Go nice and wide with your pads for sure. The role of pads in general is atmosphere and that can definitely be more side focused. As for Bass do not just simply mono your bass. Instead take your eq and slowly cut away until you are happy with the low end. When you blindly follow the rule of cutting you can take away a gorgeous low end.
2020-10-16 13:31:34 +0000 UTC View Post
It sounds like a real bass with some sort of amplifier on it (I literally remember my youth with a line 6 pod thing having a similar sound) Maybe try guitar amp racks by native instruments? They have a few presets that will help you get a lot closer. The thing that is hinting me that way is the slight hint of flanging and the way it's played.
2020-10-15 10:12:30 +0000 UTC View Post
Think in mid side, think in warmth and think in rhythmic lfo's too. Adjust this and you should be on your way
If you go this route and the room is too dead place wooden slats (planks) where you need diffusion, have a look at John Brandt's designs. If you are building a professional space I highly suggest working with him or other acousticians. Go the professional route if you plan on making this your career or have tons of money
2020-10-07 09:37:19 +0000 UTC View Post
I am almost certain it's Output's Substance or maybe even a preset from Diva. Anybody else have a suggestion as to what preset this could be?
Overall, it's a judgement call on a live gig type of song vs a full production type of song. If it's a gig type of track run the whole mix through some cheap compressor (alesis etc) or vulf. If it's a production type of song then we need to think of arrangement, space, shared harmonics and the ability to make people move. Either way the song is in balance and that is already brilliant by itself as that means you can judge overall eq balance.
2020-10-06 11:42:28 +0000 UTC View Post
More ways to route if Devil Loc is used. Check the video to see the routing option
Here is a link to the volume compensator: https://gumroad.com/l/volcomp3 and here is a video on it: https://youtu.be/JpT8HG2Af58
2020-10-03 06:59:26 +0000 UTC View Post
Bit of bass chat again. Always a lovely topic. ( as for the saturation option, you can also use colourful compressors. Quick tip: short percussive bass (keep it more mono) longer bass can go wider. However rules do not exist so try it vice versa too. And remember you can always automate mid to side and vice versa.
(UPDATE) I will be mixing Gliding Squares and will be revealing the plugin company soon :).
As for future episodes I will be taking your submissions into consideration! So, please fill this thread up if you have anything else laying around.
(OLD POST):
Do you have a project laying around and would you like to be featured on the catandbeats YouTube channel? If so, post them below and tell me which plugin company you would like me to work with.
It's an extremely loud song so remember this is part of why your version sounds less "full"
Regardless, wow control or any tape with wow will do to pitch it and move it around :)
Step 1 Delete Everything for processing (except for heavy sound design)
Step 2 Turn down volume of everything
Step 3 Put up the volume one by one and do this in one session
Step 4 EQ problems you still have
Step 5 Listen to the whole mix and automate if needed
Step 6 Limiter on the master
Step 7 Compare before and after
Step 8 Have a dance off with yourself
In this video we go over drum bus questions and answer it all via not needing that at all for the actual reference :). Use a microshift on the elements you want wide.
The video has a bit of slap on it by itself so sorry for that but in the end we figured out how to get the sound right. Delay plugin set on 1 with ozone imager 2
First I listen to the reference, get an emotional check list and get started.
My order generally is to get the band to Jam together and after the leads/singers etc.
Drums, Bass, percussive melodics, long melodics, (staccato and then legato). After the singer/lead etc. Get the magical moment and go to my TextEdit and make sure the magic stays throughout the whole song.
After I will reference with a limiter.
Here is a shortlist:
Pan guitars
Fix drums in chorus (clap, reverb send routed to drums and compress, maybe put in a new snare too)
Vocal correction with slow release
Bass player can be funkier in the chorus
Drummer can be funkier in the chorus (fills)
Open hi hat louder in the chorus
Overall, I would use lizzo as a reference and clean up instead of dirty up the mix. Think 70's disco in 2020.
The last part of Anade's mixing series is going up now and I hope you enjoyed mixing it as much as I did. If you have the Mega Bundle you can open up the project file! If not you can compare your master vs mine.
Have fun and see you for the next series.
Make sure to follow Anade and give him some love
2020-09-03 14:50:41 +0000 UTC View Post
In this video we reverse an arp sound which actually is 2 individual sounds. Which makes me think it is Signal by Output. That synth/sampler has 2 engines in it for unique rhythmic patterns. I would highly suggest having a google for that.
Everybody will have different reference tracks that they have a story with. Find the songs that blew you away in the past or now. Make them a staple when you get in new toys. When you are producing or mixing do not use those reference tracks at all and go with similar style and genre to the reference song. Also make sure the reference song of the mix you are about to do is not obscure underground but a bigger "hit". It will raise the level you will have to mix to.
2020-09-03 12:01:52 +0000 UTC View Post
I hope with this video to have answered more of the question. In short, set your criteria with reference tracks. Be able to listen to just low end (use headphones if your room is poopy). Listen for the amount of elements and write that down. Be strict with this to not overcomplicate yourself. The more you add in the sub area the fuckier it gets to mix it.
If it's a clinical sound most likely the following needs to be applied:
1. Consider one low end oscillator for your bass...
2020-08-26 13:27:21 +0000 UTC View Post
Just keep it simple. One oscillator in the low. No need to EQ it besides a bit of room for the kick. Adjust ADSR if you like and use the criteria of "will my listener be able to hear the low end". If not use my tricks, if it's not important don't.
Nice track and especially nice that you added a middle eight. Those go a long way into making a track. Overall, reverb might be something to consider to wetten the song up a bit.
Adjust your speakers with 6 to 7db at the top end so that you will not bump your top end with 6 to 7db. I highly suggest fixing the top end first and -6 all the hi hats. Second, the kick seems to be lacking a bit. Replace it with a few kicks and see which will work better. Low end would be nice too. Overall a 180 in comparison to the first song so keep on going!
Absolutely no secret here, I like the ableton reverb and do not use any calculators what so ever. Just answer the following question (Is my sound too forward?) if yes put a reverb directly onto your source sound and adjust the dry wet. (Is my mix lacking depth?) make a reverb send and pick out a few track to slide into it. (Does my reverb sound a bit off?) use the convolution reverb.
The main gripe to tackle will be the low mid of the kick and snare build up. Give that a general cut and put a bump on the fundamental of the kick (pultec curve). Next a reverb on the snare 1 to 1.5 seconds 10 to 20% wet. Last panning on your lead will work and leave the reverb stereo which you can put after the panning (autopan to your liking)
In this video we go over how the bass in praise you was put together from Harrison.
The most important part here is Envelope. Make sure to set that to the filter and you should be good to go. If you like you can use the bass mixing principle after this initial sound design part and have a cleaner mix
The concept in the video is:
Find a source sound (Noise+Tonal Osc) (either via a sample and using sampler or a generator). Second, Filter it at multiple stages if you like especially with different vst's. The choice really is yours here. Third, automate it yourself of let LFO from max for live do it for you.
Key note, make sure it plays back in mono mode (monophonic) and second turn on glide (portamento) to make sure you have tonal gliding aka the v OOO...
2020-08-05 12:41:44 +0000 UTC View Post
If you were using drum buss delete it :D
2020-07-29 16:18:12 +0000 UTC View Post
i would highly suggest Soothe for this track and or laying of the transient designer or compression :)
2020-07-21 13:06:01 +0000 UTC View Post
You did a good job. A few small things but my main worry is it might be a little too hard for UMEK. It's definitely good enough though.
