Mixtravaganza Spring '09 Mixes!

[Greg_M]

David, I sent you an e-mail with my PT8 session file attached as well as an explanation of what I did with the drums. Seeing the session file will tell you more of what I did than anything else. I have no idea if you got it or not. Maybe some kind of problem with e-mail.

Anyway, if you or anyone else would like to download my session file, you can get it at the link below. There are two zipped files. One is for PT 5.1 to 6.9 and the other is for PT 8 (PT 7 should also work with the PT 8 file).

http://www.downriverdaddyos.com/3dbPage.htm

Greg

[TheMusicFactory]

David, I sent you an e-mail with my PT8 session file attached as well as an explanation of what I did with the drums. Seeing the session file will tell you more of what I did than anything else. I have no idea if you got it or not. Maybe some kind of problem with e-mail.

Anyway, if you or anyone else would like to download my session file, you can get it at the link below. There are two zipped files. One is for PT 5.1 to 6.9 and the other is for PT 8 (PT 7 should also work with the PT 8 file).

http://www.downriverdaddyos.com/3dbPage.htm

Greg

Must be an email glitch. I replied to you the day after you sent it; I'll re-send in a PM.

[QNote]

Well, I finally got a couple of hours to try my hand at the tune. It was fun to work with and maybe I'll get some time to revisit it more in the near future.

http://www.quarternotestudio.com/qnote/Qnote_mix1.mp3

Here are my notes:

1. I spent about 2.5 hours from start to finish.

2. I mixed this tune without listening to anyone's mix or ideas first. I didn't want any bias, whatsoever.

3. I did not replace any tracks or add any additional tracks, other than a small "fabrication" on one of the choir tracks about 1/3 into the song (you find it!). I did remove the vocal intro, but that was probably overstepping my bounds (producer or client's call, IMO).

4. Unlike Lynn, I did end up liking the kick track--at least how it finally turned out. I did not like the snare track and couldn't get it to my liking (at least without investing much more time into it).

5. The cymbals were very unnatural to me. But, they ended up fitting in the mix OK, I guess.

6. I probably would normally spend a little more time on the mix than what I have in it, but it is pretty much there. The choir tracks need some more work and their balance could be improved on my part. A lot of time could be spent just on the choir. And, this song probably deserves just that.

I still have a list of things I would probably change, but they are really nit-picking. I haven't heard anyone else's mix, so mine may be embarrassing. I guess I'll know shortly!

I'm all open for critiques...and, I'll answer any questions regarding my mix.

[TonemeisterW]

I went with a very simple approach, with relatively little processing. There's a compressor or three in there, and a bus limiter knocking about 3 dB off the peaks.
Fixed the worst timing errors in the vocals (I think). No tuning, although I dropped a few bars where some backing parts just weren't going to cut it. I would have tuned many phrases if I had the tools.

Drums were ok. I didn't like any of the room mics, so I use just a little of one set for some space, possibly the PZMs.

I tried to leave a lot of dynamics in, more along the lines of how I would mix it live. Target for rms level was -12 dBfs and it wanders above and below that. If I were to re-do it for a higher average level all the time, I'd change the instrumentation mix to "thin it out" in the quiet parts, fat and full in the loud parts, as opposed to using a lot of compression. Then squeeze if it needs it.

Intro and exit, well, you need to hear it and then decide. It's a little different approach.

I've learned a lot already, and looking forward to some feedback.


W

[QNote]

Where's everyone? Jim, you there? It seems as if this project died. What happened?

[Jim Dugger]

Sorry -- i get busy sometimes and dissappear for a couple of months at a time...

[TheMusicFactory]

Didn't know anyone was still messing with it...

I thought for sure I made a fool of myself with my comments about what Lynn and Jim were saying on page 1. FWIW, I learned a couple of things that are making a HUGE difference in the way I mix now. I also learned how to use BFD to (I think) its fullest potential- I figured out how to get mic bleed and all kinds of fun stuff happening. In fact, I recently got a gig running sound for a week-long 240-attendee church camp. By using micing techniques similar to what I've seen Lynn and others talking about for the studio, I achieved such a great mix for the worship & preaching sessions that they booked me for next year & are in talks about having me multitrack everything so they can have a CD or three to sell.

Like I said, I learned a few good things.

[3daudioinc]

By using micing techniques similar to what I've seen Lynn and others talking about for the studio, I achieved such a great mix for the worship & preaching sessions that they booked me for next year & are in talks about having me multitrack everything so they can have a CD or three to sell.

Like I said, I learned a few good things.

That's what it's all about. Glad it helped. Glad you were able to make positive and meaningful changes as a result.

I've thought about starting a "mix consulting" option with feedback similar to what I gave you. If people would find that helpful and worthwhile, I'll pursue it.

[TheMusicFactory]

I recently read a small article in this month's Reader's Digest about how to take feedback. In essence it said that the best way to regard any feedback, good or negative, is as data. When you're programming something on a computer, al you're doing is inputting data which ultimately gives the software boundaries and instructions on how it needs to operate. If we can take anything anyone says to us and not take it personally, even if it is something that tickes our ears, we'll be better off filing it away for future reference.

I read this probably 2 weeks ago and I'm still chewing on it. Obviously we need to take warnings as urgent, but I think this is something good to remember when we're getting raked across the coals by a client or superior.

Lynn, if you were to do a mix critique section, I'd SO dig that. It'd be like TAXI, but without the high hopes of maybe someday someone might kinda like your song a little bit I think it'd be great!

[graal]

Awesome guys.
I loved Dock Cox's mix + in headphones it had an extra dimension to it that the others didn't.

Cheers.