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This evening, as I couldn't be arsed going out, spent about 3 hours not having any idea what I was going to do and ended up coming up with the following nonsense which genre I shall describe as 'doom smooth jazz'
I like that a lot.
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Jeez, I did eight... EIGHT separate mixes yesterday almost all of which were due to the inability to sit an upright bass track in the mix. Every other one seems to veer between "no bottom end" and "massive blooming flubby sub-bass". The sweet spot is proving elusive.
Bit of an unorthodox trick to use when mixing folksy stuff but I've found with huge bottom endy basses a bit of parallel compression between the kick and bass works wonders. And if you don't go mental with it there's less likelihood of turning your mix into Daft Punk.
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Think I got it.
Had: A slight boost centred on 41hz and 110hz (idea being that these are fundamental frequencies of low E and A on a bass) and a brutal high pass cut-off below that to manage eny super-subby energy. Despite the theory, any boost below about 50hz is just going to manifest itself as sub-bass I think. It was very indistinct and blooming. Almost sounded like it had reverb on it. Most odd.
Have now: Moved the slight boost just north of 100hz and substituted a low shelf (-3db reduction of everything below about 100hz). Have lowered the threshold in the low frequency section of the multipress (multi-band mastering compressor) on the output and added very slight roll off of very low end on the master Eq. Might need just one more tiny tweak tonight to check it's still solid enough in the low end but I think I'm about there with it.
EDIT: that was this morning. the below is mix no.13. I'm still not really happy but I have to move on or i'm going to lose it.
Now, who can recommend me a London recording studio with a good sounding live room for recording acoustic instruments in? Not Soup, The Premises or Goldtop please (used several times and want a change). Cheers.
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My homage to 1950s surf music:
Hehe. Nice
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^ yeah looks wicked that
I recently got an SPS1 UW and was worried about the rumoured arrival of this but actually they are very different beasts aurally. I think there's a lot more sound flexibility with the MDs- though they need help/post production work to give their sounds the humph needed. The Rytm is a 'restricted' analogue synth- as elektron can't stand on the toes of the analogue8/keys. Of course I'd have one but I'm not as shook as I was.
I'm not feeling the direction that the looks have taken. Since Daniel (r.i.p) passed it seems like they've been slightly cutting corners. I think they split from Teenage Engineering, (initally poorly) painted black bodies, restricted midi out capabilities, round buttons (as squares pushers into brushed aluminium bodies are more expensive) and worst of all tiny screens. I'd love them to have OP1 screens. Though it's fair to say they've surpassed Roland:
https://www.youtube.com/watch?feature=player_embedded&v=5LE0oGkYx40
:$
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Ok gather round gather round.
http://elvers.bandcamp.com/track/jockey-full-of-bourbon
^have at it
I'd play that. In fact I have a gig coming up that I'd like to play it at. Drop me line.
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playing with an OP-1 the other night - amazing screen - too many options to delve into quickly but I liked it
Yeah, the screen is lush. At first you think there's a lot to get your head around, but once you figure out that the shift button accesses anything that's not immediately visible it all falls into place pretty quickly. I should be on commission, I've sold at least two just showing it to other people.
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Ok gather round gather round.
http://elvers.bandcamp.com/track/jockey-full-of-bourbon
^have at it
Sounds great - nicely done that man. I especially like the acoustic guitar in place of the electric - always sounded a bit out of place in the original.
As far as studios go, the next one I think I'll use for acoustic stuff is http://thenestcollective.co.uk/ - I met this dude Sam Beer who runs it and records all his stuff there, and his record sounds phenomenal.
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Cheers bro. Just re(mix 14)tweaked a couple of things and sent it off to be mastered in Tchermany. Will probs hang on till it's come back tomorrow night to go fully public with it.
Where's this studio at then? Can't see anything on the main page. Those Nest Collective dudes have been studiously ignoring my calls/mails/messages looking for a gig for a year now. I wouldn't mind but you'd think they'd show a bit of solidarity to the dude who used to run the acoustic night upstairs at the OQH bitd (ahem).
I'm sure they're sound in person but like so much of these things, I find you need to get face to face (and preferably play live in front of) anyone before they'll give you the time of day. Understandable I guess but easier said than done when their open mic is so sporadic and oversubscribed.
*notbitter
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hey
anyone know how I can create this rapid stutter effect on a vocal sample - as per 2.28 ish onwards? heavy sidechain compression?
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It's difficult to hear exactly, but a combination of chopping, gating and or sidechaining. The stuttering sounds are not all at regular intervals which is what makes it interesting, so some nice programming required. Probably not used in this instance, but Stutter edit is good for quick results.
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Yeah, definitely sounds like a gate or envelope sequencer as the same rhythm sounds like it's on other some of the other instruments.
E.g.: http://www.sinevibes.com/inertia/ or http://www.sinevibes.com/switch/
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There's a really easy way to do that effect, you get a rhythmic vocal (i.e. a hiphop acapella) and chop it up roughly into single hit phrases. Then assign each single syllable to keys C1-Cwhatever. Then you can just play the thing on the keyboard until you come up with a rhythm that matches/complements your tune.
It sounds like that guy has subsequently fed that vocal into the kickdrum sidechain compression too, which accounts for the relatively regular cutting off.
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Yeah, it's most likely a combo of a few effects, Lone's stuff is relatively technical sometimes but that doesn't sound too complicated.
The OP-1 does stuff like that in a really nice way, you can sample anything and chop it up really quickly, assigned across the keyboard. Turn the step sequencer on and you get instant fun.
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Had a 'mare with that last tune of mine, the Tom Waits cover I sent to get mastered by a friend. He rang back with endless complaints about the mix. After I'd finished arguing with him about how unhelpful he was being I realised that he did in fact have a couple of valid points. Decided to replace the BVs which were originally done to a different lead vocal. That took till Sunday to get done then I had a gig. Last night I gave myself a night off so it's* still* unfinished. Half tempted to "normalise the desk" and start again with fresh ears.
Still haven't sent off the Adams to get repaired either. Urgh.
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Had a 'mare with that last tune of mine, the Tom Waits cover I sent to get mastered by a friend. He rang back with endless complaints about the mix. After I'd finished arguing with him about how unhelpful he was being I realised that he did in fact have a couple of valid points. Decided to replace the BVs which were originally done to a different lead vocal. That took till Sunday to get done then I had a gig. Last night I gave myself a night off so it's* still* unfinished. Half tempted to "normalise the desk" and start again with fresh ears.
Never a bad idea. The worst that'll happen is you come up with a better mix.
If you want me to have a crack at it, chuck it up online, I'll happily give it a blast.
dooks
Regal
ReekBlefs
EB
Multi_Grooves
mr_lunch-
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We are the music makers - producers?
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@mattty
^ yeah looks wicked that