Member Dana Nielsen
MemberForum Replies Created
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PS – I love that Tedder course!
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Hey Nate! Huh… that seems super odd and no bueno. I haven’t done much bouncing out of Logic, so I can’t weigh in on that from my own experience; but perhaps @michael or other Logic geniuses here have some insights to share?
I’m “subscribed” to this thread and look fwd to hearing what others have experienced! Thanks for sharing and reaching out, man!
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Yes! I know a lot of long-time “Maschinists” on Reddit and YouTube are pissed that the v3 update doesn’t (yet) have many of the long-awaited, often-requested updates; but I for one am excited about what is included. I’ll take what I can get, right?! Haha. And at $29 it’s a no-brainer for me. … well … with one caveat: Maschine+ “standalone mode” isn’t yet supporting the v3 update.
I have a Maschine MK3 and also an M+. I’m gonna wait for M+ v3 compatibility cause I just KNOW that if I download v3 for my MK3 I’ll start creating projects and then will be super bummed when they don’t open on my M+ in standalone.
All that said, I can’t wait to implement the new v3 features into my workflow!
How bout you, @smoothygroove? Gonna take the plunge and update your Maschine?
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Stuart!!
Back from walkabout with another wonderful Roholt Reward! Love it, man, thank you for sharing this. You have a keen eye for sweet and fleeting freebies, and you are the BEST for hipping us all to them!
And yeah, I agree – All the Soundtoys stuff is excellent. Hope this freebie brightens someone’s day! 🌞
Great to have ya back, homey!
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Really gorgeous, man! Always such a treat to hear what you’re cookin up, and always such a fun musical journey!
Here are the things that struck me while listening at medium-low volume on my living room stereo while the Santa Ana winds blow through an open window at midnight with all the lights off:
- try turning down the whoosh sfx in the intro. I love that effect and the way it pans across the stereo field and sets the stage for the song! But I felt like its volume skewed my perspective once the vocal entered, making the vocal seem too quiet. My hunch is that if u tucked in that effect so that the vocal entrance is big, proud, and upfront as a “you have arrived at your destination” moment, then all will be well.
- If I were producing this (which I am not, so, as with everything that tumbles out of my brain and onto these forums, take or leave as u wish!) I would spend an hour in Melodyne buffing and polishing the lead vocal — in a totally natural-sounding way, of course, per my Natural Vocal Production course, so that your listener cannot tell it’s been worked on. I would also tighten up the timing of the main tom/percussive rhythm pattern that drives the song. It’s a bit rushy-draggy, especially when it first enters. I find that gently, lovingly touching up things like rhythm, timing, and pitch – without going too far – gives the listener a sense of calm and confidence in the record, which really goes a long way.
- As the song progressed I was searching for more “bass instrument”. I was like, “where’s the root?” Part of my auditory confusion was probably due to the resonant notes of the toms that ring out – and are very cool. But I wanted some kind of bass guitar or bass synth holding down the root notes, even louder than the tom notes, to more easily identify the chord changes. I’m sure you’ve got something in the mix doing that, but it just wasn’t coming across at low-ish volume in my living room. So maybe turn up the bass and/or, if it’s a super sub-y bass, try adding some harmonic distortion to the bass which will often create partials/harmonics that accentuate the pitch and perceived loudness of the instrument, helping it pop on smaller speakers or on large speakers at low volume.
Anywho, that’s what I got for ya! Excellent work homey! You AND @nate! This is sounding really cool already, man. I look fwd to hearing it out in the world soon!! ⚡️🤘🤓
mixprotege.com
Grammy-nominated producer, mixer, engineer, Dana Nielsen teaches how to comp, tune, and mix natural-sounding vocals and acoustic guitar.
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Oh, that is an important follow-up question for Nate: @nategomoon, when you notice the difference in high end punch on your bounces, are you listening on the exact same system, using the exact same outputs and speakers?
Scenario A: If you’re bouncing mixes out of Logic, in your studio where you mixed it, and noticing a sonic difference while listening to the bounce in your car or on your home stereo, then room/speaker calibration might be the solve, as @michael suggested.
Scenario B: Let’s say you’re mixing in Logic, in your studio, using a UAD Twin, outputs 1-2. You do a bounce of your mix using UAD 1-2. Then you open your bounce in Quicktime with your computer output set to UAD Twin 1-2. If you play back that quicktime using the same exact interface outputs, listening on the same speakers, does it sound any different from when you click over to Logic and play the live mix session from there? …. if so, the culprit may be in the Logic bounce settings and/or the youtube/gearspace/tedder conspiracy is real 😲😂.
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Heck no, man! So glad you shared!
And gorgeous looking (and sounding) DISCO page. ⚡️ Beautiful arranging and composing on there, homey!
I was poking around and enjoying all the tracks and stumbled on “Happy” and was like, OMG I forgot about this one! So freaking cool, top to bottom.
@joerobinson, “Happy” is one of @nate‘s excellent shares here on MP Member Spotlight a while back – u can check it out here:https://mixprotege.com/forums/discussion/mix-feedback-on-original-piece/
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Re NY “On Broadway” scenario: 😂
Re binary November: 😩 -
Love this reimagined intro, Paul! Very compelling, anticipatory, and exciting! The loudness was thrilling too. Had me leaning in, ready to hear what comes next. 🙌
It may be more “production-y” than @shimmerisland hoped for from us, lol, but I thoroughly enjoyed your take on it! Great ideas as always, man!
@shimmerisland: I do also love the way you have your intro, as-is. Music is not binary; there are a million fantastic intro options, and you have already crafted a great one. Just thought I’d clarify that my excitement about Paul’s intro option does not mean that I am not excited about your current intro! ❤️🔥
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Awe MAN! I LOVE that you guys are in each other’s orbit. I hope to hear a @Nate x @JoeRobinson collab sometime soon! You guys are both cuh-razy talented!
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Jesseeeeeeeeee!!! This is utterly beautiful and perfect and touching and creative and I just love it so much!! What an immensely talented family you have. This video and song and artwork are a treasure; a little time capsule of beauty for your family to enjoy forever and ever 🥰. It’s been a real joy to observe your progress during the mixing phase here in the community!!! BRAVO!!!! 💜
PS – Hope you don’t mind I “merged” your new discussion thread, the one featuring your video above, into this existing discussion thread, cause I love how people can start at the top, read through all the comments, listen to your revisions, and then enjoy the final masterpiece at the end of the thread! So damn cool. Proud of u homey!
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yeah!!! Really great, brother! So fun hearing this song take shape, and great work!
Re your question about the master, I hear what u mean about being a bit mushy, especially when I compare to your fav references. Nuthin a bit of Pultec EQP1A 10k couldn’t fix! Prob set the width to medium (12 o’clock) or wide (7 o’clock) for a nice gentle top end boost. And you know how I roll … don’t be afraid of those knobs – push em as far as they’ll go in order to get a sense of what they sound like, and don’t be mad if your setting “looks wrong” but “sounds right!”
🤘
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Hey Joe! Sorry for the slow response .. been absolutely swallowed up by an intense project, working nonstop. I’m so glad the tips were helpful!! And heck yeah, that Pro-L2 on the youtube sounds great!
Re your questions:
- LUFS schmufs. 😂. At least while mixing, I’m never looking at LUFS (tho w/ my TC Electronic Clarity meter I am always aware of what the LUFS are, at a glance). I do look at LUFS when adding my final limiter to create a loud reference mix to send to the artist, or to upload directly to distrokid/youtube/etc. if self-releasing and self-mastering. At that point, I don’t have a target I’m shooting for, I just want it to be loud and exciting and to jump out of the speakers without limiting artifacts. It’s hard to answer and to teach, since for me the overall loudness of a track should reflect the music. For example, it would be simple to make a ukulele and whispery indie vocal track WAAAY louder than a heavy nu-metal band track because the ukulele/voc track is soft and gentle with not much low end and very few if any transients to contend with like snare and kick hits. But for me, the question is: just because you CAN make it louder, SHOULD you?
- My “small speakers” are more like desktop computer speakers, pushed together in mono and off to the side of the room, not in the sweet spot. They’re Radio Shack Realistic speakers from the early 90s haha.
- Re automation … yes! I love the way you described that … “playing the band!” That’s exactly what I do too man!
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Jeremy! Here’s a link to Chaos to Clarity. I haven’t shared it far and wide just yet, cause it’s kinda a rough draft and I know I can make it better, clearer, more images, etc. Also I wanna have a link in the pdf to @Nate‘s initial Mixing forum post and wonderful question which inspired me to make this pdf — which is entirely based on my responses to Nate in that forum.
But … until I have a chance to improve it … here it is! Enjoy!
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