A nasty cold has stopped up my mixing progress for the last week (brought home by the Fischer shock troops from Walteria Elementary kinderclass). Should be fully cleared by the weekend.
I should have left it alone, but you know it wasn't easy. And now two noses are blown. The rhinovirus made me queasy.
Me queasy.
Showing posts with label Mixing. Show all posts
Showing posts with label Mixing. Show all posts
Wednesday, June 16, 2010
Saturday, June 5, 2010
Mastering, Compression, and Loudness
As we press on through the mixing and mastering for for High Desert Mystery, we have to wrestle with the question of how much compression is OK. This decision is critical to the end result in terms of the "listening experience." Most new CDs are way overcompressed. But the flip side is that without much compression, the end result just doesn't sound like a real "record."
What Happened to Dynamic Range?
I think we should do this. And maybe this.
What Happened to Dynamic Range?
I think we should do this. And maybe this.
Thursday, June 3, 2010
April Mixdown: Surveying the Baseline
April was the first song recorded for High Desert Mystery, so now that we are vetting the final mixes, what better place to begin?
This song was completed in a single session, January 20, 2008, with me acting as "producer." Matt played the drums, which we recorded with only two microphones: kick drum and overhead. I operated the digital audio workstation (DAW) while performing the scratch vocal and guitar. I had one mike for the vocal, and the two built-in pickups in my Martin D-1 acoustic guitar: one piezo-acoustic bridge pickup and one internally mounted condenser microphone.
We warmed up with one recorded take of "I Ain't Never" before beginning numbered takes of "April" as follows:
Takes 1-4: missing (probably deleted immediately)
Takes 5-8: false starts
Take 9: complete
Take 10: false start
Take 11: missing
Take 12: false start
Take 13: complete
Take 14: false start
Take 15(?): the master take
As it turned out, my basic guitar track was error-free and therefore usable, so we kept it. Matt then recorded a second acoustic guitar part using the same internal pickups, plus the Apex condenser microphone, which was our best available mike throughout the High Desert Mystery sessions. Matt's guitar playing imparted a quasi-swing feel which unexpectedly enhanced the basic arrangement.
My harmonica part was next, followed by Matt's tambourine, and then my bass guitar. Probably all with the Apex mike, though the bass might have been direct. I doubt it. I also don't remember whether it was "Red Bass" or Julian Kingston's Jazz Bass.
Finally, we worked on my vocal track. We recorded two tracks: one called "crap vocal" - whose chief fault appears to have been a few missed lines - and a second called "double vocal" which includes some drop-in fixes, but intentionally left in a flub that was perfectly doubled from the scratch vocal track. At the time we liked the flub. Now we have to live with it, or else revive the "crap vocal" for that line.
Matt's final mix from April 4, 2010 dispensed with the "crap vocal" altogether, which has been deleted from the master project file.
Matt's mix is pretty spartan, without effects or equalization except on two tracks: the harmonica features reverb, as does the main lead vocal, which is also heavily equalized with 3-4 dB cuts around 750 and 6000 Hz, a -8dB shelf at 9000 Hz, and a 12 dB boost below 180 Hz (the "proximity zone").
Matt automated the fader on his acoustic guitar track to bring it as an accent on about half the song, but only on the internal condenser mike. He also automated the scratch vocal, but muted it out of the final mix.
Overall, this mix sounds pretty decent. There are a couple of potential edits that are tempting me: I would like to fix the flubbed vocal line by flying in that section from the deleted "crap vocal," and I would also like to eliminate or steeply diminish the final cymbal crash, probably with fader automation rather than editing.
UPDATE: edits are complete!
This song was completed in a single session, January 20, 2008, with me acting as "producer." Matt played the drums, which we recorded with only two microphones: kick drum and overhead. I operated the digital audio workstation (DAW) while performing the scratch vocal and guitar. I had one mike for the vocal, and the two built-in pickups in my Martin D-1 acoustic guitar: one piezo-acoustic bridge pickup and one internally mounted condenser microphone.
We warmed up with one recorded take of "I Ain't Never" before beginning numbered takes of "April" as follows:
Takes 1-4: missing (probably deleted immediately)
Takes 5-8: false starts
Take 9: complete
Take 10: false start
Take 11: missing
Take 12: false start
Take 13: complete
Take 14: false start
Take 15(?): the master take
As it turned out, my basic guitar track was error-free and therefore usable, so we kept it. Matt then recorded a second acoustic guitar part using the same internal pickups, plus the Apex condenser microphone, which was our best available mike throughout the High Desert Mystery sessions. Matt's guitar playing imparted a quasi-swing feel which unexpectedly enhanced the basic arrangement.
My harmonica part was next, followed by Matt's tambourine, and then my bass guitar. Probably all with the Apex mike, though the bass might have been direct. I doubt it. I also don't remember whether it was "Red Bass" or Julian Kingston's Jazz Bass.
Finally, we worked on my vocal track. We recorded two tracks: one called "crap vocal" - whose chief fault appears to have been a few missed lines - and a second called "double vocal" which includes some drop-in fixes, but intentionally left in a flub that was perfectly doubled from the scratch vocal track. At the time we liked the flub. Now we have to live with it, or else revive the "crap vocal" for that line.
Matt's final mix from April 4, 2010 dispensed with the "crap vocal" altogether, which has been deleted from the master project file.
Matt's mix is pretty spartan, without effects or equalization except on two tracks: the harmonica features reverb, as does the main lead vocal, which is also heavily equalized with 3-4 dB cuts around 750 and 6000 Hz, a -8dB shelf at 9000 Hz, and a 12 dB boost below 180 Hz (the "proximity zone").
Matt automated the fader on his acoustic guitar track to bring it as an accent on about half the song, but only on the internal condenser mike. He also automated the scratch vocal, but muted it out of the final mix.
Overall, this mix sounds pretty decent. There are a couple of potential edits that are tempting me: I would like to fix the flubbed vocal line by flying in that section from the deleted "crap vocal," and I would also like to eliminate or steeply diminish the final cymbal crash, probably with fader automation rather than editing.
UPDATE: edits are complete!
Tuesday, June 1, 2010
Swamptooth: On the Final Push
So now that the blue contingent (a.k.a. Matt Munson) has worked his editing magic, and handed the mixes over to me, I have set about the task of sprinkling black pixie dust over the whole affair.
I have to say I am VERY impressed at the high quality of the pure Munson mixes, and my philosophical starting point is that I will leave things the way they are, unless I am POSITIVE that the particular changes I have in mind will make a definite, noticeable improvement. But what is critical (to me, anyway) is that I ensure that I am comfortable with the end result before it goes to the presses.
We definitely rushed things on the "Second Time Around" single - which Matt and I basically mastered at one sitting - and I must admit that I do have real regrets over the final mix on that CD (in a way that wasn't true for the My New Invention CD, which was well mixed whatever its other faults). At the time I said "never again."
In retrospect, a minor disappointment on the single was for the best, because I had originally pushed pretty hard to release the whole album in December 2008. Had we done so, and had an entire album of rushed mixes, I probably would have ended up dissatisfied with High Desert Mystery as released. But that was my original premise for the album - for it to be a pure 2008 project, recorded and released that year, with no loose ends hanging out.
Oddly enough, it was Matt who put the brakes on at that time, and the album entered an all-too-familiar period of "My New Invention" style limbo in 2009. But it wasn't truly in limbo, because Matt was busy tinkering, on and off. At his instigation, we even did an extra overdub session in March 2009. The months dragged on, and then we ended up recording a completely new track! Each time he made it out to the West Coast, I requested that he bring the master tapes for mixing, but in reality the editing was still a work in progress.
All in all, it was probably worth the wait. Mr. Munson is justifiably proud of the technological terror he has constructed. And naturally, he wants it "out on the street" as soon as possible. So back in April, Matt and I grabbed a burger at the nearby Carl's Jr. and laid the ambitious goal of releasing the CD by June. To that end, Matt committed to delivering the files to me straightaway , and sure enough two DVDs arrived in the mail on about May 6.
Unfortunately, the timing couldn't have been worse. The master tapes arrived hot on the heels of a new baby , who coincidentally was born right on top of not one but THREE new program assignments at work, all high visibility and two of them badly behind schedule, requiring late evenings and Saturdays at the office as far as the eye could see. If that was not enough, we were also in the middle of some hard-core home renovation to accommodate our enlarged brood, mostly involving heat guns, scrapers, long hours on hands and knees, and some bonus time in the crawlspace. Not very conducive to rock and roll! Oh, and did I mention I had an airplane under construction, and18 months left to get it airworthy?
In light of everything, the goal of June album release was pretty ambitious. The only bright spot in the thicket of deadlines was that I had planned 2-3 weeks off work after the baby was born: family leave, and intended for the family, but which would also provide breathing room for the final mixing push. The trouble was (still is) that I am committed to getting all my new programs back on their feet before taking my leave.
Which is a long way of explaining that it's not been easy to give the mixdown process the priority it wants! But I am managing to carve out time. As part of the balancing act, I had decided to MIX rather than BLOG about mixing. By May 22, I had my post-production studio up and running. Now I have shaken off some of the rust from my Cubase skills, and I have a couple of mixes under my belt. If I had time, I would definitely make some equipment upgrades. The monitor situation is ... just okay. The PC available for the job is ... marginal at best, and as loud as a hairdryer! But the starting line has been cleared.
So now June has arrived and I am conscious of my collaborator's eagerness for product. Well, deadline or no, this album is coming out pretty damned soon! Kind of like having a baby. I want it DONE, and I don't need external motivation to that end. I also find it pretty irritating to be tracked to yet another deadline! Still, it's not right to leave the "blue" half in suspense. So what to do? Well, now I think maybe I was wrong about the blogging thing. Yes, "live blogging" the final mix will add time to the process. But it has a few key advantages: (1) it will avoid surprises by keeping Matt in the loop, able to weigh in on technical and aesthetic issues, and aware of schedule realities in real time, (2) it will hold a mirror up to my own progress, and (3) it will add to the fun of doing it!
So enough "yacking" about process. Time to get down to nitty gritty details.
Stay tuned.
I have to say I am VERY impressed at the high quality of the pure Munson mixes, and my philosophical starting point is that I will leave things the way they are, unless I am POSITIVE that the particular changes I have in mind will make a definite, noticeable improvement. But what is critical (to me, anyway) is that I ensure that I am comfortable with the end result before it goes to the presses.
We definitely rushed things on the "Second Time Around" single - which Matt and I basically mastered at one sitting - and I must admit that I do have real regrets over the final mix on that CD (in a way that wasn't true for the My New Invention CD, which was well mixed whatever its other faults). At the time I said "never again."
In retrospect, a minor disappointment on the single was for the best, because I had originally pushed pretty hard to release the whole album in December 2008. Had we done so, and had an entire album of rushed mixes, I probably would have ended up dissatisfied with High Desert Mystery as released. But that was my original premise for the album - for it to be a pure 2008 project, recorded and released that year, with no loose ends hanging out.
Oddly enough, it was Matt who put the brakes on at that time, and the album entered an all-too-familiar period of "My New Invention" style limbo in 2009. But it wasn't truly in limbo, because Matt was busy tinkering, on and off. At his instigation, we even did an extra overdub session in March 2009. The months dragged on, and then we ended up recording a completely new track! Each time he made it out to the West Coast, I requested that he bring the master tapes for mixing, but in reality the editing was still a work in progress.
All in all, it was probably worth the wait. Mr. Munson is justifiably proud of the technological terror he has constructed. And naturally, he wants it "out on the street" as soon as possible. So back in April, Matt and I grabbed a burger at the nearby Carl's Jr. and laid the ambitious goal of releasing the CD by June. To that end, Matt committed to delivering the files to me straightaway , and sure enough two DVDs arrived in the mail on about May 6.
Unfortunately, the timing couldn't have been worse. The master tapes arrived hot on the heels of a new baby , who coincidentally was born right on top of not one but THREE new program assignments at work, all high visibility and two of them badly behind schedule, requiring late evenings and Saturdays at the office as far as the eye could see. If that was not enough, we were also in the middle of some hard-core home renovation to accommodate our enlarged brood, mostly involving heat guns, scrapers, long hours on hands and knees, and some bonus time in the crawlspace. Not very conducive to rock and roll! Oh, and did I mention I had an airplane under construction, and18 months left to get it airworthy?
In light of everything, the goal of June album release was pretty ambitious. The only bright spot in the thicket of deadlines was that I had planned 2-3 weeks off work after the baby was born: family leave, and intended for the family, but which would also provide breathing room for the final mixing push. The trouble was (still is) that I am committed to getting all my new programs back on their feet before taking my leave.
Which is a long way of explaining that it's not been easy to give the mixdown process the priority it wants! But I am managing to carve out time. As part of the balancing act, I had decided to MIX rather than BLOG about mixing. By May 22, I had my post-production studio up and running. Now I have shaken off some of the rust from my Cubase skills, and I have a couple of mixes under my belt. If I had time, I would definitely make some equipment upgrades. The monitor situation is ... just okay. The PC available for the job is ... marginal at best, and as loud as a hairdryer! But the starting line has been cleared.
So now June has arrived and I am conscious of my collaborator's eagerness for product. Well, deadline or no, this album is coming out pretty damned soon! Kind of like having a baby. I want it DONE, and I don't need external motivation to that end. I also find it pretty irritating to be tracked to yet another deadline! Still, it's not right to leave the "blue" half in suspense. So what to do? Well, now I think maybe I was wrong about the blogging thing. Yes, "live blogging" the final mix will add time to the process. But it has a few key advantages: (1) it will avoid surprises by keeping Matt in the loop, able to weigh in on technical and aesthetic issues, and aware of schedule realities in real time, (2) it will hold a mirror up to my own progress, and (3) it will add to the fun of doing it!
So enough "yacking" about process. Time to get down to nitty gritty details.
Stay tuned.
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