I thought I’d give it a try. This is going to be background music in a Christmas commercial. Pulled out all the Slate stuff and thought I’d give it a go.
The sax needed grit, I juiced it with a decapitator then had to figure something else out. Tried the Slate Tape machine and ramped it into distortion, it did the trick.
I had to fore-go an LA-2A. What does a Slate user do when they need an LA2A limiter?
The one plugin I had to use that Slate did not have was the Waves MV2. Does Slate have one that can do something similar?
I used the Slate virtual channel and virtual bus section on the drums bass and piano. I was relatively pleased. I didn’t do any EQ on the drums, upright bass or piano. Not worth the time. I used 3 Slate Reverbs. A short room, a plate and a chamber. From the Lx480 and the BM7 which is Slates version of the Bricasti. I had hard time getting the Bricasti to match the Phoenix verb which is my go-to for room, but I made it work.
This thing is done, I’m not spending anymore time on this. This dude gets what he pays for. But any thoughts on the mix are welcome. I know its not perfect, I could sit and tweak it all day but this dude is out of cash.
Do you know if that’s a real saxophone, or a VI? It bothers me how far behind the beat it is sometimes and I think the part could be livelier. I know that has nothing to do with the mix, but I’m just curious.
Bass, Piano, and Sax were all mono. Half of the drum set was committed to same track as the bass. The other half of the drum set was committed to the same tracks as the piano. I was only given three tracks to mix lol. The sax was recorded into a sennheiser wireless handheld mic sitting on a stand.
It wasn’t a requirement… more just a lack of options lol
Yup. Usually the dead giveaway is the player breathing. Sometimes I get tracks and I don’t know if they’re real or not. Strings will almost always show intonation irregularities, pianos you can hear the gears moving from the pedals, and if drums are in question, soloing the hi-hat mic tells me the quickest, because the interaction between when the player lifts his foot and opens the clutch is highly distinct from hit to hit.
I know!! I thought about time correcting it, but given the application it wasn’t worth it. Its a backing track to an expendable TV commercial and it’ll have a narrator burying the sax anyway lol.