Mr. Steve Macmillan - A question for you

[JFK StudioDude]

Hi Steve,

This is regarding one of your posts in the L2, L3, Inflator comparison thread:

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Quote:
I'd say that 75% of what makes a mix loud is the way the mix is laid out as far as frequency tightness, punch, etc. The loudest CDs come more from the mixer than just the mastering engineer.
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I was wondering if you could expand on this. I would really like to hear your thoughts with regards to what make a good mix "hot" and properly laid out.

What are the problem areas to lookout for when trying to mix. I know the low frequencies (30 hz and below) can really eat up the headroom, but what else can you suggest. Any tips would be very much appreciated. Thank-you in advance.

BTW, I am a big fan of your work with the Corrs and the Shania stuff. Did you mix both of those projects ITB?

Best Wishes,

JFK

[Steve MacMillan]

Thanks,

If I had to sum it up, it's mostly about hearing big. The bass has to be loud but tight, with good lower mids and not too much invisible stuff at the extreme bottom. Instruments should be full sounding, but selected items like guitars and vocals can have a midrange poke to them so long as it is kept smooth and not harsh. Big sounding mixes really fill the full frequency spectrum. They sound loud from top to bottom and everything is pushed right up front without sounding congested. You need to shape a hole for the tracks that carry the song (both panning and frequency wise). And even though the mix is really important, the arrangement will have everything to do with size as well. You need to master the compressor as a creative tool and be aware of build up in the upper bass. Think big, and think loud.

I like to be inspired by really great sounding loud mixes. My current favorite is Chris Lord-Alge's mix of the Donna's song 'Fall Behind Me'. Unbelievable apparent volume.

STeve

[JFK StudioDude]

Hi Steve,

Thank-you for that great advice. I really appreciate your comments. Here are a few other questions for you when you have a spare moment.

Do you use parallel compression when mixing? Personally I love to use parallel compression on the Drums, but what about using it on the stereo buss? If have found that is can be a successful texture when mixing on a console, that helps to increase the apparent loudness and punch of the mix. How do you approach this ITB? I'd like to hear your thoughts & your techniques on this.

Also when mixing ITB do you sum within Protools or do you use an external summing bus? and do you find that the stereo image is better with one or the other.

Here is the last question (BTW thanks for even getting this far). I have a project that a client is planning to master at Marcussen Mastering. I think Stephen is great. He is a total pro, his chops & credentials are ridiculous. Anyway my client wants to take the entire Protools Rig (with the mix's) and open the complete sessions in the mastering suite and master the project straight from there. It seems to me this it can only go one of 2 ways. The mixes & the mastering can go up another level and be totally awesome....OR....The client ends up paying $500.00/hour to "remix" the track in the mastering suite and we are there for days. Have you ever had any experience in this situation?

Again, thank-you in advance for your time and advice. It is greatly appreciated.

Best,

JFK

[Rail Jon Rogut]

Sorry to jump in on Steve's thread.. but Marcussen have a Pro Tools rig -- you just need to take the drives. He'll use his own converters. I doubt Stephen would want you to remix while he sits around.

Rail

[JFK StudioDude]

No Problem,

Thanks for the heads up Rail that will make it much simpler to just bring the drives (I should enquire & make sure they have the right plug-ins, etc.). I do think it would be handy to make those little tweaks that can rear their ugly little heads during the mastering phase.

Thanks,

JFK

[krid]

It would be great to have Steve MacMillan as a gearslutz guest moderator.

[Steve MacMillan]

I have done most of my mixing in the box for a few years now. I think I had to one of the earliest to attempt it, shortly after the D24 card came out, and I think I'm still learning how to do it.

Personally I haven't had that much luck with external summing, unless I'm breaking out most of the mix. I've enjoyed getting a mix well defined in ProTools and then breaking out 24 or more outputs into a SSL J or Neve and continuing the mix process on the board. But the idea of passive summing doesn't appeal as much to me as the idea of using great analog outboard for mix compression, etc. I'm working with clients where often the mix need to be portable. I work on my rig, then we work on the producer's rig. Being 100% in the box has huge advantages.

I do use a lot of parallel processing within the mix, and some of my signal paths are insanely complex. Not so much for the final aux, but you got me thinking about it. What kinds of things are you doing with parallel final auxes?

I do use Steve Marcussen as my main mastering engineer. He tells me that it is not uncommon for people to bring in their large portable ProTools rigs to master off of. I imagine that this can be very expensive, but I can see the advantages. His own rig is more for stereo and multi-channel mix playback. I would rather get him an updated mix based on problems or changes he recommends later. He has always been able to accommodate a changed mix a day or two later.

STeve

[JFK StudioDude]

Hi Steve,

Good to hear you are mixing ITB. I am in a similar situation in that my clients need their projects to be portable, and personally I like working that way.

I have been using parallel compression on the stereo buss for a while particularily when mixing on an analog console. One combo I have found that works is a Focusrite Red Comp (Slow Attack Quick Release) about 2-4db of compression, followed by a couple of Distressors, kind of set up to act as heavy limiter, Not quite fairchild setting a little lighter, used accordingly based on the style of music ... Anyway I then "blend" that into the main stereo mix. I find it is another cool extra layer to place in your mix. As you know these things take some time to really get working properly with in the context of a mix(everyone & every artist is different), but when it works it really gives the mix a great punch and it seems to really help it jump out of the speakers.

But as for acheiving the same reults ITB, now that we have ADC it seems to work better but still not quite the same..... YET. If you come up with a setting(s) that you enjoy please let me know.

Steve, would you mind going into more depth regarding your various parallel compression schemes ITB. Are finding that your using it on more than drums.. How bout Gtrs, Vox, Bg's etc?

I always find that in your mix's the lead vocals have such a smooth sound to them, & plenty of space, even when the track is quite dense (i.e. Chorus of "Summer Shine" - The Corrs). You probably mult them out, like many of us do. Any other little things you are doing to help them out.

BTW, Thanks for the great chat. I'm really enjoying myself.

Best,

JFK

[Steve MacMillan]

Steve, would you mind going into more depth regarding your various parallel compression schemes ITB. Are finding that your using it on more than drums.. How bout Gtrs, Vox, Bg's etc?

I always find that in your mix's the lead vocals have such a smooth sound to them, & plenty of space, even when the track is quite dense (i.e. Chorus of "Summer Shine" - The Corrs). You probably mult them out, like many of us do. Any other little things you are doing to help them out.

If I'm using Sansamps to beef up guitar tracks sometimes it's cool to have the guitar feed several auxes with radically different Sansamp settings and blend them for a bigger sound. The lot might get summed together and compressed for glue.

With vocals, I'm prepared to do what ever it takes to even out a performance and make it sit. Usually lots of automated EQ. With lead vocals I usually route the vocal to at least one aux, saving the audio track's automation for de-essing and breath control. Then I can do my creative rides on the aux. I can have different auxes set up for different vocal sounds and switch or blend them as needed, add distortion, what ever. With drums and vocals it is often cool to have an aux that is just crushed with heavy compression and blend just a little in. It changes so much from song to song. The McDSP MC2000 multiband compressor is one my favorite sound shaping tools.

STeve

[danickstr]

I have multed effected sounds with the raw signal but I am never sure if they stay accurate with each other or if the delay in the effect alters the unity of the downbeats, for example. I guess it doesn't matter if it sounds good but I wasn't sure with plugs how to know how much delay is in the plug.