sonusman
Banned
Just couldn't resist mixing this one. Spent about the last three days on and off working on the mix. In all I guess I only spent about 5 or 6 hours on it.
Anyway, hopefully the lyrical content doesn't offend anyone that may be a bit PC (nothing racial here, just a little naughty....
)
Here is the track layout and what mics where used. 1-kick mic at the outer rim (RE-27n/d. 2-kick mic at the head (D-112). 3-snare mic on top head (SM-57). 4-snare mic bottom head (SM-57). 5-hi hat (Tascam PE-125). 6-rack tom 1 (SM-57). 7-rack tom 8 (SM-57). 8-floor tom (SM-57). 9-ride cymbal (C-1000s). 10-overhead left (AT-4033). 11-overhead right (AT-4033). 12-bass (DI from instrument). 13-bass (line ouput from amp). 14-rythem guitar (SM-57). 15-rythem guitar (SM-57). 16-lead guitar (AT-4033). 17-backup vox 1 (AT-4033). 18-backup vox 2 (AT-4033). 19-lead vox (AT-4033).
I used ART Tube MP's on all the tracks except: track 2 and 4-Soundcraft Ghost mic pre. 6, 7, and 8- TL Audio Ivory series tube mic pre. 10 and 11-TL Audio Classic tube mic pre with a Behringer Composer behind it for variable output control (also used the excellent Peak Limiter to get a hotter signal to tape).
The final mix ran through a ART tube MP and then into a ART Dual Levelar going to DAT. Very little compression was used on the Levelar as it was only in line to offer a bit more tube sizzle to the sound. It might have been doing up to maybe 1.5db of compression, but that would be hard to say as the first light on gain reduction is at 3 db and that light never once lit up on this mix. But I did hit the front end of the Tube MP fairly hot. This really smoothed out the transients quite well.
The kick and snare where eq'ed first, then ran to noise gates, then ran to a Behringer AutoCom via to consoles Sub-group outs. It was important to get the eq happening before the compression to make the sounds happen.
The lead vocal was compressed with a Composer at a 1.5:1 ratio at about -8db and never compressed more than 2 or 3db. No other compression was used on this mix, although it was maximized just a hair with GoldWave.
I used a very short Hall verb on the drums and rythem guitars supplied by my LXP-1. It was about a .63 sec. decay with the high cut set at about 3k. The lead vocals had a hair of chorus and reverb from my Q-2, again a very short reverb time (about .9 sec). The chorus depth was set high. A bit of a 95ms delay was also applied to the lead vocal as well as the lead guitar. The backup vocals had a lot more chorus and reverb from the same Q-2 patch as the lead vocal.
Anyway, won't bore you all with the boring eq details on the tracks.
Let me know what you think.
www.echostarstudio.com/She'sSo Hetero.MP3
Ed Rei
Echo Star Studio www.echostarstudio.com
[This message has been edited by sonusman (edited 12-21-1999).]
Anyway, hopefully the lyrical content doesn't offend anyone that may be a bit PC (nothing racial here, just a little naughty....
)Here is the track layout and what mics where used. 1-kick mic at the outer rim (RE-27n/d. 2-kick mic at the head (D-112). 3-snare mic on top head (SM-57). 4-snare mic bottom head (SM-57). 5-hi hat (Tascam PE-125). 6-rack tom 1 (SM-57). 7-rack tom 8 (SM-57). 8-floor tom (SM-57). 9-ride cymbal (C-1000s). 10-overhead left (AT-4033). 11-overhead right (AT-4033). 12-bass (DI from instrument). 13-bass (line ouput from amp). 14-rythem guitar (SM-57). 15-rythem guitar (SM-57). 16-lead guitar (AT-4033). 17-backup vox 1 (AT-4033). 18-backup vox 2 (AT-4033). 19-lead vox (AT-4033).
I used ART Tube MP's on all the tracks except: track 2 and 4-Soundcraft Ghost mic pre. 6, 7, and 8- TL Audio Ivory series tube mic pre. 10 and 11-TL Audio Classic tube mic pre with a Behringer Composer behind it for variable output control (also used the excellent Peak Limiter to get a hotter signal to tape).
The final mix ran through a ART tube MP and then into a ART Dual Levelar going to DAT. Very little compression was used on the Levelar as it was only in line to offer a bit more tube sizzle to the sound. It might have been doing up to maybe 1.5db of compression, but that would be hard to say as the first light on gain reduction is at 3 db and that light never once lit up on this mix. But I did hit the front end of the Tube MP fairly hot. This really smoothed out the transients quite well.
The kick and snare where eq'ed first, then ran to noise gates, then ran to a Behringer AutoCom via to consoles Sub-group outs. It was important to get the eq happening before the compression to make the sounds happen.
The lead vocal was compressed with a Composer at a 1.5:1 ratio at about -8db and never compressed more than 2 or 3db. No other compression was used on this mix, although it was maximized just a hair with GoldWave.
I used a very short Hall verb on the drums and rythem guitars supplied by my LXP-1. It was about a .63 sec. decay with the high cut set at about 3k. The lead vocals had a hair of chorus and reverb from my Q-2, again a very short reverb time (about .9 sec). The chorus depth was set high. A bit of a 95ms delay was also applied to the lead vocal as well as the lead guitar. The backup vocals had a lot more chorus and reverb from the same Q-2 patch as the lead vocal.
Anyway, won't bore you all with the boring eq details on the tracks.
Let me know what you think.
www.echostarstudio.com/She'sSo Hetero.MP3
Ed Rei
Echo Star Studio www.echostarstudio.com
[This message has been edited by sonusman (edited 12-21-1999).]
