28 July, 2009

One of Yesterday's Mixing Sessions


LevelPanEQ/FilterDynamicTime-BasedIssues / Notes
Kick+2.5dB
Midnight
HP ~ 50Hz ~ 50%Q
Bell ~ -1.5dB ~ 136Hz ~ 75%Q
HS ~ -6dB ~ 616Hz ~ 0%Q



Snare-1.5dB
2330
Notch ~ 2218Hz ~ 90%Q



Rack-7.5dB
0100




Floor-7dB
0130




Hat-15dB
2200

Threshold: -30dB
Ratio: 3:1
Attack: 0ms
Release: 340ms
Gain: +6dB


Ride-16.5dB
0115




Crash-6dB
0145
Notch ~ 800Hz ~ 61%Q



BassAT: -6dB
WE: -2dB
AT: 2230
WE: 0015
LP ~ 2.5kHz ~ 4dB/8ve
Threshold: -14dB
Ratio: 2:1
Knee: Soft
Attack: 5ms
Release: 295ms
Gain: +6dB


"Clean" JaguarAT: +2dB
WE: -3dB
AT: 0130
WE: 2300




"Treble" JaguarAT: -3.5dB
WE: 0dB
AT: 2330
WE: 0130



Idea for the sound came from overloading two channels on a Behringer mixer, running a guitar directly into a channel EQ'd to favor treble and then patching that channel, via aux send, to another channel EQ'd to favor bass. Channel levels were then adjusted to meet unity gain when silent.
Because I had no idea how to recreate this on a guitar amp, I just set the fuzz box's distortion level at half way and the tone to full treble to recreate a sound that's just breaking up.
"Full" JaguarAT: -3dB
WE: -2dB
AT: 2200
WE: 0200



Normal settings. Basically, enough distortion to kill an elephant at five hundred yards.
Second "Clean" JaguarAT: -1.5dB
WE: -7.5dB
AT: 2230
WE: 0030



Tremolo added after tracking.
Wine Glasses-24dB
Midnight


Quarter note single repeat delay.
Recorded from side rather than above, thus resulting in an amplitude-based LFO effect occuring at double the frequency of the physical excitation of the glasses.
Bottles-5dB
Midnight


Quarter note single repeat delay.
Quiet signal. Mixed in behind bass.
Vocal0dB
Midnight
HP ~ 300Hz ~ 6dB/8ve
Gate:
Threshold: -33dB
Depth: -∞
Attack: 0ms
Hold: 120ms
Release: 120ms
Lookahead: 30ms

Compressor:
Threshold: -20dB
Ratio: 3.33:1
Knee: Soft
Attack: 5ms
Release: 195ms
Gain: +6dB


"Jazz Drums"-6dB
Midnight



Brushes arranged in half-time.

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