ALL KIND OF ROCK MIX AND MASTER TUTORIAL

Discussion in 'Mixing and Mastering' started by Adamdog, Jan 19, 2016.

  1. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    ALL KIND OF ROCK MIX AND MASTER TUTORIAL

    All into the box

    A mixing and mastering tutorial, all into the box, plugins, samplers, programs but also recording tips and microphones diagrams.

    Rock, Hard Rock, Pop Rock, Indie, Folk, Country, Punk, etc. But also Funk, Jazz, Soul and real bands in general

    Layers, Channel Strips, Buss Mixing, FX Channels Send Returns, Panning, Equalizers, Dynamic Processors, Analysis, Master

    Layers

    First of all layers, always layer your kick, snare and toms with some other sample. You can trigger audio drums with ApTrigga (check well the mix section of the plug, just the wet sample's sound is needed) or use your virtual drums midi to add elements.
    You can also use a parallel compression style, with clean not compressed drums.
    There are many ways to do it, from having 2 drums, one processed, one not, routed to the master. Till -my way as example:
    1) complete processed drums, tracks, triggered elements, kick, snare, toms, rooms sub buss, reverbs, all routed to a final drum bus.
    Eqs and compressors on each track and bus.
    2) a stereo track of the clean drums with just an eq with 20-30 Hz low cut, maybe a cut in the 400 Hz zone, maybe at around 1 kHz, hi cut at 19-20 kHz, no compression. All routed to the Drums Bus, with an eq, comp, limiter, eq on the Bus.

    Minimum 2 Bass lines, Amp and DI, but also a low end track and an overdriven bass line can help a lot and encrease the sonic chances by automating volumes.
    Record the bass with more mics if you have the chance.
    Or use the DI line and add amplifiers simulations.

    Stereo or dual mono guitars
    Synths or violins layers
    Vocal doublers or vocals multi takes

    Buss Mixing

    Always divide the mix in sections, drums, bass, guitars, vocals, keys, etc
    Route the Channels to their respective Buss, and the Buss to the Master
    More control over: transients, loudness, EQ, phase, volume automations
    Less analysis plugins
    Final 5-6 Bus faders control for maximum control of the mix
    Check well FX Channels routing, signal flow, if a Channel goes to a Bus, its FX will go to the same Bus. If a channel goes directly to the Master, its FX will do the same.

    FX Channels Send Returns Technique

    Don t insert pitch, reverb, delay FX directly in your strip channel
    Use FX channels and use the sends on your track to mix the FX level
    You d need less Reverbs, save CPU and don t give too many different spazializations, which is wrong.
    Always insert an EQ like Brainworx, light and good, after the Reverb or Delay, pitch, to low and hi cut the FX. Less confusion, more clean.
    Analog mixers always have FX cuts in the returns channels.
    With Soundtoys, Nomad Factory, PSP delays, Lexicon, Native instruments and Altiverb reverbs you can be able to give some spatialization to your mix.
    Don t add reverb to the very low end, more clean, definition
    All reverbs can be low cut below 100 Hz as start by inserting a low cut EQ after the Reverb in the FX Channel.
    I low cut kick's rev below 70
    Rhythm guitars around 100 Hz
    Guitar leads and sols and vocals even 200-300 Hz low cut
    Delays can be cut below 200-300 Hz and hi cut above 8 to 10 kHz
    Pitch FX works well just in the mid, mid-high range
    You can low cut between 500 and 1000 Hz and hi cut above 8-9 kHz
    FX WILL BE MORE PRESENT WHEN ALL MASTER PLUGS WILL BE USED, THEN LOWER DOWN ALL FX FADERS BY 1-2 DB IF NEEDED

    Pre and post Comp Equalization

    In this tutorial you will often find the channel strip EQ-COMP-EQ
    Where the first one is for low cut and negative eq, the second post comp one is for lows and mid-highs enhancing.
    Using a pre EQ to cut unwanted portions of sound makes the comp work better, it doesn t ennhance those garbage portions of sound, and using a post comp EQ you can work and give DBs to the mids and hi end, it won t engage the comp so, it will not be "frequency dependant".
    When you use just an EQ before a Comp, and you give 4 DB at 3 kHz, say, anytime the material will play in that range of frequencies, it will hit the compressor harder, with more input volume therefor more gain reduction at a given treshold.
    Uncompressed highs sounds are pristine and sparkling without compression artifacts. If you do it on all channels, whole mix, your high end will get a very noticeble improvement. Try it. Money back in 30 days.
    Use low and hi cuts, but pay attention don t exagerate with the number and cut, cause you have many (a kick can go through a channel, sub buss, bus and master eq) shelvings eqs to open low and hi end, parametric eqs for drastic cuts and low and mid equalization.
    Always open the high end with a shelving, but for the lows use a parametric for the channels, too many things running in the lows, and maybe a shelving to add some low end color in the Buss.
    Don t exagerate with hi end shelvings, often + 2 DB are enough
    The bass needs a lot of mids and highs, don t have doubts to give 5-6 DB in that ranges, from 2.6 to 5 kHz.
    For the rest not much highs, in the master section they could turn too much.
    Sometimes guitars needs some more high end
    I make many frequencies examples, take them as "more or less", starting presets. Listen and analyze your material

    Equalizers and Compressors Infos

    Brainworx EQs are light and sounds good.
    Flux EQs are relatively heavy on CPU, sounds incredibily analog and natural at the same time. Top eq, no mono version, stereo only.
    Maybe the best EQ of its kind, along with UAD Cambridge Eq.
    On Dolby applications one single istance can handle 8 channels EQs, mono
    I guess on PC only.
    On the Flux Epure Eq, a Q of 2 corresponds to a Q of 20, a Q of 4 is 40
    For lead instruments like guitars and keyboards more colored actitude simulations can help, if you know their carachter.
    From UAD to Waves, PSP, and many others there are many simulations.
    Equalizers, compressors. Pultec EQs, Fairchild and usually valve based simulations sound dark and warm.
    Modern A Class transistors consoles strips simulations like SSL, Neve and FET comps are brighter.
    EMI ABBEY ROAD TG Limiter comes with two models, 1969, dark and 2005 bright
    All good modern digital compressors and limiters are neutral or bright
    Switch the plug pole filters that you don't use off, save CPU

    Use of Scales and Notes to Frequencies Charts to Equalize

    First of all it s better to know the scale played, tonality of the song
    Ask a musician for help. The scale played depends on the tonality and if it s minor or major. Tell him so. How to determinate the scale of your song.
    Very useful on bass, vocals and the Master.
    Download tonality lists, to see the note played in the scale.
    There are charts online, NOTES TO FREQUENCIES charts.
    Use them. Know the scale, look at the notes and modes, get the respective frequencies and move on those frequencies with the EQ. If you see in the spectrum some nice stuff in the bass mids, around 2.6 kHz check what is the exact mid frequency of your scale and boost it. Maybe it will be 2.4 or 2.7 kHz. Same for mids. On vocals and Master too.
    If the bass hits a low note that cuts throught the mids, too much, find the frequency of that note and with a narrow Q parameteic Eq put it down by 10-15 DB. Maybe automate the pole filter just where needed.
    This is real equalization.
    You don t have enough poles to mix a whole song, thought.
    But you can go by hear on all drums, percussions, some synth and guitar.
    Use it strategically. Bass, problematic. Vocals, important. Master, tone.

    CHECK THIS VERY SIMPLE SILLY EXAMPLE FROM BOB KATZ:
    Just to understand the principle, he makes it veeeery easy... Even too much



    Signal Flow Clipping

    Never ever clip a track, Buss or Master
    Never exceed 0 DB in digital, it adds digital saturation which is awful
    Always check all the passages, no red clipping
    Leave the fader at 0 DB, insert an EQ and check if it clips
    Insert a compressor, check again and so on plug by plug, Bus by Bus, till the Master, check always the whole signal flow, as you adjust plugins parameters, adjust the volume.
    You may want to consider using Unity Gain:
    When you insert a plugin like equalizers and compressors limiters, make your sound, then move the plug output volume to match the original track (plug bypassed) volume. Don t let more volume fool you. Sometimes it hides a worst achieved sound. Compare at the same volume.
    That's sound engeneering, a lot of work.

    Analysis and Metering

    Check everything often. Spectrum, Phase, Loudness. Trust your ears but watch analyzers.
    A wrong phase correlation can make stereo guitars disappear in radio mono playbacks. If you can listen to your track in mono too.
    Nowadays more loudness is required, check your style standards and achieve that loudness by compression.

    About drums phase aligning: when you record drums the distance of the mics is very important, with virtual drums is all already done.
    All the drums wave files must be aligned.
    Plugins introduce latency so if you have 1 plug on a kick, 4 on a snare, manu Sub Buss and Buss passages they won't be aligned anymore.

    On Pro Tools you can calculate the latency of the added plugins with a dedicated plugin, by making some count you would be ready to align a whole mix.
    Sound Radix makes a similar plugin very good for drums.
    (Plugins Delay Compensation features DON'T really work, on any software, they won't align it all for you)


    MIXING

    Drums

    3 Sub Buss for Kicks, Snares, Toms, 2 FX Channels for Reverbs, a final Drum Bus where to route all, Sub Buss, Hi Hat, OVHDS, Room, FX
    A virtual like Toontrack drum, multioutput istance, all channels routed to your software channels
    The Superior Drummer (give it 2 GB of ram in its settings) has a "bleeding mics" feature. Actually, unchecked, it s like a gate.
    You can have all gated elements or not, so you can use your preferite gate as first plug in the channel strip.
    If You have real recorded audio drums, kick, snare and toms can be triggered with Apulsoft ApTrigga to create layers
    You can add layered fat big kick and snare, punchy ones, and maybe an electronic kick layer, for pop rock songs

    EXS 24, Stylus RMX, Kontakt or another sampler for some drum layer and percussions

    Live in Rewire mode that's another good option for percussions, create some aux for it in your software, 3-4 channels. Live third part VST plugs won't work in rewire.

    Kicks, Snares, Toms and final Drum BUSS, 2 FX channels for Snares and Drums reverbs
    Percussions BUS, 1 FX channel for Rev

    You can use Waves SSL Channel on all drums, just 1 plug, eq, comp and gate, a lots of drums starting presets for any element
    You may want to use a 1176LN comp (attack release positions are inverted respect other comps, its old school style settings, check em well) on a snare to achieve the famous snare sound (standard, even Superior Drummer has one sampled with the 1176LN)

    On all BUSS you may want to use a digital EQ like Brainworx or Flux and a limiter like Flux.
    On Kicks, Snares and Toms BUSS add also a plug for transients control like Sonnox Oxford TransMod, good tool

    Of course it depends, but my choices are more or less: Room or short Plate Reverbs on all drums, Plate, Hall or Nonlinear Rev on Snare, and Chamber Reverbs on Percussions.

    Pan your drums, think you're in front of the drummer and pan all.
    Kick center, Snare can be panned a little, pan the hi hat and toms.
    Check a virtual drum internal mixer pan if you have no idea.
    On virtual drums, reset all the internal pan and rebuild it, copy it, in your mixer channels.
    Drums sounds will hit the channels compressors correctly so, not panned.
    Then you pan the produced sound.
    Pan all elements, audio toms and toms triggers exactly the same in the stereofield.
    You can use a stereo metering plug on the Toms Bus to match them.


    Kicks

    SSL channel or Softube Valley People Dyna-Mite Gate, Brainworx Eq, 1176LN
    Another good standard for the OUT or FAT kick is the use of an LA-2A compressor, valves, dark colored.
    Or a good old 1176LN (attack release positions are inverted respect other comps, its old school style settings, check em well).
    Keep the attack of the comp slow and the release fast
    Low cut around 20-30 Hz
    Kicks have 2 important low poles 50 and 100 Hz more or less
    You have a OUT MIC Kick and a fat kick sample, for the 50
    IN Mic and punchy kick samples for 100
    Cut the roundness around 200 and the unwanted mids around 800-1 kHz
    Someone likes a DB or two narro Q around 850-950 Hz for small speakers
    On the kicks mids around 3400 are good
    On the IN mic, especially if taken with a Shure kick mic, the snap around 5200 Hz is perfect.
    On brighter kick, open the high end from 8-10 kHz

    Snares

    Always remember you may have TOP and BOTTOM snares and 2 more triggered samples
    Snares can be low cut below 70 Hz, has a good low end from 150 to 300 Hz,
    They need to be cut around 400-600 Hz
    Have a good mid range at 1.3 , 1.4 kHz
    Mid highs from 4 to 6 kHz
    And a shelving to open the hi end around 9 kHz would be perfect
    TOP MIC is to take the full snare range, while the BOTTOM MIC is for the highs, ringings, and can be cut to cut the kick around 100 Hz
    About added samples snares, try to take the mid low end from the fat big sample and the highs from the punchy bright one, as istance.
    SSL Channel Strip, has gate comp and eq and many presets to start
    Or same old EQ-COMP-EQ
    1176LN (attack release positions are inverted) or Softube FET Comp are just perfect on snare.

    Hi Hat

    Try a 4 kHz low cut, to take just the mid highs, or low cut at 300 Hz for more body
    The hi hat is always too present in acoustic rooms
    Control the volume well, the hi hat is also in the Overheads track, snare mic, everywhere.
    Frequencies around 6-8 kHz can be too much
    Low cut it below 100 Hz
    If you want to add some body, around 1.5 kHz


    Toms

    Toms are usually 3 from the lowest floor tom, to toms 1 and 2
    The floor tom need a good low end, from 50 to 70 Hz check with kick and bass, low cut at 30-40 Hz
    Something must be cut around 300-500 Hz
    Give some DB to the mid-range around 3 kHz
    Open the hi end from 4-5 kHz
    Same for the Toms 1-2 just move everything higher, a bit
    Tom 1 100-150 Hz good low pole, cut around 400-600 Hz, mids around 3500, high end from 4.5 kHz
    Tom 2 150-200 Hz, 500-800, 3.5-4 and so on
    Check with spectrum analyzers
    SSL Channel or GATE-EQ-COMP-EQ
    I always try to remove too much attack from already boxy boomy toms.
    Softube Tube Tech CL 1B comp has Toms presets and it s good to remove some attack being a tube based comp, therefor it has slower intervent tool than a FET comp, also Sonnox Oxford TransMod is good to REDUCE, this time,the attack on the Bus
    Don t PAN the Toms too open in the stereo field, we're not in the 80s


    Overheads (OVHDS)

    If you have the chance to record drums, record OVHDS in dual mono, not to a stereo track, A-B mics scheme, then PAN L&R
    this will help you, 2 faders, the mic above the snare is usually lowder, lower it to match the other channel then route all to a Sub Buss
    Insert EQ-COMP-EQ in the Sub Bus, the two channels must hit the compressor at the same level, adjust their faders

    Two schools: most of the drums from the overheads then mix all accordingly, or just take the cymbals and of course part of the Toms, snare, everything, but not the whole set range
    I m for the second so I low cut below 300 Hz to eliminate the kick and open the high end above 12 kHz, just 2-3 DB, to stay away from the hi hat
    Use a FET comp or Flux Limiter

    Old school drums were recorded with just 4 mics, Glyin Johns, producer of Led Zeppelin, Who, Stones and many others invented this technique that took his name: 1 mic at the kick, 1 snare, one from above pointed to the rack Toms, one aside the floor tom, pointing to the hi hat.
    The last two are his OVHDS, a triangular shape which avoids phase issues easy to be found in modern A-B or X-Y mics schemes
    Most of pre 70s drums are recorded like that
    I have recorded modern drums with A-B OVHDS scheme and added Glyin Johns' vintage OVHDS, ALL OK no phase issues in mixing.


    Room

    You can take the room sound and make it sound better or use it to create a strongly compressed low and mid pushing track to enforce the drums
    In the first case just low cut below 30 and hi cut above 18 kHz, maybe check around 1 kHz if you need some cut
    In the second case you may use a Pultec simulation, and enhance and reduce (Pultec Eq style) at 100 Hz to get a fat low end
    Use an actitude compressor like Fairchild, or all bottons 1176LN, PSP Vinatge Warmer 2, Soundtoys Decapitator to push hard.

    Kicks, Snares, Toms Buss

    EQ-LIMITER-EQ-Transient Control plugin
    (see Pre and post Comp Equalization explaination)

    Drum Bus

    On the final Drums Bus, where all channels and BUSS are routed to, an ideal set of plugs would be EQ-COMP-LIMITER-EQ-Stereo Image Plugin
    (see Pre and post Comp Equalization explaination)

    First pre comp EQ
    Waves Fairchild, a worldwide drum standard, watch out the low end it will raise it a lot, use snare preset or anyway a fast recovery setting
    Or a Flux compressor, modern model, very good
    A limiter like FLUX's
    A final post comp EQ
    Waves S1 if you want to open the width and stereo image, don t exagerate.
    Sound Radix makes a nice Drum Leveller plug, if used wisely.
    Analysis tools, like RNDigital to check EQ and Stereo Image.
    Low cut below 20-30 Hz, use shelvings eq to open the low, around 150 Hz, and hi end around 10 kHz, cut around 200-300 Hz narrow Q, maybe cut around 1 kHz, good mids from 4 to 5 kHz


    Bass

    4 mono channels on a mono Bus
    1) Amp 2) DI 3) FAT amp simulation (Softube Bass Amp Room, FAT preset) 4) maybe an overdriven DI line it helps in mixes full of guitars
    Kontakt for bass, violins, pianos
    If you have only a bass DI you can use Amplitube for line 1), The SVT CL is a rock standard, use the DI for the other 3 lines too
    The best thing would be to record the Amp with 2 mics, AKG D112 for lows, Sennheiser MD421 for midhighs and a clean DI. Then you'll have
    1) Amp Lows 2) Amp midhighs 3) DI 4) Distorted DI. You can cut the FAT DI of the previous scheme

    play with the 4 channels volumes automations to change the color of the bass. As istance more FAT bass in the breakdowns or clean verse
    more distortion under a guitar riff, or when the bass is alone with drums but needs aggressivity

    Unwanted bass low end may start around 60 Hz and below
    Some good low pole could be from 80 to 130
    But look out, around 160-200 you have to cut maybe a lot too, narrow Q of 4
    There s something good around 280-320 Hz but just a couple of DB ++ and narrow Q
    Find the mudness usually from 400 to 700 Hz and cut it. The Q can be a bit broader here.
    Around 900 Hz just 1-2 DB with a narrow Q helps the bass on small speakers listenings
    There s something good around 1.8 kHz but be careful, and narrow Q of say 3
    On Amp, DI, Overdriven DI you will push the mids around 2.6 to 3.2 kHz and open the high end from say 4-5 kHz. Bass needs of a lot of mid highs usually. Push them, no fear !
    That "dirty" bass sound, so noisy is usually around 8-9 kHz, cut it if needed, narrow Q like 4
    So EQ-COMP-EQ (see Pre and post Comp Equalization explaination) Brainworx and 1176LN or Softube FET comp would do a good job here
    Just and EQ on the FAT bass line, to control the low end below 40-50 Hz

    On the mono Bass BUSS you may want to use an IK Multimedia rack to have EQ-COMP-EQ and some analysis tool in just 1 plug. Great sound.
    Classic Eq, Soft Clipper, Classic Eq. The Brickwall limiter ruins the bass sound to me, don t use it


    Guitars

    If you have dual mono guitars (2 mono recordings of the same amp, 2 maybe different mics and pres) Of course PAN em L&R has hard as you can before getting phase issues, especially for rhythm guitars.
    Usually one guitar dark, one bright.
    The bright one must be panned to the opposite side of the hi hat, which is bright and present, so they won't interfer.
    Always use EQ-COMP-EQ (see Pre and post Comp Equalization explaination)
    On the dark one you may want to use old school dark devices actitude simulations, like a Pultec EQ and find a pole in the mids to give some carachter, like around 3 kHz, start with a Q in the middle between narrow and broad, usually then around 3-4.
    On the bright guitar, I like 80s console EQs simulations
    There are many, PSP, UAD, Waves... Neve like sound
    Mids around 4 kHz, open hi end at 5 more or less, by ear and analysis

    Low cut guitars below 60-70 Hz
    Good low poles are from 250 (metal standard) to 330 (crunchy grunge)
    Check unwanted frequencies and cut at around 1 kHz and 1.7 kHz (here just - 1.5 DB is very noticeble) keep the Q narrow around 4 cause at 1.5 kHz there s the guitar "body", useful
    you can find a pole around 3 kHz for the dark guitar, and 4 kHz for the bright one, for the mids, and open the bright one high end, or both

    FET COMPS like Softube's or 1176LN are perfect on rock rhythm and solo guitars
    UAD Neve 33609 Compressor Limiter is very good on acoustic guitars
    In general acoustic and electric rhythm guitars need a very fast attack and fast release
    Joe Satriani's producer uses a Neve strip and eq and 1176LN on rythm and solo guitars.
    For arpeggios he uses more valve based devices, cause the formant waves looks like vocals, he says. So he treat em like vocals.

    Create a RHYTHM GUITARS BUS for the dual mono guitars
    Route them and all the FX channels you may need to it
    Here you may start with a FLUX limiter and a post FLUX EQ
    Analysis tools, spectrum and phase (check the PAN, if you encoure into phase issues, narrow the PAN, from 100 L to 90, 80 say...)

    For lead guitars and solos more or less the same, if there s some mono one you can skip the Bus
    Always check the spectrum to know what to cut and what is good.

    Use Room or short Hall Reverbs on rhythm guitars, Hall, Plate and Spring Reverbs on arrangements and solos.
    I use pitch FX only for arrangement guitars, and Soundtoys Delays, sometimes a Roland Re-201 for echoes.


    Synths, Keyboards, Pianos

    If you have many create a SYNTH or KEYS Bus
    If you have high volume lead synths and very subtle pad strings sounds, don t put them on the same Bus too much volume difference
    Route the synths to the Bus and the pad to L&R if so
    Try to low cut everything below 130 Hz say, make room for bass, kick...
    Well it s so vaste here... Depends on the material, analyze it. Listen to it. Find a nice low end, a mid range to cut, around 1 kHz, and good mids and hi end to open.
    LA-2A is a standard compressor for strings.

    Use layers, dual mono techniques for your lead synths. Open 2 synths, to make a single sound, put EQ-COMP-EQ on them, PAN em L&R, route em on a Lead Synth Bus, insert an EQ maybe, surly a Limiter and a Waves S1 to open the stereo image.
    Play with their cut off. Slightly detune one of them. Fine detune.
    Check the phase always with an analyzer. Keep it as wide as possible.
    Check with other Buss, and Master.

    Pay attention at the FX routing, route the FX to the final sound destination. If a channel goes to a Bus, FX goes to the same Bus.


    Vocals

    ALWAYS START MIXING FROM THE VOCALS, MEANINGFUL TRACK, MAKE THE TONE, COMP, ADD REVERB THEN YOU CAN MIX THE KICK, DRUMS, BASS, GUITARS ETC ALWAYS CHECKING WITH THE VOCALS, NOTHING GOTTA INTERFERE WITH VOCALS.

    There are useful tools like Celemony Melodyne or Autotune to tune and have some formants, vibrato, espression control.
    Vocal Alligner to allign vocals.
    If you need a de-esser to cut around 6-8 kHz use it as first plug in the strip channel.
    EQ-COMP-Limiter-EQ
    (see Pre and post Comp Equalization explaination)
    1176LN slow attack fast release, EMI TG Limiter fast recovery to add liveness.

    See the tutorial, "Groove3 - Recording Vocals Explained", same tools.

    From no reduction up to 15 DB of reduction in intense moments, on the 1176LN.
    Few on the TG, 4-5 DB
    Keep vocals mono in the verse and open it to stereo in the chorus
    Big effect
    For stereo vocals, there are many techniques, you can just double the track and shift the two same audio files to avoid phase issues, use a plug in like a mono to stereo, a doubler.

    I record more exactly same vocal lines, then place one in the center, one hard pan L, one R. No harmonizations, just one voice, unison.
    3 lines for a main vocal.
    Then the center one is the main one.
    Low cut at 70-150 Hz depends male, female
    Good Low pole from 260 to 350 Hz
    Cut around 650 Hz (especially dynamic mics) A LOT sometimes 8-9 DB
    The mid range can go from 1.5 kHz to 6
    For main male vocals from 3.5 to 5.5 kHz is good, keep in mind most of the mics diagrams show a curve enhancement around 3-4 kHz so maybe already enough. Try around 5 kHz.
    Another parameteic eq with a narrow Q like 3 around 9-11 kHz, max 2 DB
    Open the hi end at 14-15 kHz, just 2-3 DB
    About the L&R vocal tracks you can low cut a little higher like 130 Hz, then make a darker one, mids around 2 kHz as istance, and the other brighter, mids around 6 kHz the open the high end
    Route all vocal tracks and FX channels to the VOX Bus

    Use the mono central main vox in the verse, maybe with a shorter reverb and add the side ones in the chorus for a full mono to stereo effect. Listen to the effect.
    It can be encreased by a long reverb and a ping pong or stereo delay.
    Automate the volumes to fit in the mix.
    If you need distorted vocal Soundtoys Decapitator is the tool for you, so many vocal presets!

    Open FX channels for:
    Main Vox Chorus (Roland Dimension D, Nomad Factory Chorus, low hi cut EQ)
    Main Vox Short Delay (Soundtoys Echoboy, low high cut EQ)
    Main Vox Long Delay, Ping Pong (Soundtoys Echoboy, PSP85, low hi cut EQ)
    Main Vox Short Reverb (Room Reverb, low cut EQ)
    Main Vox Long Reverb (Plate Reverb, low cut EQ)
    Choirs Phaser (Nomad Factory Phaser, low hi cut EQ)
    Choirs Delay (Soundtoys Echoboy, low hi cut EQ)
    Choirs Reverb (Hall Reverb, low cut EQ)

    Route the 3 main vocals tracks and their FX Channels to the VOX Bus
    Use an eq like Flux, Flux Limiter, Waves S1 Image plug, spectrum and phase analysis plugs

    Route Choirs to a Choirs Bus with a similar strip

    Automate all your BUSS (Drums, Bass, Guitars, Keys, Vocals etc) to make slow, gentle 2 DB fade ins from the start to the middle of the main moments, verse, chorus etc
    Big effect, flying faders


    MASTERING

    Usually UAD and TC Electronics Powercore are my main plugs.
    I have examples for the whole mix except the Master strip.
    You may try with Flux, they are top notch sounding plugs.
    Remember that the 1.014 version for PC doesn t include the Multiband Alchemist (5 bands), so find a good Multiband Compressor of your choice.

    I do it all in the same song, mix and master, maybe by freezing tracks to save CPU power, but only if needed. All live it sounds better.

    UAD Cambridge Eq low cut at 20-30 Hz, positive shelving eq at 140-180 Hz, cut at 350-450 Hz, cut at 1 kHz last twos narrow Q around 4
    UAD Precision Multiband Compressor (5 bands), max 5-6 DB of gain reduction each band
    UAD Precision Bus Compressor (Side Filter, no compression below 300 Hz), max 5-6 DB of gain reduction, 300 Hz side filter, I don t process lows
    UAD Cambridge Eq good mids from 3.5 to 5.5 kHz, narrow Q around 11 kHz, + 1 or 2 DB, open the hi end at 16 kHz just 2-3 DB, hi cut at 19-20 kHz
    Waves S1
    UAD Precision Limiter (Bob Katz K-12 or K-14 set up max 8 DB of reduction)
    Analysis tools for spectrum, phase, loudness

    I don t use any mid-side device, I decide it all in the mix.
    Kicks, bass, vocals (1 of the 3 vocal lines) are true mono, with stereo FX.
    All the BUSS (Drums, Guitars, Keys, Vocals) have a Waves S1 stereo width tool, and I have PAN on the channels, that s where I decide the stereo image of the mix. I find that doing it all drastically on the Master can work for many tracks and the whole mix, but can destroy other ones.

    MIX WITH SOME LOW CUT AND COMPRESSION ON THE MASTER, TO GET THE FEELING YOU WILL GET WITH MASTERING
    FX WILL BE MORE PRESENT WHEN ALL MASTER PLUGS WILL BE USED, LOWER DOWN ALL FX FADERS BY 1-2 DB IF NEEDED
    ALSO THE HI HAT, CYMBALS AND HIGH FREQUENCIES SOUNDS (violins) WILL RAISE UP

    GIVE THE SONG AN APPROPRIATE "COLOR", SAD SLOW SONG, DARKER TONE, MAJOR HAPPY RADIO POP SONG, BRIGHTER
    FOLLOW THE MOOD OF THE SONG

    WHEN YOU'RE READY TO BOUNCE YOUR SONG, SAVE A NEW SONG UPDATE AS "Song Bounce", AND REMOVE ALL ANALYSIS TOOLS IN YOUR MIX.
    EVEN IF BYPASSED THEY WOULD ADD LATENCY AND TAKE RAM

    SOME INFO, HISTORY AND BACKGROUND

    LA-2A and 1176LN Compressors Explained

    The first LA-2A model was produced by Teletronix back in the early 60s
    things weren t doing well at Teletronix so Bill Putnam decided to buy the whole factory just cause of...
    the LA-2A.
    Bill Putnam was the owner of the Universal Audio, and developer of the famous valve based console, known to be "the father of modern recording", he worked intensively with Frank Sinatra, Nat King Cole, Quincy Jones, Bing Crosby.

    https://en.m.wikipedia.org/wiki/Bill_Putnam

    LA-2A has an A class tube driven electro optical circuit (T4)
    of course completely hand made even nowadays at UA
    This is a so called actitude compressor.
    it means that just inserting in the signal flow it changes a bit the color and the grain of the sound.
    it as fixed attack and release. A very fast attack and a very singular release that makes it unique
    I ll copy and paste from the site cause it s well Explained:

    "The attack time is 10 milliseconds and the release time is about 60 ms for 50% release and 0.5 to 5 seconds for full release, depending on the previous program material."

    this makes it perfect for slapped bass, congas and percussions in general
    a standard for female or falsetto vocals (Julio Iglesias)
    or perfect on a second fat or OUT mic kick
    also used on acoustic guitars and strings

    I think the tutorial will also explain how it developed through the years with the different Models
    this is a super standard since the 60s and a weapon of top producers in any pro studio for any kind of music

    LA-2A and 1176LN FET limiter are between the best compressors in the world, and influenced the audio production of decades of music, from Glyin Johns 70s rock so Led Zeppelin, Who, Stones, etc to all Michael Jackson carrier, till the Killers, Lenny Kravitz you name it.


    The 1176LN is a vocal standard compressor, followed by the EMI TG Limiter in the channel strip
    slow attack and fast realease for the first, fast recovery for the second
    Those are the "presets" of most of the last 40 years of vocal compression
    you can learn more in our tutorial section: Recording Vocals

    (attack release positions are inverted respect other comps, its old school style settings, check em well).

    Joe Satriani's technician uses a Neve strip channel and UA 1176LN on rythm and lead solo guitars
    LA-2A on fingered arpeggios cause the formant waves looks like vocals so he threat em like vocals

    1176LN is the main standard for:
    drums, a 1176LN snare is a must, you find it in virtual drums like Superior Drummer too
    bass
    guitars
    vocals

    that s why sometimes you can say that a record sounds "1176LN" because the main elements are compressed by that
    and being an actitude compressor it gives a color and a carachter to the mix

    those are 2 of the many basis an audio engeneer must have
    know the tools and their actitude
    you can do it with the simulation plug ins
    as istance the EMI Abbey Road TG Limiter plugs are 2: 1969 and 2005 models
    the first is dark, the second bright colored
    you can use this knowledge to choose the right compressor

    color and actitude are meaningful to decide what compressor suits with the given material

    LA-2A History

    http://www.uaudio.com/blog/la-2a-analog-obsession/

    1176LN History

    http://www.uaudio.com/blog/analog-obsession-1176-history

    UAD Plugins comparision and hints

    http://www.uaudio.com/blog/la-2a-collection-tips-tricks/


    LIST OF TOP MIX AND MASTER PLUGINS

    Strip Channels

    Waves SSL Channel

    IK Multimedia T-Racks


    Equalizers

    UAD Cambridge Eq

    Flux Epure

    Brainworx BX Hybrid 2

    FabFilter Pro-Q 2

    UAD Pultec EQP-1A

    UAD Neve 1081

    UAD Neve 1073

    UAD Helios Type 69

    PSP RetroQ

    PSP ConsoleQ

    PSP ClassicQ

    PSP McQ

    Softube Active Equalizer

    EMI Abbey Road TG12412 Tone

    Waves API 550 A and 550 B

    IK Multimedia T-Racks Classic Equalizer


    Compressors

    Softube FET Compressor

    Softube Tube Texh CL 1B

    UAD Fairchild

    UAD 1176LN

    UAD LA-2A

    UAD LA-3A

    UAD 33609

    UAD Precision Buss Compressor

    Flux Pure Compressor

    Waves SSL Bus Compressor

    Waves API 2500 Compressor


    Limiters

    EMI Abbey Road TG12413

    Flux Pure Limiter

    UAD Precision Limiter

    IK Multimedia T-Racks Soft Clipper

    FabFilter Pro-L


    Pitch FX

    UAD Roland Dimension D

    Nomad Factory Chorus

    Nomad Factory Phaser


    Delays

    Soundtoys EchoBoy

    PSP 85

    UAD Roland RE-201 Space Echo


    Reverbs

    UAD EMT 140 Plate

    Lexicon Reverbs

    Native Instruments RC 24 and RC 48

    Audio Ease Altiverb

    Waves IR-1


    Overdrives/Distortions/Saturation

    Soundtoys Decapitator

    PSP Vintage Warmer 2

    Nomad Factory British MLC-2269


    Analysis Tools

    RNDigital IXL Spectrum Analyzer

    RNDigital IXL Stereo Analyzer

    RNDigital IXL Level Meter

    Flux Stereo Tool


    Gates

    Softube Valley People Dyna-Mite


    Transients Control

    Sonnox Oxford Transmod

    Stereo Image Enhancer


    Triggers

    apulSoft appTrigga3


    Tuning Formants Editing

    Celemony Melodyne

    Antares Autotune


    Vocals Aligning

    Synchro Arts VocalAlgn


    Multiband Compressors Limiters

    UAD Precision Multiband Compressor

    Flux Alchemist

    IK Multimedia Quad-Comp

    IK Multimedia Quad-Lim

    IK Multimedia Multiband Limiter

    Amplifiers Simulations

    IK Multimedia Amplitube

    Softube Bass Amp Room


    Virtual Drums

    Toontrack Superior Drummer 2

    Toontrack EzDrummer 2


    Samplers

    Logic EXS 24

    Native Instruments Kontakt

    Spectrasonics Stylus RMX

    Ableton Live (I use it in rewire, as a big sampler)


    LIST OF TOP MICROPHONES
    (cheap and expensive ones, some price, dated 1-18-2016)

    Drums Microphones

    KICK

    AKG D112 € 174

    AKG D12 VR € 386

    Shure Beta 52a € 175

    Electro-Voice RE20 € 466

    Beyerdynamic M 99 € 347

    Audio-Technica AE2500 Dual Element Mic € 450

    Interesting insight about kick recording:

    http://recordinghacks.com/2010/09/07/bass-drum-microphones/


    SNARE

    Sennheiser MD421 MKII € 383

    Shure SM57 € 110

    Shure Beta 56a € 139


    HI HAT

    AKG C451 B € 368

    Neumann KM184 € 650

    Shure SM81 € 350

    AKG C1000 € 150

    AKG C12


    TOMS

    Sennheiser MD421 MKII € 383

    Sennheiser MD 441 U € 867

    Sennheiser e604 € 125

    AKG D112 € 174

    AKG D12 VR € 386

    Shure Beta 52a € 175

    Shure Beta 56a € 139


    OVERHEADS

    Neumann KM183 for AB stereo takes, KM184 for XY, ORTF. But I prefer KM184 for AB too cause KM183 has a too hot boost of +7 Db at 10 kHz

    AKG C414 - stereo pair - € 2000

    Neumann KM184 - stereo pair - € 1000

    AKG C 214 - stereo pair - € 750

    AKG P 17 drum set OVHDS mics


    ROOM

    Neumann U89i - stereo pair - € 4600

    Any stereo pair of AKG room overheads mics


    Bass Microphones

    AKG D112 € 174

    Sennheiser MD421 MKII € 383


    Guitar Microphones

    Royer R-121 € 1447

    Royer R-122 MKII € 1973

    Sennheiser MD421 MKII € 383

    Shure SM57 € 110

    Neumann U89i for the amplifier room € 2300


    Vocal Microphones

    Neumann U87 ai € 2300

    Sony C 800 G

    Telefunken ELA M251

    Then... What you like and prefer
     
    Last edited: Jan 30, 2016
    • Useful Useful x 3
    • Interesting Interesting x 2
    • Winner Winner x 1
    • Creative Creative x 1
    • List
  2.  
  3. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Kick Mics

    image.jpeg image.jpeg image.jpeg image.jpeg
     
  4. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Kick Mics

    image.jpeg image.jpeg
    image.jpeg
    image.jpeg
    image.jpeg
     
    Last edited: Jan 19, 2016
  5. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Kick Mics

    image.jpeg image.jpeg
     
    Last edited: Jan 19, 2016
  6. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Snare Mics

    image.jpeg image.jpeg image.jpeg image.jpeg
     
  7. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Snare Mics

    image.jpeg image.jpeg
     
    Last edited: Jan 19, 2016
  8. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Hi Hat Mics

    image.jpeg image.jpeg image.jpeg image.jpeg
     
  9. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Hi Hat Mics

    image.jpeg image.jpeg image.jpeg image.jpeg
     
    Last edited: Jan 19, 2016
  10. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Toms Mics

    image.jpeg image.jpeg image.jpeg image.jpeg
     
  11. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Toms Mics

    image.jpeg image.jpeg

    AKG D112, AKG D12 VR, Shure Beta 52a for the Floor Tom
     
    Last edited: Jan 19, 2016
  12. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Overheads Mics

    Neumann KM183 for AB stereo takes, KM184 for XY, ORTF. But I prefer KM184 for AB too cause KM183 has a too hot boost of +7 Db at 10 kHz

    image.jpeg image.jpeg
     
  13. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Overheads Mics

    image.jpeg image.jpeg image.png
     
  14. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Overheads Mics

    image.jpeg image.jpeg
     
  15. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Room Mics

    image.jpeg image.jpeg

    Or the AKG models suggested for the Overheads
     
  16. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Bass Mics

    image.jpeg image.jpeg image.jpeg image.jpeg
     
  17. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Bass Mics

    image.jpeg image.jpeg
     
  18. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Electric Guitar Mics

    image.jpeg image.jpeg image.jpeg image.jpeg
     
    Last edited: Jan 19, 2016
  19. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Electric Guitar Mics

    image.jpeg image.jpeg
     
    Last edited: Jan 19, 2016
  20. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Acoustic Guitar Mics

    image.jpeg image.jpeg image.jpeg image.jpeg
     
    Last edited: Jan 19, 2016
  21. Adamdog

    Adamdog Platinum Record

    Joined:
    Jan 18, 2016
    Messages:
    389
    Likes Received:
    204
    Location:
    Saturn
    Acoustic Guitar Mics

    image.jpeg image.jpeg
     
    Last edited: Jan 19, 2016
Loading...
Similar Threads - KIND ROCK MASTER Forum Date
how's the mix? kinda funky, kinda rock, kinda jazzy sort of thing. Our Music Apr 8, 2016
kinda new here how do i open this R2R file ? Software Sep 14, 2022
How do you make sure that your mix sounds good on all kinds of audio devices? Mixing and Mastering Sep 6, 2022
what kind of filter is on this supersaw sound? Working with Sound Aug 13, 2022
What kind of keyboard is this? how to make "that" sound Aug 11, 2022
Loading...