Entourage Jesse Lewis
EntourageForum Replies Created
-
Hey Mike!
Welcome to MP! I think the track sounds really great! Balanced and clear, crisp high end and nice warm bass tones too. I could hear the vocal perfectly. I don’t specialize in this style of music so I’ll defer to the experts about loudness, etc. I was monitoring on my TC Clarity M and the track seemed loud enough to me? -8.9 LUFS.
The only other thing I noticed was that the phase correlation dipped into the negative a few times. I don’t know if that’s a big deal, but when I listened to the track in mono it definitely lost some elements. Then again — the kick, snare, and vocal were still very present so it’s probably not an issue, but just wanted to mention it…
Congrats on this music man! It sounds amazing!
Best,
Jesse
-
Dear P $ aka @-PT ,
I’m in the process of mixing another “nature recording” that i did this past summer – this time electric guitar (miced and DI’d), acoustic bass (miced and DI’d), and percussion (miced).
I’m lining up the iphone audio (phone was about 10 ft right in front of us) per your and @Dana ‘s advice and I’m hearing a voice say “try hi-passing the iphone and sending it to a reverb…” Then I remember that you had written this in the above thread — “Another experiment would be to use the phone recording as the high passed send to a reverb.”
I’ve been messing around with this a little and it’s really cool.
I’m wondering if you might elaborate a little on this idea so I make sure I’m getting it right?
Do you essentially mean — get a good mix of all the close miced instruments and then add in the stereo iphone recording, but hi-pass the iphone audio and send it to a reverb? How much would you suggest filtering? How much reverb are you suggesting? Like big reverb? Or just some kind of convolution/space kind of thing? Also — would this be the only iphone track? Or would I duplicate it and keep one in with no eq and then add the second one which is hi-passed and has the verb?
Very interested in your thoughts when you have a moment.
Best,
JLew
-
Paul! Thanks (as always) for your help on this. So many great pieces of info in your response…and you know i gets funky with my clappin’!
I find it interesting that you suggested moving the iPhone audio back to the left on the X axis to align it with the vibes audio. This was kind of the crux of my question — and it seems like both you and @Dana had a similar response in that I should align the phone with the close mic/mics. I would have assumed that I should actually drag it later in time, which would represent the more natural placement of where the microphone actually was in relationship to the source of the sound? It sounds to me like one thing that’s very important, regardless of milliseconds, is that I get the phasing correct! And the rest I should move it around to see what feels/ sounds the best.
I’ve actually been struggling with this mix because the mic on my guitar amp picked up my guitar faster than the bleed of my guitar amp into the mics on the vibes (and the left hand mic and right hand mic also got the guitar at different times from eachother). So I have sound arriving into all the mics at different times. This type of stuff is a real challenge to me because usually I’m just recording one instrument at a time.
I’ll have some sounds to share soon…
Thanks again for all the info and great advice!
JBear
-
❤❤❤️
“Mix like no one’s watching. Make the insecure Gearspace peanut gallery living rent-free in your sub-conscience SQUIRM and GASP at the horrors of your ‘novice’ ingenuity!” — Dana Nielsen
hahah love it!!!
-
LOVE THIS!!!
-
Yoooo!!! Thanks man! SUUUUPER helpful!!!
This question was in reference to my track w/ the vibes, which I actually already had used the “slippery fader” trick on in my mix bus! haha
As I was mastering it I STILL felt that the really quiet ambient parts needed to come up in volume, just to limit the dynamic range a bit more. It’s so interesting — all of the psychological and sonic magic involved in mixing to get things to feel good on speakers or headphones. When I was in the woods playing live all of those super dynamic parts felt so good, but then when translating that very same performance to speakers the really quiet sections feel like they need some extra support/volume to make them feel more like the energy of actually playing live. It’s all just so fascinating!
I’m really glad to hear you confirm that this is is OK, and that it’s something that you do.
As a sidenote — I’ve noticed with the vibraphone, particularly in the low midrange — when they cross the threshold of the limiter (im using fabfilter L2) they cause much more distortion than my guitar transients do. If I had to guess I think it’s because the attack of the vibraphone with the mallets lasts longer than the pick hitting the guitar string. And in such an intimate setting, I really have to be careful not to let the vibes hit the limiter (whereas with drum beats, etc. I think they might mask the distortion better)
Thanks for your quick and very informative response!
Love,
JLew
-
Dear @Dana !
Brother! This is so unbelievably next LEVEL!!! Thank you for taking the time to go through all of this and record it for the benefit of all of us here at mix protege! I learned SOOOO much. This lesson is applicable to so much of the music I’m recording, it’s going to help make my productions sound much better and more representative of what it feels/sounds like when I’m actually playing the music.
We are truly blessed to have you in our lives. Thank you for creating this space and for all that you’re giving to this community and the greater world of music!
Thanks also to @-PT for always offering your knowledge and going so deep with your expertise as well!
Mucho Love,
JLew
-
Files emailed! ❤
-
Dear P $,
and just for the record….(as the kids say) that Stonehenge joke really “slapped!”
-
Thanks so much Dana! This is very helpful!
Love,
Abuela
-
Hey MP fam!
I added more “pre-bass” and some Dimension D on the guitar to make it feel a bit bigger/wider. I had to be subtle so it didn’t sound too “chorusy.” I’m also adding the “official video” to the thread in case anyone is interested in seeing the performance/space…
-
Thank you brother! On it!!! I’ll share the video with you all in the coming days!
Your comments were also both things that I had been wondering about with the mix, as well!Maybe some future Dana video/tutorial could be on simply a few ways to add stereo width/lushness to mono sources? I get my self into that pickle a lot because I’m often recording the guitar with one mic.
Hope you’ve recovered from your donut tour haha
Love,
JBear
-
Good Question, Paul! I’m attaching a picture of the scene for more clarity. This picture is my position right as I was clapping my hands. You can also get a sense of where the iphone was positioned in relation to us by the picture. (I’m also attaching an unmixed snippet of audio from the session just to give you a sense of the vibe…)
-
Dear P Money!
Thanks for all of your feedback. I think those are all great ideas. I can definitely imagine a much more subtle, deeper, less drum beaty kind of feel — but I think I’m gonna stick with my original “gut” concept, more in the kick and snare world. Re collab: Let me know if you want me to send you the stems — I can send you them with everything accept the drums and you can cook up what you were hearing? Let me know!! I’d love to hear a P-$ remix!
ps – Your recent acceptance of huge verbs is an inspiration to all of us. The world could truly learn a lot from your journey…
Love,
J. “Popcorn” F. Lewis
-
Hey Bar!
Love this dreamy track! I’m sitting in a lodge in the Rocky mnts after a very long day of travel and just playing it on repeat. It’s soothing my soul.
May I ask what was the bass sound you were using? Love that sound!
Best,
JBear
