Juicy - Full version....

  • Thread starter Thread starter sonusman
  • Start date Start date
sonusman

sonusman

Banned
So here is the full version of Juicy.

The artist is The Porterhouse Quintet. There are actually six people on the CD, but hey, who's counting.
192kbs encoded 6.75MB mp3 file.

Now, just for the record. The CLIENT likes this mix, I am okay with it, but wanted to do a bunch of things different. So cut me some slack.... :) I am just making them happy here...

Ed
 
I know RE. This particular client is a little head strong.

Although, to his credit, on this mix he listened to me far more than the three before it, which none of them sound anywhere as good as this one. He will learn as we go along to just stay quiet untill I ask him for a suggestion.... :) It always ends up that way for those who care what their stuff sounds like, and who have even a little dose of reality to them.

Ed
 
It's bad enough when the client wants something I really don't like for a particular application during mixdown. But it's even worse when every track seems like it has its own tempo because the first track(s) aren't in time.

This one I'm doing now is a solo singer/songwriter. It was OK until he decided he needed percussion tracks. I swear he's listening to a different song in his headphones.
 
Their lyricist is being paid too much, whoever he is. :)

I like the clear definition of the parts, especially the bass. How'd you do the bass?

What would you have done differently in this mix? (And don't say 'the bass'.)
 
You guys heard anything by Joseph Wooten (brother of Victor)?

This sounds like one of his tunes!

Rob
 
Nice job with that Juicy mix. It sounds real nice. Not my type of music, but, ya know. That song has Portland written all over it. Thats vintage P-town right there. It brings back grrrreat memories of smooth jazz 106.7 and that crummy waterfront festival of jazz that everyone seems to love so much. LONG LIVE KUFO. DOGFACE!
 
Rrreeaal Nice. Just dont let 106.7 get a hold of that groundbreaking, revolutionary record.

We could sit here all day and argue about the "overproduced portland music scene," the very scene in which you are directly involved, but then we would come to the conclusion that it is due in part to your very decisions that the local music scene has deteriorated to the point where it now sits.

I am also dissapointed to report that KKJZ Smooth Jazz 106.7 was unable to put on a concert any time in recent memory that actually had a significant audience draw. Unfortunately, with the addition of the attendance numbers from the Waterfront Music Festival the past year to the attendance recorded at any KKJZ event, you still come up a good 10,000 people short when compared to KUFO'S ROCKFEST 99.

I guess their "trite, overproduced, small time stick in the mostly trite and overproduced Portland Rock and Roll scene" program is doing something right, as they continually kick the hell out of anyone else in attendance and listening numbers.

Long live White Horse Studios.

Laughing hysterically from across the river,
King, still "adolescent" and grandioss"
 
I tend to wonder just how much "P-Town" music you have actually listened to "King".

Personally, I have been involved in the scene since 1982, when I played in my first band.

Not to defend the artist, but, I don't think that I have really heard much out of Portland, EVER, that quite sounds like this.

Maybe the air is thin up where you are at... :D

Also, the Waterfront Blues Festival is a event that I used to be quite involved with at one time as a sound engineer. More importantly than my involvement with it, it is a festival that has produced some of the biggest names in Blues, and brought it right here to Portland. Now, I would agree that the festival is probably a little past it's time seeing as they insist upon bringing in the SAME talent every year now, but, I have seen some pretty incredible performances there from some legendary Blues artists.

HAVE SOME RESPECT FOR THE PEOPLE THAT BUILT THE SOLID FOUNDATION THAT YOUR BELOVED ROCK AND ROLL WAS FOUNDED UPON!!!

Oh, and while we are at it, the Dogface Boy was interesting for about, oh, 1 minute, then became another trite, overproduced, small time stick in the mostly trite and overproduced Portland Rock and Roll scene. I am guessing that you thought Bill Prescott was funny too, and were mad when his stupid, trite, and overproduced show was replaced by Howard Stern. This is just a guess, seeing as you display some of the same "adolescent" and grandioss behavior as he did.

It may pay for you to read ametth's post in another forum before you go spouting off in here. We are a "delicate" group that likes what we got here. New members are certainly welcomed, and encouraged to display their own "style". But, a certain amount of "restraint" should still be applied. You have no idea how many we have already run off, and I don't think anyone is looking to make you another "hash mark on the wall".

Respectfully.

Ed
 
What is this guy doing here? Has he contributed anything relevant on Dragon's homerecording.com BBS? He says he will, but has he of yet? Maybe he should come-back when he finally does; if he ever does.
 
Yes, yes, people can be baited and they might even take the bait, but this thread is about the MP3 track, and I want to know what Sonusman would have done differently in the mix. Oh, go on...
 
I do not care for the kick drum sound. We used a D-4 to get a more "processed", electronic sound. I don't think it really stabs enough.

I also think it is a bit keyboard heavy. This is at the expense of clarity to the bass guitar.

I also wanted to lay on a little more delay on the synth parts.

Ed
 
Damm! now that was JUICY!...uh King"nothing", Ed be the King around these parts and...dont forget it.

That was an awesome mix Ed, and yea I can see why the client is happy with this mix, hell I am too :D, I'm gonna fire my bass player, That bass player there was ONE BAD MAMA JUMMA!! Great mix "as always".
 
Yeah, reason I asked, especially about the bass, is that when I compare Ed's mix to other MP3s I've heard here, they seem awash with bottom end by comparison. And of course giving that stellar bass so much clarity was just what the doctor ordered, right?

Just a matter of judiciously applied EQ, then? Or something else?
 
Hmmmmmmmm....dare I share my secrets? :D

Why not!!!

The first great laugh all of you will get is that I actually used a Alesis 3630 to compress the bass tracks!!! I know that I put this compressor down all the time, but I have always admitted that it does sound good for certain things. And on this CD, it is the ticket.

Ok. The bass tracks where recorded like this. I didn't track them, but know the producers techniques quite well as we work together often.

The bass was ran to a Country Man DI box. From there, the XLR out was run to a ART MP. The 1/4 out was then ran to a Hugh's and Kettner Bass/Bass head. The head was driving a Hartke 4x10 cabinet. That was mic'ed I believe using a C-1000 S ran to a ART MP.

So at mix, I have a DI and Mic track to play with.

I listened to the tracks and decided that the DI track had much better top end that the mic track. The mic track really did have a better low end too, so these tracks really covered all the bass's (all pun intended :D ). So, I eq'ed out everything below about 250Hz on the DI track and added some 1KHz and up on the channel. On the mic channel, I eq'ed out everything above about 6 or 7KHz. So basically I have a low end track and a high end track.

Next, I assigned them both to a sub group on the console and used the sub group insert point to insert the 3630. So, the compression was a Post Eq compression, meaning that the hotter frequencies would trigger the compressor as always, buy, now I have some control over that happening.

The compressor was set at a infinity to 1 ratio, attack was fast, and release was fast, both as fast as it will go. All's that I wanted to do was make sure that the attack of the notes where getting limited, but even then, not every note!!! Just the really loud ones.

That is about it. I just played with adjusting the low end and high end channel volumes, and played with the threshold on the compressor untill it sounded even and smooth.

Really though, the bass player is a killer player. He played on the Heavy Brothers CD, so I have had some history with his bass tracks. He is a very dedicated player, and really pays attention to his tone and articulation. That really makes a big difference in how his tracks sound.

Ed
 
Yup, this is one for the recipe book. You are as cunning as two frenchmen, sir. As for covering bases/basses, I like the idea of tracking two different ways to give you more to play with later in the mix. It's like a photographer taking a number of exposures of the same shot using different settings to bracket what's happening.
 
very professional sound
i wonder whether drumsounds are real or module?
 
I listened to It twice trying to pick out something in the mix to kinda harp on, welp theres nothing of course. The kick should be a little more puncy and groove with the bass more, but thats what you already know. Man that bass player is friggin locked in there the solo section I thought was a little too trebly, but that sounded more like that attests to low action on the strings- thats probably just because I'm used to Col_Forbin's juggernought of a bass.
 
istyle, all the drums except the kick are quite real.....the idea was to give them a bit of an 80's flavor in the mix, which meant lot's of compression and gates and what not.....

thanks for the nice words James. Yeah, that bass player is the shit in my book. You haven't really heard anything from him yet!!! that dude solo's better than most guitar players I know.... :)

Ed
 
Sounded very good. Fantastic band. My only complaint would be, that the snare drum seemed to be to loud, to the point of distraction. Maybe I'm just used to a older fasioned mix. This was my absolute first impression.
 
You must log in or register to reply here.
Back
Top