
I guess this isn't for a demo, but they want something ready to release?

 

[lepersmeesa]

Just relax. Make sure you are relaxed, but quite anal about things. Making sure when you listen back to takes, you really make sure they have the feel, the playing sound you and the other performers are after.

Make sure you make the rest of the guys in the band comfortable and that you really want to do this project. The more welcoming you are, the better results you are going to get from them, they maybe your friends, but its a different matter when recording.

Just get some killer drum takes, DI the guitars as well and micing them up, and just record those vocals. If the band is fairly big, they may already have a way they like recording in the studio.

In essence (guessing its for metal). You want a good ambience, and overhead sound for the drums, as you things are going to be triggered, so make sure you like that sound, and great guitar tracks. If you do that I can't see how they are going to be happy. And if the mix isn't the best, let the masterin engineering fix it

 

[-Gavin-]

For those unclear...


The band is my band...

 

[lepersmeesa]

haha,

yeah i read the first post again, then quickly tried to edit the post ....whoops!

 

[lepersmeesa]

Also surely, they are more interested in your musical talent. Not your production.

 

[everybody's x]

a basic rundown for me

I set up everything first starting with drum sounds, I spend several hours (sometimes days, if it's a real big deal)setting the drums up and getting it as close as I can on the way in.
Sample the whole kit before and after the session

Then I set up the bass and guitar rigs with a decent tone, even though it's for scratch tracks I want something usable in case they get a keeper.

Track the drums first recording everybody, but focused on the drums meter, consistency, tempo lags etc.

Spend at least ten minutes between takes telling the drummer to quit hitting the snare like a sissy bitch and to quit killing the cymbals.

one I have the drums with scratch gtrs and bass, I track the bass. Turn your kick up 6dbs and every time the bassist is off the kick, punch it in and punch the bassist.

Then it's on to quad tracking the gtrs, you know all about that.

I do vox old-school, I have the singer do at least three complete passes, then we sit down with a lyric sheet and analyze every word of every take, comping together the consensus. I use the remainders for doubles, then add more doubles if needed for spice.

Then we do lead shit followed by BGV's harmonies and the coolest part of any session when you start thinking of little fucked up things you can do, "hey what if we put a marimba here in the chorus, and when we come back to the downbeat smack that air conditioner with a 2x4" that kind of shit...

mix
master
enjoy world domination and anonymous hummers

 

[-Gavin-]

Also surely, they are more interested in your musical talent. Not your production.

Yes, i'll explain once it's sorted and iäm allowed to explain. Lol.


We've not signed anything or anything and thus this is a pre-curser to all of that.


They've got our demos and love them.

 

[lepersmeesa]

Right well, I sort of get what you are on about.

Just make sure you dont get too anal about your recordings and keep a good groove on them, while obviously making sure you get good clean takes.

Good luck!!

 

[cobhc]

a basic rundown for me

I set up everything first starting with drum sounds, I spend several hours (sometimes days, if it's a real big deal)setting the drums up and getting it as close as I can on the way in.
Sample the whole kit before and after the session

Then I set up the bass and guitar rigs with a decent tone, even though it's for scratch tracks I want something usable in case they get a keeper.

Track the drums first recording everybody, but focused on the drums meter, consistency, tempo lags etc.

Spend at least ten minutes between takes telling the drummer to quit hitting the snare like a sissy bitch and to quit killing the cymbals.

one I have the drums with scratch gtrs and bass, I track the bass. Turn your kick up 6dbs and every time the bassist is off the kick, punch it in and punch the bassist.

Then it's on to quad tracking the gtrs, you know all about that.

I do vox old-school, I have the singer do at least three complete passes, then we sit down with a lyric sheet and analyze every word of every take, comping together the consensus. I use the remainders for doubles, then add more doubles if needed for spice.

Then we do lead shit followed by BGV's harmonies and the coolest part of any session when you start thinking of little fucked up things you can do, "hey what if we put a marimba here in the chorus, and when we come back to the downbeat smack that air conditioner with a 2x4" that kind of shit...

mix
master
enjoy world domination and anonymous hummers

HAHA Loved that post dude. Sounds like a great rundown of the best way to do things in the studio.

 

[smy1]

I like how everybody's x sets up guitars and bass with a good tone. Even though not one of these scratch tracks might be kept, a great tone early on will get the band enthusiastic and much more comfortable in the studio, which (most of the time) leads to better performances.