burr701090
New member
Hey I'm trying to get that classic live at leeds sound. Reverb, compression, EQ, tips? I'm already aware of the equipment used, I'm interested in more of the mixing standpoint of the album. Thanks.
Live at Leeds sound?
- Thread starter burr701090
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grimtraveller
If only for a moment.....
Well, from a mixing standpoint, you need to pan the bass and drums away from each other and have the guitar and voice away from each other. In fact, all four elements are panned in a way that you just don't hear anymore. Nice album though.
witzendoz
Senior Member
Bass hard pan one side, Guitar hard pan the other side, drums (paned) and vocals centre.
There also are several versions of the album now, the original, remastered, remixed, full show edition, etc. they all sound different, I like the original (on vinyl which I bought when it came out), but I do have the 14 track full concert remixed/mastered version and the drums sound better and more defined.
Tp get an idea of what it would have been like set up wise, get a copy of the Live in Kilburn 1977 DVD which has a bonus of the Coliseum concert from 1969 on it as well.
All of this a great bit of rock history.
Cheers
alan.
P.S, found a picture of the kit as used at live at Leeds, and this article so you need a cafeteria and a control room in a kitchen surrounded by pots and pans.
There also are several versions of the album now, the original, remastered, remixed, full show edition, etc. they all sound different, I like the original (on vinyl which I bought when it came out), but I do have the 14 track full concert remixed/mastered version and the drums sound better and more defined.
Tp get an idea of what it would have been like set up wise, get a copy of the Live in Kilburn 1977 DVD which has a bonus of the Coliseum concert from 1969 on it as well.
All of this a great bit of rock history.
Cheers
alan.
P.S, found a picture of the kit as used at live at Leeds, and this article so you need a cafeteria and a control room in a kitchen surrounded by pots and pans.
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If I was going to try to get that sound, I would add slapback delay to parts of the mix.
It sounds to me like they either had mics that were recording the crowd and in the process picked up natural delay off of distant objects or that they artificially added the delay later.
I think if you add a delay that is is a quick slapback that has just a few repeats and perhaps run it through an EQ that is backed off between around 200 hz and 3k or so, and send it back into the mix you will have the sound you are looking for.
That slapback is very apparent in places where there are very brief periods of silence. But it is there all the time, not just during those silences.
It is also possible that when they mixed it in the studio they ran it through a Binson or Echoplex and mixed that back in.
But the slapback sounds very natural, so I suspect it was done with additional mikes.
To get that delay I would use something that simulates an echoplex, like a Reel Echo or maybe one of the Akai units.
Whatever you use, it only needs to have a max of 3 repeats, I don't remember hearing the decay of the repeats being any bigger than that.
I also don't remember hearing the drums in the delay , although they might be. But the vocals, guitar, and bass all have it. The bass I think only in higher bass notes most of the time.
If you can get that slapback delay in there, chances are the rest of the mix will not matter as much, because that delay is what gives that album its' big sound.
It sounds to me like they either had mics that were recording the crowd and in the process picked up natural delay off of distant objects or that they artificially added the delay later.
I think if you add a delay that is is a quick slapback that has just a few repeats and perhaps run it through an EQ that is backed off between around 200 hz and 3k or so, and send it back into the mix you will have the sound you are looking for.
That slapback is very apparent in places where there are very brief periods of silence. But it is there all the time, not just during those silences.
It is also possible that when they mixed it in the studio they ran it through a Binson or Echoplex and mixed that back in.
But the slapback sounds very natural, so I suspect it was done with additional mikes.
To get that delay I would use something that simulates an echoplex, like a Reel Echo or maybe one of the Akai units.
Whatever you use, it only needs to have a max of 3 repeats, I don't remember hearing the decay of the repeats being any bigger than that.
I also don't remember hearing the drums in the delay , although they might be. But the vocals, guitar, and bass all have it. The bass I think only in higher bass notes most of the time.
If you can get that slapback delay in there, chances are the rest of the mix will not matter as much, because that delay is what gives that album its' big sound.
mjbphotos
Moderator
OP is almost 3 years old!
DM60
Well-known member
With three posts in as much time.