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00:00:06
I thought it'd be fun to takea few minutes to mix the songthat we tracked with the 4-710earlier today,and it's only four tracks,so it shouldn't take too long.
00:00:15
I have it up here in Pro Tools,as you can see.
00:00:18
I have a Vox track, an Acousticguitar track, a Banjo track,a Room track, which is just the ambientmicrophone, somewhere in the room,and then, I send everythingto this Aux, and I print it to a track.
00:00:31
So, I'm just gonna mix itin real time.
00:00:34
The first thing I'm gonna do is listento a part where everybody's playing,say the vocal, and listento the raw tracks.
00:00:50
Nice separation with the guitar,you noticed there's almostno guitar in the vocal.
00:00:59
Even though he was playing the guitarat the same time.
00:01:01
Let's listen to the guitar.
00:01:11
Excellent!Let's listen to the banjo.
00:01:21
Alright! There's gonna be no fixing,just mixing, which is nice.
00:01:25
Let's start with the vocal..So, here..
00:01:42
That sounds very nice.
00:01:43
I hear a little bit of a nose, and thenI'd like more extension,for it to sound likeit's kind of floating in the air.
00:01:51
If I listen again, there's a little bitof a bunch in the middle,which is normal with Will,that's the way he sounds,because he's concentrating on the guitarand he's hunched over,he doesn't have necessarily the fullyopen sound, but we can fix that easy.
00:02:03
What I would do here firstis probably use some Cambridgeto get rid of the bottom.So I use the filter..
00:02:12
and anything that's a little sharpwould be great,like 36dBs/octave is good.
00:02:17
We've got to make sure we're notcutting the bottom of the vocal,so we have to listen while we tweak.
00:02:27
Using the Bypass buttonlet's you make absolutely surethat you're not cuttinganything you want.
00:02:33
You might be cutting some stuffthat's in the way,but let's make sure we're notcutting anything we want.
00:02:37
So you'll see my button hereturning the thing on and off.
00:02:50
I think we're very safe.
00:02:52
Is there a point to high-passinglike this? Yes, there is!There's stuff down there,some of the attack of the guitar,there's some stuff we don't hear.If he tapped his foot, it's there.
00:03:00
So if I'm planning to compress furtheror anything,it's good to get ridof the bottom,to the extent that it's not ruiningthe bottom of the vocal, of course.
00:03:09
My other problem is here, somewherein the middle. Check it out.
00:03:12
I'm gonna look for my problem,and then get rid of it.
00:03:27
There is a little nose resonancethat I think is in the way.
00:03:31
So, to get rid of it, and it seemsto be around the 400 and change.. Hz,I'm gonna play it without,and then with.
00:03:52
That may be a bit much, if you hearthe difference, it's quite drastic..
00:03:55
I would say, probably around 1.7..
00:04:08
The high-pass also does great thingsfor the P's.
00:04:11
Let's see what happens if I try to..
00:04:14
if I hear, he goes'I don't want to be.. a box of toys.'I'm gonna use an LA-2and try and get that.
00:04:24
Nice, neat! Maybe less, even.
00:04:33
Very nice.Without, it sounds like this.
00:04:43
It may be like a subtle difference,but it's not really that subtle.
00:04:47
It's subtle, like this,you have to sometimes pay attentionto what the difference is,but the reality is thatif I put a little bit more compression,like I have right now,it allows for the vocal to juststay there and not move.
00:05:03
I find it very annoying when you'rechilling and listening to a track,and all of a sudden, the vocalkind of like hits you between the eyes.
00:05:09
I find that very disruptiveto the music.
00:05:11
I like my vocals to stay put,but I don't like to hearthat they're being dealt withunder the table.
00:05:18
So I would like to keep the vocalvery natural and very forward,but still very steady.
00:05:25
Steady is the word I was looking for.So check it out!With.
00:05:34
And without.
00:05:42
There's a certain fragilityto have it be more raw,and that's because we didn't pushthe compressor very hardon the tracking side of the 4-710.
00:05:53
We just used it as an overall settingto keep things in place,and it sounded great.
00:05:58
But I think with a little touchof LA-2A, it's kind of perfect.
00:06:04
Maybe a little bit more..
00:06:10
Yeah.
00:06:14
I like that.
00:06:15
Now's the time for me to think forwardand I know that I'm gonna haveto make this vocal,which I like the sound of by itself,but I know I need to open the topand I know it's gonna need to happenin conjunction,or in comparison to the other tracksin the mix.
00:06:29
So I'm gonna prepare myselfand bring my Pultec,because that always works.
00:06:35
And let's try, say, 10k..
00:06:39
And see how that sounds.
00:06:45
That sounds bright-ish, and notnecessarily very elegant!Let's try higher.I would vouch for 16k,maybe a little less,let's see how that sounds.
00:07:00
That's very nice!Without, it sounded like this.
00:07:06
And with.
00:07:09
Yeah!I like that 'haaa' thing.I think that's great.
00:07:14
I also would like a little bit of..like.. I don't know how to explain,just.. upper mid open.Check it out.
00:07:21
If I push 5k on this with the Pultec,it sounds like this.
00:07:24
I'm gonna start flat, and you'regonna see this knob go up.
00:07:32
Nice presence, right?Check it out! With.
00:07:41
And without the whole thing.
00:07:49
It's a little duller,and a little less exciting.
00:07:53
So if we look at the journeywe've made since the beginning,and I get rid of the Cambridge, the LA-2and the Pultec.. This is all flat.
00:08:07
That's a little unruly,a little teenager-like.
00:08:10
And this is with everybody.
00:08:19
I really like this. I don't thinkI need much more.
00:08:21
So I'm gonna start blendingwith the guitar,which is pretty muchall I have to blend.
00:08:28
Let's listen to the track,vocal and guitar together.
00:08:35
So..
00:08:38
I'm turning the guitar on and offto see if the vocal is affected fromthe bleed of the vocal into the guitar mic.
00:08:44
I'm also looking at how my vocalperception is affectedby the sound of the guitarunder it.
00:08:51
And I genuinely do notlike it right now.
00:08:53
So I'm gonna do the same thing.I'm gonna take a Cambridge,and get rid of the bottom.
00:09:01
There's something in the low-midsof the guitarthat makes the vocal soundunpleasant.
00:09:06
I'm gonna look for it,and try and get rid of it.
00:09:19
That's not bad.
00:09:22
There's still that little 'Mmm, mmm..'Let's see where it's at.
00:09:30
That is ugly. Let's get rid of that.
00:09:44
I really like that tone.
00:09:45
It probably needs refinement,but this is kind of nice.
00:09:49
I feel that there are some notesstill sticking out on the guitar.
00:09:53
I feel that it would benefitfrom compression,so, let's try and see what it soundslike with an LA-2,and I would actually probablytry in Compress mode.
00:10:04
Now, when would you use Compress mode,and when would you use Limit mode?If you wanna put a rational thoughtbehind it, if you have a tendencywhen you need to just catch some peaksthat are in the way, use the Limit mode,because it's gonna be less destructiveto the overall signal.
00:10:19
Destructive in a good way, of course!Then, use the Compress modewhen you need constant gain riding,but not necessarily so severe.
00:10:30
Try both and..Let's try both! Check it out.
00:10:33
This is with Compress..
00:10:36
More of it.
00:10:46
So you noticed on the entry lick,those two notes..
00:10:50
those two notes get caughtpretty heavily by the LA-2A,and it's kind of an interesting tone.
00:11:02
What would the Limit modedo to that?Well, I probably would have to limita little more. Check it out.
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00:11:13
So it catches them better,but I don't know that I like that tone,because it changeskind of the balancebetween the vocal and the guitar.
00:11:20
Check it out, this is with Limit.
00:11:29
Or.. with.. compression.
00:11:37
So now, let's not kid ourselves.This is the same..
00:11:41
gain reduction technique. It's justdifferent Attack and Release settings,and Threshold settings.
00:11:48
I like the Compress mode better,and I'm gonna be a little severewith it. Check it out.
00:12:02
I like that.It's cute.
00:12:05
Ok! Now I have a nice balancebetween the two tracks,I need some space.So I'm gonna create an Aux track.
00:12:13
Actually, two! And I'm gonna assigna Plate 140 on one of them,and an EMT 250 on the other.
00:12:20
140.. and, here's the 250 right here.
00:12:24
I'm gonna use a blend of those tworeverbs to get the tone I want.
00:12:27
Since I'm setting up my reverbfrom scratch,the first thing I'm gonna do is takemy vocal, solo it,and send a lot of it to the reverb,so I can really hearwhat the reverb is doing,and how it sounds.
00:12:36
Then I will playwith the different settings,and once I have something that pleases me,and makes me feel a certain way,then I will putmore reasonable amounts of it.
00:12:47
That's one way, there's many ways.
00:12:49
This way works great for me,for a small amount of tracks,where the reverbis gonna get heard a lot.
00:12:54
I wanna make sure that what I'm hearingis pretty. So here it is.
00:13:02
Definitely, it needs to bea lot shorter.
00:13:05
I'm gonna grab itand make it shorter.
00:13:10
That's cute.Let's not overlook the other settings.
00:13:13
This was Plate B, this is A.
00:13:19
That kind of makes me feel nervous,so let's go to C.
00:13:27
This is still heavy in the bottom,let's see how it sounds shorter.
00:13:34
I can't.. the guitar..It's gonna be a mess with the guitar.
00:13:37
Let's go back to B.
00:13:41
That's very, very pretty.Let's high-pass as much as we can.
00:13:53
So how does it soundwith less of it?It's still a little bitdistracting to me.
00:14:11
What I would do is maybe put the EQ inand start removing some high end.
00:14:24
I like that. And maybe alsoa little bit of that low..
00:14:28
kind of low-mid thing could go.
00:14:36
I really like that.
00:14:38
So let's see how that workswith the guitar back in.
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00:14:56
So, it probably needs to bea little shorter.
00:15:21
So now..
00:15:22
I like the tone of it, but I don't likethat it sounds so separated from the vocal.
00:15:26
I think what the vocal needs isa little bit of a natural ambience,so that's probably where the Room micwould come in.
00:15:34
So let's listen to that Room mic.
00:15:44
Let's EQ it a little bit.
00:15:46
I'm gonna copy that Cambridge overfrom here.
00:15:50
Reset it..
00:15:51
I know I'm gonna high-pass the bottomno matter what,because I don't know what's down there,and I probably don't need it,and I'm gonna try and low-passingthe high end,and see if it createsan interesting tone.
00:16:08
Without.
00:16:15
And with.
00:16:22
It helps with the S's.
00:16:24
Let's tuck that underthe rest of the mix.
00:16:42
So, I think that..
00:16:46
that was a wrong choice of reverb.
00:16:47
The Plate 140 doesn't workon this vocal right now,this setting is no good.
00:16:53
I'm not gonna beat myself up for it,I'm just gonna try something else,and go to the 250, mute the 140,and try again on the 250.
00:17:04
Cute! Wet Solo,and not too, too long..
00:17:14
That's so lush!Check this out.
00:17:20
This may work better, right?You can hear right away that the grainis less.. how would I say?It attracts less attention to itself.
00:17:30
Let's see how it soundswith the other tracks.
00:17:39
I'm gonna shorten it.
00:17:55
That's very nice.
00:17:57
Let's see how it soundson the guitar.
00:18:20
Very pretty.
00:18:21
Let's focus on the banjo now.
00:18:23
Let's find a place where it's playing,like here.. It sounds like this.
00:18:36
Very nice. All it needsis a little high-passing to me.
00:18:50
Ok, I wouldn't do much else to it.
00:18:59
We have a problem. There's a lotof banjo in the Room mic.
00:19:02
Check it out.
00:19:06
That kind of shifts the balance of powerbetween the instruments,so I'm probably gonna lowerthe Room mic,and I'm probably gonna haveto adjust my reverb because of that.
00:19:14
Let's check it outwith less Room mic.
00:19:16
I'm also offsetting the banjoto the left,I don't want everything to be in themiddle, I want a little bit of width.
00:19:21
Maybe I could do somethingreally silly,like move the Room to the right, and thebanjo to the left, to see if we like that.
00:19:44
That actually kind of works, for somereason, I can't really tell you why..
00:19:48
Let's see what happens if I opena little bit of high end on the..
00:19:53
banjo, with the Cambridge.
00:20:08
If I hear the same thing,without the Room microphone..
00:20:19
It's fine, but it's not the same.With.
00:20:38
This sounds great!So.. I'm happy with this.
00:20:44
I'm curious to know what it wouldsound like if I use the Plate 140just on the banjo, to give ita different space. Let's see that.
00:21:00
I kinda dig that!In the context, it sounds like this.
00:21:13
Same passage,without the Plate on the banjo.
00:21:26
I like it with. It's a little dreamier,and it's a little weirder,and it's a little more.. more!It's more more.
00:21:33
I don't think I havemuch more to do.
00:21:35
I just wanna check the dynamicof the overall tune.
00:21:41
What I'm gonna do is I'm gonna pickthe UA Precision Buss Compressor,and I'm gonna bring it inpretty drastically,but only for certain peaks.
00:21:51
So I'm gonna lower the Thresholdof the compressoruntil it only catches the peaksthat really bother me,but doesn't touch anything else.I'm gonna lower at 10:1,so it's like whenever a peakthat bothers me is there,it really is taken. But when nothing isin the way, then nothing gets touched.
00:22:08
Let's see..
00:22:17
This is pretty subtle,but see if you see the difference.
00:22:21
Hear the syllables:'I don't want to be a box of toys.'Without.
00:22:35
There's this burst of energyon those syllables,because that's where his vowelsare the most resonant,and they propel very stronglyin the microphone.
00:22:45
That bothers me.
00:22:47
Also, it kind of separates himfrom the guitar a little bit,which I don't like, it sounds unnatural,it sounds overdubbed.
00:22:53
If I put a little bitof that compressoron the 2-Bus, then you'll be ableto hear that that doesn't happen.
00:22:59
Let's see..Without compression.
00:23:18
I think it's always very importantand interestingto listen to the song with and withoutthe effects,especially with such few effects.
00:23:30
You know, I do very little..I mean.. like 3dBs at 16k, big deal!Just a tiny bit of reverb,2dBs of compressionhere and there,2dBs off, or 1dB off in the low mids.
00:23:42
It shouldn't make that much ofa difference, but it's always fascinatingto hear the song with and withoutthe effects.
00:23:48
So check this out, I'm gonna playthe same passage,once with, and once without, so you getthe difference in feeling.
00:23:53
Here we go.
00:24:24
One more time.
00:24:41
Pretty nice!So, it's really a simple song,obviously,but tracked with a 4-710,all live,one take, actually two takes,this is take 2..
00:24:51
using the built-in compressors,the built-in converters,and mixed quickly here,with eight UA plug-ins.
00:25:00
It sounds pretty nice.
00:25:02
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