here's your host this is me Marc Mozart
and my assistant Nick all right Nick
what are we gonna do today okay today
we're gonna listen to another track
from our Master Feedback series yeah let me
check let me check let me check hey Marc
Dave here I'd like to submit a track to
you guys i co-wrote it with my brothers
and my oldest oldest brother mixed
produced it we're actually looking to
get it mastered and Phil my brother
would love some feedback since he's
always looking to learn and improve well
David is a great buddy of mine longtime
drummer of the blue man group in berlin
awesome guy I met him a couple of times
we have a lot of common friends in
America he also worked with Matt Fink
from Prince and the Revolution in
America and I had worked with Matt a
while ago... Start the track!
(song lyrics) something about all the ways you move me
something about how you lock me in Oh
something about all the ways you use me
running the race I just can't win oh my
you believed in me never thought he
should be
I can't sleep I can't drink I can't take
out I can't see the breakdown ya can't
believe the way yeah I got all the
things you say Oh your size k going
better fill a cousin is that right after
you with cats and a dog get away
I really like thank you
I can't train
I can't see the back
breakdown tell him
It's a bit lifeless yeah I agree and it's I
mean it's completely lacking the what is
it? 200Hz 300Hz even up to 700Hz where
a mix needs some "meat" in the
mid-range the typical - where we do the
Chris Lord-Alge kind of SSL
textures - that's lacking, the Snare needs a
little bit more snap (swoosh) a little bit
more energy and I really don't know
about the bass (Marc's playing the
drum kit) David knows how a snare drum
should sound and this is a bit
lifeless if I was the mixer of this I
would probably get some triggers going
for the drums as it needs some smashing
stuff maybe the direct signal they have
for the snare and kick is ok but you
know the usual thing that we do we get
the triggers with "Slate Trigger" and then
and then bring in some room mics
yeah bring in some life and this is also
where you get a lot of the textures for
the drum set that brings it alive overheads
and rooms are super important yeah
especially for this kind of music where
you got a live-band vibe going of course and
what do you think about the bass?
I mean the bass is OK
the way it is, but it's not sitting in the track
It's not really communicating with the drums.
Go to a low listening level and check are there any
sections where the bass is dropping out
or is losing my attention or is there any
place where it's going too upfront because
the bass is not the lead
singer - and there is some places
around wow you know you listen to the
track and I immediately go like this you
know about the bass is the bass you know
lead vocals need a little bit more excitement
I think the brass is super boring it's
it's completely lacking on high
frequencies. Yeah I mean it's almost like
you put up you put up an iphone and
and record and film a live performance
of a live band you know I am NOT getting
this thing on a really exciting mix I
get this thing where you know the singer
comes up here and its really I mean it's
the matter of taste if you want the
singer really upfront but to have a bit
of a stage going on in the mix this is
something on really good mixes and these
expensive speakers we usually have a
real stage going on now and this is not
happening here so a little bit more
definition to the instruments it's i
mean the the heart of it is the drums
because there's no energy behind the
drums i would literally retrigger them
and find some great sounds I mean that's
obviously as we say in Germany
"Eine große Baustelle"
that's a huge building site because you
need to have a library of drum sounds
that you are familiar with you I mean
even if you get whatever the whole
"Steven Slate", all expansions and
everything you know and you need to
learn what's working with what and so
you need to be comfortable with these
libraries and I mean the slate stuff is
really good I have to say I have
unfortunately I paid for everything but
maybe that changes now yeah that made
It's good stuff and it would work here
and yeah I mean we talked about it
the drums are at the heart and then the
bass is probably the audio is probably
great it just needs to integrate with
the drums I don't know maybe some
sidechaining where where the kick pushes
the bass a bit back and this is another
big "Baustelle" as we say in Germany
because you can do
a simple sidechaining where the bass the
entire level of the bass get gets kicked
back when the kick comes in or you can
do a thing where you say okay it's only
pushing the bass into the back at 50Hz
80Hz or 100Hz or whatever you want the
kick to focus so kick and base is at the
heart of it and once this is pumping I
mean here you in this mix you can't even
make the brass big I mean for me real
brass is always something there some 200Hz
500Hz, 700Hz perhaps can have can be heavily
featured you know it's
you need to really feel the player in the
room you know yeah but this is needs
some separation and this stage thing you
mentioned and reverbs I mean should and
and where's the main camera? Is this the main
camera? yeah a lot of people think "Oh
drums I need a lot of reverb" funny thing
is you don't... no, all the
three dimensionality of the drums is
coming through the room mics and putting
any type of reverb on the drums is
either for an effect you know if you
want that whatever we just mixed a track
where we had a Linn drum snare and
there it's great it's in a 1980s context
where the "Lexicon digital reverbs"
came out first and you can put a
"Lexicon" digitall reverb on it and it
gives you that 80s vibe or you have a
echo chamber and have a 60s vibe
but contemporary real drums live from
the recording of great room mics
and he probably doesn't have these in
the recording so this is where he
generates them with some triggers.
I wouldn't even know, I mean even if he
send us stems of this it's in
the mix you know we couldn't this is not
a stem mastering this is really
going back to the mix and instead of I
don't know four or five channels he
has on his mix from the drums it's 18
you know yeah it's close room mics its
far room mics it's a top
snare mic, bottom snare mic, overheads
and it's experimenting with all
these mics and getting a balance and I
mean of course this is something I
wouldn't want to do in the box yeah I
mean this is why we have the SSL console here
and we love it so much
I mean almost to it two bays of channels
for the drums
let me grab the hand camera this is an
entire bank.... stereo drums, stereo toms kick 1
kick 2, snare 1, snare 2, overheads,
room... I mean this is the layout for
the mixing not for the tracking and then
we got all these compressors for
parallel compression and we can bring
this stuff in - he needs to go back to the
mix on the drums! The vocals are
something we can always improve on a stem
mastering if he gives us the dry vocal
or even a mono version and effects
separate this is something we can
improve here - so I think we
should have a listen at the bridge yeah
so the rest of the song,
prepare for some surprises
Oh, is this a guitar or a synth? LoL
This is easy.
You go back to some 80's music and listen to
some "Bon Jovi" guitar solos.... I really don't know is it
a guitar or a synth??
we'll really mean today!
I'm sorry I'm really sorry, yeah but this
guitar sound needs some improvement
nice song nice performances but yes the mix
needs some work I mean that's probably it for today
I need to let you know
this is going on youtube as well um this is one
camera this is another camera this is
the live streams we're doing one of
these every day of this week we have
a nice room mic here so the sound on YouTube will
be a lot better compared to the stream
that's it yeah see you guys tomorrow bye
bye bye
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