ironside1966

I mixed this track using Cubase 7.5 and monitored using headphones. The first thing I did with the tracks was to set the input gain so that I hit the meter at around -12db I did this to most of the tracks unless there is a reason not to, like a high noise floor or a very quiet track. Then I got a rough mix. [b]Drums: [/b] The drums were enhanced with samples from Steven Slates drums. Just to be clear enhanced, not replaced. A trick I often use to add weight to a kick drum is, trigger a sub kick part from a multi sampled drum library such as BFD or Steven slate drums. I also use the PSP Mix Saturator to add a little thickness to the bass and kick drum but you need to use very sparingly and only a little is needed. be careful with the sub sample it may cause phase problems, reverse the phase and see if it sounds better. FX on drums consisted of Valhalla Vintage Verb - Fat drums preset and a convolution verb of a wooden church which was then heavily compressed then fed into a drum master buss I used that like I would room mic's . [b]Bass: [/b] Nothing special apart from the PSP Mix Saturator to add a little thickness and an extra compressor side chained and triggered by the kick. [b]Guitars: [/b] Nothing special again although I added a couple of tracks of my own and all sent to a bus with a SSL type compressor and extra compressor side chained and triggered by the vocal, both only taking a couple of db off. then sent to reverb 1 [b]Vocals: [/b] The chain used was A DBX 160 type compressor set at 4 - 1 but with about 3db of gain reduction, Esq. slight boost between 100hz and 200hz a dip around 500hz and a shelf boost at 5kh to add air. I also used saturation to give the vocal more attitude. [b]Vocals FX: [/b] reverb 1 a medium tiled room Reverb 2 A EMT250 type set at around 1.7seconds with a 70 second pre delay Delay 1 - set for ADT Delay 2 tempo synced at 1\4 All tracks have a high pass filter and many have a LPF also. I use tape saturation on quite a lot of tracks but it's very subtle it helps the tracks to gel together better. Hope this is some help

A big thank you to everyone who voted for my mix and another big thank you to everyone who had taken part be submitting a track, voting or taking the trouble to comment. but the biggest thank you goes out to Skol 303. Another great song this month , Dick Venom and the TT seem to be far more than musicians bagging out songs their Image, publicity and concept are all excellent,. I bet this band are brilliant live and deserve to fill out every venue. The song is short and sweet no waste or waffle. This is a band that a lot of people could learn from. Some great mixers this month I particularly liked mixes 8, 9 and mix 1 the orchestra breakdown sounded great. For those who are interested I will go into more detail of my mix later so if anybody got any specific questions feel free to ask.

The Kick is definitely out of Sync.

Most projects have parts that start at the middle of the track, baking vocals or guitar solos for example. When you start moving projects around especially to other Daws these parts can get moved or even lose their place entirely and it can be very difficult to remedy. To prevent this, all the tracks should start from the beginning even if it means some tracks have 3 minutes or more of silence before anything happens. The tracks should also be raw with no EQ, compression or FX if possible. Providing reference tracks is a good Idea also, songs that have the same production values that you want for your mix, but be realistic the mix can only be has good has the tracks you provide.

No problem glad to help. You could use drop box or post the tracks to me. It would make life so much easier if all the tracks were just one stem each and started at the same place. Look forward to working with you. John

[font=Arial, sans-serif]Basically you get what you pay for, good studios cost. There are many talented home studio engineers and that includes people on this forum but there are also many people out there setting them self’s up has commercial studios and mobile recording units that don’t have the skills do it and the ears to know they are just not that great. I should know I have remixed quite a few projects form people like this. [/font] [font=Arial, sans-serif]If you are going to pay someone for recording do your home work listen to their work first. [/font] [font=Arial, sans-serif] [/font] [font=Arial, sans-serif]I will have some free time after this month after this month is over if you would like me to have a go. [/font]

I have I have 13 tracks but only one overhead, Hats side seems to be missing

Are there some stems missing? only one OH and tom track

I went through a phase of using outboard gear, I spent a lot of time experimenting with it but in the end I just stopped using it. The ease and convenience of working in the box far outweighed the benefits. If I am honest I don’t think my mixers were any better with outboard gear. I use saturation plug-ins instead. Try http://www.slatedigital.com

[size=4]Don't think stereo think of it has 2 outputs then add more[/size] [size=4]You need to create sub groups in your DAW. give them different outputs of the [/size][color=#282828][font=helvetica, arial, sans-serif][size=4]Focusrite Scarlett.[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=4]if the [/size][/font][/color][color=#282828][font=helvetica, arial, sans-serif][size=4]Focusrite Scarlett has not got enougth outs then you need to invest in another interface[/size][/font][/color]

it Just the same but using more out's

[color=#282828][font=helvetica, arial, sans-serif]Focusrite Scarlett 2i4 USB line out's\ [/font][/color][color=#282828][font=helvetica, arial, sans-serif][size=4] summing mixer\ [/size][/font][/color][color=#282828][font=helvetica, arial, sans-serif]FR Scarlett[/font][/color][color=#282828][font=helvetica, arial, sans-serif][size=4] Ins, It is that simple or have I missed something. [/size][/font][/color]

Empty venue = lots of nice reflective walls for the sound to bounce around so a lot of what you are hearing comes from the reflections. Full venue = lots of people to absorb the sound so many of the reflections are gone. Low frequencies are direction less Our ears fine it difficult to detect the pitch of a note at low frequencies and the sound can quickly becomes a mess down there. That is why most sound engineers use high pass filters on most of the instruments apart from kick drum and bass guitar. My guess is that you are compensating by adding more bass but it’s the mid’s that you need.

[quote name='Skol303' timestamp='1394481966' post='2391855'] £100 per track seems reasonable for a pro mix, as it's typically a very time consuming job. I can also vouch for Ironside (above). A very talented chap and a very kind offer. I'd personally bite his arm off... [/quote] Thank you your kind recommendation.

Hi I could do it for free. Some of my work can be heard on the Mix Competitions.

[quote name='Dad3353' timestamp='1391440273' post='2357158'] Indeed. I had to ask for the lyrics, as I couldn't hear them distinctly; I'm not so sure that it was the best move, now that I can follow along. Too late, of course; credit just the same for the poetic author for his strength of writing. [/quote] Understanding the composers intentions is important to me and knowing the lyrics helps me do that . You may misinterpret ate the lyrics or make wrong decisions but I would say it is definitely a good move. and something others can learn from. Does the song have a message, what is the composer trying to convey? Getting the composers intentions and making them work for their intended audiences are often more important than getting good sound.

This could get quite complicated a boring very quickly. I also use the IK bass rig and the trick is not to overload the input. Do you use 24 or 16 bit?. I use 24 bit has it allows you more headroom, I try to hit the meters around - 12db sometimes less. Good gain staging is important, understanding it will improve how you mix. When the signal has gone through SXV and all the processors it should hit the master buss roughly the same has it went in, look up Fletcher Munson. We preserve louder to be better so to make good judgements you need a similar volume. The recording level of the DAW should not make any difference but how you drive the AD converters will especially on the cheaper soundcards try not to overdrive them. I try to get the sound right has early has possible and only use EQ to help the sound fit in the mix. To recap use 24 bit and try to hit the meters at -12 to -16db when the signal has gone through SXV and all the processors it should it the master buss roughly the same has it went in. Just to contradict myself all amps preamps and some plug- ins have a sweet spot, the trick is to find it, if the signal is too hot try to bring it down before it hits the convertors

Time management and preparation is the key. If you look after the minutes the hours will take care of themselves, if you have only booked a 8 hour session to do 4 all the 5 minuets quickly add up. Don't waste time have you equipment has ready possible if you are going to use a click have the tempos worked out beforehand if you have lots of tempo changers save them has a midifile. Do what you can at home and bring the files to the session. Be realistic about what you can achieve within the constraints of time and budget. Work out what is important, (Don't spend hours on guitar overdubs and leave no time for vocals mixing). Be well rehearsed even on overdubs. Don't get bogged down with arguments about crap. lastly have fun but be professional

Go to the Steinberg VSTPlugins folder and move the relevant dll files to Reaper's plugin folder

just remember its midi out keyboard to the midi in computer.

It should work with a computer and let you trigger your virtual instruments if that is what you mean.

I think in the end you will just have to pay up, A good recording takes time and often costs. in the long run you will always be happy with a good recording but once the shine as worn off a bad it won't take long before you start to cringe and have regrets. Was the time in the studio spent in a creative and productive way or was a hard slog to get the other musicians to get their parts right or come up with any ideas? If someone's lack of preparation or un professionalism has wasted your studio time and your money I would let them know you are not happy but never have a go at someone who has tried their best. You could cut cost by getting someone you know to mix it for free but make sure they are up to the job but if you are happy with the studio I would suggest that you stick with them but don't rush the mix to save a few quid. get it right have something you can be proud of.

May I suggest that there is some sort of level matching again, possibly K12.

There is something unique and charming about Kit's music and the musicians compliment that well. Good stuff.

A big thank you, Nigel and Kit Richardson for allowing this track to be used and also a big thank you to everyone who voted or comment, last but not least a very big thank you to Si for his time and effort in running this competition. This was a good song and a great performance from the band and it was also well tracked so well done to them. [size=4][size=5]My mix[/size]:[/size] My usual approach to a mix is to get a good drum sound and then build up the rhythm section first but with this track was different I built everything up around the Piano and lead vocal. I automated the EQ on the piano to a thin the sound out and add a little presence when the song started to get busier. Even though the faders are virtual for the majority of the time I mix on them in a similar way to using a real desk. I generally only use automation at the end of a mix process apart from on the vocals witch I automat quite heavily to make sure the vocals come across clearly but again this track was different, the majority of this track was mixed using automation. I bussed the BV,s into four different groups but automating each separate track. so I ended up with all the BV on four faders same with drums and guitars. There are no short cuts when working with a mix of this complexity you have to listen and get to know every track and then work out what part they have to play, is it a supporting one, counter melody or main part, in other words you need to have a vision of the final production. You can't have a big drum sound, massive backing vocals and an upfront vocal it just sounds a mess or at least it did when I tried it. Nothing more to say really no clever EQ'ing or compression but I do use saturation and layer the compresses I also mix into a buss compressor. This track was mixed on headphones using Cubase 7