I see the light!!!!

[planet X]

Quote From EJsongs

Many mixer such as dave Pensado or dexter simmons actualy replace kicks or add sub harmonics to kicks and or bass during the mix

<font size="2" face="Verdana, Arial">Exactly At least someone in here has the right advice.

SSL. I asked you to give an actual "Example" You never did. You simply waffled on, and on with no real explanation as to What, Why, And How To Layer

Threesixty, you ARE thinking about this to much. If you really require advice on this issue. EJ Songs is your man [img]images/icons/wink.gif[/img] . Everything he said was spot on.. [img]images/icons/wink.gif[/img]

[threesixty]

Threesixty, you ARE thinking about this to much. If you really require advice on this issue. EJ Songs is your man [img]images/icons/wink.gif[/img] . Everything he said was spot on.. [img]images/icons/wink.gif[/img] [/QB]

<font size="2" face="Verdana, Arial">As I said before, I have to produce AND mix my tracks in order to get an artists management/label to takeke them. Major labels are not messing around any more, sh*t has to be sounding exactly like a record even if its a demo. I can put beats together all day long but a & r's nowadays only want to hear finished stuff. So the stuff that Dave Pensado + Dexter Simmons do is important to me cos I have to do some of it too. I cant afford to have every beat I make mixed and mastered on an ssl by a top engineer. The game is so competitive nowadays.

I remember sitting in a meeting with the head of a big dance label in the UK. I sat there and played my cd in his office and was completely embarrassed!! The drums were thin and the bass was just too low and none of the mixes had that controlled smooth sheen/gloss on them. The guy then played me some demos he got sent in by some other produces and my face just dropped....
The sound on their demo killed mine. Now my songs were good so thats what got me through the door, but all he said is that the they were "underproduced"..

I really dont wanna be in that situation ever again. I aint hustling all the way to the head of Universal records with tracks that dont sound hot, thats why "i think too much" .. I've learned my lesson

[Still No SSL Yet]

Man I don’t know what this planet x cat’s problem is I gave the same advice that ej gave. I just didn’t give an example of how Dave P or KD did it and the advice wasn’t as good coming from me LOL

Man 360 I have been in your shoes. That’s why I bought ptools in the first place.(Infact I was considering Paris and it was Dave Pensado that sent me in the protools direction) Labels are so busy thinking in auto pilot mode that if your shyt doesn’t bang just right, they start thinking about producers to put you with. Most don’t understand that the song simply needs a mix. They damn near expect you to play them the video LOL. If you had the dough to get all of that done you could put the record out without them. The problem in that business is another post altogether but it is mainly because hardly no body has the power to say yes to a project while everyone has the power to say no. What I mean is when first trying to get on you try to have anyone from the label listen to your project. Even the guy in the mailroom gets asked for his opinion of Demo’s. Now when he doesn’t like something the producer that was in front of him just got a NO answer from the mail room worker LOL. A&R people seldom have juice (notice none of them keep a job for many years.) They shoot stuff down for the slightest reasons, because they have to be sure what they bring to the person above them has a likelihood of not getting denied (If they miss on too many occasions their jobs are on the line) It’s a pressure industry and the only thing that matters is the numbers. Let one singer come out that can’t sing. And next year every label will look for singers that can’t sing LOL.

You asked a question about the SE-1. It’s one of the best bass modules in the business. I’d highly recommend you get one.

When I spoke of “channel strips” I wasn’t talking about the plugin. Several manufacturers (SSL, Avalon, TubeTech, Amek, etc…) make rack mount equivalents of console channels (Pre amp/Compressor/EQ). Add a few of these to your equation along with some good converters and your stuff will have been tracked through the same quality as a major act.

As ejsongs (and I earlier) said. The most common compressor in RnB and Hip Hop happens to be an affordable one the DBX 160. For the type of music you do its great on drums and percussion sounds.(Almost all of your sounds).I just priced them because I wanted to add a few more to my rack. You can get the current edition dbx 160a for about $399. 2 of these would serve you fine. They are not really expensive and they would continue to get use in your rack no matter what gear you purchase in the future.

It seems everyone understands my discussion of layering sounds except planet x. Man if you didn’t understand I would have explained if you didn’t open up with such a confrontational tone. Reread my posts and you will find I explained how to do this process I just never said that Dave P did it. Once you got all confrontational and tried to give examples like the Quincy Jones example of how layering doesn’t work I decided you weren’t worth an example. Why should I help you if you’re gonna knock everything I type.

I am not on Dave’s level and I didn’t come on and talk about the session’s that I have worked on. Yet I have worked on enough to discuss how HIP HOP is done. Yet when I said this you tried to criticize me for having only talked about hip hop. (In a hip hop thread imagine that)

360 Keep trying things and thinking too much. It’s a good thing. When you do get to the next level you are going to know what you’re doing. Engineers like people who understand and know what they are doing since not many producers actually do. Once an engineer takes a liking to you, He will tell you secrets of the trade he wouldn’t tell others. Man they live and breathe gear. They will love talking it with you.

Remember the most important skills in life are people skills.

[Still No SSL Yet]

hey you asked me how one could layer on a real drum track I proceeded to tell you. You have been antagonistic to me and several on here in your posts. YOu even criticized me for talking about hip hop. You have had a pretty silly perspective from the beginning

but then in every bunch there's an ass hole
congradulations you got the title in ths one

[Still No SSL Yet]

Personality aside you have agreed with me mainly so I don't understand why you have had the tone of trying to dispute everything I say.

In my first post I broke down why some one would layer and how. Yet you complained I didn't give an example because I didn't name drop and say which engineers do it

We both agree you have to get it right from the start before tracking. But this happens to be a hip hop thread and getting it right for us doen't involve mic placement. It's mainly layering sounds. This is why I came in discussing how to layer.

It's a different ballpark same game

[ejsongs]

"Can we all just get along?"

After all...its only music.

ej

[planet X]

Once you got all confrontational and tried to give examples like the Quincy Jones example of how layering doesn’t work I decided you weren’t worth an example. Why should I help you if you’re gonna knock everything I type.

<font size="2" face="Verdana, Arial">My example of QJ was to show that HE got the sounds right before committing to tape. I kid you not, all I did was push the faders up to unity and the track was there. It could have been 2 tracked there and then. the console was completely flat, no EQ FX ANYTHING. FYI the track was from MJ thriller album. Even just hearing that back taught me a lot more than you would ever realise.

Can you work out what i learned from that ??

At no point did I ask YOU for advice either.

[Silver Surfer]

From EJ

Many mixer such as dave Pensado or dexter simmons actualy replace kicks or add sub harmonics to kicks and or bass during the mix

<font size="2" face="Verdana, Arial">Can I ask how do you know this.

[threesixty]

HI SSL,
Has the dbx got a particular sound that suits hip hop or could my TLA audio do the same job (that has a clean comp sound).

Also, this SE1 costs about 1300 pounds (UK). Which is a bit much at the moment. I cant seem to get the heavy but smooth bass sound out of the soft synths I've got. There is a synth called the Novation a-station, which is pretty cheap and is meant to be good at doing moog + oberhiem sounds. Would that be similar to the Se1? Or maybe a Nord lead for basses??? Or should I try the pro 53??

Thanks for your help by the way, end ej's as well...

[Silver Surfer]

No the TLA won't do the same job as the 160 but neither is necessary for a bass sound. The 160 is known for it's vca and a lot of engineers do use it.

If you're having a hard time with the bass, you may have to examine other elements of the song which are contributing to the low end. Try a hi pass at 40 or 50 Hz on a couple of other sounds. You'll be suprised at the result.