Cool… thanks. But I didn’t do anything to them 
Really? Well, it’s me then! I didn’t check the previous version, but this time that second guitar didn’t seem as jarring as the first time I heard it. How much coffee I had this morning could have something to do with it… 
Yup… you can never get that first listen back…
yes thats got it! there were a couple before that were really thin and boxy in the first mix but yeah you`ve got em. nice work bud.
2 Likes
the vocals on this are really good. what signal chain did you use on it if u dont mind me asking?
a couple of reverbs yes? one close and one deeper? i dont know i cant fathem it out but it sounds great!
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Thanks, Buddy…
The LV track was actually a mess. Lots of mouth noise, sibilance, pops, clicks, proximity, etc.
I did most of the fixing editing the waveform with clipgain, fades of various shapes and even dynamic eq right on the offending word or syllable. By the time I did that, I didn’t feel like going in and tuning. So I just rendered a duplicate with a hard tune on it and blended that in in varying degrees. So that’s the basic sound going on.
Since I did all the editing up front, I didn’t need much compression. In my template LV group I have a few compressors that I can send to. My vocal tracks send to them but not to the master. So it’s like splitting and feeding to 3-5 compressors (mostly waves)and I can choose the one(s) I want. I have a distressor, a Fairchild, a dbx, an LA 2A and an 1176 available. In this case I did a very basic eq on the vocal tracks and sent the regular LV to the Fairchild and the tuned LV to the LA 2A. I sent a little to the 1176 that is slammed.
Those all go to the LV Buss which has a couple of de-essers to chose from, a dynamic eq(tdr Nova) into a blue 1176 into a pultec into a true peak/brickwall limiter (set to 0… just a safety net)
The LV into the FC is sent to a smaller verb tuned to the BPM and about a 72 ms predelay.
The tuned vocal into the 2A is sent to a short slap ( I think I lengthened it to 166ms) and the crushed 1176 is sent to a 1/4 delay with a sidechained comp to duck it when the LV is going.
I also have a few parallel busses going in the mix and the LV are going to either a neve comp or an RVox that is slammed. I can really adjust the vocal presence (front to back) to taste with that w/out effecting the overall tone. I also have a lot of my other busses sidechained to the LV. even if they duck only a 1/10th of a db it seems to make a difference. It sounds like a lot of stuff… and it probably is. But it’s pretty simple inside my workflow. The prep and edit is the most real work.
later
rich
3 Likes
just back for another listen, love it
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Thanks Buddy!
wow… unique, great attitude… vocal tone sound awesome here on my studio… like it dude… cheers
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Thank you very much!
Very nice mix and song, I found it very catchy, well-written and at the end, very interesting!
Kudos for the band… whatever they are 
By the way, I agree with @LazyE about the snare but you “fixed” that so nothing more on that side.
The lead vocal is very efficient and works very-well during chorus but I found it a bit odd (disconnected?) during the intro where guitars sound wet and the vocal very dry… maybe add a little more reverb during that part 
Very very nice work to me!!
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Yup… I’m good with that, though… Just the visual image I’ve got in my head YMMV :beerbang:
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Hey, that is some interesting work.
The only things that came to my mind are:
During the first listen, roughly the first 30 seconds I thought that the very dry vocals and the wet guitars didn’t work, to the point that I thought this was a beginner’s job. Of course my views changed dramatically, quickly after that, but I still don’t like this marked contrast during the beginning. It also sounds over-compressed to my ears although you explained that you didn’t use that much because of the preliminary manual work you did on the raw vocal track.
I am impressed by the quality and creativity that emerge from the vocal treatment tricks, all of which sounding well crafted, but in the end it has a “tech demo” side to it that sounds a little over the top to me if I try to put myself in the artist’s shoes.
Side note about drums sounding centered: I really don’t see this as a problem, although I usually like to have them panned in the more wide traditional way. For one thing, when you hear a drum kit, unless you’re the one playing it you hear a pretty much centered “mix”, especially if you’re hearing a live performance from a distance. And in the context of your mix, I found that it really helps highlight the numerous ear candies that use panning.
I’d love to put myself in the artist’s shoes or have some input from them. Unfortunately they are orphans as I don’t have any contact with them and don’t know who they are…
As far as tech demo… of course it is… :beerbang: I fixed a bunch of things and threw a bunch of “tricks” at it. I didn’t necessarily put “my stamp” on it. But I did have a vision and went with it. Does it match the artist intent??? Don’t know… I hope so. But I like it…
Have fun
rich
Very beautiful song.
At first the voice sound a little dry but after it’s a real pleasure to hear.
Guitar solo is incredible.
Amazing work.
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Thanks, Buddy!:beerbang:
This was a treat to listen to. Great pleasing sounds. I’m a sucker for tone and separation. Wonderful treatment of the vocal as well. Interesting all the way through…liked the ear candy that was coming from many directions. Peace
Thank you very much