Paul Martinez Audio Blog

Music Enthusiast and Engineer // Columbus, OH // Email me

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“Leviathan” Mix Rundown

From the song’s inception, “Leviathan” by Columbus, Ohio garage rock artist Seth Peacock (Known better by his pseudonyms Rat Motel and Izzy) is an unruly and wandering track, filled with buzzing guitars, strange harmonies and off-kilter lyrics. Approaching the mix of such a song is interesting; as the engineer you are tasked with both condensing and letting the musical complexity bloom into something that feel cohesive. While I wish I could say my approach was always organized and methodical, it was more so a great learning experience through many dead ends and splicing of different mix revisions. Still, my simplified process for this mix went through the basic steps of editing, balance, EQ, compression, and effects to craft something I felt fulfilled the goal to the best of my abilities.

The first basic step I tried to complete was a good volume balance of the mix. While my initial balance would change a lot later on, this step was mostly to organize my mix sonically and find the starting point for later work. I began by creating an initial balance of kick and snare. Then, I added other drum mics linearly while balancing each in accordance with these two elements. I then went from low to high in the frequency spectrum, adding bass, guitar, vocals, and aux percussion while adjusting until they felt to be sitting together. It is important to note that while I did this, I also checked polarity of drums mics against each other. Equally, I chose to make other organizational decisions withing my session such as grouping similar tracks together and setting up sub-mixes.

After I had an initial balance, I began to try and comp takes, fix timing, and make musical decisions about what parts should be edited or muted. This process was not easy as many parts were recorded, and I did not want to cleanse the raw, spontaneous vibe of the track. Overall, I tried to only touch what I felt clashed obviously, and I often opted for editing or attenuating vocal takes as opposed to tuning vocals as this seemed too artificial for the genre. Initial peer reviews of the mix were also great resources to see what mistakes or timing issues were bothering those listening with fresh ears. After listening to other’s opinions, I tried to tighten some drum, bass, and vocal rhythms.

Next, I was able to turn my focus to EQ and compression. While the initial tone sounded good to my ears, my main goal was to cut and accentuate. Starting with drums, my EQ approach consisted of cutting mids while boosting pleasant lows and highs for thump and definition. After layers of EQ, subsequent layers of compression were added for control and extra punch. Often a 76 style compressor with a slow attack and fast release were perfect here. Some extra elements included overheads that were lightly EQ’ed and compressed, and a room mic that was crushed in lieu of parallel compression. Bass guitar was separated into high and low frequencies, with lows being heavily compressed for rounding and highs being controlled with enough attack time to keep a more natural pick sound. Guitars were more straightforward, but the DI nature of the original tracking meant that many buzzy frequencies around the upper mids had to be attenuated. Afterword, some warmth was added in the low mids, and compression served to even out an already overdriven sound. Vocals were not easy on this mix due to the extreme dynamic range of the performance. Largely, EQ was simply used to brighten the tone while unwanted midrange rumblings and other resonances were brought down. Although I initially planned to separate vocal tracks into sections to mix, the number of vocal track and takes to choose from dissuaded me from this approach although in the end it would likely have achieved a better result. Compression was subsequently done in gentle layers that evened out specific sections of the piece, with ratios from 2:1-4:1 and moderate attack/release time. Equally, gain adjustment of specific phrases assisted in control without over compression.

Finally, I tried to use reverb and effects to add interest and create a sense of space. While I wanted the mix to sound big, clashing was also an issue, so I often opted for large rooms with a shorter decay time. After space had been established, I listened through the mix for sections that I feel could be accentuated in an otherworldly way. I settled on delay throws, flangers, and vocal distortion. No specific science was used here. Mostly, I played around with plugin controls in creative ways to pursue what I thought might catch the client’s ear. After all this, I went back to try and further even out all plugin parameters and add any finishing touches. I ended with a bit of compression, dynamic EQ, and limiting on my master bus to add some glue and loudness to my mix. Afterward, I verified I was hitting a good loudness standard on my meters and clicked bounce on my final mix.

While there are many parts of the process from panning, double tracking, and other creative choices that I may have left out in this brief description, this overview is intended to highlight key areas of my workflow and broad mix decisions. While I have mixed feelings toward some elements of the result, I am still very satisfied with progress I made on a personal level being decisive and challenging myself to see what I can add to the mix.

Enjoy!

https://soundcloud.com/paul-martinez-watkins/bounce-8-1/s-JOvwwvRVRMp?si=c8cf0e82981447389dcc957c698ac625#t=0:03

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Ethics of Elastic Audio, Sample Replacement, and Autotune

Starting work on the performance correction of “You and Her” by Dan Wilburn. My basic process went as follows:

1. Listen to the drum mix and use elastic audio to move hits as necessary. Adjust the other instruments similarly or if they were affected by the drum changes.

2. Mix drum sound to the best of my ability. Use trigger to add samples for the bass and snare drum. Blend samples into original drum mix.

3. Use autotune to correct pitch of vocals. Used analysis and generated note-based correction. Highlighted notes and switched autotune time to near slowest setting (depending on section). Adjusted note boundaries to where pitch line crossed that note.

My previous experience using these tools is minimal so results often varied. However, the core of my approach in using these tools was to utilize correction in ways that sounded natural and not overproduced. I think there is no doubt that Elastic Audio, Sample Replacement, and Autotune are powerful tools that can save a project if errors or undesirable outcomes occur earlier in the process. However, when it comes to utilization of these tools I tend to lean towards the opinions of Steve Albini, that overuse of these tools can turn an otherwise decent track into something that is robotic and grotesque (although I do disagree that pitch correction is always bland in an artistic context).

The most benign of these tools is likely Elastic Audio. I have to say first that I believe capturing a solid performance is the foundation of any great mix. While the humble power of warping audio will likely never turn a poor take into one that brings the listener goosebumps, I think its purpose lends itself much more to smaller changes in timing. In this purpose, the tool is not really changing the essence of the performance or its character, so when used correctly there are obvious ethical issues that present themselves.

Next on the ethical ladder is likely autotune. This pitch correction tool has been accompanied by loud critics nearly since its inception for creating robotic tones that turn bad singers into cookie cutter pop artists. However, I think that ethical concerns mainly come in the plugin’s usage versus its capabilities. Just as one could hard quantize the transients in an audio performance with warping tools, one could hard pitch every note in a vocal performance (and often do!) However, in its basic form autotune is simply a pitch correction tool used to alter head turning errors in performance. It could be said producers and engineers are really those who use it for more contrived purposes.

Finally, we come to Trigger, and other plugins used for sample correction of drums. My opinion is split on this tool because as an aspiring engineer, I recognize the utility in its ability to mend or replace unusable drum tones. However, from an ethical perspective this solution may have the least validity. At its core you are basically trying to manufacture an artificial tone or instrument in one that was previously organic. Not only does this replace the work of the studio drummer but it also somewhat dismisses the ability of the engineer who recorded them (possibly rightly so). However, even with these ethical issues, reasonable uses still present themselves in situations such as a home recording environment not feasible to capture studio drum quality.

These are my thoughts on these powerful musical tools. While I think all are valid in specific scenarios, a critical eye similar to other arrangement or tracking choices should be utilized to achieve optimal results.

https://soundcloud.com/paul-martinez-watkins/mus-410-g-mix-4stereo

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Music 410, Tracking Session 1 Vlog

Tracking session of local Columbus artist Seth Peacock, otherwise known as his buzz rock duo "Rat Motel". Recorded in Studio F, at Capital University with en...

410 Tracking 1 Video

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Niche Gear Review: Capital University Studio F

Today we are looking at some of the more interesting gear found at Capital University’s Studio F. Studio F is the University’s most recent addition to their music tech program and houses plenty of gear for the students to create with. Here are some of my picks for excellent hardware to know more about. 

Preamps: 

Vintech VA 573 500 series Mic Pre (neve clone)

Vintech Audio was founded in 1997 and their flagship products center around clones of classic Neve 1073 modules manufactured in the USA. In terms of technical aspects, the VA 573 is a solid-state preamp featuring a hi-fi class A design with transformer balanced output. While reviews of this Preamp are not incredibly common, the model is considered a clone of the Neve 1073 that many have described as having a “rich” quality with solid lows, good midrange presence and an airy quality in the highs. One user described the 573 as matching this “round” and “solid” low end, with mids that are not necessarily as foreword but still have a very pleasant tonal quality. Uses vary from Bass and Kick drums for a thick effect to rich sounding vocals. The front panel features all necessary preamp switches, a mic/line input, and a 70db gain with additional output control. 

http://www.vintech-audio.com/ 

https://producelikeapro.com/blog/neve-1073/ 

https://gearspace.com/board/reviews/717472-vintech-573-lunchbox-preamp.html

Shadow Hills Mono GAMA 500 series Mic Pre 

Founded by Peter Reardon with unique sensibilities and design, Shadow Hill Industries features a 500 series preamp with the Mono GAMA. The Mono GAMA is solid state and features an op-amp design with transformer balanced outputs. These features come together to give this preamp a flat and versatile response with the discrete output transformer. However, a large knob on the front can switch to a nickel or steel transformer with interesting coloration and bumps in the low mids. Recommended instruments range from snare and bass to piano and vocals. 

http://www.m1distribution.com/shadow-hills-industries.html

http://www.mattgrecomusic.com/gear-talkreviews/2014/9/29/shadow-hills-mono-gama-mic-pre 

https://gearspace.com/board/so-much-gear-so-little-time/440170-where-does-shadow-hills-mono-gama-really-shine.html 

 API Mic Pres found in “The BOX.”

API first introduced The BOX in 2013 as a compact console marketable to those in a new generation with less expendable analog budgets. While taking up a compact space, the box offers signature API quality with all analog functions a user would want including “mic preamps, input signal processing, high-quality mix bus, cue sends with talkback, monitor control and more” (API).  The BOX’s preamps are solid state and feature transformer balanced output. The subsequent sound characteristic is described as “classic API” in the manual with fast transient response and punchy tones. Great for all sound sources but favor those where punch is key such as snare, kick, guitar, and vocals. 

https://www.apiaudio.com/product.php?id=153&p=1 

https://tapeop.com/reviews/gear/138/the-box-2-console/ 

https://www.apiaudio.com/docs/manuals/TheBOX_Manual_ver0.pdf

https://www.soundonsound.com/reviews/api-box  

Compressors: 

Chandler Limited Germanium Compressor

Introduced by Chandler Limited this unique compressor seeks to promote vintage tones with modern innovation. It features a class A amplifier and a transformer balanced input and output with FET gain reduction. As with most FET compressors, fast attack/release settings and more “explosive” compression works well. However, features such as a feedback control and unique DIRTY/CLEAN COMP switch open the possibilities beyond classic FET tone. Equally, the knee control varies between six different diodes adding options in the style of compression. Other features include “sidechain” for frequency control and a wet/dry knob. All these features make it a great choice for instruments from drums and bass to acoustic guitars and vocals.

https://chandlerlimited.com/wp-content/uploads/2012/12/germanium-compressor-manual.pdf 

https://chandlerlimited.com/germanium-compressor/ 

https://tapeop.com/reviews/gear/61/germanium-compressor/ 

  Daking Comp 500 Series Compressor

Introduced in 2012, the Daking Comp 500 markets itself as an “easy-to-use VCA compressor/limiter module compatible with 500 series rack enclosures” (TransAudio). Design-wise, the compressor features class A circuitry, discrete transistors, and VCA gain reduction. Despite being a VCA amp, Daking advertises the Comp 500 as being designed to mimic an FET amp. Regardless, reviewers have highlighted the compressor for its smooth tone and clarity, along with diverse uses including on the mix bus. The front panel features impressive simplicity with switches for most settings including fast/slow attack and release, and a simple knob for more/less compression. 

https://tapeop.com/reviews/gear/101/comp-500-vca-compressor-500-series/

https://www.transaudiogroup.com/press-releases/transaudio-group-introduces-daking-comp-500/ 

Bonus:

Radial PhaseQ Adjuster

A unique piece of hardware, the Radial PhaseQ markets itself as “studio tool” that can sum two line level signals together. Phase Q utilizes class-A analog design which it claims can “quickly and accurately” phase align sources. Uses for the PhaseQ range from combining DI from and amp with room tone, the batter head and body of a kick drum, or even multiple distance recordings of an acoustic instrument. The front design features three primary knobs for blend, phase, and filter. Despite the primary function, this device is also noted for tone shaping abilities. 

https://www.radialeng.com/product/phazeq 

https://www.radialeng.com/wp-content/uploads/2018/06/review-Professional-Sound-Oct-12-Cube-Phazer-Q3-Komit.pdf 

Works Cited

Pfeifer, Dan. THEBOX Manual. API, 2013. 

“: : Vintech Audio : :” : : VINTECH AUDIO : : www.vintech-audio.com/. 

“THE Box 2 Console.” Tape Op - the Creative Music Recording Magazine, tapeop.com/reviews/gear/138/the-box-2-console/. 

“The Box Console.” API, www.apiaudio.com/product.php?id=153&p=1. 

“Comp 500 VCA Compressor (500-SERIES).” Tape Op - the Creative Music Recording Magazine, tapeop.com/reviews/gear/101/comp-500-vca-compressor-500-series/. 

Germanium Compressor Manual. Chandler Limited . 

“Germanium Compressor.” Chandler Limited, chandlerlimited.com/germanium-compressor/. 

“Germanium Compressor.” Tape Op - the Creative Music Recording Magazine, tapeop.com/reviews/gear/61/germanium-compressor/. 

“Mastering Compressor.” M1 DISTRIBUTION :: SHADOW HILLS INDUSTRIES, www.m1distribution.com/shadow-hills-industries.html. 

Matt Greco. “Shadow Hills Mono Gama Mic PRE.” Matt Greco, Matt Greco, 30 Sept. 2014, www.mattgrecomusic.com/gear-talkreviews/2014/9/29/shadow-hills-mono-gama-mic-pre. 

McAllister, Max, and Natalie Wegiel. “How to Get Neve 1073 Sound in Your Home Studio.” Produce Like A Pro, 3 Sept. 2021, producelikeapro.com/blog/neve-1073/. 

Robjohns, Hugh. Api the Box, 1 Sept. 2021, www.soundonsound.com/reviews/api-box. 

“Vintech 573 Lunchbox Preamp.” Gearspacecom RSS, gearspace.com/board/reviews/717472-vintech-573-lunchbox-preamp.html. 

“Where Does the Shadow Hills Mono Gama Really Shine?” Gearspacecom RSS, Gearspace.com, 22 Nov. 2009, gearspace.com/board/so-much-gear-so-little-time/440170-where-does-shadow-hills-mono-gama-really-shine.html. 

“Phazeq.” Radial Engineering, 17 Mar. 2021, www.radialeng.com/product/phazeq. 

“TransAudio Group Introduces DAKING Comp 500.” TransAudio Group, 18 June 2015, www.transaudiogroup.com/press-releases/transaudio-group-introduces-daking-comp-500/. 

Weston, Dan. Radial Engineering Workhorse Cube & 500 Series Modules. 2012, www.radialeng.com/wp-content/uploads/2018/06/review-Professional-Sound-Oct-12-Cube-Phazer-Q3-Komit.pdf.