It feels right when ...
I put a huge kick over a LA2A
I put an electric guitar over a fairchild 660
I put some layer of snares and slam it with 1176
I put a lead vocal over de-esser, hpf it, and send to 1176, and then to my drawmer EQ plus Neve compressor
I compress bass layers individually, and send them all into an EQ, boost it as fat as I can, and then compress it again.
Send guitars to an eventide H3000
Send vocal to ensoniq DP4 Lushious reverb with long pre-delay
Crank up a lead guitar with Joemeek EQ
Tame guitar transient with LA2A or LA3A
Jumat, 18 April 2008
Sabtu, 15 September 2007
Minggu, 02 September 2007
vocal
The Motown 1960's Exciting Compressor
With the Motown mix approach there were problems. If you wanted the lyrics to be heard you had to use a lot of compression on the vocal so that the the softer words could still be heard over the higher-level music. In addition you boosted the "presence range" (around 5 kHz) with an equalizer. The only problem with this is that it took the life & natural dynamics out of the vocal.
Lawrence Horn came up with a brilliant idea. He took the vocal and split the signal so that it when to 2 console channels. Before the vocal signal went to the second channel, it went through a compressor. Now he had two channels of the vocal - one compressed and one uncompressed. On the uncompressed vocal he added very little with the equalizer and he added the reverb. On the compressed channel, he compressed the h**l out of it and added a ton of high-frequency equalization. What he would do is bring up the "natural" channel to full level to get the basic natural sound on the vocal. On the other compressed and equalized channel, he brought this up just enough to add excitement and presence to the vocal sound.
The result was nothing less than amazing. In the mix the vocal sounded very natural and bright. None of the music ever "stepped on" the vocal and you could hear each and every syllable in the lyrics. The vocal never got lost.
With the Motown mix approach there were problems. If you wanted the lyrics to be heard you had to use a lot of compression on the vocal so that the the softer words could still be heard over the higher-level music. In addition you boosted the "presence range" (around 5 kHz) with an equalizer. The only problem with this is that it took the life & natural dynamics out of the vocal.
Lawrence Horn came up with a brilliant idea. He took the vocal and split the signal so that it when to 2 console channels. Before the vocal signal went to the second channel, it went through a compressor. Now he had two channels of the vocal - one compressed and one uncompressed. On the uncompressed vocal he added very little with the equalizer and he added the reverb. On the compressed channel, he compressed the h**l out of it and added a ton of high-frequency equalization. What he would do is bring up the "natural" channel to full level to get the basic natural sound on the vocal. On the other compressed and equalized channel, he brought this up just enough to add excitement and presence to the vocal sound.
The result was nothing less than amazing. In the mix the vocal sounded very natural and bright. None of the music ever "stepped on" the vocal and you could hear each and every syllable in the lyrics. The vocal never got lost.
layering
It's one of those things, having spent so many years working with people such as Mutt whose whole thing is depth of field and whose whole concept is layering, so that even if something is just subtly audible, it's adding depth of field. You have to carve out space for things with EQ; you have to spend a lot of time making a place for everything to sit.
I remember when I first came out to L.A. to work, everything in recording was much more natural-people had perfect textbook ways of miking things, and it was more about being a purist. In England the approach was different; it was more about giving the sound more or different character. It was almost a matter of messing with it as much as you could. Especially with certain producers, the idea was to be as unnatural as you could and to not be afraid to screw the crap out of the EQ-to do things that were as "unpurist" as you could get. Also at that time, everyone was into SSL consoles over there, and over here they were frowned upon because they were not a pure signal path.
I remember when I first came out to L.A. to work, everything in recording was much more natural-people had perfect textbook ways of miking things, and it was more about being a purist. In England the approach was different; it was more about giving the sound more or different character. It was almost a matter of messing with it as much as you could. Especially with certain producers, the idea was to be as unnatural as you could and to not be afraid to screw the crap out of the EQ-to do things that were as "unpurist" as you could get. Also at that time, everyone was into SSL consoles over there, and over here they were frowned upon because they were not a pure signal path.
Sabtu, 01 September 2007
VOCAL
Sopran
Alto ---- masuk ke wet treatment ... agar lebih blend dengan musik
Tenor
Bass ---- masuk ke dry treatment ... IN YOUR FACE
Baru decide reverb utk instrument yg lain
Alto ---- masuk ke wet treatment ... agar lebih blend dengan musik
Tenor
Bass ---- masuk ke dry treatment ... IN YOUR FACE
Baru decide reverb utk instrument yg lain
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