S
stoctony
New member
Try either some hall or room fx. that should do it. You are in good shape, most have a problem with getting their vocals out front.
Stockton
Stockton
R
Rhythmschism
New member
Teacher,
Of everything I've heard of yours, this is the catchiest, most professional sounding song I've seen yet. Very well done. I agree that the snare could have a little more umph.
Of everything I've heard of yours, this is the catchiest, most professional sounding song I've seen yet. Very well done. I agree that the snare could have a little more umph.
gullyjewelz
New member
impressivw
i have not yet had a chance to hear the song
but i have read all these replies
im impressed with teh amount of attention to detail and assistance being given
dammm
i think i might love this site!!!
lol
sheit
now watch i git ATE THE PHUCK UP when i post a song
http://www.soundclick.com/bands/8/gullyjewelzmusic.htm
--come on mami is the song in question . . .
thanks
peace
i have not yet had a chance to hear the song
but i have read all these replies
im impressed with teh amount of attention to detail and assistance being given
dammm
i think i might love this site!!!
lol
sheit
now watch i git ATE THE PHUCK UP when i post a song
http://www.soundclick.com/bands/8/gullyjewelzmusic.htm
--come on mami is the song in question . . .
thanks
peace
I
illacov
Member
about those auxes
For the chorus you might want to try a aux bus but for the delay theres two ways to do it.
Either copy the track with the singer and then offset the second track or put the delay in as a insert on the singers track and set it to the 19.5 or 38 ms setting and then beginning to adjust it until you get a sound you like...maybe 50 dry / 50 wet setting or more lean on dry side like 70 dry 30 wet.
If the chorusing isnt strong enough you could add it as an insert if you have room for it on your inserts I think you use sonar so you're fine when it comes to that...
Like i said more ass in the snare though if you not the producer tell dude its about 2 to 15 gb of free samples on the web in case he's stuck on what to use .. go over to kvr-vst.com and go to the samples forum for links and links to download....im thinking something old school in nature like a really phat old school clap or a an old school break beat sounding snare with a good cutoff so its snappy...
either way...i gave you a few good million dollar tips...which i couldnt go without saying that i snagged from reading Charles Dyes Hard Disk Life series at the Digidesign site...he gave some HOT ass pointers at the gearslutz.com forum on how he compresses and warms across the two buss....for some really aggressive results on your tracks warmth...send all your instruments ...not the vocals to a group track....this is after you've got them all set with compression or whatever, fx etc...drums bassline all your instruments to a group track....slap Paris Eq vst across the instrumental group track...defeat the eqs...bump that gain up to 4.5 db or to taste...DAMN now your joint is knockin!
You may have to readjust some of the levels on your instrumental tracks and really the bassline but it will add some real real thump to your tracks..
Try it out you wont be sad plus the Paris Eq plug in adds MUCHO MUCHO warmth...and it also goes without saying that I use Digital Fish Fillets plug in pack..Classic Series Plugs...Endorphin and Magneto Steinberg and JS Magneto and sometimes Saturator..oh yeah AIPL Warmtone on ALL my tracks...except for Magneto Steinberg edition...the plug ins are free man...try em out!
These plugs helped to take my mixes out the gate and to the finish line professional style.
One final trick....try Voxengo Stereo Width plug in on your instruments except the bass line IE....group all your non percussion and non bassline instrumens...you know just pianos strings anything thats not drums and bass to a group track and then slap voxengo width on the group track ....try pretty wide as a preset or real close but adjust the width to 167 %....DAMN now your vocals stand out more because they own the mono field while your instruments are extra stereofied so that you get a better range of no interference in a mix...you can still do the paris group trick with this you would just send the stereo affected group track to the group track that paris eq vst is gonna affect.
Oh i forgot this trick ....my girl i can thank for this one...have the girl maybe maybe harmonize her hook part a little bit more so its broader and then you could pan the various harmony parts to the left and right side of the stereo field like the soprano side on the left side with the low part on the right and the main voice in the center......suntin like that ok .. if its too late to add drops then use a pitch shifter plug in to see if you can synthesize more harmony parts like Waves Pitchshifter etc you can find free plugs for this on the web
simple
Email me if you want
Peace
Illumination
For the chorus you might want to try a aux bus but for the delay theres two ways to do it.
Either copy the track with the singer and then offset the second track or put the delay in as a insert on the singers track and set it to the 19.5 or 38 ms setting and then beginning to adjust it until you get a sound you like...maybe 50 dry / 50 wet setting or more lean on dry side like 70 dry 30 wet.
If the chorusing isnt strong enough you could add it as an insert if you have room for it on your inserts I think you use sonar so you're fine when it comes to that...
Like i said more ass in the snare though if you not the producer tell dude its about 2 to 15 gb of free samples on the web in case he's stuck on what to use .. go over to kvr-vst.com and go to the samples forum for links and links to download....im thinking something old school in nature like a really phat old school clap or a an old school break beat sounding snare with a good cutoff so its snappy...
either way...i gave you a few good million dollar tips...which i couldnt go without saying that i snagged from reading Charles Dyes Hard Disk Life series at the Digidesign site...he gave some HOT ass pointers at the gearslutz.com forum on how he compresses and warms across the two buss....for some really aggressive results on your tracks warmth...send all your instruments ...not the vocals to a group track....this is after you've got them all set with compression or whatever, fx etc...drums bassline all your instruments to a group track....slap Paris Eq vst across the instrumental group track...defeat the eqs...bump that gain up to 4.5 db or to taste...DAMN now your joint is knockin!
You may have to readjust some of the levels on your instrumental tracks and really the bassline but it will add some real real thump to your tracks..
Try it out you wont be sad plus the Paris Eq plug in adds MUCHO MUCHO warmth...and it also goes without saying that I use Digital Fish Fillets plug in pack..Classic Series Plugs...Endorphin and Magneto Steinberg and JS Magneto and sometimes Saturator..oh yeah AIPL Warmtone on ALL my tracks...except for Magneto Steinberg edition...the plug ins are free man...try em out!
These plugs helped to take my mixes out the gate and to the finish line professional style.
One final trick....try Voxengo Stereo Width plug in on your instruments except the bass line IE....group all your non percussion and non bassline instrumens...you know just pianos strings anything thats not drums and bass to a group track and then slap voxengo width on the group track ....try pretty wide as a preset or real close but adjust the width to 167 %....DAMN now your vocals stand out more because they own the mono field while your instruments are extra stereofied so that you get a better range of no interference in a mix...you can still do the paris group trick with this you would just send the stereo affected group track to the group track that paris eq vst is gonna affect.
Oh i forgot this trick ....my girl i can thank for this one...have the girl maybe maybe harmonize her hook part a little bit more so its broader and then you could pan the various harmony parts to the left and right side of the stereo field like the soprano side on the left side with the low part on the right and the main voice in the center......suntin like that ok .. if its too late to add drops then use a pitch shifter plug in to see if you can synthesize more harmony parts like Waves Pitchshifter etc you can find free plugs for this on the web
simple
Email me if you want
Peace
Illumination
I
illacov
Member
Gully
You vocals is way too low for this track
maybe its because the strings are like the loudest thing on the track maybe if you lower the strings some you would hear the verses and the hook better cuz right now im hearing a good beat but you lack presence the way the vocals are mixed. You got drops and everything tho so all you need a better mix...i might put a bit more crack on your snare/rimshot sound..prolly just boost it a bit or add a warmth plug in on it or something..like saturator and up the crack on it..
Oh yeah
Mid cut on the strings...take some of those mids out or sweep em down some too close in freq to your vocals...
Feel free to reply or ask questions..the levels seem cool though as a whole but i just think you need more volume on the vocals...and some more crack in your snare....
Peace
Illumination
You vocals is way too low for this track
maybe its because the strings are like the loudest thing on the track maybe if you lower the strings some you would hear the verses and the hook better cuz right now im hearing a good beat but you lack presence the way the vocals are mixed. You got drops and everything tho so all you need a better mix...i might put a bit more crack on your snare/rimshot sound..prolly just boost it a bit or add a warmth plug in on it or something..like saturator and up the crack on it..
Oh yeah
Mid cut on the strings...take some of those mids out or sweep em down some too close in freq to your vocals...
Feel free to reply or ask questions..the levels seem cool though as a whole but i just think you need more volume on the vocals...and some more crack in your snare....
Peace
Illumination
Teacher
New member
funny you should mention chuck D and his methods cuz i read it too and do use some of the techniques though I am more conservative with the 'warm' plugs because another engineer I respect who does hip hop doesn't use them and still gets pro results(obviously he done shit for missy, redman, BEP, etc.) so its just more experience I'd think...and better monitors would prolly be a BIG help too.
P
Prizmaxic
The Shizz
That song is pretty bad ass! Sounds amazing to me, except the cymbal crashes. I thought they seemed cheesy, and kind of out in left field. They didn't seem to fit with the vibe being set.
I
illacov
Member
What you also gotta REALISE IS.............
The nature of the material that you mix is 99.9 percent of the reason while you would reach for an eq over a tube warmer or a compressor over a distortion plug in.
A respected hip hop engineer is gonna track in those beats for missy and redman thru some kind of preamping/compressor stage and one can bet ones ass that it was not done with a 10 dollar unit....so before they even get into the mixing stage usually the material is already warm and pretty punchy because of the way its been recorded into the setup.
If the guy you're talking about uses pro tools and no analogue..you're correct hes got more experience and wiser ears but if you talking about somebody that uses computer recording to bounce down to two track and then slams it to 2 inch tape and then back into the computer again..you deal with a whole different animal...Theres this one brotha that was in a magazine that engineers missy and busta..redman others...black dude with braids or dreads its been a while since ive seen the article.
But i believe he mentioned using analogue consoles to mix and control his pro tools sessions as well as fluffing it with 2 inch tape later...might not be the same guy you mention Teacher...but Charles Dyes methods are more than sound for people that cant afford SSL boards or neve pres.
I guess using the warming plugs kind of compensate for that in some way shape or form.
Also it never hurts to realize that unless your in a similar position as the guy you respect or study...you cant accurately recreate his methods so you have to use what you have. That being said you record with a computer based environment and yes there is such a thing as overdoing the warmth and all that but...most of the things i was suggesting were about limiting..yes some of the stuff is based on analogue models..like classic series stuff and paris eq vst....but i would never suggest you over do it whatever that means to the next man lol
If you wanna tone down the warmth..the least you could do is do yourself a favor and do justice to the balance with the drums and the vocalists.
If you have a decent enough producer he would be glad to give your snare some more thwak!...i only suggested that magneto or saturator might give you that thwack without going back to adding more elements unless they're absolutely needed.
I respect tons of engineers...My true favorite being Dr. Dre. Which most people still dont know...He doesnt get credit because of union bylaws..so he just sneaks and does it or sits in and basically tells the engineer thats at the console EXACTLY what to do.
He does use protools and he does mess with the warmth plug in stuff too...however the reason i throw in the analogue warmth stage as a final...is because Dre slams his stuff to tape after he mixes down to 2 track wav. Then he records it back to Pro Tools...IMO Tape is forgiving when it comes to distortion and overload....so i have to use it...this also makes it easier for me to avoid cranking up my faders....BTW I use a Logitech 3 speaker system for monitoring.
49 bucks at office max a year ago.
Ive been to 6 figure studios and my mixes sounded the same there as at the lab...its just about how you mix your stuff...Im very wary of low frequencies now...i had to learn the hardway with my first attempt at mastering my lp...Ive since remastered it and damn does it sound WAY better now...i can show my face in public again.
Anyways hopefully u got some good info or perspective on stuff...Sorry about being redundant with Charles Dye i forgot that you go there too ( i see your name everywhere too!)
OH yeah
Im gonna start a post tmw about
HOW THE HELL DO THEY A Record Nas' Vocals
B Mix Nas's Records
Im referring to the stuff from GodsSon to now...The GodsSon album sounded INCREDIBLE and the Thiefs Theme joint sounds JUST as beautiful..You may not like the song but DAMN how they hell do they get his voice so LOUD and so undistorted and clear man?
I know its the micing stage but what are they doing during the mixing?
Peace
Illumination
The nature of the material that you mix is 99.9 percent of the reason while you would reach for an eq over a tube warmer or a compressor over a distortion plug in.
A respected hip hop engineer is gonna track in those beats for missy and redman thru some kind of preamping/compressor stage and one can bet ones ass that it was not done with a 10 dollar unit....so before they even get into the mixing stage usually the material is already warm and pretty punchy because of the way its been recorded into the setup.
If the guy you're talking about uses pro tools and no analogue..you're correct hes got more experience and wiser ears but if you talking about somebody that uses computer recording to bounce down to two track and then slams it to 2 inch tape and then back into the computer again..you deal with a whole different animal...Theres this one brotha that was in a magazine that engineers missy and busta..redman others...black dude with braids or dreads its been a while since ive seen the article.
But i believe he mentioned using analogue consoles to mix and control his pro tools sessions as well as fluffing it with 2 inch tape later...might not be the same guy you mention Teacher...but Charles Dyes methods are more than sound for people that cant afford SSL boards or neve pres.
I guess using the warming plugs kind of compensate for that in some way shape or form.
Also it never hurts to realize that unless your in a similar position as the guy you respect or study...you cant accurately recreate his methods so you have to use what you have. That being said you record with a computer based environment and yes there is such a thing as overdoing the warmth and all that but...most of the things i was suggesting were about limiting..yes some of the stuff is based on analogue models..like classic series stuff and paris eq vst....but i would never suggest you over do it
whatever that means to the next man lolIf you wanna tone down the warmth..the least you could do is do yourself a favor and do justice to the balance with the drums and the vocalists.
If you have a decent enough producer he would be glad to give your snare some more thwak!...i only suggested that magneto or saturator might give you that thwack without going back to adding more elements unless they're absolutely needed.
I respect tons of engineers...My true favorite being Dr. Dre. Which most people still dont know...He doesnt get credit because of union bylaws..so he just sneaks and does it or sits in and basically tells the engineer thats at the console EXACTLY what to do.
He does use protools and he does mess with the warmth plug in stuff too...however the reason i throw in the analogue warmth stage as a final...is because Dre slams his stuff to tape after he mixes down to 2 track wav. Then he records it back to Pro Tools...IMO Tape is forgiving when it comes to distortion and overload....so i have to use it...this also makes it easier for me to avoid cranking up my faders....BTW I use a Logitech 3 speaker system for monitoring.
49 bucks at office max a year ago.
Ive been to 6 figure studios and my mixes sounded the same there as at the lab...its just about how you mix your stuff...Im very wary of low frequencies now...i had to learn the hardway with my first attempt at mastering my lp...Ive since remastered it and damn does it sound WAY better now...i can show my face in public again.
Anyways hopefully u got some good info or perspective on stuff...Sorry about being redundant with Charles Dye i forgot that you go there too ( i see your name everywhere too!)
OH yeah
Im gonna start a post tmw about
HOW THE HELL DO THEY A Record Nas' Vocals
B Mix Nas's Records
Im referring to the stuff from GodsSon to now...The GodsSon album sounded INCREDIBLE and the Thiefs Theme joint sounds JUST as beautiful..You may not like the song but DAMN how they hell do they get his voice so LOUD and so undistorted and clear man?
I know its the micing stage but what are they doing during the mixing?
Peace
Illumination