Mixing With Cool Edit (emulating Famous Mixes)

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demoniobox

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Hi im new here and im glad i found this great forum !
we recorded a great album using protools,a behringer mixing console
and topnothc microphones.
Now we have the master tracks and they sound really cool !
but they sound too real,now its time for the mixing process
i have cool edit pro and its a great software
whats my idea ?
my idea is that i wanna emulate the mixing sounds of great recordings
for a same tune ...i mean "metallica's enter sandman" and KISS "i love it loud"
sound do you know any of the parameters used in those recordings ?
or if there is a source on what parameters to use to recreate that sounds?
whats your advice for mixing our recording ?
thanx !!!!!!
 
There are no magic bullets. Just start mixing and see what you can come up with. If your recorded sounds are great you're ahead of the game and should just be able to adjust fader levels to create a balance. You can pan individual tracks in the stereo field to create some space/balance. Maybe tweak individual track EQ's a bit to make sure every track occupies its own space in the mix. Beyond that, it's just practice. Pro recordings and mixes were made by pros. There are no shortcuts in developing your mixing skills which has as much to do with your ears and monitoring environment as anything. If you can run songs you like through your monitoring setup then you can try and emulate the overall sound/mix/tonal balance in your mix to make it sound similar. Good luck and have fun.
 
demoniobox said:
my idea is that i wanna emulate the mixing sounds of great recordings for a same tune ...i mean "metallica's enter sandman" and KISS "i love it loud" sound do you know any of the parameters used in those recordings ? or if there is a source on what parameters to use to recreate that sounds?
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Ya know, that's a really great thought ... and I actually had that idea a long time ago.

So what I did was I got a hold of Bob Rock and Bob Ezrin ... ya see, I'm pretty tight with those guys (we're like peas and carrots). And I asked them if they could supply me with their Cool Edit sessions. As it turned out, Ezrin had all of his Cool Edit sessions archived all the way back to Kiss Destroyer and Rock & Roll Over.

Anyway, the Waves Rverb setting he used for Peter Chris' snare drum on Christine 16 is just bitchin. And on God of Thunder, I believe he used some sort of pitch-shifter dealy in Waves' Meta Flanger. He even gave me the preset (how cool is that?) ! I guess he had to drumgag Peter's kick on Hotter than Hell because it sounded kinda' dead while they were tracking. And here's a secret for ya about Ace's guitar on Doctor Love : That's Amplitube. No joke. They didn't like any of the POD settings they originally auditioned, apparently.

Anyway, Rock just sent his Metalica sessions to me via FTP, so I should have those ready very soon.

If you want them, I can send them to you for a couple thousand bucks or so. I might even give you a break. I was thinking of ebaying them, so you could try your luck once I get my auction going. I'll let ya know.
 
thanx guys !
the recording is amazing ..but the mix is the trick !
yeah i thought some presets would be cool
THE PROS USE COOL EDIT ???????????
THANX
 
demoniobox said:
THE PROS USE COOL EDIT ???????????
THANX
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Some of 'em do. I think George Martin used Sonar on the Beatles sessions, though. At least up through "Revolver." Then he decided to pull out all the stops I guess and went with Reason.
 
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are you talkin about some reissues ?
back in the 90's,80's and 70's there was no cooledit
 
demoniobox said:
are you talkin about some reissues ?
back in the 90's,80's and 70's there was no cooledit
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Huh ???


Where'd you hear that?
 
Cool Edit was developed in the early 60's by the U.S. government. Many people don't know this because the government kept it quiet until the home recording industry took off. Supposedly they made a good amount of money when Adobe became interested in their product.

Demoniobox, if you're new to this BBS you're lucky you got Chessrock to answer your first thread... he's probably the only one with access to Martin and Ezrin. Talk about beginner's luck.

I was fortunate enough to get the Cool Edit files from Abbey Road last week from him. I think he must have converted them from Reason somehow.
 
I have the original soundcard that was used to record The Who and Jimi Hendricks demo albums when they were first starting out in the 50s and 60s. I think I still have the cool edit sessions too, but I might have deleted them. Oh well , no big deal.
 
notbradsohner said:
I have the original soundcard that was used to record The Who and Jimi Hendricks demo albums when they were first starting out in the 50s and 60s. I think I still have the cool edit sessions too, but I might have deleted them. Oh well , no big deal.
Click to expand...

WOW, I have the orginal Mackie Control that they used. If we put them togather on Ebay we'd make a killing.
 
notbradsohner said:
I have the original soundcard that was used to record The Who and Jimi Hendricks demo albums when they were first starting out in the 50s and 60s. I think I still have the cool edit sessions too, but I might have deleted them. Oh well , no big deal.
Click to expand...


Wow, that's pretty cool. I heard Bruce Springsteen tracked "Nebraska" on a Soundblaster in 16-bit. Supposedly carried all the tracks around in his pocket on floppy disk.
 
Man... you guys got killer presets and files... that's just too cool for school..

Not sure if I will be of any help in this thread, but I caught Eddie Kramer during Christmas break and he was kind enough to send me the Headley Grange files from the Zeppelin sessions through msn, which were recorded on Samplitude (as was much of the Zep catalog... Page had this thing about Magix products).. Samplitude used to come with a vst called "Second Floor" that Eddie used to record Bonham during "When The Levee Breaks". He supposedly dangled the pc from some twine to the ceiling. I wouldn't recommend doing this though.. if it fell, they had the cash to hookup another one.. They were pretty avant garde in those days.. Actually they were kind of backward. They worked to get their sound while recording...

But no worry, just like the Stones and Beatles, most of their effects were maximized by cutting and pasting the best samples during wave editing. Eddie told me that after they recorded, he spent weeks with a porta-studio in various environments-garages, beaches, restaurants, bars-and simply played back the sounds on a channel while mixing.
 
I think all real music is recorded on a boom box sitting in the corner, and the people playing the instruments are space aliens who live in mobile homes. Read it in the Enquirer.
 
ha... thanks for a great laugh in the first thread I read here. :)
 
Revolver was recorded on a tascam porta 04. I bought it from eBay and it has some of John Lennon's snot on the rewind button. COE and everything.
 
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