This is a real-time shoot of a mixing session, with no smoke or mirrors. Going from rough mix to a final mix in an hour or so, complete with eqs, compression and reverbs. All steps are explained and commented.
Mixed with Dangerous Music Monitor ST, Dangerous Music Summing and Focal speakers, Avid ProTools HD|Native, UAD Satellite Quad, Great River EQ1-NV eqs.
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- 00:00 - Start
- 00:0 - Bass
- 05:18 - Creating Spaces
- 11:24 - Guitar
Let's leave the vocal alone, let's listen to the bass.
That's some bass.
It sounds good. It's a little rowdy.
It's supposed to be rowdy. It's a little too rowdy.
And it's a little kind of bleeding in the bottom.
So we're gonna fix that.
The first thing I'll do probably...
I'm probably gonna actually use this EQ right here.
So this EQ, same principle, is inserted in between the converter and the 2-Bus, OK? Let me hi-pass.
Obviously that's too much.
It sounds like a Metallica record right now.
OK, check it out. I'm gonna start at off.
Very slight tightening.
I'm starting to hear a little bit of a touch at the bottom.
Listen to the resonance, "mmmmmmm".
On that note, "mmmmm". Listen to that.
This is flat.
Can you hear all that build up? We were at 47.
Aha. It's tightening a little bit. It's subtle.
So now I know that my problem is in this range.
Because when I remove it, it gets rid of it.
If I go up to 150.
Yeah. So, now that bass is completely emasculated but...
I know that in the 80 ish range something is being a problem.
So I'm gonna leave my filter below that, I'm gonna bring it like 27 ish.
And I'll use my filter knob here.
My EQ down here to try and find the problem.
The options that are given to me are 56 which I think is too low, and 100 which should be just right.
I'm gonna start at zero and...
Two little bands of EQ and it's very acceptable.
We started here.
Hear that? And now we're here.
Can you hear the differences? OK, great.
Two little adjustments.
We don't have to put 100 plug-ins on it.
The other thing I'd like to do here is compress it.
And from experience I know that I kind of enjoy...
Also it just looks pretty.
Pretty happy with this.
All I'm trying to do is, I'm not trying to do anything other than give the tone of the bass and evenness.
I don't wanna squish it, I don't wanna hear it.
It's just giving it evenness. Also it gives a nice upper mid-range thing.
And I'm thinking I'm gonna actually push this. I think it would sound fatter, if I went this way.
If I went back to this EQ here.
And I added some of that.
Some of the wood.
This is flat.
And this is with the wood.
I like the thing. They're for real.
In summary what we have done on the bass so far is, if I turn everything off sounded like this.
Turn on the compressor and the EQ it sounds like this.
Simple, neat, pretty.
Let's see how it works together.
Fancy that. It works.
I could make a record with this.
We could print this. Maybe we wanna turn the guitar on.
I'm thinking about it.
But apart from that, this is a perfectly fine record.
Now I probably would start creating space.
Unless I'm doing a house music record, my most important thing is the melody and the bass.
The relationship between the melody and the bass gives you the song.
The harmony and the vibe, everything else is wallpaper as far as I'm concerned.
No easy wallpaper but wallpaper nonetheless.
Now I'm gonna try and create some space.
In most of my mixes I have three reverbs.
Why three? Because one is not enough.
You heard that before I'm sure if you have a girlfriend.
So now I'm gonna show you the first one.
I tend to have three different settings.
I have a very short reverb that sounds a little bit like an office.
Like a room.
Or a bedroom.
I call it the office to remind myself that I'm not working in an office.
And that's a good thing.
And it sounds a little bit like this. With just the vocal.
You can see the cubicles, right? Yeah.
This is flat.
This is with.
OK? Obviously this is too much.
What this is gonna let me do is, everybody records everything very close like this.
In this case we had to because of the bleed.
I hate that.
I like to know that there's something, it's not a cardboard cutout of the singer I don't wanna hear that, I wanna hear the singer.
And the singer tends to have.
Well some have depth.
This one does. So might as well recreate that.
I put this little reverb that tends to do this a little bit.
Check it out, I'm gonna play and mute it again so you can hear that.
See how once I mute the reverb it gets really dry and in your face? I'll do it again.
This is with.
Right? That flat sound is the demo sound.
"My stuff always sound like a demo". Put some depth in your recording.
Move the microphone back a foot. Nobody will sue you for it.
You know? It's OK.
If you're still scared that someone is gonna sue you for it then put the microphone very close and use this trick.
The second reverb I have is a Plate.
You know this.
That's the reverb that I want to hear.
That do the wetness.
This one sounds a little fat to me.
I want it to be a little thinner so I'm gonna EQ it out.
You hear him smoothing? You can hear the tone of it, right? That's about it.
I'm gonna remove a little bit of the bottom.
OK, less, less.
OK. That's cool.
The last one I'd like to use is a wash. Usually I use a hall.
In this case I'm gonna use the 250 because I love the 250.
It's really cool. Check this out, this is with.
The plate is giving me the sauce.
But it's not giving me any spacial cues.
So it doesn't so like the sound is stopping at the end of the song.
It's just a little bit of a trail.
This wash is giving me more like an ambiance for the whole track.
So I'm gonna put too much of it so I can tune it.
And that's gonna give me some height too because it's behind and far away and sounds like there's a lot of height.
So I'm gonna put less of that so yo can hear a more subtle effect.
OK? I may adjust the length later when I grow up. Right now...
this is all three reverbs at the same time.
A little too much of the wash.
If I mute the reverbs in the middle.
OK? You get a real sense of space behind the stuff.
If I put the bass and the vocals together with the reverbs on.
Sounds like this.
It doesn't sound wet.
It's starting to sound less demoey.
Maybe I'll consider putting the office on the bass.
That's nice, right. Without.
Pretty dry. Listen to the high notes of the bass.
It's giving a little bit of a distance, so it doesn't sound so cardboardy.
That sounds very smooth.
OK. I like it.
What else can I do.
Let's listen to the guitar.
That's the microphone.
It sounds great. This is the...
And with the vocal.
I'm gonna take the quick route.
I'm gonna use the DI, put and EQ on it to remove the bottom.
I think that what gives away the DI in most is that...
Make it a little thinner.
And compared with the other one.
That sounds reasonable, right? Very well recorded by Meredith.
What if we put some reverb on there.
Maybe the plate so that when it goes, "pom, pee, pan".
That the high notes kind of excite the reverb to give me some sense of that "gvvrrr".
Technical term, "gvvrrrr".
Hear that? You've heard that song before, right? I like that.
OK, with the vocal.
A little more of the DI.
One more time Meredith wins and I'm using the DI in the mix.
This is where we're at right now.
It sounds very nice.
Dig it? Let's move on.
Let's go to what we call...
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Fab Dupont is a Grammy winning NYC based record producer, mixing/mastering engineer and co-founder of pureMix.net.
Fab has been playing, writing, producing and mixing music both live and in studios all over the world. He's worked in cities like Paris, Boston, Brussels, Stockholm, London and New York just to name a few.
He has his own studio called FLUX Studios in the East Village of New York City.
Fab has been nominated for Grammys 6 times, including two Latin Grammys and has received many other accolades around the world, including Victoires de la Musique, South African Music awards, Pan African Music Awards and US independent music awards.
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