Member Dana Nielsen
MemberForum Replies Created
-
Yo! Listening now on real speakers. Here are a couple quick thoughts:
- can be louder overall – try a lookahead limiter on the master bus, like the Fabfilter Pro-L2
- the tamb-snare sound (like at 1:06) that alternates with the side-stick feels like it could be tucked in
- the ripping electric guitar is awesome(!) but around 1:45 it might dominate the rhythm section balance a bit too much. It’s fun that it’s that loud, but maybe if it remains that loud you could turn up the whole band behind it as well for that section. Or just tuck it in a bit to fit in with the drums/bass more. When the guitar comes back around 2:49 it feels more balanced in the mix w the rhythm section – so maybe try making 1:45 sound more like 2:49?
- In general, regarding the elec guitar level and everything else in this style of track, I would let the drums RULE throughout the song. Like … I never want the power and low end of the drum kit (esp the kick and bass) to get overshadowed by the rest of the mix, cause that’s what keeps the head bobbin’ and the listener hypnotized by the badass Massive Attack-style groove you’ve got here 😎
- This is gonna be awesome and I can totally imagine this sync’ed to a “suiting up for battle” style montage where the badass female spy/assassin/double-agent/heroine (characterized by your singer) is gearing up to covertly “eliminate” the handsome villain at the black-tie gala. Haha.
Awesome work, Stuart!!
-
GOOD LORDT, @Nate, this is utterly gorgeous!!!! Wow, man. Stunning piece of music. I’m only listening on my Macbook Pro speakers at the moment (and will listen again on the studio speakers Sun night or Monday), but even on the MBP speaks it sounds phenomenal. And, I mean, musically too, it’s just fantastic. U should be super proud, man. The low end on the laptop sounded excellent – kick and synth bass coming through nicely. Felt very balanced, and I’m stoked to crank this on the ATC45s when back in the studio!
FWIW, here are two songs that came to mind while I was listening. Both are songs/records I love, and sharing here cause you might dig them too, and perhaps they’ll also be useful as references for your piece (not that u need them tho – more just sharing for love of music and style similarities).
-
This one for the fabulous middle section bridge / instrumental / beach-boys-esque orchestration. I love this song and the way it blends hip hop/trap and 60’s era pop arranging (for lack of a better description). Like from 2:40 till the end it takes such an incredible unexpected turn, genre-wise and production-wise. And the video is amazing too. Moves me every time – just super creative, genre-bending, surreal storytelling. Enjoy!
https://open.spotify.com/track/3PPAFAhNAvJYs74JnujgGq?si=f6d7ad1416354a3c
-
This one for general vibe and especially the descending synth bass tone and melodies
https://open.spotify.com/track/2aDVymoLLpxVmITtdK0yiD?si=2c8ca6d34c6d453c
-
-
Awesome work, @smoothygroove! I just gave a quick listen on my laptop (MBP) speakers and it’s definitely dynamic and love all the sync/editor-friendly builds, breakdowns, fills, and transitions 🤘. I’ll listen for real on the big speakers Sun eve or Mon when back in the studio, but until then wanted to say wudup(!) and thanks so much for sharing — looking forward to what others here have to add, too.
One thing I can offer, even on the laptop speakers — arrangement/production-wise — is at the very last chorus section after the big snare fill I was hoping that big fat 80’s-ish snare sample u used for the fill/transition would stay in through to the end of the song! I was wanting that final chorus to be a real “kitchen sink” of an arrangement, incorporating all the fabulous elements you developed throughout the piece for a real maximalist badass-imalist ending section. Could be fun! But either way, great work, man!!
-
Hey, @lucastlee! What an excellent question. I’ll respond briefly here with my practical “take” on EQ differences rather than diving deep into a technical answer. I’m also going to assume you’re referring to EQ plug-ins rather than analog hardware EQ units.
Here are a few possible reasons as to WHY:
1. Physical model: When plug-in manufacturers attempt to capture the sound of, say, a vintage Pultec EQP-1A (one of my favorite musical EQs), the resulting plug-in’s “sound” is derived from a specific hardware unit; and hardware units can vary in tone (and electronic components) from year to year, model to model, and serial number to serial number, especially as they age. This is one explanation for why a Waves Puig-tech might sound different from an Avid or UAD Pultec, even when they’re all EQP-1A models.
2. Algorithms, processing, and math: Each manufacturer will employ different means by which they recreate a familiar analog sound or circuit into a digital plug-in, which can also create sonic differences for the end-user to notice and compare.
Here is my philosophy and WHAT I do about it:
1. “huh … interesting.” I notice these differences all the time.
2. Move on. 😂 I, long ago, took a decidedly “meh” approach to gear paranoia and elitism with regard to hardware and software. Arguing over 1176 revs is so not my style and utterly pointless to me. You won’t find that kind of attitude here on Mix Protégé. There’s already plenty of that whining on Gearspace (see below).
3. I’ve got LOTS of options to choose from in my plug-in EQ collection. Several versions of the EQP-1A by different brands, several Neve and SSL recreations that are identical by model number but differentiated by plug-in manufacturer. I try them ALL, and honestly for the most part I LOVE them all! But choosing my “favorites” will come down to a few simple considerations:
- It sounds great and operates as expected
- It loads fast in my DAW and isn’t a processing-power-hog (bonus points if it’s available in AAX DSP, since I’m on a Pro Tools HDX system)
- It has some extra features that make my life easier and/or routing more flexible, especially for dynamics processors — like a mix/blend knob, key input, input/output control, sidechain filter. Even when those features are not true to the vintage analog version, they sure make my life easier and are welcome additions in a plug-in emulation.
Lastly, FWIW, here’s ….
My process for any EQ -digital or analog- and any other effect. Err, scratch that, this is pretty much my process for MIXING ANYTHING:
- Have desired sound in brain/imagination
- Pick tool that will get me there quickest (with zero F$%#s given about the brand name of the tool)
- Experiment with tool until the sound in my brain is coming out of the speakers
- Repeat steps 1-3
Hope this helps you (and anyone else reading), and sorry, I guess it wasn’t so “brief” after all! 🤓
-
Haha thanks man! I’ve always loved the visual aesthetic of music notation and admired many of my teachers’ penmanship throughout the years. (I prob should’ve spent more time shedding scales rather than “drawing” haha).
Musescore … ! Wow, I just looked into that and am so pumped to try it out – thanks for that! (FREE?? 🤯) I have Sibelius but I use it so infrequently that each time I launch it I end up scouring manuals and trying to relearn it and often times revert back to my handmade “music drawings” instead haha.
And right on — what a brilliant “thought exercise”. I totally know what you mean and feel the same way, often letting the “final product” finished mix (percolating in my imagination, or taking shape on the speakers) inform and inspire compositional/arranging decisions along the way! Love it!
-
Yeah that album is incredible – we have “Sting night” fairly often around here lol. I love transcribing and used to do it a ton in high school and college. Dug around in my closet this evening and finally found this in one of my old transcription folders. Branford is such an insane talent.
-
💜 Haha – my pleasure man! I totally get it! And what a great, supportive crew to bounce things off of 🙌
And, as with any mix ideas/comments — those from me, at any rate — feel free to use what ya like and ditch the rest!
-
Oooh, “It’s Probably Me” – that’s a great one! I was also thinking of “Seven Days” and the end section of “I Was Brought To My Senses” (which features an amazing Branford Marsalis soprano solo I transcribed in college). Sting’s pretty amazing at making odd meters work in pop. What a riot that you were on the same wavelength!
-
Dude … Just listened in the studio … wouldn’t change a thing! It’s freaking awesome! I love the mix, and I love the music. The low end is freaking bonkers 💪 and super-extra-credit for making a 5/4 time signature sound natural and danceable in a pop setting. I’ve always admired Sting for pulling that off over the years too. Anyway, you’re crushing it man, and I look fwd to hearing more! Bravo!
-
Right?? Same, man. So glad you dig!
-
Sure thang!! 🙏🏻
-
My pleasure, man!
-
Heck yeah homey! You are crushing it. 💪 And … nuthin wrong with a loud-ass snare if you’re feelin it. If it were to stay as loud as it is now, I might just try taming the top end on it a bit and making sure the kick has equal impact and power as the snare so that it doesn’t feel overly represented in the snare department and “wah-waaaah” in the kick department [insert sad clown face here]