Member Dana Nielsen
MemberForum Replies Created
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Very cool, Paul, thanks for sharing, man!! Love it.
The main guitar feels out of phase to me – am I crazy? Like, it’s one guitar but I hear it in the left and right channels – not sure if ur panning a stereo DI, or if it’s a mixture of DI and mic – but when I sum the mix to mono and flip the L/R polarity, that main guitar sound seems to improve.
I know you’re just working with a 2-track mix, so adjusting that may not be possible … but then again, I know not to doubt your AI stem sorcery! haha.
Lemme know what you discover!
Sounds like a great show!
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Patrick! This is so good! I love the song and atmospheric dreamscape vibes.
I too kept wondering when a bass instrument would enter! Would be a fun upgrade at some point to build momentum. Maybe someone here in the community would even lay down an idea for ya if you’re open to it… I could hear a soft Moog-style sub bass, or a gently-played Fender Jazz or P bass, or a plucky-round Hoffner w flatwounds … lots of fun options rolling in my mind.
Love the surprise guitar solo and the sound you got for that – Just when we thought the song was done!
And love the lyrics – especially the astronaut / moon line
I noticed the vocal recording sounds a bit thin and distant – would be great if it were recorded close to the mic, preferably a large diaphragm condenser on cardioid pattern to make use of the “proximity effect”, adding richness and depth to the voice. A more intimate, deep, full-range vocal sound would really enhance the dreamy meditation/mantra feeling – like the “hug” technique we talked about in @JLew‘s recent post.
Your current vocal definitely has a great flow and spirit to it. If you find yourself struggling to capture that same essence in a re-recorded vocal, try singing along with the old vocal – even line by line if necessary. Have the old vocal nice and loud in your headphones (watch the bleed tho 😬) and keep one side of the headphones pushed off your ear so you’re hearing the old vocal in one ear via the headphones and your live vocal in your exposed ear in the room. Be patient with yourself and find a rhythm in your work as you basically record a perfect “double track” to your old vocal — either line-by-line or in full passes that you’ll comp from later. Throughout the process you can mute the old vocal to get a sense of your progress and verify that you’re achieving your intended result.
Who knows … maybe it’ll sound cool to have the hi-fi full-range proximity “hug” vocal upfront, with a nice distant bit of that original vocal tucked in behind it w/ a little verb … and maybe that verbed OG layer only comes in in the second verse as some extra ear candy to pull the listener along….
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Here’s a link to the original “hug” vocal visualization video:
… or here below, as the above link for some reason isn’t scrolling to the correct video (tho the above link has more context!). Either way, to avoid confusion, here’s the isolated video in case the above link left you confused lol:
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That’s a great idea! I’ll see if I can put together a lil 1176 walkthrough sometime soon. I’m sure lots of people would dig that.
Meantime, I mention the 1176 basics (including the setting I use practically 99.9% of the time) around the 17min mark in the “Compression by Ear” livestream. Lots of other good compression tips in there too that can be applied to the 1176.
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Just listened on the big speakers and heck yeah man – that’s some clear, beefy, floor-tom-y low end! Sounds awesome!
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Hey @bigchrizzle! Such a great question, man. Fabfilter Pro-MB is my favorite and I use it constantly.
To me, what sets Pro-MB apart from the Waves options is the frequency bands are not fixed — each band is completely sweepable throughout the entire frequency range. Also, you aren’t limited to 4 or 6 bands, as is the case with the Waves C4 and C6 respectively.
Basically, with the Pro-MB, I feel like when I open it up it’s a blank canvas and I can add bands wherever I like, whenever I like, and can sweep them around anywhere I want, alter any of the bandwidths/crossovers, independently solo/mute each band, add sidechain input, and it even has a blend/mix knob.
The Waves and McDSP offerings are excellent, competent, efficient, wonderful tools! Tho in my opinion and experience they’re better suited for broader tonal and dynamic shaping, whereas the Pro-MB can ALSO be extremely surgical. Here’s another analogy: Waves and McDSP multi-bands are like a Pultec EQP-1A; whereas Fabfilter Pro-MB is like a GML 8200 parametric EQ. All are amazing tools with unique superpowers!
Hope these rambling thoughts are helpful! haha
Which is your favorite multiband compressor among the options you already own?
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This is so cool, Paul! I gotta give this a listen later in the studio w the SUB!
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😂 I had the same thought seeing snowy wetness on that sick Tele!
But I bet @joerobinson‘s got like 5 of ’em and that one’s his outdoor/all-weather Montana snow Tele, lol.
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Absolutely beautiful, brother!!!!! Wow. Stunning playing and camerawork, not to mention writing, recording, mixing, too. 🏆⚡️🙌 You BEAST! Plus, that backdrop you’ve got is pretty spectacular, wowzers!
Really, man, such a treat to get to see this – and honored we all got an early preview here at MP as you finessed your final mix. Sounds awesome, Joe! And I noticed Richard Dodd mastered – sweet!
Keep ’em comin’ homey! 🚀
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Yeah man – I love all those lyrics! Great work!
Look fwd to hearing your updated vocal re-recording!
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LOL – heck no, man! Ask away! That’s what these forums are for. Questions like yours help me identify topics that folks wanna learn more about – that way I can make the most useful, helpful vids, forum replies, blogs, etc. Chances are if you’re asking a question, someone else has the same question in mind!
Selfishly, one of my favorite reasons for building out this space here at Mix Protégé is when people ask me technical questions in MP or out in the world — people hoping to learn about a certain aspect of recording, mixing, or a piece of gear — I can be like, “oh, here’s a link where we’re talking about that! Hop on in!”
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OMG, this is the coolest science-y-est engineering story I’ve heard in ages!! ⚡️👨🔬 🥽 🎚️
It’s got math, it’s got science, it’s got quick ingenious problem-solving, it’s got underwater speakers, olympic athletes, it’s even got a lil’ Elvis sprinkled in!
You truly are a samauri sound sorcerer, @-PT !
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Heck yeah, 57s and 58s are lethal when wielded by a skilled samurai like @-PT!
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Amazing! Yes! I love that trick. I was just doing that earlier this week on a DI elec bass part. Sometimes I don’t do the octave (if it sounds noticeable or unnatural) and I’ll just filter the signal like you said and maybe compress the hell out of it for steady, sustained low-end, and then blend that in to taste. Sometimes I’ll even automate that parallel “sub bass” return so that it’s more prominent in choruses, or I’ll turn it down when the bass plays high riffs when it sounds unnatural or too thundery.