Hi there PureMix contesters,
Here my approach to the mix of 'Oh Baby' by the Liza Colby Band:
As the recording is being made live, I tried at all moment keep it as such, instead of trying to over produce a song which doesn't need it, in my opinion. As you guys can hear, the mix is pretty straight forwards.
I've been working onto 'Pro-Tools LE 8', alongside my 'digidesign 003 Rack +'. Then going channel by channel into an 'Allen&Heath ZED 420', which I mostly used as a summer board.
For compression I've used a 'dbx 266XL' on the guitar an the bass Mic, and a 'Drawmer DL421' on the kick and voice.
- I hard gated the kick (as the drummer keeps it solid as a rock throughout the song), and I applied a bit of compression, just enought to tight it up and get the slap which is gonna move the cone of the speaker. This together with a bit of EQ, and send it to a bit of a mid side room reverb.
- For the snare, instead of a gate, I used a expansor, so I coud push the spills coming from the hats a bit backwards in the mix, while bringing the snare forwards. In this instance, I heavily compressed the snare in order to get a rock feeling of it, although I took into account I was killing it, but why the OH's then?
Now a bit of EQ, mostly a notch filter around 1Khz to kill the ringy (very helpful here the hard compression previosly applied).
- The OH's have been merely treated, a tweak of EQ and that's it. Now the trick here was to find the right amount to bring the snare back to life, without going too far or too short with the cymbals.
--&rt; Now the OH's and the kick were sent into parallel compression, giving punch to the whole kit, and pushing the toms a bit up into the mix. There is a minimun suffering of the cymbals with this technique, as the loudest sections (smashed cymbals) it goes down, letting the uncompressed OH's go through, while quieter sections (toms) are pushed up.
Quite hard compression on the bass Mic, to produce a powerful, tight and control low end, and no compression at all on the DI. Then the only a matter I'd say was to find the right balance between them (DI signal was delayed by about 3ms respectively to the Mic one). Once found the right balance (for myself), parallel compression as for the drums.
A bit of compression, EQ and send to mid hall reverb from Lexicon.
Exactly the same than the gutitar, a bit of gentle compression, EQ, and in this instance send to a long hall reverb (about 45m and 1,2 sec) from Lexicon.
After all this, I passed the mix throught a bit of limiting, like the last touch to paste it together.
This has been my process, great fun guys.
As I pointed out before