Welcome back to new MMG podcast, glad to see y'all again
What we have today is the tone of new project of Alex
You know, the same gold person from previous guide
Last time I left the link to his music video and a some of you really enjoyed it
So just in case if you missed it - please show this guy some attention cause his stuff is fire
I'll put some links under the video
Anyways, this time we're gonna go for pretty linear and full type of mix
Really hope that y'all enjoy it, so without further ado let's dive straight to it
So this project is where it all started
At this point I've had no idea what kind of mix we will get on the output
In order to speed things up I decided to recreate any existing guitar tone that may fit the style
After short conversation with Alex we decided to start with model of song "Numb" by Desolated
I knew that at the end of the day it's probably gonna be changed completely
So this tone model is not really that tone, just something more or less close to it
So we started from setting up the amp with Revalver 4
First of all - overdrive pedal with maxed tone for brightness
Helps to get more clear and focused sounding
And here is the amp itself
This whole thing can be substituted with with free Emissary ampsim, I'll show it later
Next thing is kefir convolver with custom impulse on board
As you can hear this thing gives us both tone and panning at the same time
If you listen to the song I stole this shit from - it's easy to notise that sound is kind of spreaded in stereo
Right channel contains resonating low end and left one is more close and focused tone
To be honest I'm not sure about the nature of this
It could be capturing the cab with two different mics and panning them in the opposite directions
Using stereo enhancement or whatever, nevermind
Since we get our panning this way - I don't use it on channel itself
Next step - taking control on resonating low end from the right channel
In most cases this problem is triggered by palm mutes
So any attempts to fix this problem with equalization would make our tone weaker
As I already said - I only need compression for right channel, left one should not be effected
In order to avoid obvious pumping, so here is how I did it
Both Input and wet output are panned to the right
This means that we feed compressor with signal from the right side of stereo
And get processed signal from same right side on output
Dry signal is panned to the left, so we keep our bright part completely untouched
Next step is matching of stereo image with stereo imager
And pretty solid boost of 2 kHz for right channel as additional stereo-correction movement
Final step is multiband compressor
I only use two lowest bands to control same low end resonances, mostly in between of 120 and 220 Hz
Very first band is gonna be triggered in very rare cases, this part of song doesn't seem to have any of these
So that's it for left channel
Processing of the right one is almost the same
In only exception of last module, just to swap left and right channels
Both of them tracks then go to Guitars out bus with limiter on board
Just to protect the audio from possible overloading
Even though 99% of the time it's not gonna be triggered at all
Now Emissary model
What makes difference is first 3 plugins
TSE 808
Emissary with default settings
And updated impulse which contains small spectral adjustments
In order to minimize difference between this and main patches
Rest of the chain is the same thing
Now I'm gonna switch between left revalver and left emissary patches so you can hear if there is difference
Sounds close, but low key with y'all I only made it to get clickbait thumbnail, hold on a sec
That should be good enough
Anyways, since we're done with everything - be sure to use at least 0.20 seconds value on convolvers to get transparrent and clean results
Then setup render zone and start rendering from Guitars Out bus
Next stop - bass guitar template, check this shit
This one can seem little complicated, but it's really not
Let's start from the actuall instrument
Some of y'all could miss it, but few months ago I presented my own free virtual bass library for Kontakt 5
And this is the first time I use it in MMG podcast
I have brief video on it, so if you wan't to learn more about it - you might want to check that out
Funny enough - I thought that covering entire fretboard and having all these articulations will be huge improvement to my production...
While in real life I found myself trying to stay away from key switch routine as much as possible
Maybe it was too complicated, so I've made few automatic patches in order to simplify the process
All you need to do now is import your midi file and choose one of them 3 automatic shits depending of what tuning you use
These numbers here represents string priority
Basically it's just different note patterns for each string, that's how it looks on fretboard
So for example if you use very low tuning - you probably want to use "Automatic 6" and make real evil face
Higher tunings in between of G# and D will be better performed with "Automatic 5"
And "Automatic 4" is for standart tunings, just in case if there is somebody still using it
On top of that - I've made separate outputs for each group of strings in order to minimize timbral differences with post-processing
But just in case if you don't want that - there is also same automatic versions with single out
There is also non-automatic version with same output separation if you prefer original way of manual editing for this thing
You will find all these patches in the additional files for this guide
All you need to do is copy them inside of your Chronos folder
So as I said - we're gonna take advantage of separated outputs
In order to do this - I used 8 out version of Kontakt, which means 4 stereo output channels
Before loading the instrument - be sure that you use proper output routing, otherwise it will not work properly
Just create additional 3 stereo channels like I did here, or use output section preset from the files pack
Then load the instrument
Names of Kontakt channels also represents it's content
So this one is just for 6 string
This (one) is for 5th
Next one is sum of rest of them strings
And last channel is separate noise output
So if I play some random shit from higher strings to lower - you can notice that
Sound comming from different channels depending of used group of strings
Entire point of making things so complicated is separate string matching
Every group of strings has different correction impulse which helps to eliminate the difference between them
On top of that each impulse is also DI tone correction, this whole model will sound like shit without them
Speaking of MIDI programming - I used constant 110 velocity value which is just main downstroke samples
There is also little bit of the noise everywhere
Going back to our channels
All of them shits routed to Chronos lock bus, which is basically something that re-unite separated channels
And gives this sum little limiting compression for glueing and dynamics stability
Output of this bus is bypassed
Instead of that I use sends in order to have multiple outputs for parallel processing
Drive SHB and Drive R47 channels are routed to Bass Clean out bus, forming so-called clean tone
Most of this part of our tone belongs to Behemoth processing patch from Chronos brief video
So I only do basic overview of processing
And speaking of adjustments - I decided to get rid of the limiter after NLS
Another thing is post-correction impulse
This one represents all equalization applied to this channel in the actual mix
So we have one impulse instead of 4 billion equalizers stack
And speaking of bass drive out - it's just a copy of guitar processing with little adjustments
First one is pro-q in mid-side mode
I used output pan as mono-maker
Also little level compensation
Last thing is post-correction impulse
This time it contains equalization for drive channel
This model in exception of last impulse can be used for guitars if you need lead tone
Later I will update this template with few models for that stuff
Here is them levels and routing settings, just in case if I missed something
So since we're done with everything - be sure to use at least zero point twenty seconds length on every kefir module
Oversample exciter on bass clean, and also turn on Decrackler module
I kept it bypassed because it creates obvious system delay which makes it harder to edit midi and film the shit
So I only activate it before mixdown
This time we need to use batch export and choose these two for rendering
Now we ended up in final destination of our journey
At this point I will talk about drums, but rest of them elements plus master processing will be done here as well
So just as always we're using Superior Drummer as main drum kit
Same old setup which I used multiple times within last two years
No any internal processing
All I did is applied this kind of output routing
So every mic or group of mics goes to self titled channels outside of superior to be processed separately
There is also custom bleed settings for every channel
For example mono far room mic only has snare bleed on it
I'm gonna use it as roomy layer together with 2 SSD triggers
Rest of bleed settings is not so creative thing so it doesn't really matter
Now, as I said we're using two triggers with Steven Slate Drums sampler
For Snare SSD 12 "a" I used self-titled sample with these settings
Same goes for Snare BB, which stands for Black Beauty 6.5
I use extra version of it, so sample variety is little higher, it's gonna sound little more random
Speaking of routing - all highlighted channels are routed to drums sum bus
Two ambience channels go to Ambience bus, which then goes to Drums sum as well
Both tom channels are routed straight to master bus, I'll tell you why later
And before we will go for processing - just keep in mind that all the sound gonna suffer pretty extreme spectral and stereo correction
So when I bypass something - it goes outside of mix context and may sound weird, just as my entire Youtube channel
Let's go ahead and start processing review from Kick drum
So first unit is SSL Channel with factory kick drum preset
Spectral differences is not the point cause it's gonna be changed with EQs anyways
So we only use it to get some nice compression and gateing
Massive spectral correction with Pro-Q together with 6 db output gain compensation
Basically it makes sound little brighter and clean
SPL transient designer gonna help to form tight and powerfull attack together with small reduction of sustain
As a result we will also get little level reduction for double kick parts
And last EQ to polish things up
Speaking of sends - we have few to side-chain compressors for self-titled channels, we'll get to them later
Processing of Superior's snare is pretty simple
I didn't want to use it in pure form, y'all know how it goes with Metal Foundry snare drums
So instead - I'm gonna use it like little dirty and human-like part of total snare tone with background bleeds and all that good stuff
First movement is CLA-76 for massive compression
And then I fix the timbre so layer takes it's place in the mix
No side-chain sends, just one send to reverb
Moving on to triggers
Processing models of both is short and simple, it's all about making the sound tighter with SPL units same as on kick
And also clean the shit out of them with EQ
Starting from Snare 12a
Massive EQ shape at first
And transient designer right after
Sends to reverb and side-chain compressors
Same thing goes for Black Beauty
This time we have SPL in the first place
And resonance reduction right after
Ambience mono far
As I already said this layer is nothing but roomy snare bleed, check this out
So first thing is envelope shaper with short attack boost and solid reduction of sustain, same old shit
SSL with Room preset
Cleaning the spectrum with EQ
And then I use In Phase to create negative delay compensation
If I play this shit together with black beauty trigger you should get why I did this
In Reaper you can fix it with channel time delayer, but in Cubase delay can only have positive values, at least in this old version
Now speaking of hi hat, this particular arrangement misses it, so let me switch to some other part in order to demonstrate how it works
What we have here is pretty common EQ model in first place
Then I applied pretty solid compression with CLA 76
Fix the timbre again
And finally we have this NLS unit to spice things up a little
Send to reverb from here
Now overheads
First unit is CLA compressor, same old reasons, helps to make our shit fuller
Pretty extreme equalization so overheads will take it's place in the mix
And final unit is multiband compressor
I only used last band to control clicky transients from rides so it doesn't sound too harsh
Other than that it stays inactive
And speaking of other ambience channels - I only used little EQ on this one
Just to get rid of annoying resonance
Ambience bus
First unit is SSL Channel with factory preset called room, you know how it goes
Complex resonance reduction in order to polish the room's spectral content
So it doesn't conflict with overheads and both works together as they should
Last unit in chain is pro-c compressor in side chain mod, driven by both rack and floor toms
The problem with them is that they was way too loud because of compression
Basically room bleed was dominating on top of dry tom mics, so this way I keep the right balance between them shits
So as I already said all the stuff in exception of toms comes to this Drums sum bus
The only plugin here is NLS bus, this thing helps to glue them drum shits together with saturation
Also limit peak dynamics of loudest hits
Well fuck it it doesn't seem to limit anything for now, but I'm sure there is some overloading saturation
In order to make this plugin work properly - I used to apply 10 decibels attenuation in front of it
Did it by reduction of incomming sensitivity, but as an alternative it can be done with gain staging plugin in front of NLS unit
Moving on
This bus has two outs - Drums mid and Drums side FX channels, main output is turned off
For both channels I used Pro-Q at the end in order to solo mid or side information by using output panner, it all comes from their names
And at the first place of each channel I use spectrum correction with impulses
Generally speaking - this whole post processing thing means very detail stereo correction together with basic EQ routine
Both channels are routed to master bus
Now let's go back to toms
See that extreme post-processing thing should only effect our overheads and room
If I pass the toms through it - they just gonna get more negative effects like fucked up panning and weird stereo placement
That's why I routed them straight to master bus
Processing of both was too complicated, so I decided to pack all the equalization in impulses
Each channel has it's own
Sends to reverb and side-chain compressor of ambience bus
Last thing I'd wanted to talk about is reverb channel
For some reason it's routed to drums sum, so it's basically part of drum tone
Because of the routing - I can't solo it, so let me just show how I get it
Valhalla room with snare big room preset in the first place
And some polishing equalization right after
Now it's time to add guitar and bass stems to the mix and give it some processing
Both bass channels are routed to self-titled bus
And the only thing I have on them is side-chain compressors driven by kicks and snares from previous part of the video
It helps to put them deeper in mix, add some pulsation and all that shit
And on Bass bus I only used NLS channel with some drive, in order to glue things together
Output routing to master bus
Processing of guitars goes in a more complicated way forming final guitar tone
First element is same kind of side-chain compressor, even though it's effect is gonna be smoothen up by post-processing
Little EQ correction
Multiband saturation in dual triode mode
We don't use full mix amounts, so effect is not so dramatic
Some more EQ correction, this time I also used mid band on lows for some reason
Multiband compressor with first two bands active, in order to take control on low-end dynamics
And final cleaning unit
Send to reverb bus
Output Routing to Master bus
Last element of our mix is Uber mod noise track
I have it printed, but you can get the same sounding if use Valhalla uber mod with warm n warbly preset, love that fucking thing
Unlike the others - this element passes master bus and routed straight to limiter bus also known as final destination of the shit
So at the end of the day it's gonna make flow of our mix little more full and crunchy
I used audio separation to reduce the noise in silent parts of the song so it's not be obvious
Other than that you can boost the fuck out of it and it's still gona be hard to spot the shit
And before we will go for mastering - you can look at them levels and routing one more time
Master processing goes in full circle of suffering and misery
This mix is not builded in linear way, a lot of this stuff comes from top-down method
So bypassing everything still means taking things out of context, keep that in mind
First two modules are my attempts to clean up the timbre of mix from resonances and noises
However this processing is related to very early stages of mixing
As a result I come up with empty and weird sounding
All that stuff has been spotted within next day of production and basically gave me solid portion of frustration
But later I was able to fix it with custom master mask, I'm gonna have it active so your ears won't bleed to much
Next element - parallel multiband compression
I used longer attack times on lower bands in order to save punch of kick and snare
Bit of tape saturation
Here I used output gain compensation to save source loudness
And master mask impulse
Same as with others - you should use higher values before starting mixdown
It's gonna make the mix little more transparrent and clear
However it's gonna take too much of CPU power, so I use lower values for filming this stuff and basic edit of mix, same goes for oversampling
Next compressor works in mid-side mode, I use it to control low end of the stereo on 2nd band, mid part and other bands stays untouched
Now both master and noise tracks face each other on limiter bus to get final control of RMS and peak dynamics
And that's pretty much it for this episode
And for those of you who want to get additional files pack, which includes
Full pack of Chronos patches
Cubase projects which I used in this video
Full pack of impulses used in this guide
Preset bank for Revalver 4
Full pack of pro-Q presets
Same pack of templates for Reaper
Source DI and MIDI files
Presets for SSD4 and Superior Drummer with custom drum map for MIDI programming
You will find all of them shits in my private post on Patreon, which will be available after pledging one dollar
By doing this you will also get access for rest of my private content and help me keep doing what I do
Link is in the description
So hope you learned thing or two from this guide
See you next time
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