I do this with a plug‑in called HoRNet AutoGain 2. “The very first thing I do when I start a mix is something I learned from Juro ‘Mez’ Davis, J Cole’s mixer (Mez featured in Inside Track in SOS September 2013 issue: which is to bring everything down to ‑18dBFS. I do this with a plug‑in called HoRNet AutoGain 2. The very first thing I do when I start a mix is something I learned from Juro ‘Mez’ Davis, which is to bring everything down to ‑18dBFS. You have to make the beat hit hard and then make the vocal fit in with that.’ So now, before I get to the vocals, I get the beat knocking. My natural tendency when doing final mixes would be to focus strongly on the vocal, but a few years ago I assisted Tillie Mann on some sessions (Mann featured in Inside Track in SOS une 2020 issue: and he said: ‘I’ll work on the beat before doing the vocal. ![]() “During recording and rough mixing my focus will very much have been on Polo’s vocal. Video of Polo G - RAPSTAR (Official Video) Beat Focus When I mixed in the guest vocals on Polo’s tracks, it was a matter of matching things level‑wise, and then trying to make everybody feel like they’re in the same place, using reverb.” In the past I’d send dry vocals with effects tracks, but he did not like what was done in some case, so I now send them out fully produced. “I now do the same thing when I send out Polo’s vocals when he is featured on somebody else’s song. And often they came in at the last minute! Many artists are very particular about their vocals, so I can’t touch the vocal production. This is why there are co‑mix credits on a few of the songs. “The other thing is that the guest vocals I was sent were also often pre‑mixed, for example those of Nicki Minaj, Lil Wayne, Young Thug, Roddy Ricch. There were a couple of songs on the album for which my mixes got very involved, and Polo just said, ‘It sound different.’ So I had to go back and pull things back a little bit again. I’m trying to make it hit a little harder, but also not to over‑embellish things. “Essentially, what I’m doing when mixing is trying to beat my rough mix. On the master bus I have the Waves SSL E‑Channel Strip, another Pultec EQ and a FabFilter Pro‑L 2.Įssentially, what I’m doing when mixing is trying to beat my rough mix. My aux tracks have the Waves Manny Marroquin Reverb, the Waves Renaissance Reverb, though I have been using the FabFilter Pro‑R recently, Valhalla Vintage Verb, Waves H‑Delay and Waves Doubler. “On the inserts of my vocal record track template I have a Waves SSL G‑EQ, Waves C4 multiband compressor, FabFilter Pro‑Q 3, and a Waves Pultec EQP‑1A to add high end. I can do R&B with my template, or rap, or pop, heavily effected or vocals with very few effects, and so on. When a client leaves Paramount after a vocal session, they want to have something that they can listen to and that sounds good. ![]() My vocal recording template is pretty simple, and it also allows me to do a rough mix very quickly. Recording and mix templates are very different things! But as I mixed more songs, I also created a mix template. I have a vocal recording template, and when I mixed ‘Rapstar’ I thought it was a one‑off. But as I started mixing, I had to expand my working processes. My work still consisted almost entirely of recording. I’d done some mixes on the previous albums, but had not been credited for them. Todd Hurtt says that the expansion of his work on Hall Of Fame to include mixing meant that he “learnt a lot about myself. ![]() I understand why Scheps doesn't use pre fader sends, because then he's getting a copy of his unaffected audio sent to rear buss right? So I def don't want to do that, any insights are welcome thanks in advance.Published September 2021 Learning Process Realized: I think what I can do is route all instruments going to the rear buss to an aux, and that auxes fader will be at 0 so it should respond correctly even when I max out the sends, still not enough, tried turning the input of the compressor up as well, but that doesn't work because it causes me to have to turn the track volumes sent to the rear buss down, which leaves me where I started. This is great, watched a few times, took notes, currently mixing with the template, one issue I'm having is, when my sends to the rear buss are post fader, they don't hit it hard enough, for ex: I'm getting healthy audio levels from my guitars, but since they are turned down to -8, -6, -12, guitar solo turned down to -27, and again, although the faders are turned down, the audio signal I'm getting is just right.īut since post fader sends react to the actual numeric value that the volume faders are set to, I get just a teensy bit of audio signal from my sends, not enough to hit the rear buss hard enough for compressor to react at all.
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