Archive for Mixing

M7CL tricks part 3

I’m going to wrap up this initial tips and tricks of the M7CL with my favorite uses of the effects processor in the onboard rack.

For VOX verb, the Rev-X Plate does it for me 99% of the time.  Between the reverb time, pre-delay, and hi/lo pass filters, it is easy and fast to create subtle yet effective verbs.

For VOX delay, my favorite preset on any Yamaha desk I’ve ever mixed on is Delay LCR.  This one is insanely powerful because you can quickly create any combination of straight ahead 1/4 or 1/8 delays to intricate left/right/center ping pongs.  Again, the built in hi and lo pass filters make it simple to adjust the sound of the delay so it can be subtle and musical.

For a Kit verb, again either the Rev-X Plate or the Rev-X Hall with one of the stock presets sounds great to my ear.

We also use one more instance of Rev-X Hall for a generic instrument verb that can be put over piano, violin, or acoustics as appropriate.

One thing I’m trying to wade my way through is that Kensington really taught me to go much lighter on my effects then I ever used to before KCC.  I’ve encountered most engineers here at NLC.tv who lean back towards that wetter (and, in my opinion, more dated) sound.  The reality is that unless we’re talking about a worship ballad, most music being released nowadays is far drier than it was even just a few years ago.  So the challenge is to find ways to give vocals and instruments spice in the mix in a timeless fashion without letting it go so far that the mix loses definition or takes a 1-way trip back to the 80′s.  More on this later because I’m sure I’m opening a can of worms here…

Mixing a Rock Show strategy

Since I’ve been on a Dave Rat kick as of late, I ran across this really informative video on Youtube a few weeks ago from Dave that explains a bussing and compression strategy he uses for mixing.  I’d read about this, maybe on his blog, a few years ago.  This is more concise and easier to follow than those articles.  Definitely worth the watch…

Mixing Techniques for John Mayer

Continuing the video blog Mondays format of the past few weeks, here’s another cool gem of Manny Marroquin outlining mix thoughts from John Mayer’s tune “I Don’t Trust Myself”. There’s good insight here.

Books Update

February 4, 2010 timcorder No Comments » Mixing

I’ve recently been through two music history-type books that are worth the read. There is so much to learn studying the work of engineers who have achieved greatness in our industry.

IN THE STUDIO WITH MICHAEL JACKSON by Bruce Swedien

No one was closer to Michael Jackson at the height of his creative powers than Bruce Swedien, the five-time Grammy winner who, with Jackson and producer Quincy Jones, formed the trio responsible for the sound of Jackson’s records – records that topped the charts and shook the world. Friend, co-creator, and colleague, Bruce Swedien was a seasoned recording engineer-plucked from a job at legendary Universal Audio in Chicago – when he began working with Michael Jackson and Quincy Jones on the soundtrack to The Wiz, and he was the master technician who gave the records their sound as the trio progressed to Jackson’s greatest triumphs, Off the Wall and the iconic, history-making Thriller, which revolutionized music and video and fixed Jackson in culture as the King of Pop. In the Studio with Michael Jackson is the chronicle of those times, when everything was about the music, the magic, and the amazing talent of a man who changed the face of pop music – and culture – forever. In his laid-back style, Bruce Swedien offers anecdotes about being part of Quincy Jones’ extended “family” and reveals the technical details of creating Michael Jackson’s biggest-selling albums, as well as Bad, Dangerous, and HIStory. Including over 100 photos, In the Studio with Michael Jackson provides an insider’s look that will thrill anyone interested in the nuts and bolts of hit making and the history of some of America’s most influential music.

HOW DOES IT SOUND NOW? LEGENDARY ENGINEERS & VINTAGE GEAR by Gary Gottlieb

Chet Atkins was playing his guitar when a woman approached him. She said, “That guitar sounds beautiful.” Chet immediately quit playing. Staring her in the eyes, he asked, “How does it sound now?” The quality of the sound in Chet’s case clearly rested with the player, not the instrument, and the quality of our product ultimately lies with us as engineers and producers, not with the gear we use. How Does It Sound Now? Legendary Engineers and Vintage Gear contains insightful interviews with 31 of the most famous audio engineers of all time on how they utilized (and in some cases invented) classic analog recording hardware to make some of the highest quality recordings of all time. Each interview provides a walkthrough of audio and music history as you learn how some of your favorite recordings came to be made. But the interviews don’t only reveal what gear was used and why. Throughout the discussions, each interviewee brings up how creating quality recordings was and always will be the ultimate goal of the engineer. And of course, a big reason why each of these legendary engineers was so successful was that their standards for quality were so high. The interviews are loaded with advice and insight on how recording is an art form and how one might go about becoming a master.

We Believe

January 29, 2010 timcorder No Comments » Mixing, Other

If you follow my Twitter or Facebook accounts, you’ll remember lots of posts this past summer & fall about studio time.  After a year or so away from the studio, I took a project this past summer to engineer & mix a worship project for the church I was last involved with before going to Kensington.  I’ve been good friends with Chris Lindsey, who produced the project & sang lead vocals, for almost 10 years now but we’d never done something like this together.  It was a lot of fun.

WEBELIEVECOVER

Because of my heritage in the Church of Christ, I have lots of experience with acappella vocals.  I’ve always found this background served me well as an engineer.  If you can mix/blend 4 or 5 part contemporary vocal stuff, it seems like mixing a band is often times MUCH simpler.  My background made a big difference in mixing bands with money vocals like Avalon or Huey Lewis.

Below are some samples of what we did.  Everything you’ll hear, including the percussion, is all vocal.  Each song is comprised of 6-10 bed vocals – all doubled.  Add lead vocal, bass, and percussion and all told, most tunes come in with anywhere from 24-40 tracks.  I work exclusively in ProTools and this was my first project to do completely in new Version 8.  I have about 90 hours in the project – 35 tracking and 55 editing, tuning, & mixing.  My friend Michael Forehand, a great engineer himself, mastered everything for me and I’m very pleased with the finished result.  Check it out and if you’re interested in more about Chris or picking this up for yourself, head over to his website at chrislindseymusic.com

Let God Arise

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Oh The Deep Deep Love

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Mighty To Save

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