I probably do more rides on a ballad than I might on a rocker. Of course, not all songs are going ballistic. Imagine you’re watching an action cartoon and that will be a good starting point for how dynamics work. I’m making the mix as animated as possible to get the message of the song across to the listener. I’m riding the vocal to drive the song, riding the bass, toms, cymbals…well pretty much anything that helps make the song come alive. I’m riding a whole lotta faders during the course of a mix. These are just tiny basic examples to get you started. I mean internal rides going into the chorus like riding the drums up on the last bar or riding up the first chord of the guitars.
I’m not necessarily referring to riding the stereo track up.
It’s about the song and nothing but the song.ĭynamics are going to play a major role in giving the chorus the payoff it needs. Not gear, not technique, not the “go to” button. The song will dictate everything that needs to happen. With the large amout of dynamics processing that today's mixes go through, how important is movement in a mix when the song is going to get pulverized to 5 - 6 dB of dynamic range anyway? Do you generally ride all instruments/sources.or are there some sources that remain rather static and others source that your regularly "move"? If you can't give a general opinion, perhaps you can comment on your philosophy in mixing with movement in mind. I use Pre-insert on individual track channels if it sounds better aswell.Ĭould you speak to the issue of how you achieve movement in a mix (or your philosophy about movement in a mix)? I read in one of your other posts of how you rode a pad in one of the Coldplay mixes. Somebody call for pizza, yah, I'll tell you how I want mine ok? I've been doing it this way for years and maybe, I'm doing something magical where my brilliant brain is automatically compensating for the change in compression and blah blah blah, techitechitechifart. It's all good my friend, just let the fader ride, let it ride. Logic says yes, I should be in prefader because in post fader, it will change as I ride the fader, but in practice, no. Actually, it was more than that, but I just don't have better words to express it. This past month here was really great for me. I suppose that your reverb/delay sends are pre fader also, meaning that u use uncompressed signal feeding the reverb ? I was wondering, if you use your sends to send to compressor(s), it must be pre fader right? Because if it's post, then your level of send will be unequal every time you move the main fader? Hope that I'm making sense here. For the vocal, you can pan the stereo cue to the center and have a little delay along with the direct signal going to the plate. You can have the gtr sending to the plate w/o delay. Now you control the amount of delay by using the pan. Go out of the mult and into the input of the EMT plate. Take the output of the Right side of a stereo cue and go into the same mult. Take the output of the delay and go into a mult. Take the output of the Left side of a stereo cue and go into a delay (set at 125ms for example). You can hear what I'm talking about by listening to Luther's first two records and Aretha's "Jump to it" and "Get it right" records I recorded and mixed. For those who have real EMT plates, this one's a beauty. On every digital plate you have a predelay option, that's what I'm referring to.īut since you bring up the delayed plate question, it reminds me of a cool idea we did at Mediasound back in the day. Do you mean plates with a predelay, or do you have a plate return that then gets sent to a delay? If it's plate getting sent to a delay, is it 100% of the signal getting delayed (insert) or just some of it getting sent to a delay?
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