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I cracked open the Temp control just a tiny bit to help bring the mix forward as a whole.īeing really good at tightening up the bottom end of a mix, I used the Softube Weiss DS-1 (pre analog chain) in Band-pass mode to try to help give some definition and control to the kick and bass. The Top Burner and Sizzle controls added some needed upper-mid presence and air and I used the Lo Burner control to impart some of The Oven’s sound to the bottom end. I used The Oven’s Cook circuit to add a little bit of tube saturation which I think also helped to keep the LdV from getting too “spitty”.
I then started working with the Hendyamps The Oven to dial in some mojo. The STC-8 also helped give the groove just a little more of the bounce I was looking for. After bringing the track up close to a finished level with the Ox Limiter and roughing in the STC-8 compressor settings (which helped some to even out the macro-dynamics), some of the goals noted above were beginning to take shape. I set the track level to hit the C-2 DAC fairly low (max peaks around -6 on it’s meters) and began working the gains on the analog gear to find the sweet spots and get the level back up piece-by-piece. Probably should’ve done a little bit there too. I kept thinking that I should make an adjustment to the back end after the synth break but ended up leaving the alone. In hindsight, I think I probably should’ve done a little more with these adjustments to make the overall macro-dynamcs a little more even. I started by doing some volume mapping on the Mix track to try to bring up the verses with respect to the choruses and to try to help the song build from beginning to end. Samp Track 1 > Softube Weiss DS-1 > Dangerous Convert-2 DAC > Hendyamps The Oven > Crane Song IBIS EQ > Dangerous BAX EQ > Crane Song STC-8 Comp > Dangerous Convert-AD+ ADC > Samp Track 2 > Sonnox Oxford Limiter I use a Dangerous Master console and Dangerous Liaison combination as the heart of my analog rig so all analog gear is routed thru these units.įor this track, I ended up with the following chain: Once I select the gear that I think complements the track best, I start puzzling together the gear chain finding the best combination and processing order. Next, I started putting analog gear inline one-by-one and listening to how each one affects the overall sound and what it does to the main elements in particular (Vox, drums, bass, etc). ěring the master up to a healthy level without hearing any clamping down or feeling forced for level while sounding like it’s max levels are effortlessĪs is normal to my workflow, the first thing I did was to put the mix up in Samplitude and play it while listening thru the entire chain “flat”. Give the overall groove just a little more bounce Shift the overall EQ balance upward a bit, add some space above the mix, open things up a little and maybe try to bring the whole thing forward just a little Tighten up the bottom end and add some definition between the kick and bass but retain the low freq information Try to bring the LdV more upfront while keeping it’s smooth character Ğven out the macro-dynamics some for better verse/chorus transitions Overall EQ seems a bit on the dark side I thought the kick and bass could use more definition and the bottom end as a whole is a little too loud and needs to be tightened up a bit The word “Time” that starts V2 seems abnormally low in level The level disparity between verses and choruses is too much – particularly in the transition from C1 to V2. The LdV is nice and smooth but somewhat buried back in the mix it has a little sizzle to it but nothing that annoys me
It has a good rhythm happening but might benefit from just a little more bounce
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