(507,'document','text/html','PatronPost_160321_DonWas','Don Was is a <i>beast</i>!','','PatronPost-160321-DonWas','',1,0,0,506,0,'<p>Just been catching up on recordings of some of the seminars I wasn\'t able to attend at the AES conference in New York last year, and heard a great presentation by Alex Case and Stephen Webber about Bonnie Raitt\'s classic track \'I Can\'t Make You Love Me\', a track produced by Don Was.</p>\r\n\r\n<img class=\"imgPatreonPost\" src=[[$sitePrefixCMT]]/SitePix/PatronPost_160321_DonWas.jpg>','<p>If you\'ve been following my <i>Sound On Sound</i> <a href=\"[[~428]]#MixReview\">Mix Review</a> column, you\'ll have already read some of my thoughts about this song <a href=\"http://www.soundonsound.com/sos/may14/articles/mixreview-0514.htm#para4\">here</a>, but it\'s a shame to waste interesting material, so I figured I\'d quickly post some further comments for all you lovely patrons. Besides, it\'s a great track to listen to, so any excuse to fire it up again has to be good!</p>\r\n\r\n<p>The main thing I discovered from the seminar was that the song\'s long outro (following the second chorus) originally featured Raitt\'s guitar solo -- but Don Was muted it! Given that Raitt was arguably best known as a guitarist at that point, and that everyone involved was already pretty certain that the song would be the single to break the album, Don Was must have cojones of <i>steel</i>. There\'s little doubt that the guitar solo was great, so you\'ve got to respect him fighting for such a suitably restrained ending. And indeed for telling the drummer \"you are a drum machine\" on the same grounds.</p>\r\n\r\n<p>But there were a bunch of other little cool factoids besides. For example, the songwriter was a hulking former American Football player, which makes the songwriting even more impressive to my mind. And the song\'s surprising final chord was a just a MIDI editing error of his while demoing, but he decided to leave it in once he\'d slept on it. Make that another co-production credit for Mr Serendipity...</p>',1,6,0,1,1,1,1458594927,1,1458649917,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronPost-160321-DonWas.htm',0,0,1,NULL),(508,'document','text/html','Banner_Patron_CRAS01','','http://www.cras.edu/','Banner-Patron-CRAS01','',1,0,0,432,0,'Love sound? Make it your career, at the Conservatory of Recording Arts &amp; Sciences!\r\n','[[$sitePrefixCMT]]/SitePix/Ads/PatronBanner_CRAS01.jpg',1,0,0,1,1,1,1458757793,1,1458758257,0,0,0,1458453420,1,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-Patron-CRAS01.htm',0,0,1,NULL),(509,'document','text/html','Banner_Patron_CRAS02','','http://www.cras.edu/','Banner-Patron-CRAS02','',0,0,0,556,0,'Learn the art of audio recording quickly, and without a mountain of debt -- at the Conservatory of Recording Arts &amp; Sciences!','[[$sitePrefixCMT]]/SitePix/Ads/PatronBanner_CRAS02.jpg',1,0,15,1,1,1,1458758158,1,1465363565,0,0,0,0,0,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-Patron-CRAS02.htm',0,0,1,NULL),(510,'document','text/html','Banner_Patron_WIR_ComeInRockOut','','https://www.facebook.com/walkinrecording007/','Banner-WIR-ComeInRockOut','',1,0,0,432,0,'Walk-in Recording -- Come In &amp; Rock Out!\n','[[$sitePrefixCMT]]/SitePix/Ads/WIRAdGIF.gif',1,0,2,1,1,1,1458760771,1,1477286064,0,0,0,1472663640,1,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-WIR-ComeInRockOut.htm',0,0,1,NULL),(558,'document','text/html','Banner_MalenkySlovos_MoodSwings2','','http://www.malenkyslovos.com/store','Banner-MalenkySlovos-MoodSwings2','',0,0,0,556,0,'New Malenky Slovos CD: <i>Mood Swings</i>','[[$sitePrefixCMT]]/SitePix/Ads/MalenkySlovosAdGIF.gif',1,0,14,1,1,1,1465363890,1,1466751363,0,0,0,0,0,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-MalenkySlovos-MoodSwings2.htm',0,0,1,NULL),(511,'document','text/html','Banner_WIR_ComeInRockOut2','','https://www.facebook.com/walkinrecording007/','Banner-WIR-ComeInRockOut2','',0,0,0,556,0,'Walk-in Recording -- Come In &amp; Rock Out!\r\n','[[$sitePrefixCMT]]/SitePix/Ads/WIRAdGIF.gif',1,0,21,1,1,1,1458760834,1,1463740534,0,0,0,0,0,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-WIR-ComeInRockOut2.htm',0,0,1,NULL),(512,'document','text/html','April 2016: Hannes Keseberg','','Faking A Big-ensemble String Sound With A Quintet','April-2016-Hannes-Keseberg','',1,0,0,110,0,'','',1,10,5,1,1,1,1458914326,1,1469488949,0,0,0,1451407140,1,'',0,0,0,0,0,'modDocument','web',1,'April-2016-Hannes-Keseberg.htm',0,0,1,NULL),(513,'document','text/html','December 2015 (skipped)','','','December-2015-(skipped)','',0,0,0,31,0,'','',1,7,16,1,1,1,1458914647,0,0,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'December-2015-(skipped).htm',0,0,1,NULL),(514,'document','text/html','April 2016','','','April-2016','',1,0,0,31,1,'','',1,7,12,1,1,1,1458914691,1,1458915092,0,0,0,1458915092,1,'',0,0,0,0,0,'modDocument','web',1,'April-2016/',0,0,1,NULL),(515,'document','text/html','Toxic','','','Toxic','',1,0,0,514,0,'','',1,8,5,1,1,1,1458914691,1,1458915053,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Toxic.htm',0,0,1,NULL),(516,'document','text/html','Please','','','Please','',1,0,0,514,0,'','',1,8,3,1,1,1,1458914691,1,1458914950,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Please.htm',0,0,1,NULL),(517,'document','text/html','Drag Me Down','','','Drag-Me-Down','',1,0,0,514,0,'','',1,8,2,1,1,1,1458914691,1,1458914928,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Drag-Me-Down.htm',0,0,1,NULL),(518,'document','text/html','Sax','','','Sax','',1,0,0,514,0,'','',1,8,1,1,1,1,1458914691,1,1458914899,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Sax.htm',0,0,1,NULL),(520,'document','text/html','Let It Happen','','','aslsj','',1,0,0,514,0,'','',1,8,4,1,1,1,1458914977,1,1458915008,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'aslsj.htm',0,0,1,NULL),(519,'document','text/html','Freak Of The Week','','','Freak-Of-The-Week','',1,0,0,514,0,'','',1,8,0,1,1,1,1458914691,1,1458914864,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Freak-Of-The-Week.htm',0,0,1,NULL),(521,'document','text/html','CMTInfoSheets','','','CMTInfoSheets','',0,0,0,0,1,'','',1,6,2,1,1,1,1459255091,0,0,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'CMTInfoSheets/',0,0,1,NULL),(522,'document','text/html','One-on-one Mix Training','One-on-one Mix Training -- Info Page','','MixTraining','',1,0,0,521,0,'<p>Take your mix to my studio in Munich, Germany, and work with me to improve all aspects of the production. Two main options are available: either you can bring your computer system with you, and use your own software while listening over my monitoring system; or you can provide your project’s raw multitrack files for me to mix in my own Cockos Reaper-based DAW system. If travelling to Munich is not practical, then training can also be carried out remotely via online file-exchange, email, phone, and/or Skype/FaceTime services.</p>','<h3 class=\"h3ResourceTitle\">Option 1: Bringing Your Own DAW System -- Guidelines</h3>\r\n\r\n<p>If you decide to work on your own software system, then please ensure that you bring all the necessary cables, dongles, and audio interfaces so that your software will operate correctly and you can easily feed a stereo audio stream into my studio\'s monitor controller. If you’re planning to use a laptop, please bring an appropriate mouse with you, because operating via the computer’s built-in trackpad typically slows down the workflow. If you’re travelling far, then it’s advisable to export raw multitrack files to a separate storage device too, so that the session can be transferred to my system in the event of any problem with your own DAW software or computer.</p>\r\n\r\n<p>Although I have long-term operating experience of Steinberg <i>Cubase</i>, Apple <i>Logic</i>, and Cockos <i>Reaper</i> (and a familiarity with most other DAW software too), you will ultimately be relied on to operate any DAW system you bring. The speed at which the mix progresses will inevitably be linked to the speed at which you can navigate the software’s functions, especially where audio/automation editing is concerned, so anything you can do to streamline your own working methods prior to the session will help you get the most out of the available time.</p>\r\n\r\n<h3 class=\"h3ResourceTitle\">Option 2: Delivering Multitracks -- Guidelines</h3>\r\n\r\n<p>All of the production’s individual tracks should be supplied as audio files in WAV or AIFF format at a minimum resolution of 24-bit/44.1kHz. (Data-compressed files such as MP3/AAC aren’t suitable for mixing purposes.) All the WAV/AIFF files should start at the same time so that they line up correctly when imported. Any combination of stereo and mono files is fine, as long as it\'s clear what each track is (especially if any mono tracks are the two sides of a split stereo pair). It saves time if you can indicate the exact tempo of the project as well, or supply a MIDI tempo map if tempo variations are used. The audio files should be free from digital clipping and any effects or processing. However, if there are any tracks where an effect is very much part of the character of the raw sound itself (such as an amp simulation on a guitar/bass part, or a resonant filter on a synth), you can provide a version of the track with this effect in place, but an unprocessed/DI track may also be useful too, so please also include that if you have it. If you\'ve used any pitch-correction processing, especially on lead vocals, then please supply separate files with/without the correction if at all possible.</p>\r\n\r\n<p>If any parts are running live from external sound modules or virtual instruments, they\'ll need to be bounced down to audio. For programmed drum parts, please try to separate out the different drum samples onto different tracks as much as you can -- it leaves a lot more room for manoeuvre in terms of getting the sound you\'re after. It\'s also handy in this case if you can include the MIDI trigger files you used as well, in case there’s a need to synchronise any layers/effects with your programming. In addition to the multitrack files, please provide a stereo WAV/AIFF file of your own most recent mix, as well as an indication of any specific commercial tracks which would be good benchmarks for the kind of sound you\'re after. Mix sonics can vary a lot even between songs apparently in the same musical genre, so without any input from you it’s only possible to make an educated guess at the exact sound you\'re aiming for.</p>\r\n\r\n<p>It is advisable to submit your multitrack files at least a week in advance of the training date, so that Mike has time to check them over for any obvious problems which might waste session time. [[$Training_FilesDelivery]]</p>\r\n\r\n<h3 class=\"h3ResourceTitle\">Pricing</h3>\r\n\r\n<p>The pricing for one-on-one mix training is &#163;[[$DayRate_Pounds]] (plus [[$VATRate_DE]]&#37; VAT) for a nominal 10-hour day. For longer sessions a discounted rate of &#163;[[$DayRateBulk_Pounds]]/day is available. As a rough guide, most self-produced multitrack productions take at least 2-3 days to mix to a professional standard on my own system. If you only have limited mixing time available, then [[$Training_LimitedTimeMixing]] [[$Training_WorkingHours]]</p>\r\n\r\n<h3 class=\"h3ResourceTitle\">Travel &amp; Accommodation</h3>\r\n\r\n<p>My studio is located in Feldkirchen (postcode: 85622), an Eastern suburb of Munich. You can reach this by S-Bahn train from any of Munich’s main stations (Hauptbahnhof, Ostbahnhof, Marienplatz): the S2 train (usually destined for Erding or Markt Schwaben) stops directly at Feldkirchen station. The studio is a seven-minute walk from the S-Bahn station. For overnight stay, there are a number of affordable hotels (under €100/night) located in Feldkirchen:</p>\r\n\r\n<ul>\r\n<li> a <a href=\"http://www.mcdreamshotels.de/munich.html\">McDreams Hotel</a> about 15 minutes walk from the studio.</li>\r\n<li> a <a href=\"http://www.ibishotel.com/de/hotel-3292-ibis-muenchen-messe/index.shtml\">Hotel Ibis</a> and a <a href=\"http://www.hiexpress.com/hotels/de/de/munich/mucmm/hoteldetail\">Holiday Inn Express</a> about 25 minutes walk from the studio.</li>\r\n</ul>\r\n\r\n<p>All these hotels have restaurant facilities, but there are also restaurants, cafes, and supermarkets within walking distance of the studio.</p>\r\n\r\n<br><br>\r\n\r\n<h5 class=\"h5TrainingGTCs\"><strong>Terms & Conditions</strong></h5>\r\n\r\n<p class=\"pTrainingGTCs\"><p class=\"pTrainingGTCs\">[[$TrainingGTCs_WorkForHire]] For all sessions, payment will be 30&#37; in advance, and the remainder upon session completion.</p>\r\n\r\n<p class=\"pTrainingGTCs\">[[$TrainingGTCs_Damage]]</p>\r\n\r\n<p class=\"pTrainingGTCs\">[[$TrainingGTCs_ConductComplaintsJurisdiction]]</p>',1,6,0,1,1,1,1459255092,1,1480856018,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'MixTraining.htm',0,0,1,NULL),(525,'document','text/html','Banner_KhaliqGlover_MixingMagic','','http://mixingmagic.com/effects\r\n','Banner-KhaliqGlover-MixingMagic','',0,0,0,556,0,'Visit Mixing Magic!','[[$sitePrefixCMT]]/SitePix/Ads/MixingMagicAdJPEG.jpg',1,0,8,1,1,1,1459748274,1,1463740612,0,0,0,0,0,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-KhaliqGlover-MixingMagic.htm',0,0,1,NULL),(526,'document','text/html','April 2016','Cambridge-MT Patrons Podcast','','PatronsPodcast1604HBGuitar','',1,0,0,493,0,'<h4 class=\"h4IntroTextSubtitle\">[[*pagetitle]] Episode</h4>\n\n<p>In this second episode of the Patrons Podcast, I critique a mix from another star of the Discussion Zone, and describe a ninja mix technique for enhancing the breathiness and \'air\' of a vocal recording without emphasising the sibilance. Plus there are some unvarnished views on the value of big-ticket external DACs for small-studio users, a freeware dynamic EQ recommendation, and some first impressions on the <a href=\"http://www.nhthifi.com\">NHT Pro</a> Super 2.1 budget-friendly unported monitors.</p>\n<p>\n<div data-wimpyplayer data-inline=\"1\" data-skin=\"wimpy7/PodcastPlayer002.tsv\" data-media=\'http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1604HBGuitar.mp3\'></div>\n</p>\n<br>\n<p><span class=\"spanPodcastMiniText\">320kbps MP3 playback quality (downloadable versions: <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1604HBGuitar.mp3\">320kbps MP3</a>; <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1604HBGuitar_HiRes.zip\">24-bit/44.1kHz WAV</a>)</a></span></p>','<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\n\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\n<ul>\n  <li>00:00 -- Intro<br><br></li>\n  <li>01:06 -- <strong>Mix Critique: Benjamin John\'s \'Better Way\': mix by <a href=\"http://discussion.cambridge-mt.com/member.php?action=profile&uid=2648\">HBGuitar</a></strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">02:04 - 04:07 -- [[$podcastDemo]] HBGuitar\'s full mix</span></li>\n    <li><span class=\"spanPodcastMiniText\">05:37 -- [[$podcastDemo]] build-up into third chorus (HBGuitar\'s mix)</span><br><br></li>\n\n\n<a href=\"http://www.sonofgrace.com\"><img alt=\"New Benjamin John CD: <i>Son Of Grace</i>\" src=\"http://www.root.cambridge-mt.com//SitePix/Ads/BenjaminJohnAdJPEG.jpg\" class=\"imgBannerAd\"></a>\n\n    <li>06:23 -- Critique Point #1: vocal timbre</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">06:44 -- [[$podcastDemo]] midrange emphasis: mix band-pass filtered at 1.5kHz to highlight overprominent frequency region (HBGuitar\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">06:58 -- [[$podcastDemo]] midrange emphasis: band-pass filter removed to show the 1.5kHz vocal emphasis in context (HBGuitar\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">07:12 -- [[$podcastDemo]] midrange emphasis: octave-wide 3dB cut applied to mix at 1.5kHz (HBGuitar\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">07:47 -- [[$podcastDemo]] midrange emphasis: beginning of mix to show tonal contrast between backing and lead vocals (HBGuitar\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">08:21 -- [[$podcastDemo]] midrange emphasis: raw acoustic rhythm guitar recording (unprocessed track)</span><br><br></li>\n      <li><span class=\"spanPodcastMiniText\">09:02 -- [[$podcastDemo]] high-frequency challenges: raw lead vocal recording (unprocessed track)</span></li>\n      <li><span class=\"spanPodcastMiniText\">10:59 -- [[$podcastDemo]] high-frequency challenges: comparing some snippets of commercial references to HBGuitar\'s mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">12:51 -- [[$podcastDemo]] high-frequency challenges: a processed vocal sound for illustration purposes (rough mix by me)</span></li>\n      <li><span class=\"spanPodcastMiniText\">13:17 -- [[$podcastDemo]] high-frequency challenges: upper-spectrum vocal EQ boost (rough mix by me)</span></li>\n      <li><span class=\"spanPodcastMiniText\">13:42 -- [[$podcastDemo]] high-frequency challenges: artefacts of extra de-essing (rough mix by me)</span><br><br></li>\n      <li><span class=\"spanPodcastMiniText\">15:04 -- [[$podcastDemo]] ninja air trick: step 1 -- de-essed send (rough mix by me)</span></li>\n      <li><span class=\"spanPodcastMiniText\">15:33 -- [[$podcastDemo]] ninja air trick: step 2 -- short, dense, noisy reverb (rough mix by me)</span></li>\n      <li><span class=\"spanPodcastMiniText\">16:19 -- [[$podcastDemo]] ninja air trick: step 3 -- high-pass filter (rough mix by me)</span></li>\n      <li><span class=\"spanPodcastMiniText\">16:45 -- [[$podcastDemo]] ninja air trick: step 4 -- stereo narrowing (rough mix by me)</span></li>\n      <li><span class=\"spanPodcastMiniText\">17:04 -- [[$podcastDemo]] ninja air trick: \'before\' mix -- ie. no effect (rough mix by me)</span></li>\n      <li><span class=\"spanPodcastMiniText\">17:16 -- [[$podcastDemo]] ninja air trick: \'after\' mix -- ie. ninja air effect added (rough mix by me)</span></li>\n      <li><span class=\"spanPodcastMiniText\">17:34 -- [[$podcastDemo]] ninja air trick: commercial reference of extreme vocal brightness</span></li>\n      <li><span class=\"spanPodcastMiniText\">18:12 -- [[$podcastDemo]] ninja air trick: \'before\' mix -- ie. no effect (rough mix by me)</span></li>\n      <li><span class=\"spanPodcastMiniText\">18:22 -- [[$podcastDemo]] ninja air trick: \'after\' mix -- ie. ninja air effect added (rough mix by me)</span><br><br></li>\n    </ul>\n    <li>19:44 -- Critique Point #2: vocal balance</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">20:01 -- [[$podcastDemo]] transition into the first chorus (HBGuitar\'s mix)</span><br><br></li>\n    </ul>\n    <li>21:07 -- Critique Point #3: guitar solo balance</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">21:22 -- [[$podcastDemo]] guitar solo (HBGuitar\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">21:50 -- [[$podcastDemo]] guitar solo with 600Hz EQ boost applied to the whole mix (HBGuitar\'s mix)</span><br><br></li>\n    </ul>\n    <li>22:07 -- Critique Point #4: bass line tweak?</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">22:29 -- [[$podcastDemo]] end of first chorus (rough mix by me)</span></li>\n      <li><span class=\"spanPodcastMiniText\">22:58 -- [[$podcastDemo]] end of first chorus with pitch-shifted bass note under \"told you\" lyric (rough mix by me)</span><br><br></li>\n    </ul>\n  </ul>\n  <li>24:05 -- <strong>Q&A: Should I get a high-end DAC for monitoring?</strong><br><br></li>\n  <li>26:38 -- <strong>Budget/Freeware Dynamic EQ Recommendations</strong><br><br></li>\n  <li>28:05 -- <strong>NHT Pro Super 2.1 affordable unported monitors -- first impressions</strong><br><br></li>\n  <li>29:23 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 29:50)</span></li>\n</ul>\n \n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\n\n<ul>\n<li><strong>Uncompressed Audio Version:</strong> The player on this page uses 320kbps MP3 quality. If you\'d prefer to hear uncompressed audio, <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1604HBGuitar_HiRes.zip\">this ZIP archive</a> contains the podcast in 24-bit/44.1kHz WAV format.<br><br></li>\n\n<li><strong>\'Ninja Air Trick\' Downloadable Impulse Response &amp; Reaper Project:</strong> If you want to know exactly how I put together the \'ninja air trick\' processing showcased in this podcast, then download <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1604HBGuitar_Project.zip\">Reaper Project (2MB ZIP)</a> which you can open in the cross-platform (and fully functional) <a href=\"http://reaper.fm/download.php\">demo version of Cockos Reaper</a>. In the archive I\'ve also included screenshots of all the plug-ins I used (in case you don\'t have them on your system) and the decorrellated white-noise impulse response I used to generate the super-short stereo reverb. Just one further point I didn\'t mention in the podcast: I also slightly chorused the reverb effect as well, to mitigate any static comb-filtering effects. I didn\'t mention it because it\'s very much an optional extra which only makes a very marginal difference to the end result, and I didn\'t want to take the discussion too far off-topic.<br><br></li>\n\n<li><strong>Mix The Same Raw Multitracks Yourself:</strong> The raw multitracks for Benjamin John\'s \'Better Way\' can be downloaded directly from <a href=\"[[~373]]#BenjaminJohn\">The \'Mixing Secrets\' Free Multitrack Download Library</a>. And make sure you check out the album <a href=\"http://www.sonofgrace.com/\">Son Of Grace</a> from which this is the lead single -- there\'s lots of other great stuff on there!<br><br></li>\n\n<li><strong>Have Your Say About This Mix:</strong> The original thread featuring this month\'s critiqued mix can be found <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=14380\">here in the Discussion Zone</a>.<br><br></li>\n\n<li><strong>Budget/freeware Dynamic EQ Plugins:</strong> Here are links to the plug-ins I mentioned in the podcast: Tokyo Dawn [[$software_TokyoDawn_TDRNova]], Platinumears [[$software_Platinumears_IQ4]] and ToneBoosters [[$software_ToneBoosters_TBFix]]. For more options, check out the <i>Mixing Secrets For The Small Studio</i> <a href=\"[[~15]]#links\">Chapter 13 resources page</a>.</li>\n\n</ul>',1,6,12,1,1,1,1460093838,1,1477776517,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronsPodcast1604HBGuitar.htm',0,0,1,NULL),(523,'document','text/html','Studio Visits','On-site Studio Training -- Info Page','','StudioVisits','',1,0,0,521,0,'<p>Experience my production methods first-hand in your own studio environment. Focus the session on the what matters most to you -- whether that\'s equipment setup, recording advice, or live mixing demonstrations on your own DAW system.</p>','<p>As the success of the session will depend on the reliability of your own studio and your facility in\r\noperating it, anything you can do to troubleshoot your system and streamline your own working\r\nmethods prior to the session will help you get the most out of the available time. Providing relevant\r\nstudio photos, software screenshots, and audio mix files to Mike in advance of the session will also\r\nenable him to assist you more effectively and efficiently. [[$Training_FilesDelivery]]</p>\r\n\r\n<h3 class=\"h3ResourceTitle\">Pricing</h3>\r\nThe basic pricing for studio visits is &#163;[[$DayRate_Pounds]] (plus [[$VATRate_DE]]&#37; VAT) for a nominal 12-hour day. For longer sessions a discounted rate of &#163;[[$DayRateBulk_Pounds]]/day is available. Reasonable travel/accommodation expenses (economy class travel and local bed-and-breakfast) will be charged in addition, wherever the training location is more than 60 minutes’ drive from my home in Munich, Germany. Travel time (beyond two hours) will also charged as session time. Bear in mind that most self-produced multitrack productions take at least 2-3 days to mix to a professional standard even on Mike’s own system, so if you only have limited mixing time available, then [[$Training_LimitedTimeMixing]]</p>\r\n\r\n<br><br>\r\n\r\n<h5 class=\"h5TrainingGTCs\"><strong>Terms & Conditions</strong></h5>\r\n\r\n<p class=\"pTrainingGTCs\">[[$TrainingGTCs_WorkForHire]] For all sessions, payment will be 30&#37; in advance, and the remainder upon session completion.</p>\r\n\r\n<p class=\"pTrainingGTCs\">[[$TrainingGTCs_Damage]]</p>\r\n\r\n<p class=\"pTrainingGTCs\">[[$TrainingGTCs_ConductComplaintsJurisdiction]]</p>',1,6,1,1,1,1,1459259179,1,1459748052,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'StudioVisits.htm',0,0,1,NULL),(524,'document','text/html','Production Critique','Production Critique -- Info Page','','ProductionCritique','',1,0,0,521,0,'<p>Receive personalised advice from me, Mike Senior, on all aspects of your work in progress, whether that\'s feedback on a simple stereo audio mixdown file, or a more detailed critique of your production with reference to individual multitrack files. I normally provide feedback in writing (typically around 1500 words for a single mixdown file), but telephone/Skype/FaceTime consultation is also available if desired.</p>','<h3 class=\"h3ResourceTitle\">Delivering Files For Critique -- Guidelines</h3>\r\n\r\n<p>If you’re providing a simple mixdown, ideally it should be provided in WAV or AIFF format at a minimum resolution of 16-bit/44.1kHz. However, if this is impractical then I can also work from high-quality MP3/AAC files if necessary. If you have used any mastering-style processing on the file, it would be helpful if you provided an unmastered version of the mix too.</p>\r\n\r\n<p>If you’re supplying multitrack files as well, then these should be in WAV or AIFF format at a minimum resolution of 24-bit/44.1kHz. All the files should start at the same time so that they line up correctly when imported. Any combination of stereo and mono files is fine, as long as it\'s clear what each track is (especially if any mono tracks are the two sides of a split stereo pair). The audio files should be free from digital clipping and any effects or processing. If there are any tracks where an effect is very much part of the character of the raw sound itself (such as an amp simulation on a guitar/bass part, or a resonant filter on a synth), you can provide a version of the track with this effect in place, but an unprocessed/DI track may also be useful too, so please also include that if you have it. If you\'ve used any pitchcorrection processing, especially on lead vocals, then please supply separate files with/without if at all possible. If any parts are running live from external sound modules or virtual instruments, they\'ll need to be bounced down to audio.</p>\r\n\r\n<p>Whatever audio files you send, please accompany them with a text file which indicates any commercial releases which would be good benchmarks for the kind of sound you\'re after. Mix sonics can vary a lot even between songs apparently in the same musical genre, so without any input from you it’s only possible to make an educated guess at the exact sound you\'re aiming for. You can also request for my critique to focus on specific aspects of the production if you wish, otherwise the critique will cover all elements of the production, focusing on those facets I judge to be most important to your progress.</p>\r\n\r\n<h3 class=\"h3ResourceTitle\">Pricing</h3>\r\n\r\n<p>The pricing for production critique is &#163;45 (plus [[$VATRate_DE]]&#37; VAT) per hour. As a rough guide, a single stereo\r\nmixdown typically takes 2-3 hours to critique, including write-up. An additional 1-2 hours will usually\r\nneed to be added to this if multitrack files have also been supplied.</p>\r\n\r\n<br><br>\r\n\r\n<h5 class=\"h5TrainingGTCs\"><strong>Terms & Conditions</strong></h5>\r\n\r\n<p class=\"pTrainingGTCs\"><p class=\"pTrainingGTCs\">[[$TrainingGTCs_WorkForHire]] Payments must be made in full within 14 days of delivery of the critique feedback.</p>\r\n\r\n<p class=\"pTrainingGTCs\">[[$TrainingGTCs_ConductComplaintsJurisdiction]]</p>',1,6,2,1,1,1,1459265567,1,1485243896,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'ProductionCritique.htm',0,0,1,NULL),(528,'document','text/html','Banner_Patron_RossanoDembech','','http://www.rossanodembech.it/','Banner-Patron-RossanoDembech','',1,0,0,432,0,'Visit www.rossanodembech.it, home of Pedro&amp;Careca and NidraEstudio!','[[$sitePrefixCMT]]/SitePix/Ads/PatronBanner_RossanoDembech.jpg',1,0,1,1,1,1,1461013251,1,1461013369,0,0,0,1458453420,1,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-Patron-RossanoDembech.htm',0,0,1,NULL),(529,'document','text/html','Zwiepack: \'Air\'','','','ms-mtk-projectair','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\r\n[[$MTKProjectTemplate]]',1,6,20,1,1,1,1461064362,1,1461067289,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectair.htm',0,0,1,NULL),(530,'document','text/html','May 2016','','','May-2016','',1,0,0,31,1,'','',1,7,11,1,1,1,1461261461,1,1461261700,0,0,0,1461261700,1,'',0,0,0,0,0,'modDocument','web',1,'May-2016/',0,0,1,NULL),(531,'document','text/html','Total Eclipse Of The Heart','','','Total-Eclipse-Of-The-Heart','',1,0,0,530,0,'','',1,8,4,1,1,1,1461261461,1,1461261668,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Total-Eclipse-Of-The-Heart.htm',0,0,1,NULL),(532,'document','text/html','Cirice','','','Cirice','',1,0,0,530,0,'','',1,8,3,1,1,1,1461261461,1,1461261635,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Cirice.htm',0,0,1,NULL),(533,'document','text/html','Don\'t Wanna Fight','','','Dont-Wanna-Fight','',1,0,0,530,0,'','',1,8,2,1,1,1,1461261461,1,1461261611,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Dont-Wanna-Fight.htm',0,0,1,NULL),(534,'document','text/html','Girl Crush','','','Girl-Crush','',1,0,0,530,0,'','',1,8,1,1,1,1,1461261461,1,1461261585,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Girl-Crush.htm',0,0,1,NULL),(535,'document','text/html','Little Ghetto Boy','','','Little-Ghetto-Boy','',1,0,0,530,0,'','',1,8,0,1,1,1,1461261461,1,1461261562,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Little-Ghetto-Boy.htm',0,0,1,NULL),(536,'document','text/html','May 2016: Zwiepack','','Comparing Two Different Miking Approaches','May-2016-Zwiepack','',1,0,0,110,0,'','',1,10,4,1,1,1,1461261793,1,1461262120,0,0,0,1461261960,1,'',0,0,0,0,0,'modDocument','web',1,'May-2016-Zwiepack.htm',0,0,1,NULL),(572,'document','text/html','PatronPost_2016_08_SpeakerTestReferences','Q: What reference tracks do you use for evaluating monitoring systems?','','PatronPost-2016-08-SpeakerTestReferences','',1,0,0,506,0,'<p>Well, the first thing to say is that probably the biggest reason my own personal collection of reference tracks is useful to me is simply that I\'ve listened to them on (without exaggeration) hundreds of different listening systems over the last 20 years or so. Plus, during that time I\'ve refined which references I use for what based on how useful they are, as well as continually trialling new tracks as possible additions -- in my opinion a reference collection should always be a work in progress, otherwise you\'re not continuing to develop your ear as an engineer. Still, various reference productions have stood the test of time for me, so I\'ll mention some of my favourites in a moment.</p>','<p>It\'s also worth mentioning that I have about 60-70 tracks in my core referencing collection at any given time, so now I\'ll just pick out the ones I most use for testing monitors. That said, all of my references add to my impressions of what a monitoring system can do, because if I hear one of them through a new monitoring system and it suddenly seems a bit unfamiliar, then I\'m immediately suspicious that something\'s amiss. (I\'m sure I\'ll post more about other specific tracks in my reference collection in due course too, so it\'s not that I\'m trying to conceal some \'special sauce\'!) In a similar vein, I almost always check over some of my most recent recording/mixing work while evaluating monitors, because I\'ll always be very familiar with the intricacies of that material from having worked on it for hours, so balance misrepresentations in particular will again tend to become more obvious.</p>\n\n<p>Anyway, without further ado, here are some of the specific reference tracks I use, grouped according to the main things I\'m looking for when auditioning them.</p>\n\n<h2>General Quality/Balance</h2>\n\n<p>This is the biggest area of concern for me: firstly, do productions I know sound good actually sound good on the test system; and secondly (and more importantly) does the balance between the instruments in each production come across through the test monitors the way I\'ve come to expect. Foremost amongst these \'quality\' references is probably Sting\'s \'All Four Seasons\' -- super-producer Hugh Padgham on top form with the greatest musicians, rooms, and recording kit money can buy. This is also a great bass reference (of which more below), so I\'ve been using it for demonstration purposes for years, hence my deep familiarity with it. There are plenty of other songs I turn to in addition, though. Gabrielle\'s \'Independence Day\' is one I\'ve been a fan of for years, although the vocal\'s a touch strident, while Solomon Burke\'s \'Don\'t Give Up On Me\' and Crowded House\'s \'Four Seasons In One Day\' both have lovely vocal sounds that are very revealing (as vocals tend to be) of tonal colorations. For finer points of balance, it\'s difficult to beat Alison Krauss\'s \'Paper Airplane\', one of Mike Shipley\'s exquisitely controlled productions (you may know him better as the right-hand man of Robert \'Mutt\' Lange for many years) -- if anything\'s out of kilter there, then you can be pretty sure it\'s the monitors, not the music!</p>\n\n<p>In a slightly heavier vein I tend to turn to Rage Against The Machine\'s \'Fistful Of Steel\' (arguably my favourite Andy Wallace mix), AC/DC\'s \'Back In Black\', and almost anything from Dr Dre\'s album <i>2001</i>, although usually \'The Watcher\' is top of the list there. From a more Electropop/EDM angle, I tend to chop and change a bit more, depending upon what I\'ve recently been listening to for <i>Sound On Sound</i> Magazine\'s \'The Mix Review\' column (again, because I\'m most familiar with those tracks), but I do find myself returning to things like The Propellerheads\'s \'Oh Yeah\', Britney Spears\'s\' \'Toxic\', Cascada\'s \'Evacuate The Dancefloor\', Craig David\'s \'Seven Days\', and Kesha\'s \'Your Love Is My Drug\'. For a more acoustic slant I often pull up Yo-Yo Ma\'s \'The Goat Rodeo Sessions\', which is an absolute masterpiece that was recorded, mixed, and mastered by Richard King (the only living engineer to have won both the classical and non-classical Best Engineering Grammies) -- who, incidentally is just about to release a recording book on Focal Press, which I\'m super-excited about! Finally, I often have a listen to a couple of BBC spoken-word recordings which were originally released (I think) on the old Soundcheck CD series -- one of them\'s a snatch of the shipping forecast! Because us humans are so sensitive to speech, it really tends to highlight unnatural tonal colorations in any playback system.</p>\n\n<h2>Bass</h2>\n\n<p>The balance, reach, and speed of the low end is such a critical issue in project-studio monitoring that I spend quite a lot of time making up my mind about what I think about it with any new set of monitors. As far as basic balance goes, the Britney Spears track I already mentioned is a good foil to Eminem\'s \'Square Dance\', because the former is very economical with its low end, achieving a sense of bass mostly by clever upper-bass/lower-midrange illusion, whereas the latter has more real sub-80Hz low end than I\'d normally ever want to put in a mix of my own -- so both are useful \'end-stop\' references for bass balance. Sarah McLachlan\'s \'I Love You\' is as good a musical test of extreme reach as any, as the lowest tone will frequently drop off the bottom of small monitors, and the verse of Skunk Anansie\'s \'Infidelity\' also has gentle subbass kick-drum frequencies rolling along underneath the bass guitar which are rarely resolved audibly by project-studio systems. The latter production is also excellent for flagging up \'one-note bass\', because of its meandering, LF-heavy bass line. More general bass balance issues are usually laid bare by Sting\'s \'All Four Seasons\' too, which is the reason I\'ve so often used it for workshop demonstrations! And I occasionally run a set of low-frequency sine tones through the system if there\'s something specific with the LF response I\'m concerned about.</p>\n\n<p>Another vital (and often underrated) issue for me, though, is the \'speed\' of the bass, in other words how quickly bass/kick notes seem to start and stop, how much low-frequency detail is audible in the gaps between bass events, and whether the low end seems to lag at all behind the mid-range. My two favourite tracks for this are Finlay Quaye\'s \'Even After All\' and Michael Jackson\'s \'Invincible\', both of which have a tremendous amount of detail at the low end, and frequently sound a touch sluggish and indistinct on less good project-studio monitors.</p>\n\n<h2>Speed/Detail/Depth</h2>\n\n<p>The issue of \'speed\' isn\'t just about the bass, though, and the percussion of the aforementioned Michael Jackson, Rage Against The Machine, and Dr Dre references is very revealing of transient rounding, as is Katy Perry\'s \'Hot N Cold\' -- which should be borderline painful to listen to on a decent system! Something that usually seems to be twinned with \'speed\' for me, though, is depth and detail, and for testing how well a set of speakers resolves those elements I usually turn to that Yo Yo Ma production above, as well as to Outkast\'s \'Bowtie\' (masses of little details in the background to pick out) and Keane\'s \'She Has No Time\' (see if you can hear all of Spike Stent\'s little delay-effect repeats).</p>\n\n<p>If a pair of speakers give a good sense of speed and detail, then they\'ll usually also have decent imaging and depth presentation, by which I mean that you can locate sound sources accurately and stably in the stereo panorama where appropriate, and also determine how far sounds appear to be from you, the listener. This is a where a purist XY stereo recording can really pay dividends, and I\'ve long used Sheffield Labs\' minimalist recording of Stravinsky\'s \'Firebird\' suite for this purpose. I\'m classically trained myself (and have played in many orchestras as a violininst/violist), which means I have a pretty clear impression of where I expect everything to come from in an orchestral layout, so I just close my eyes and listen for anything that doesn\'t seem right. The Spike Stent mix (or his more recent one for Coldplay\'s \'Magic\') is particularly good for evaluating depth presentation, because of the intricate and subtle use of mix effects, but I often reach for Kanye West\'s \'Breathe In, Breathe Out\' as well, a track so brutally dry that it sounds almost claustrophobic if the playback system and acoustic environment are tightly-enough controlled in the time domain.</p>\n\n<h2>Mix Tonality &amp; Referencing</h2>\n\n<p>A general idea of what the speakers\' overall spectral balance is like will tend to dawn on me naturally as I listen to all my different references and switch back and forth to other monitors in my room, but there\'s another aspect of mix tonality I test for specifically: the ability to reveal differences in mix tonality when A/B-ing tracks at the mix-referencing stage. After all, referencing is the bedrock of achieving professional results in a project studio as far as I\'m concerned, so speakers that won\'t deliver in this department aren\'t fit for mixing purposes, in my view. Going over recent work of my own (which I always do in relation to commercial references) helps here, but I also have a few tracks that I come back to again and again. Madonna\'s \'Sorry\' is too bright for my taste, while Paolo Nutini\'s \'New Shoes\' is a bit on the muffled side, so I want to be able to hear that difference very clearly on any monitoring system. Similarly, I want Natalie Imbruglia\'s \'Torn\' to seem over-sibilant, otherwise I\'m not getting the kind of information I need to mix with.</p>\n\n<h2>Some Perspective...</h2>\n\n<p>There are a couple more points I\'d still like to make, though. Firstly, reading back though all of the above makes it seem like my listening and evaluation process is rather more systematic and methodical than it really is. In practice I do a lot of skipping back and forth between all the different tracks, with the aim of simply trying to make up my mind what I think about various aspects of the speakers\' performance. And even after I\'ve got to the stage of writing things down, I\'ll usually return to the tracks many times to double-check that I really <i>did</i> hear what my scribbled notes said I heard! Fundamentally, I try to be as sure as I can be that I agree with my own opinions. <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"></p>\n\n<p>And, secondly, I\'m usually reviewing speakers from the perspective of using them as a mixing tool, so I never like to commit to a final opinion before I\'ve actually done some real mixing on them (complete with the all-important mix-referencing stage) and then related the mixdown results (and my impressions of them) back to my own monitoring setup. Without this stage I feel I\'d end up discriminating against systems (such as the classic Yamaha NS10s) which are usable mix tools despite not sounding tremendously appealing subjectively.</p>\n\n<p>Hopefully that all makes some sense, but feel free to ping me if you need any further clarifications!</p>\n\n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\n\n<ul>\n<li><strong>Further Reading:</strong> I\'ve written a few other articles on refencing and critical listening in general that you may also be interested in: <a href=\"http://www.soundonsound.com/sos/sep08/articles/referencecd.htm\">Creating Your Own Reference CD</a> and <a href=\"http://www.soundonsound.com/sos/apr11/articles/listen-and-learn.htm\">Analysing Commercial Mixes</a>.<br><br></li>\n\n<li><strong>Some Other Suggestions For Reference Material:</strong> Try the <a href=\"http://www.digido.com/media/honor-roll.html\">Honor Roll of Dynamic Recordings</a>, from the Digital Domain web site of Bob Katz, and this list from <a href=\"http://www.johnvestman.com/commercial_cds.htm\">Vestman Mastering</a>.<br><br></li>\n\n<li><strong>Interviews With A Couple Of The Engineers I Mentioned:</strong> I mentioned Richard King\'s work on <i>The Goat Rodeo Sessions</i>, so here\'s the interview where I talked to him about those recordings: \'<a href=\"http://www.soundonsound.com/sos/sep15/articles/richard-king.htm\">Richard King: How To Record Acoustic Ensembles</a>\'. His forthcoming book\'s called <a href=\"https://www.routledge.com/Recording-Orchestra-and-Other-Classical-Music-Ensembles/King/p/book/9781138854543\"><i>Recording Orchestra And Other Classical Music Ensembles</i></a> and it\'s coming out at the end of the year -- in the meantime, here\'s <a href=\"http://pro.harman.com/insights/enterprise/hospitality/performing-arts/room-mics-or-artificial-reverb-an-excerpt-from-richard-kings-upcoming-book-recording-orchestra-and-other-classical-music-ensembles/\">an excerpt</a> I spotted that makes me even more keen to read the final release! Here\'s a great interview with Mike Shipley about recording and mixing that Alison Krauss record: \'<a href=\"http://www.soundonsound.com/people/mike-shipley-recording-alison-krauss-paper-airplane\">Mike Shipley: Recording Alison Krauss\'s <i>Paper Airplane</i></a>\'. Husky Hoskulds recorded the Solomon Burke record, and I interviewed him in depth about that here: \'<a href=\"http://www.soundonsound.com/sos/Jul03/articles/huskyhoskulds.asp\">Husky Hoskulds: Recording Solomon Burke</a>\' -- love his views on using spill.<br><br></li>\n</ul>',1,6,3,1,1,1,1471374564,1,1476455951,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronPost-2016-08-SpeakerTestReferences.htm',0,0,1,NULL),(586,'document','text/html','October 2016 (skipped)','','','October-2016-(skipped)','',0,0,0,31,0,'','',1,7,7,1,1,1,1476518383,0,0,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'October-2016-(skipped).htm',0,0,1,NULL),(573,'document','text/html','Dynamic EQ For Vocal Harshness','Cambridge-MT Patrons Video Preview','','CMTPatrons-DynamicEQForVocalHarshness','',1,0,0,431,0,'<h4 class=\"h4IntroTextSubtitle\">Bonus Video Tip: Dynamic EQ For Vocal Harshness</h4>\r\n\r\n<p>Talking about Sknote\'s [[$software_Sknote_SoundBrigade]] plug-in during <a href=\"[[~571]]\">July\'s Patrons Podcast</a> reminded me of a little screencast I put together a couple of years back as part of a videocast pilot I was working on with Graham Cochrane, where I talked about similar harshness-reduction processing for vocals using dynamic EQ. As with so many of my experimental ventures [sigh], the videocast didn\'t ultimately get off the ground, but it seemed a shame to leave this screencast to simply gather dust on my hard drive, so I\'ve uploaded it for you all here. It was originally intended for a \'Show & Tell\' slot in the middle of the videocast episode, and relates to the song \'<a href=\"[[~373]]\">Devil\'s Words</a>\' in the multitrack library.</p>','<p>\r\n<div data-wimpyplayer data-coverArt=\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DynamicEQForVocalHarshnessHeader.jpg\" data-skin=\"/wimpy7/PatronsVideo640x360_001.tsv\" data-media=\'[{\"file\":\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DynamicEQForVocalHarshness.mp4\",\"kind\":\"mp4\",\"title\":\"Cambridge Music Technology: Cambridge-MT Patrons Video Preview: Dynamic EQ For Vocal Harshness\"}]\'></div><br><br>\r\n</p>\r\n\r\n<p>NB. If you\'re having trouble hearing the sonic issues I\'m referring to in this video, try turning your listening level up -- harshness tends to be more obvious at loud volumes. (Do be careful of your ears, though!) Incidentally, for a much more severe case of this vocal-tone problem, check out the (more recent) multitracks for <a href=\"[[~373]]\">Primakova\'s \'The Glass\'</a>.\r\n\r\n[[$MSFTSSPicAndBlurb]]\r\n\r\n',1,6,3,1,1,1,1472482117,1,1472484577,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'CMTPatrons-DynamicEQForVocalHarshness.htm',0,0,1,NULL),(574,'document','text/html','August 2016','Cambridge-MT Patrons Podcast','','PatronsPodcast1608Dangerous','',1,0,0,493,0,'<h4 class=\"h4IntroTextSubtitle\">[[*pagetitle]] Episode</h4>\n\n<p>In this episode of the Patrons Podcast, I provide general-purpose mixing tips for Wesley Morgan\'s \'Backroom In Tulsa\' multitrack and critique one of that same production\'s Discussion Zone mixes in-depth. Plus I recommend my favourite de-esser plug-in -- which only costs 20 Euros!</p>\n<p>\n<div data-wimpyplayer data-inline=\"1\" data-skin=\"wimpy7/PodcastPlayer002.tsv\" data-media=\'http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1608Dangerous.mp3\'></div>\n</p>\n<br>\n<p><span class=\"spanPodcastMiniText\">320kbps MP3 playback quality (downloadable versions: <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1608Dangerous.mp3\">320kbps MP3</a><!--\n; <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1608Dangerous_HiRes.zip\">24-bit/44.1kHz WAV</a>\n-->)</a></span></p>','<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\n\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\n<ul>\n  <li>00:00 -- Intro<br><br></li>\n  <li>02:08 -- <strong>This Month\'s Featured Multitrack: Wesley Morgan\'s \'<a href=\"[[~373]]#WesleyMorgan\">Backroom In Tulsa</a>\'</strong><br><br></li>\n\n  <ul>\n    <li>03:07 -- tom close-mic glitch</li>\n<ul>\n    <li><span class=\"spanPodcastMiniText\">03:17 - 03:24 -- [[$podcastDemo]] raw tom 1 close mic recording (unprocessed track)</span><br><br></li>\n</ul>\n    <li>04:09 -- overheads background shout</li>\n<ul>\n    <li><span class=\"spanPodcastMiniText\">04:19 - 04:24 -- [[$podcastDemo]] raw drum overheads recording (unprocessed tracks)</span><br><br></li>\n</ul>\n    <li>05:09 -- kick-drum low end</li>\n<ul>\n    <li><span class=\"spanPodcastMiniText\">05:24 - 05:33 -- [[$podcastDemo]] raw kick-drum recording (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">05:57 - 06:05 -- [[$podcastDemo]] raw stereo room mics recording (unprocessed tracks)</span><br><br></li>\n</ul>\n    <li>06:59 -- kick-drum phase relationship</li>\n<ul>\n    <li><span class=\"spanPodcastMiniText\">07:35 - 07:39 -- [[$podcastDemo]] kick-drum mics with default phase relationship (equal balance of unprocessed tracks)</span></li>\n    <li><span class=\"spanPodcastMiniText\">07:40 - 07:44 -- [[$podcastDemo]] front-of-kick mic delayed 210 samples and polarity-inverted (equal balance of unprocessed tracks)</span><br><br></li>\n</ul>\n\n    <li>08:18 -- upright bass resonance</li>\n<ul>\n    <li><span class=\"spanPodcastMiniText\">09:11 - 09:20 -- [[$podcastDemo]] upright bass mic 1 (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">09:41 - 09:50 -- [[$podcastDemo]] upright bass mic 2 (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">10:36 - 10:45 -- [[$podcastDemo]] upright bass mics mix (equal balance of unprocessed tracks)</span></li>\n    <li><span class=\"spanPodcastMiniText\">10:46 - 10:55 -- [[$podcastDemo]] upright bass mics mix with -14dB EQ notch at 73Hz (equal balance of tracks with communal processing)</span></li>\n    <li><span class=\"spanPodcastMiniText\">11:10 - 10:19 -- [[$podcastDemo]] upright bass mics mix with 73Hz EQ notch and sub-100Hz shelving-EQ boost (equal balance of tracks with communal processing)</span></li>\n    <li><span class=\"spanPodcastMiniText\">11:29 - 11:38 -- [[$podcastDemo]] upright bass mics mix with 73Hz EQ notch, sub-100Hz shelving-EQ boost, and moderate compression (equal balance of tracks with communal processing)</span></li>\n    <li><span class=\"spanPodcastMiniText\">12:33 - 12:42 -- [[$podcastDemo]] upright bass mics/DI mix with default phase relationship (processed tracks)</span></li>\n    <li><span class=\"spanPodcastMiniText\">12:43 - 12:52 -- [[$podcastDemo]] upright bass mics/DI mix with DI signal delayed by 280 samples (processed tracks)</span><br><br></li>\n</ul>\n    <li>12:57 -- vocal midrange</li>\n<ul>\n    <li><span class=\"spanPodcastMiniText\">13:29 - 13:36 -- [[$podcastDemo]] raw vocal recording (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">13:37 - 13:44 -- [[$podcastDemo]] raw vocal recording with 3.5dB EQ boost at 800Hz (processed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">14:29 - 14:36 -- [[$podcastDemo]] vocal recording in mix context (my rough mix)</span></li>\n    <li><span class=\"spanPodcastMiniText\">14:37 - 14:44 -- [[$podcastDemo]] vocal recording with 3.5dB EQ boost at 800Hz in mix context (my rough mix)</span></li>\n    <li><span class=\"spanPodcastMiniText\">14:45 - 14:52 -- [[$podcastDemo]] vocal recording with 1.5dB higher fader level, but no EQ, in mix context (my rough mix)</span><br><br></li>\n</ul>\n    <li>15:42 -- scratch-vocal track\'s spill levels<br><br></li>\n  </ul>\n  <li>16:22 -- <strong>Mix Critique: <a href=\"http://discussion.cambridge-mt.com/member.php?action=profile&uid=4933\">Dangerous</a>\'s mix of \'Backroom In Tulsa\'</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">16:42 - 20:27 -- [[$podcastDemo]] Dangerous\'s full mix</span><br><br></li>\n    <li>21:25 -- Critique Point #1: upright bass low-end consistency and weight</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">21:48 - 21:59 -- [[$podcastDemo]] snippet of Dangerous\'s mix</span><br><br></li>\n    </ul>\n    <li>22:00 -- Critique Point #2: vocal midrange</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">24:01 - 24:09 -- [[$podcastDemo]] lead vocal in mix context (my rough mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">24:10 - 24:18 -- [[$podcastDemo]] lead vocal in mix context with 1.5kHz EQ cut on drums buss (my rough mix)</span><br><br></li>\n    </ul>\n    <li>24:19 -- Critique Point #3: \'feature\' automation</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">25:09 - 25:26 -- [[$podcastDemo]] snippet of Dangerous\'s mix</span><br><br></li>\n    </ul>\n  </ul>\n  <li>26:02 -- <strong>Affordable Plug-in Recommendation: ToneBoosters [[$software_ToneBoosters_TBSibalance]] de-esser</strong><br><br></li>\n  <li>28:58 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 29:32)</span></li>\n</ul>\n \n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\n\n<ul>\n<!--\n<li><strong>Uncompressed Audio Version:</strong> The player on this page uses 320kbps MP3 quality. If you\'d prefer to hear uncompressed PCM audio, <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1607loweche6_HiRes.zip\">this ZIP archive</a> contains the podcast in 24-bit/44.1kHz WAV format.<br><br></li>\n-->\n\n<li><strong>Mix The Same Raw Multitracks Yourself:</strong> The raw multitracks for Wesley Morgan\'s \'Backroom In Tulsa\' can be downloaded directly from <a href=\"[[~373]]#WesleyMorgan\">The \'Mixing Secrets\' Free Multitrack Download Library</a>. And make sure you check out <a href=\"http://www.thewesleymorgan.com/\">Wesley\'s website</a> too, and support his music!<br><br></li>\n\n<li><strong>Have Your Say About This Mix:</strong> The original thread featuring this month\'s critiqued mix can be found <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=14309\">here in the Discussion Zone</a> -- I critiqued the version without the noise reduction.<br><br></li>\n</ul>',1,6,8,1,1,1,1472663856,1,1477776460,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronsPodcast1608Dangerous.htm',0,0,1,NULL),(575,'document','text/html','September 2016','','','September-2016','',1,0,0,31,1,'','',1,7,8,1,1,1,1472674072,1,1472674362,0,0,0,1472674362,1,'',0,0,0,0,0,'modDocument','web',1,'September-2016/',0,0,1,NULL),(576,'document','text/html','Tilted','','','Tilted','',1,0,0,575,0,'','',1,8,0,1,1,1,1472674072,1,1472674221,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Tilted.htm',0,0,1,NULL),(581,'document','text/html','Banner_BlindReaperAccessibility','','https://www.gofundme.com/2nbes8s','Banner-BlindReaperAccessibility','',0,0,0,556,0,'Help the blind make music -- donate now!','[[$sitePrefixCMT]]/SitePix/Ads/BlindReaperAccessibilityAdJPEG.jpg',1,0,3,1,1,1,1474717248,1,1479807837,0,0,0,0,0,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-BlindReaperAccessibility.htm',0,0,1,NULL),(577,'document','text/html','Burn The Witch','','','Burn-The-Witch','',1,0,0,575,0,'','',1,8,1,1,1,1,1472674072,1,1472674253,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Burn-The-Witch.htm',0,0,1,NULL),(578,'document','text/html','China In Your Hand','','','China-In-Your-Hand','',1,0,0,575,0,'','',1,8,3,1,1,1,1472674072,1,1472674341,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'China-In-Your-Hand.htm',0,0,1,NULL),(579,'document','text/html','Duplicate of TemplateTrack4','','','','',1,0,0,43,0,'','',1,8,0,1,1,1,1472674072,0,0,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Duplicate-of-TemplateTrack4.htm',0,0,1,NULL),(580,'document','text/html','Keep Singing','','','Keep-Singing','',1,0,0,575,0,'','',1,8,2,1,1,1,1472674072,1,1472674284,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Keep-Singing.htm',0,0,1,NULL),(582,'document','text/html','September 2016','Cambridge-MT Patrons Podcast','','PatronsPodcast1609sano','',1,0,0,493,0,'<h4 class=\"h4IntroTextSubtitle\">[[*pagetitle]] Episode</h4>\n\n<p>In this bumper-length episode of the Patrons Podcast, I provide general-purpose mixing tips for Fredy V\'s \'Not Alone\' multitrack and critique one of that same production\'s Discussion Zone mixes in-depth. Plus I talk about my first encounters with the new Slate VMS system and Sony\'s classic C800G valve microphone, as well as delivering the Unvarnished Review verdict on Yamaha\'s popular budget nearfield monitor, the HS8.</p>\n<p>\n<div data-wimpyplayer data-inline=\"1\" data-skin=\"wimpy7/PodcastPlayer002.tsv\" data-media=\'http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1609sano.mp3\'></div>\n</p>\n<br>\n<p><span class=\"spanPodcastMiniText\">320kbps MP3 playback quality (downloadable versions: <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1609sano.mp3\">320kbps MP3</a>; <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1609sano_HiRes.zip\">24-bit/44.1kHz WAV</a>)</a></span></p>','<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\n\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\n<ul>\n  <li>00:00 -- Intro<br><br></li>\n  <li>00:30 -- First impressions of the Slate VMS and the Sony C800G.<br><br></li>\n  <li>03:04 -- <strong>This Month\'s Featured Multitrack: Fredy V\'s \'<a href=\"[[~373]]#FredyV\">Not Alone</a>\'</strong><br><br></li>\n\n  <ul>\n    <li>03:44 -- overheads stick transients</li>\n<ul>\n    <li><span class=\"spanPodcastMiniText\">04:30 - 04:40 -- [[$podcastDemo]] raw stereo overheads recording (unprocessed tracks)</span><br><br></li>\n</ul>\n    <li>04:41 -- mono room mic phase-alignment</li>\n<ul>\n    <li><span class=\"spanPodcastMiniText\">05:13 - 05:24 -- [[$podcastDemo]] unprocessed equal balance of stereo overhead mics and mono room mic (unprocessed tracks)</span></li>\n    <li><span class=\"spanPodcastMiniText\">05:25 - 05:36 -- [[$podcastDemo]] unprocessed equal balance of stereo overhead mics and mono room mic, with room mic delayed by 80 samples (unprocessed tracks)</span></li>\n    <li><span class=\"spanPodcastMiniText\">06:11 - 06:21 -- [[$podcastDemo]] raw stereo overheads recording (unprocessed tracks)</span></li>\n    <li><span class=\"spanPodcastMiniText\">06:22 - 06:32 -- [[$podcastDemo]] unprocessed mix balance of stereo overhead mics and mono room mic, with room mic delayed by 80 samples (unprocessed tracks)</span><br><br></li>\n</ul>\n    <li>06:40 -- tom mic resonances</li>\n<ul>\n    <li><span class=\"spanPodcastMiniText\">06:55 - 07:00 -- [[$podcastDemo]] raw tom 1 recording (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">07:01 - 07:06 -- [[$podcastDemo]] raw tom 2 recording (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">07:07 - 07:13 -- [[$podcastDemo]] raw tom 3 recording (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">09:16 - 09:21 -- [[$podcastDemo]] unprocessed mix balance of the three tom close mics (unprocessed panned tracks)</span></li>\n    <li><span class=\"spanPodcastMiniText\">09:22 - 09:27 -- [[$podcastDemo]] mix balance of the three tom close mics with resonance-reduction processing (panned tracks with notch-EQ and gating processing)</span><br><br></li>\n</ul>\n    <li>09:41 -- lead-vocal mains hum</li>\n<ul>\n    <li><span class=\"spanPodcastMiniText\">10:40 - 10:51 -- [[$podcastDemo]] raw lead-vocal recording (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">10:52 - 11:03 -- [[$podcastDemo]] lead-vocal recording with static hum-removal processing (processed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">12:16 - 12:27 -- [[$podcastDemo]] lead-vocal recording with static hum-removal processing (processed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">12:28 - 12:39 -- [[$podcastDemo]] lead-vocal recording with automation-driven hum-removal processing (processed track)</span><br><br></li></li>\n</ul>\n    <li>13:02 -- lead-vocal tonal variability, sibilance &amp; recessed midrange<br><br></li>\n\n    <li>13:57 -- electric guitar mains hum &amp; multimic polarity mismatch</li>\n<ul>\n    <li><span class=\"spanPodcastMiniText\">14:58 - 15:02 -- [[$podcastDemo]] raw electric-guitar multimic recordings hard-panned (unprocessed tracks)</span></li>\n    <li><span class=\"spanPodcastMiniText\">15:03 - 15:08 -- [[$podcastDemo]] raw electric-guitar multimic recordings in mono (unprocessed tracks)</span></li>\n    <li><span class=\"spanPodcastMiniText\">15:18 - 15:22 -- [[$podcastDemo]] polarity-corrected electric-guitar multimic recordings hard-panned (unprocessed tracks)</span></li>\n    <li><span class=\"spanPodcastMiniText\">15:23 - 15:28 -- [[$podcastDemo]] polarity-corrected electric-guitar multimic recordings in mono (unprocessed tracks)</span><br><br></li></li>\n</ul>\n    <li>15:48 -- piano brightness &amp; digital clipping</li>\n<ul>\n    <li><span class=\"spanPodcastMiniText\">16:02 - 16:09 -- [[$podcastDemo]] raw piano recording (unprocessed tracks)</span><br><br></li>\n</ul>\n  </ul>\n  <li>17:26 -- <strong>Mix Critique: <a href=\"http://discussion.cambridge-mt.com/member.php?action=profile&uid=524\">sano</a>\'s mix of \'Not Alone\'</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">17:43 - 24:32 -- [[$podcastDemo]] sano\'s full mix</span><br><br></li>\n    <li>25:07 -- Critique Point #1: overall mix tonality</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">25:39 -- snare mic: gating or dynamic EQ to avoid brightening hi-hat spill</span><br><br></li>\n    </ul>\n    <li>26:20 -- Critique Point #2: bass-guitar consistency</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">26:41 - 26:57 -- [[$podcastDemo]] snippet of sano\'s mix</span><br><br></li>\n    </ul>\n    <li>28:31 -- Critique Point #3: over-stark mix focus &amp; lack of cohesion</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">30:51 - 30:59 -- [[$podcastDemo]] snippet of sano\'s mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">31:00 - 31:09 -- [[$podcastDemo]] snippet of sano\'s mix with my post-processing to rebalance and blend the snare sound</span><br><br></li>\n    </ul>\n    <li>31:21 -- Critique Point #4: suitability of LCR panning</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">33:04 - 33:19 -- [[$podcastDemo]] snippet of sano\'s mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">33:20 - 33:37 -- [[$podcastDemo]] snippet of multitrack-library preview mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">33:51 - 34:07 -- [[$podcastDemo]] snippet of sano\'s mix in mono</span></li>\n      <li><span class=\"spanPodcastMiniText\">34:08 - 34:25 -- [[$podcastDemo]] snippet of multitrack-library preview mix in mono</span><br><br></li>\n    </ul>\n    <li>34:46 -- Critique Point #5: piano timbre in breakdown section</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">34:58 - 35:21 -- [[$podcastDemo]] snippet of sano\'s mix</span><br><br></li>\n    </ul>\n    <li>35:46 -- Critique Point #6: mystery hiss in breakdown section<br><br></li>\n    <li>36:06 -- Critique Point #7: backing vocal balance<br><br></li>\n  </ul>\n  <li>37:16 -- <strong>Unvarnished Review: <a href=\"http://uk.yamaha.com/en/products/music-production/speakers/hs_series/hs8/?mode=model\">Yamaha HS8</a> affordable active nearfield monitors</strong><br><br></li>\n  <li>47:01 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 47:39)</span></li>\n</ul>\n \n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\n\n<ul>\n<li><strong>Uncompressed Audio Version:</strong> The player on this page uses 320kbps MP3 quality. If you\'d prefer to hear uncompressed PCM audio, <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1609sano_HiRes.zip\">this ZIP archive</a> contains the podcast in 24-bit/44.1kHz WAV format.<br><br></li>\n\n<li><strong>Mix The Same Raw Multitracks Yourself:</strong> The raw multitracks for Fredy V\'s \'Not Alone\' can be downloaded via <a href=\"[[~373]]#FredyV\">The \'Mixing Secrets\' Free Multitrack Download Library</a>. And make sure you check out <a href=\"https://www.facebook.com/fredyvmusic/\">Fredy\'s website</a> too, and support his music! This multitrack session was contributed by Richard King and George Massenburg at Centre for Interdisciplinary Research in Music Media and Technology/The Graduate Program in Sound Recording, Schulich School of Music, McGill University. For further details, see B. De Man, B. Leonard, R. King and J. D. Reiss, \"An analysis and evaluation of audio features for multitrack music mixtures,\" 15th International Society for Music Information Retrieval Conference (ISMIR 2014), October 2014.<br><br></li>\n\n<li><strong>Have Your Say About This Mix:</strong> The original thread featuring this month\'s critiqued mix can be found <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=13107\">here in the Discussion Zone</a>.<br><br></li>\n\n<li><strong>ToneBoosters <i>TB_HumRemover</i>:</strong> The hum-removal I showcased in this podcast is ToneBoosters\'s [[$software_ToneBoosters_TBHumRemover]], but it appears that it has now been discontinued by the manufacturer. If you look around, though, you can still find it for download elsewhere, and the same manufacturer\'s [[$software_ToneBoosters_TBFix]] will do a very similar job with its \'Harmonic lin\' filter type set to 60Hz. (Incidentally, I\'m not some kind of endorsee of ToneBoosters -- I just think their plug-ins in general are very useful and cheap as chips!)<br><br></li>\n\n</ul>',1,6,7,1,1,1,1474717588,1,1477776446,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronsPodcast1609sano.htm',0,0,1,NULL),(583,'document','text/html','AES141_PSE_RecordingMistakes','Project Studio Expo 2016 (AES 141st Convention)<br>Supporting Resources For Download!','','aes141-recordingmistakes','',1,0,0,433,0,'<p>This page contains various additional resources to support my Project Studio Expo seminar \'The Five Most Common Project-studio Recording Mistakes\' at the 141st AES convention in Los Angeles in September 2016. This site also hosts a huge range of free <a href=\"[[~22]]\">mixing</a> and <a href=\"[[~369]]\">recording</a> resources relating to my books, including the <a href=\"[[~373]]\">\'Mixing Secrets\' Free Multitrack Download Library</a> and the <a href=\"[[~362]]\">\'Recording Secrets\' Library Of Microphone Positions</a>. To stay up to date with the latest uploads to this site, sign up for my monthly \'<a href=\"[[~372]]\">Small-studio Secrets News</a>\' mail-out -- and if you have any follow-up questions about the seminar or these resources, don\'t hesitate to <a href=\"[[~420]]\">drop me a line</a>!</p>\r\n\r\n<table class=\"tableBookPressPack\">\r\n  <tr>\r\n    <td><a href=\"http://www.aes.org/events/141/projectstudioexpo/\"><img alt=\"AES 141st Convention -- Project Studio Expo\" src=\"[[$sitePrefixCMT]]SitePix/AES141_Thumbnail.jpg\"></a><br>\r\n    </td>\r\n  </tr>\r\n</table>','<h3 class=\"h3ResourceTitle\"><u>Seminar PSE4: \'The Five Most Common Project-studio Recording Mistakes\'</u><br>(Thursday 29th September 2016)<br><a href=\"http://root.cambridge-mt.com/SiteAudio/CMTWorkshops/PSE_RecordingMistakes/AES2016_PSE04:RecordingMistakes.pdf\">Download the slideshow PDF here</a).</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#ignoringsource\">1: IGNORING THE SOURCE</a> -- <a href=\"#mikingtemplates\">2: CLINGING TO MIKING TEMPLATES</a> -- <a href=\"#cardioidreflex\">3: THE CARDIOID REFLEX</a><br><a href=\"#spillphobia\">4: SPILLPHOBIA</a> -- <a href=\"#deferringdecisions\">5: DEFERRING DECISIONS</a></h5>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"ignoringsource\">MISTAKE #1: Ignoring The Source</a></h3>\r\n\r\n<h3 class=\"h3ResourceCategory\">AUDIO FILES</h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Changing Mic Versus Changing Instrument:</strong> In this audio example [[playerWavMp3Button? &exampleNumber=`01.01` &exampleFile=`PSE_RecordingMistakes/AES0101_SnareMics`]] a single snare-drum performance was recorded using five different classic snare-drum microphones: (in order) AKG\'s C414B ULS and C451, Neumann\'s KM84 and KM86, and Shure\'s SM57. Although these changes are significant, they\'re small compared with the differences you can achieve by simply swapping out the instrument itself, as you can hear in this example [[playerWavMp3Button? &exampleNumber=`01.02` &exampleFile=`PSE_RecordingMistakes/AES0102_SnareInstruments`]] where the same Shure SM57 microphone was used to record three different snare drums: (in order) an Orange County 14x5-inch maple snare (as used in the previous example), a Ludwig Black Beauty 14x5-inch hammered brass snare, and a Gretsch 14x6.5-inch mahogany snare.<br><br></li>\r\n\r\n<li><strong>Interaction With The Recording Room:</strong> For this audio example [[playerWavMp3Button? &exampleNumber=`01.03` &exampleFile=`PSE_RecordingMistakes/AES0103_ElecGuitarRoomPlacement`]] I recorded a Fender Telecaster through a Fender Twin Reverb amplifier (with a Shure SM57 microphone six inches from the grille cloth) in four different locations, to show the impact of simple room acoustics effects: (in order) the middle of a large empty wooden-floored concert hall measuring 18x12x5m; the centre of a small studio live room, measuring approximately 4.7x4.2m, with a ceiling sloping from 2.2m to 4.8m high; in the centre of the same studio live room, raised a foot off the floor on a heavy-duty podium; and in the corner of the same studio live room.<br><br></li>\r\n\r\n<li><strong>Using DIY Reflection &amp; Absorption:</strong> This audio example [[playerWavMp3Button? &exampleNumber=`01.04` &exampleFile=`PSE_RecordingMistakes/AES0104_AcGuitarAbsorbReflect`]] features two different stereo recordings of an acoustic guitarist in a studio live room: the first has the player and mics surrounded with acoustic absorbers; and the second surrounds them with acoustic reflectors. Notice particularly the enhancement of the instrument\'s high frequencies when the early reflections become more prominent in the reflective environment.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\">FURTHER READING</h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Preparing Electric Guitars &amp; Drums For Recording</a>:</strong> Check out these two recent SOS articles for tips on optmising the raw sound of <a href=\"http://www.soundonsound.com/sos/apr14/articles/optimising-electric-guitar.htm\">electric guitars</a> and <a href=\"http://www.soundonsound.com/sos/aug10/articles/drum-tuning.htm\">drums</a> for recording.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"mikingtemplates\">MISTAKE #2: Clinging To Miking Templates</a></h3>\r\n\r\n<h3 class=\"h3ResourceCategory\">AUDIO FILES</h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Snare Miking Examples:</strong> The first set of examples I played were Shure SM57 recordings of a single drum performance, with three mics positioned at different distances from the head: 3cm [[playerWavMp3Button? &exampleNumber=`02.01` &exampleFile=`PSE_RecordingMistakes/AES0201_SnareDistance_03cm`]], 8cm [[playerWavMp3Button? &exampleNumber=`02.02` &exampleFile=`PSE_RecordingMistakes/AES0202_SnareDistance_08cm`]], and 20cm [[playerWavMp3Button? &exampleNumber=`02.03` &exampleFile=`PSE_RecordingMistakes/AES0203_SnareDistance_20cm`]]. I followed that by playing another multimic recording with same mics all 8cm from the drum, but angled towards different parts of the drum head: the centre [[playerWavMp3Button? &exampleNumber=`02.04` &exampleFile=`PSE_RecordingMistakes/AES0204_SnareAngle_Centre`]]; midway between the centre and the edge [[playerWavMp3Button? &exampleNumber=`02.05` &exampleFile=`PSE_RecordingMistakes/AES0205_SnareAngle_Midway`]]; and the edge [[playerWavMp3Button? &exampleNumber=`02.06` &exampleFile=`PSE_RecordingMistakes/AES0206_SnareAngle_Edge`]].<br><br></li>\r\n\r\n<li><strong>The Results Of Template Drum Miking:</strong> Here are the two audio examples I played to demonstrate the dangers of clinging to miking templates: an overhead mic pair [[playerWavMp3Button? &exampleNumber=`02.07` &exampleFile=`PSE_RecordingMistakes/AES0207_MixRescueOverheads`]] and its corresponding snare-drum close mic [[playerWavMp3Button? &exampleNumber=`02.08` &exampleFile=`PSE_RecordingMistakes/AES0208_MixRescueSnareMic`]]. The question is: where\'s the snare sound going to come from?<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\">FURTHER READING</h3>\r\n\r\n<ul>\r\n\r\n<li><strong><a href=\"[[~362]]\">The \'Recording Secrets\' Library Of Microphone Positions</a>:</strong> As mentioned in the seminar, I\'ve set up a growing database of instrument recordings, extensively multimiked with identical microphones so as to provide an unrivalled insight into the art of microphone placement. Compare dozens of different mic positions and combinations around the same instrument quickly and easily, so you can fast-track your own productions and make the best use of limited studio time. So far the library features [[$numberOfLMPFiles]] audio files covering [[$numberOfLMPInstruments]] instruments, including [[$listOfLMPInstrumentsLinked]] -- and that line-up will continue to expand within the coming months.<br><br></li>\r\n\r\n<li><strong>Salvaging Template-miked Drums At Mixdown</a>:</strong> As mentioned in the seminar, mixing the template-miked drum recordings above was a bit of a palaver -- for more details, check out this <i>Sound On Sound</i> \'<a href=\"http://www.soundonsound.com/sos/mar11/articles/mix-rescue-0311.htm\">Mix Rescue</a>\' article. Suffice to say, it\'d have been a lot quicker to get a respectable sound if the mics had been put in sensible places to start with...<br><br></li>\r\n\r\n<li><strong>Unorthodox Real-world Miking Techniques:</strong> The <i>Sound On Sound</i> \'Session Notes\' feature frequently demonstrates how project-studio conditions often demand unorthodox miking methods if you\'re going to achieve easily mixable results -- for example in the <a href=\"http://www.soundonsound.com/sos/apr13/articles/session-notes-0413.htm\">April 2013</a> or <a href=\"http://www.soundonsound.com/sos/jan16/articles/session-notes-0116.htm\">January 2016</a> articles. Do make sure you check out the audio files accompanying those articles to judge the effectiveness of the techniques for yourself.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"cardioidreflex\">MISTAKE #3: The Cardioid Reflex</a></h3>\r\n\r\n<h3 class=\"h3ResourceCategory\">AUDIO FILES</h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Low-end Response &amp; Realism:</strong> Here\'s a comparison of two piano recordings using two spaced pairs of Rode NT55 small-diaphragm condenser mics, the first pair with cardioid capsules [[playerWavMp3Button? &exampleNumber=`03.01` &exampleFile=`PSE_RecordingMistakes/AES0301_PianoSpacedPairCardioid`]] and the second with omni capsules [[playerWavMp3Button? &exampleNumber=`03.02` &exampleFile=`PSE_RecordingMistakes/AES0302_PianoSpacedPairOmni`]].<br><br></li>\r\n\r\n<li><strong>Off-axis Tonal Coloration:</strong> These three vocal recordings were made with the singer 135 degrees off axis to a Groove Tubes GT57 multi-pattern large-diaphragm condenser mic, with its polar-pattern switch set respectively to cardioid [[playerWavMp3Button? &exampleNumber=`03.03` &exampleFile=`PSE_RecordingMistakes/AES0303_OffAxisToneCardioid`]], figure-eight [[playerWavMp3Button? &exampleNumber=`03.04` &exampleFile=`PSE_RecordingMistakes/AES0304_OffAxisToneFigure8`]], and omni [[playerWavMp3Button? &exampleNumber=`03.05` &exampleFile=`PSE_RecordingMistakes/AES0305_OffAxisToneOmni\']]. (I\'ve level-matched these recordings to make their tonalities easier to compare.)<br><br></li>\r\n\r\n<li><strong>Spill Reduction:</strong> Here\'s an example which demonstrates how useful figure-eight microphones are for reducing unwanted spill: a figure-eight microphone recording the acoustic guitar of a singing guitarist [[playerWavMp3Button? &exampleNumber=`03.06` &exampleFile=`PSE_RecordingMistakes/AES0306_Figure8GuitarSeparation`]]. Bear in mind that the singer is only about two feet from the guitar mic.<br><br></li>\r\n\r\n<li><strong>Bonus Files -- Polar Patterns For Tonal Variety:</strong> To demonstrate the tonal variety available from using different polar patterns, check out these three vocal recordings, which were all recorded on-axis at the same distance from a Groove Tubes GT57 multi-pattern large-diaphragm condenser mic, with its polar-pattern switch set respectively to cardioid [[playerWavMp3Button? &exampleNumber=`03.07` &exampleFile=`PSE_RecordingMistakes/AES0307_OnAxisToneCardioid`]], figure-eight [[playerWavMp3Button? &exampleNumber=`03.08` &exampleFile=`PSE_RecordingMistakes/AES0308_OnAxisToneFigure8`]], and omni [[playerWavMp3Button? &exampleNumber=`03.09` &exampleFile=`PSE_RecordingMistakes/AES0309_OnAxisToneOmni\']]. Clearly, the omni microphone also picks up more room sound, but bear in mind that you can combat this by moving closer to it [[playerWavMp3Button? &exampleNumber=`03.10` &exampleFile=`PSE_RecordingMistakes/AES0310_OnAxisToneOmniCloser\']] without the strong proximity-effect bass-boost you\'d expect from directional polar patterns.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\">FURTHER READING</h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Introduction To Non-cardioid Polar Patterns:</strong>If you\'re new to the idea of non-cardioid polar patterns, here\'s a straightforward introduction: \'<a href=\"https://www.soundonsound.com/sos/mar07/articles/micpatterns.htm\">Using Microphone Polar Patterns Effectively</a>\'.<br><br></li>\r\n\r\n<li><strong>Recording Singing Guitarists:</strong> For more demonstrations of methods for recording singing guitarists, check out <i>SOS</i> January 2014\'s \'<a href=\"http://www.soundonsound.com/sos/jan14/articles/session-notes-0114.htm\">Session Notes</a>\' column and this great article on \'<a href=\"http://www.soundonsound.com/sos/jul12/articles/rsg.htm\">Recording A Singing Guitarist</a>\'.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"spillphobia\">MISTAKE #4: Spillphobia</a></h3>\r\n\r\n<h3 class=\"h3ResourceCategory\">AUDIO FILES</h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Separation Anxiety:</strong> Spill needn\'t be a problem, even when you\'re recording a whole band in one small room. Take this recording [[playerWavMp3Button? &exampleNumber=`04.01` &exampleFile=`PSE_RecordingMistakes/AES0401_Separation_FullMix`]], for example, where a whole band were set up in very close proximity in a single room, but which still sounds present and upfront because the band were balanced sensibly in the room itself. (There\'s very little processing involved -- just three compressors and six bands of EQ spread across all 20 input channels.) There\'s plenty of separation between the instruments too, as you can hear if I solo the drums [[playerWavMp3Button? &exampleNumber=`04.02` &exampleFile=`PSE_RecordingMistakes/AES0402_Separation_SoloDrums`]], bass guitar [[playerWavMp3Button? &exampleNumber=`04.03` &exampleFile=`PSE_RecordingMistakes/AES0403_Separation_SoloBass`]], and guitars [[playerWavMp3Button? &exampleNumber=`04.04` &exampleFile=`PSE_RecordingMistakes/AES0404_Separation_SoloGuitars`]] respectively.<br><br></li>\r\n\r\n<li><strong>Accommodating Spill In The Mix:</strong> Just because this band-recording\'s vocal mic [[playerWavMp3Button? &exampleNumber=`04.05` &exampleFile=`PSE_RecordingMistakes/AES0405_MixAdjustment_SoloVocal`]] picks up loads of hi-hat spill, that\'s not the end of the world, as long as you adapt the band sound [[playerWavMp3Button? &exampleNumber=`04.06` &exampleFile=`PSE_RecordingMistakes/AES0406_MixAdjustment_BandMix`]], either during recording or mixdown, to have too little hi-hat. In that way the vocal mic simply provides the missing hi-hat level within the context of the full mix [[playerWavMp3Button? &exampleNumber=`04.07` &exampleFile=`PSE_RecordingMistakes/AES0407_MixAdjustment_FullMix`]].<br><br></li>\r\n\r\n<li><strong>Enhancing The Mix Sonics With Spill:</strong> Here\'s another one-room band recording [[playerWavMp3Button? &exampleNumber=`04.08` &exampleFile=`PSE_RecordingMistakes/AES0408_SpillEnhancement_FullMix`]], but in this case the spill was more actively embraced as a means of making the mixdown simpler. The only plug-ins I\'ve used on this mix are four simple high-pass filters, yet the ensemble sound blends very effectively without effects or processing -- largely on account of the spill components. Now let me solo each of the instruments in this mix so you can hear how much spill there is in each case, and how much better each sounds within the full mix (ie. with its spill) than in isolation: saxophone [[playerWavMp3Button? &exampleNumber=`04.09` &exampleFile=`PSE_RecordingMistakes/AES0409_SpillEnhancement_SoloSax`]], piano [[playerWavMp3Button? &exampleNumber=`04.10` &exampleFile=`PSE_RecordingMistakes/AES0410_SpillEnhancement_SoloPiano`]], drums [[playerWavMp3Button? &exampleNumber=`04.11` &exampleFile=`PSE_RecordingMistakes/AES0411_SpillEnhancement_SoloDrums`]], and bass [[playerWavMp3Button? &exampleNumber=`04.12` &exampleFile=`PSE_RecordingMistakes/AES0412_SpillEnhancement_SoloBass`]].<br><br></li>.\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\">FURTHER READING</h3>\r\n\r\n<ul>\r\n\r\n<li><strong>More Information About The Featured Sessions:</strong> Two of the recording sessions I\'ve used for these audio examples have been featured in <i>SOS</i> \'Session Notes\' columns (<a href=\"http://www.soundonsound.com/sos/jun15/articles/session-notes-0615.htm\">June 2015</a> and <a href=\"http://www.soundonsound.com/sos/jan15/articles/session-notes-0115.htm\">January 2015</a>). Further information about the first of these sessions can also be found on it\'s <a href=\"http://www.cambridge-mt.com/rs-ch10-case1.htm\">dedicated resources page</a>, and you can see how the spill helped make the recordings easily mixable in this <a href=\"http://www.cambridge-mt.com/rs-ch10-case1.htm#Mix\">three-part video series</a>.<br><br></li>\r\n\r\n<li><strong>Practice Dealing With Spill At Mixdown:</strong> If you want to increase your experience with handling recorded spill at mixdown, here are some suitable raw multitracks you can download from <a href=\"http://www.cambridge-mt.com/ms-mtk.htm#Bruks\">Bruks</a>, <a href=\"[[~373]]#DonCamilloChoir\">The Don Camillo Choir</a>, <a href=\"[[~373]]#DunningKruger\">Dunning Kruger</a>, <a href=\"[[~373]]#JesperBuhlTrio\">Jesper Buhl Trio</a>, <a href=\"[[~373]]#SelwynJazz\">Selwyn Jazz</a>, <a href=\"[[~373]]#Spektakulatius\">Spektakulatius</a>, <a href=\"[[~373]]#WesleyMorgan\">Wesley Morgan</a>, and <a href=\"[[~373]]#Zwiepack\">Zwiepack</a>.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"deferringdecisions\">MISTAKE #5: Deferring Decisions</a></h3>\r\n\r\n<h3 class=\"h3ResourceCategory\">AUDIO FILES</h3>\r\n\r\n<ul>\r\n\r\n<li><strong>The Results Of Fence-sitting When Recording Acoustic Guitar:</strong> Here are the individual mic signals from the acoustic-guitar multimic recording I mentioned during the seminar: a large-diaphragm condenser microphone by the soundhole [[playerWavMp3Button? &exampleNumber=`05.01` &exampleFile=`PSE_RecordingMistakes/AES0501_GuitarSoundhole_LDC`]]; a dynamic microphone by the soundhole [[playerWavMp3Button? &exampleNumber=`05.02` &exampleFile=`PSE_RecordingMistakes/AES0502_GuitarSoundhole_Dynamic`]]; and a small-diaphragm condenser microphone by the fretboard [[playerWavMp3Button? &exampleNumber=`05.03` &exampleFile=`PSE_RecordingMistakes/AES0503_GuitarFretboard_SDC`]] -- none of which provide a particularly usable sound.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\">FURTHER READING</h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Fence-sitting Case Studies:</strong> Whenever I talk about deferring production decisions, it immediately brings to mind these two specific Mix Rescue articles: <a href=\"http://www.soundonsound.com/sos/may13/articles/mix-rescue-0513.htm\">May 2013</a> and <a href=\"http://www.soundonsound.com/sos/mar11/articles/mix-rescue-0311.htm\">March 2011</a>. In both cases a lack of sonic decision-making during the tracking session cost me hours of remedial work while trying to reach a respectable result at mixdown.<br><br></li>\r\n\r\n<li><strong>Recordings That Mix Themselves:</strong> If you make decisions as you go along, your multitracks will pretty much mix themselves. This is something I\'ve demonstrated in a number of <i>SOS</i> \'Session Notes\' columns, for example <a href=\"http://www.soundonsound.com/sos/jun15/articles/session-notes-0615.htm\">June 2015</a>, <a href=\"http://www.soundonsound.com/sos/jan16/articles/session-notes-0116.htm\">January 2016</a>, <a href=\"http://www.soundonsound.com/sos/apr16/articles/session-notes-0416.htm\">April 2016</a>, <a href=\"http://www.soundonsound.com/sos/may16/articles/session-notes-0516.htm\">May 2016</a>, and <a href=\"http://www.soundonsound.com/sos/jun16/articles/session-notes-0616.htm\">June 2016</a>, all of which were very quick and straightforward to mix.<br><br></li>\r\n\r\n</ul>',1,6,1,1,1,1,1474742548,1,1475127490,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'aes141-recordingmistakes.htm',0,0,1,NULL),(584,'document','text/html','AES141_PSE_MixingSecrets','Project Studio Expo 2016 (AES 141st Convention)<br>Supporting Resources For Download!','','aes141-mixingsecrets','',1,0,0,433,0,'<p>This page contains various additional resources to support my Project Studio Expo seminar \'Mixing Secrets: Production Tricks To Use With Any DAW\' at the 141st AES convention in Los Angeles in September 2016. This site also hosts a huge range of free <a href=\"[[~22]]\">mixing</a> and <a href=\"[[~369]]\">recording</a> resources relating to my books, including the <a href=\"[[~373]]\">\'Mixing Secrets\' Free Multitrack Download Library</a> and the <a href=\"[[~362]]\">\'Recording Secrets\' Library Of Microphone Positions</a>. To stay up to date with the latest uploads to this site, sign up for my monthly \'<a href=\"[[~372]]\">Small-studio Secrets News</a>\' mail-out -- and if you have any follow-up questions about the seminar or these resources, don\'t hesitate to <a href=\"[[~420]]\">drop me a line</a>!</p>\r\n\r\n<table class=\"tableBookPressPack\">\r\n  <tr>\r\n    <td><a href=\"http://www.aes.org/events/141/projectstudioexpo/\"><img alt=\"AES 141st Convention -- Project Studio Expo\" src=\"[[$sitePrefixCMT]]SitePix/AES141_Thumbnail.jpg\"></a><br>\r\n    </td>\r\n  </tr>\r\n</table>','<h3 class=\"h3ResourceTitle\"><u><a name=\"MixingSecrets\">Seminar PSE10: \'Mixing Secrets: Production Tricks To Use With Any DAW\'</a></u><br>(Friday 30th September 2016)<br><a href=\"http://root.cambridge-mt.com/SiteAudio/CMTWorkshops/PSE_MixingSecrets/AES2016_PSE10MixingSecrets.pdf\">Download the slideshow PDF here</a).</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#polarityphase\">POLARITY &amp; PHASE</a> -- <a href=\"#singledrivermidrange\">SINGLE-DRIVER MIDRANGE MONITORING</a> -- <a href=\"#mixreferencing\">EFFECTIVE MIX REFERENCING</a> -- <a href=\"multitracklibrary\">MULTITRACK DOWNLOAD LIBRARY</a></h5>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"polarityphase\">PART 1: Polarity &amp; Phase</a></h3>\r\n\r\n<h3 class=\"h3ResourceCategory\">AUDIO FILES</h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Introduction To Polarity &amp Phase:</strong> Here\'s a drum loop [[playerWavMp3Button? &exampleNumber=`01.01` &exampleFile=`PSE_MixingSecrets/AES0101_DrumLoop`]]. Inverting its polarity doesn\'t change its tone appreciably [[playerWavMp3Button? &exampleNumber=`01.02` &exampleFile=`PSE_MixingSecrets/AES0102_DrumLoopInvert`]]. If you mix the loop with an exact copy of itself, you just get the same sound louder [[playerWavMp3Button? &exampleNumber=`01.03` &exampleFile=`PSE_MixingSecrets/AES0103_DrumLoopsMix`]], whereas mixing the loop with a polarity-inverted copy of itself gives you silence. Mixing the loop with a delayed copy of itself, on the other hand, results in comb-filtering, a complex tonal effect that changes its sonic flavour depending on the exact delay time, as demonstrated in these three examples [[playerWavMp3Button? &exampleNumber=`01.04` &exampleFile=`PSE_MixingSecrets/AES0104_DrumLoopsCombMix1` &exampleNumber2=`01.05` &exampleFile2=`PSE_MixingSecrets/AES0105_DrumLoopsCombMix2` &exampleNumber3=`01.06` &exampleFile3=`PSE_MixingSecrets/AES0106_DrumLoopsCombMix3`]]. Switching the polarity of the copy doesn\'t now mix to silence, but again changes the timbre, as you can hear from these two examples [[playerWavMp3Button? &exampleNumber=`01.07` &exampleFile=`PSE_MixingSecrets/AES0107_DrumLoopsCombMix3` &exampleNumber2=`01.08` &exampleFile2=`PSE_MixingSecrets/AES0108_DrumLoopsCombMix3Invert`]].<br><br></li>\r\n\r\n<li><strong>Corrective &amp; Creative Approaches To Phase:</strong> Here are the raw recordings made by two mics on a single guitar amp: a Shure SM57 dynamic mic right by the grille [[playerWavMp3Button? &exampleNumber=`01.01` &exampleFile=`PSE_MixingSecrets/AES0109_Gtr1SM57`]] and an AKG C414B XLS large-diaphragm condenser mic placed about a foot further away [[playerWavMp3Button? &exampleNumber=`01.01` &exampleFile=`PSE_MixingSecrets/AES0110_Gtr1C414`]]. The delay between the two mics causes comb-filtering when they\'re mixed together, giving a spongey and unfocused sound [[playerWavMp3Button? &exampleNumber=`01.01` &exampleFile=`PSE_MixingSecrets/AES0111_Gtr1Mix`]]. Shifting the C414B mic signal around 1ms earlier using a DAW\'s audio-editing facilities compensates for the inter-mic delay, minimising any comb-filtering and giving a more solid and mixable timbre [[playerWavMp3Button? &exampleNumber=`01.01` &exampleFile=`PSE_MixingSecrets/AES0112_Gtr1MixCorrective`]]. Alternatively, it\'s also perfectly justifiable from a creative standpoint if you deliberately mismatch the relative polarity and phase of the mics to reinvent the guitar sound, as I\'ve done in the following examples to give new sounds which are mellower [[playerWavMp3Button? &exampleNumber=`01.01` &exampleFile=`PSE_MixingSecrets/AES0113_Gtr1MixCreative1`]] and more aggressive [[playerWavMp3Button? &exampleNumber=`01.01` &exampleFile=`PSE_MixingSecrets/AES0114_Gtr1MixCreative2`]] respectively.<br><br></li>\r\n\r\n\r\n<li><strong>Phase &amp Panning:</strong> Here is another dual-miked guitar-amp recording, this time comprising a Shure SM57 dynamic mic [[playerWavMp3Button? &exampleNumber=`01.01` &exampleFile=`PSE_MixingSecrets/AES0115_Gtr2SM57`]] and an Electrovoice RE20 dynamic mic [[playerWavMp3Button? &exampleNumber=`01.01` &exampleFile=`PSE_MixingSecrets/AES0116_Gtr2RE20`]]. Although the mics create an impressively wide and full sound in stereo if panned to opposite image extremes [[playerWavMp3Button? &exampleNumber=`01.01` &exampleFile=`PSE_MixingSecrets/AES0117_Gtr2MixStereo`]], their defective phase relationship is still ruthlesslessly exposed in mono [[playerWavMp3Button? &exampleNumber=`01.01` &exampleFile=`PSE_MixingSecrets/AES0118_Gtr2MixMono`]].<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\">LINKS</h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Affordable Phase Adjustment Plug-ins:</strong> Here are some freeware PC VST options that\'ll work whether you\'re using 32-bit or 64-bit DAW software:  Audiocation\'s [[$software_Audiocation_PhaseAP1]] and two of the plug-ins in the Cockos [[$software_Cockos_ReaPlugs]] bundle (the all-pass filter in <i>ReaEQ</i> and the Phase Rotator module in <i>ReaJS</i>). Mac freeware is thinner on the ground, Airwindows\'s 32-bit [[$software_AirWindows_PhaseNudge]] being the only free plug-in I\'m aware of. If you\'re after something cross-platform and 64-bit, then try Voxengo\'s [[$software_Voxengo_PHA-979]], which is only $60.<br><br></li>\r\n\r\n<li><strong>Further Reading:</strong> You can find a more detailed and in-depth discussion of polarity and phase in the studio in this article: \'<a href=\"http://www.soundonsound.com/sos/apr08/articles/phasedemystified.htm\">Phase Demystified</a>\'. In addition, phase adjustment has played an important role in many of my \'Mix Rescue\' remixes, so you can read some practical case-studies in the following columns: <a href=\"http://www.soundonsound.com/sos/may12/articles/mix-rescue-0512.htm\">May 2012</a>, <a href=\"http://www.soundonsound.com/sos/oct11/articles/mix-rescue-1011.htm\">October 2011</a>, <a href=\"http://www.soundonsound.com/sos/apr10/articles/mixrescue_0410.htm\">April 2010</a>, <a href=\"http://www.soundonsound.com/sos/nov08/articles/mixrescue_1108.htm\">November 2008</a>, and <a href=\"http://www.soundonsound.com/sos/mar08/articles/mixrescue_0308.htm\">March 2008</a>. In addition, polarity adjustment plays a prominent role in this <a href=\"[[~367]]#Mix\">series of mixing videos</a>.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"singledrivermidrange\">PART 2: Single-driver Midrange Monitoring</a></h3>\r\n\r\n<h3 class=\"h3ResourceCategory\">AUDIO FILES</h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Phantom Image Test:</strong> Here\'s the noise-burst file I used to demonstrate the instability of phantom images [[playerWavMp3Button? &exampleNumber=`02.01` &exampleFile=`PSE_MixingSecrets/AES0201_PhantomImageTest`]]. The real-world example I played was an excerpt from the Madonna song \'<a href=\"http://en.wikipedia.org/wiki/American_Life_(song)\">American Life</a>\'.<br><br></li>\r\n\r\n</ul>\r\n\r\n<p><strong><big><a name=\"audio\">LINKS</a></big></strong></p>\r\n\r\n<ul>\r\n\r\n<li><strong>Affordable Auratone Substitutes:</strong> Although my favourite project-studio substitute for the Auratone 5C Super Sound Cube is the <a href=\"http://www.avantonepro.com/\">Avantone Pro</a> Mix Cube (active or passive) which I reviewed in <a href=\"http://www.soundonsound.com/sos/jun10/articles/mixcubeactives.htm\"><i>SOS</i> July 2010</a>, there are a number of alternatives available, including: the <a href=\"http://www.auratonesoundcubes.com/\">Auratone</a> company\'s reissued 5C Super Sound Cube, which I reviewed in <a href=\"http://www.soundonsound.com/reviews/auratone-5c-super-sound-cube\"><i>SOS</i> May 2016</a>; the <a href=\"http://www.triplepdesigns.com\">Triple P Designs</a> Pyramid (passive); the <a href=\"http://www.fostexinternational.com\">Fostex</a> 6301B (active); and the <a href=\"http://www.behringer.com\">Behringer</a>\'s Behritone speakers (C5A &amp; C50A, both active) which I reviewed in <a href=\"http://www.soundonsound.com/sos/feb12/articles/behringer-c5a-c50a.htm\"><i>SOS</i> Feb 2012</a>.<br><br></li>\r\n\r\n<li><strong>Headphone-to-Auratone Adapter Cable:</strong> If you want to connect a single-driver midrange speaker to your computer DAW system, but you don\'t have a <a href=\"ms-ch4.htm#links\">dedicated monitor controller</a> to do the necessary mono/speaker switching, then you can work around it by <a href=\"/SitePix/Fig2-7aUpdate.jpg\">wiring up this adaptor cable</a> and feeding your Auratone-substitute from the headphone output of your audio interface.<br><br></li>\r\n\r\n<li><strong>Further Reading:</strong> For general-purpose advice about setting up studio nearfield monitoring systems and acoustic treatment for mixing, check out \'<a href=\"http://www.soundonsound.com/sos/feb06/articles/studiosos.htm\">The Studio SOS Guide To Monitoring &amp; Acoustic Treatment</a>\'.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"mixreferencing\">PART 3: Effective Mix Referencing</a></h3>\r\n\r\n<h3 class=\"h3ResourceCategory\">LINKS</h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Affordable Metering &amp; Analysis Software:</strong> Here are links to all the software utilities I mentioned in the seminar: Brainworx\'s freeware L/R/M/S switcher [[$software_Brainworx_BXSolo]]; the freeware Sonalksis [[$software_Sonalksis_FreeG]] peak/RMS metering plug-in; ToneBoosters\'s [[$software_ToneBoosters_TBEBULoudness]] plug-in; Flux Audio\'s freeware [[$software_Flux_StereoTool]]; Melda\'s freeware [[$software_Melda_MStereoScope]]; the high-resolution freeware spectrum-analyser plug-ins Voxengo [[$software_Voxengo_SPAN]] and Melda [[$software_Melda_MAnalyzer]]; the EQ ripper plug-ins Voxengo [[$software_Voxengo_CurveEQ]] and Melda [[$software_Melda_MAutoEqualizer]]; and the stand-alone visual mastering software [[$software_Harbal]].<br><br></li>\r\n\r\n<li><strong>Further Reading:</strong> Here are a couple of articles that talk in more detail about assembling and analysing reference tracks: \'<a href=\"http://www.soundonsound.com/sos/sep08/articles/referencecd.htm\">Creating Your Own Reference CD</a>\' and \'<a href=\"http://www.soundonsound.com/sos/apr11/articles/listen-and-learn.htm\">Listen & Learn</a>\'. For more specific examples of commercial reference tracks I used on a day-to-day basis, check out this <a href=\"http://www.cambridge-mt.com/PatronPost-2016-08-SpeakerTestReferences.htm\">bonus article I wrote specially for my Cambridge-MT Patreon supporters</a>. If you\'re referencing your mixes against heavily loudness-processed commercial masters, then here\'s an article which provides some suggestions for how you can increase the loudness of your own mixes for comparison purposes should you wish to do so: \'<a href=\"http://www.soundonsound.com/sos/mar12/articles/loudness.htm\">Crafting Loud Mixes That Sound Great</a>\'.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"multitracklibrary\">The \'Mixing Secrets\' Free Multitrack Download Library</a></h3>\r\n\r\n<ul>\r\n\r\n<li>This library contains more than <a href=\"[[~373]]\">[[$numberOfMultitracks]] free multitrack projects</a> in a variety of different musical styles, which can be freely downloaded for mixing practice or as a basis for educational assignments. The projects can easily be imported into any DAW by copying all the WAVs to the same point in the time-line. Some of the projects have been remixed as part of the <i>SOS</i> \'Mix Rescue\' columns, so you can read specific tips and tricks there if you need some pointers.<br><br></li>\r\n\r\n</ul>\r\n',1,6,2,1,1,1,1474884750,1,1475127634,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'aes141-mixingsecrets.htm',0,0,1,NULL),(613,'document','text/html','ToYoutube','','','youtube','',1,0,0,610,0,'','https://www.youtube.com/channel/UCj7ipdMG6r1DwlctxnDy_bA',1,1,2,1,1,1,1481539434,1,1481539516,0,0,0,1481453940,1,'',0,0,0,0,0,'modWebLink','web',1,'youtube.htm',0,0,1,'{\"core\":{\"responseCode\":\"HTTP\\/1.1 301 Moved Permanently\"}}'),(585,'document','text/html','PatronPost_2016_10_VectorscopeWierdness','Audio signal, or alien message from Vega?','','PatronPost-2016-10-VectorscopeWierdness','',1,0,0,506,0,'<p>Thought I\'d share something extremely cool (in a nerdy way!) that I just saw while getting this month\'s multitracks ready for upload. (It\'s a bumper crop too, you lucky things -- ten new projects for you all to get your teeth into!) This preparation process involves me listening through to each individual track to check that nothing\'s obviously broken in some way (eg. clipped, silent, inadvertently mixed with another track... I\'ve seen most things!) and to make the filenames/numbers fit roughly with all the other stuff in the library. But another thing I do is try to minimise project filesizes by chopping redundant silences off the ends of tracks and converting any stereo files containing mono audio into mono files. For this latter task I use a vectorscope (Melda\'s excellent freeware [[$software_Melda_MStereoScope]] plug-in) to confirm whether things are mono or stereo. If you look at at most mixed audio on a vectorscope, you\'ll typically see a kind of amorphous \'cloud\' in the centre of the display, but with separate instrument tracks you occasionally see something rather more entertaining. Well, today I saw the best one ever, courtesy of a synth lead on the latest APZX multitrack. Here\'s a screenshot:</p>\r\n','<img class=\"imgPatreonPost\" src=[[$sitePrefixCMT]]/SitePix/2016_10_PatronPost_VectorscopeWeirdness.jpg>\r\n\r\n<p>And that\'s only one moment. As the track plays it goes through a whole range of really wacky displays that look something like you\'d expect Jodie Foster to be poring over in <a href=\"https://en.wikipedia.org/wiki/Contact_(1997_American_film)\"><i>Contact</i></a>! If you\'re as nerdy as me and fancy checking it out, it\'s the \'32_Synth14\' track of APZX\'s \'<a href=\"[[~373]]#APZX\">Cyber Mower</a>\' multitrack.</p>\r\n\r\n<p>I should get out more, clearly... <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"></a>',1,6,4,1,1,1,1476455132,1,1476466528,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronPost-2016-10-VectorscopeWierdness.htm',0,0,1,NULL),(587,'document','text/html','Banner_JoePublic_Studio','','http://www.joepublicstudios.com/','Banner-JoePublic-Studio','',1,0,0,432,0,'Joe Public Studios','[[$sitePrefixCMT]]/SitePix/Ads/JoePublicAdJPEG.jpg',1,0,5,1,1,1,1476519934,1,1477380438,0,0,0,1476519900,1,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-JoePublic-Studio.htm',0,0,1,NULL),(588,'document','text/html','PatronPost_2016_10_Diesel13MixContest','Cambridge-MT Patrons Mixing Contest!','','PatronPost-2016-10-Diesel13MixContest','',1,0,0,506,0,'<p>I hereby announce the launch of a special mixing contest exclusively for Patrons, based around <a href=\"[[~373]]#Diesel13\">these multitracks of Diesel13\'s song \'Colour Me Red\'</a>. There are lots of reasons to get involved:\r\n<ul>\r\n<li>It\'s a great song.</li>\r\n<li>Diesel himself will be providing some direct feedback for you, and will also be choosing the eventual winner.</li>\r\n<li>I\'ll personally provide mix critiques for <i>everyone</i> who enters, and may also assist Diesel with the final adjudication process.</li>\r\n<li>Oh, and did I mention there are also a couple of prizes for bookworms?</li>\r\n</p>\r\n<p>OK. So I\'ve got your attention.  <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"> Here\'s the deal...</p>','<a href=\"https://www.reverbnation.com/diesel13\"><img alt=\"Diesel13\" src=\"[[$sitePrefixCMT]]/SitePix/Ads/Diesel13AdJPEG.jpg\" class=\"imgBannerAd\"></a>\r\n\r\n<h2>Who can enter?</h2>\r\n<p>The competition is open to all <a href=\"https://www.patreon.com/CambridgeMT\">Cambridge-MT Patrons</a>. Simple as that.</p>\r\n\r\n<h2>How do I enter?</h2>\r\n<p>By <a href=\"http://discussion.cambridge-mt.com/member.php?action=register\">registering for the Discussion Zone</a> (if you haven\'t already) and <a href=\"http://discussion.cambridge-mt.com/misc.php?action=help&hid=9\">uploading an MP3/M4A file of your mix</a> via your own thread in the <a href=\"http://discussion.cambridge-mt.com/forumdisplay.php?fid=363\">Diesel13 \'Colour Me Red\' sub-forum</a> before the end of <strong>Sunday November 27th</strong>. In addition, Patrons who post their mixes before <strong>Sunday November 13th</strong> will receive direct mix feedback from me on their thread -- although all entrants may still continue posting updated mix versions until the November 27th competition deadline. (Just make sure it\'s clear in your thread which mix version you want feedback on and which is the final version you\'re submitting for adjudication!) The results announcement will appear, along with further critique points and related discussion, in December\'s Patrons Podcast.\r\n\r\n<h2>What\'s the mixing brief?</h2>\r\n<p>In short: it\'s wide open. Diesel tells me that he honestly welcomes any slant you may want to put on his music. So if you want to get radically creative with the multitrack elements, or completely change the style, then go ahead -- knock yourself out! It\'s all good as far as Diesel\'s concerned, and he\'s excited to hear what you all come up with. That said, whichever direction you choose to head in, Diesel\'s also interested in hearing mixes with a modern sensibility, things that might compete in one way or another with current artists in today\'s music market, so do also bear that in mind.</p>\r\n<p>From a technical perspective, you can use up to 320kbps encoding (if you wish) for your MP3/M4A mix uploads, and I\'d recommend at least 192kbps. The loudness of the mix will not be a contributing factor in the competition adjudication, but(!) the way in which the mix responds to loudness processing may be taken into consideration, depending on the market expectations for the target style in each specific case.</p>\r\n\r\n<h2>Prizes</h2>\r\n<ul>\r\n<li><strong>1st Prize:</strong> $100-worth of books from the <a href=\"https://www.routledge.com/\">Routledge catalogue</a>.</li>\r\n<li><strong>2nd Prize:</strong> $50-worth of books from the <a href=\"https://www.routledge.com/\">Routledge catalogue</a>.</li>\r\n</ul>\r\n<p>Bear in mind that the Routledge catalogue includes all the Focal Press titles, as well as books from many other Taylor & Francis imprints.</p>\r\n\r\n<h2>Acknowledgements</h2>\r\n<p>Many thanks to Diesel13 for allowing us to use his song as the basis of this competition. Please support him and his music by clicking <a href=\"https://www.reverbnation.com/diesel13\">here</a>. Thanks also to Joe Lonsdale of <a href=\"http://www.joepublicstudios.com\">Joe Public Studios</a> for making such great multitrack material available to mixing students -- for more information about how this particular song was produced, check out Joe\'s new e-book \'<a href=\"https://www.etsy.com/uk/shop/JoePublicStudios?ref=hdr_shop_menu#\">Building The Band In The Bedroom</a>\'.</p>\r\n\r\n<a href=\"http://www.joepublicstudios.com/\"><img alt=\"Joe Public Studios\" src=\"[[$sitePrefixCMT]]/SitePix/Ads/JoePublicAdJPEG.jpg\" class=\"imgBannerAd\"></a>\r\n<a href=\"https://www.etsy.com/uk/shop/JoePublicStudios?ref=hdr_shop_menu#\"><img alt=\"Check out \'Building The Band In The Bedroom\', the new e-book from Joe Lonsdale\" src=\"[[$sitePrefixCMT]]/SitePix/Ads/BBBAdJPEG.jpg\" class=\"imgBannerAd\"></a>\r\n\r\n<h2>Any Small Print?</h2>\r\n<p>The only condition of entry is that you agree to me using your mixes and Discussion Zone comments to build a collated \'competition report\' page at some point in the future (along the lines my <a href=\"[[~350]]\">The Great \'Blood To Bone\' Mixoff</a> page), because I reckon that might end up being a cool educational resource for mixing students in general.</p>\r\n\r\n<h2>Further questions?</h2>\r\n<p>If any of the above isn\'t clear, do please <a href=\"[[~420]]#Contact\">let me know</a> and I\'ll try to clarify the wording on this page as necessary.',1,6,5,1,1,1,1476881021,1,1477380757,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronPost-2016-10-Diesel13MixContest.htm',0,0,1,NULL),(589,'document','text/html','Banner_Diesel13_iTunesSpotify','','https://www.reverbnation.com/diesel13','Banner-Diesel13-iTunesSpotify','',0,0,0,556,0,'Check out Diesel13\'s latest music!','[[$sitePrefixCMT]]/SitePix/Ads/Diesel13AdJPEG.jpg',1,0,4,1,1,1,1477380824,1,1488229371,0,0,0,0,0,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-Diesel13-iTunesSpotify.htm',0,0,1,NULL),(590,'document','text/html','Banner_CMTPatreon_Funding','','https://www.patreon.com/CambridgeMT','Banner-CMTPatreon-Funding01','',1,0,0,550,0,'Fund new CMT resources via Patreon!','[[$sitePrefixCMT]]/SitePix/Ads/PatreonBanner_ResourcesFunding.gif',1,0,0,1,1,1,1477380965,1,1487839140,0,0,0,1458453420,1,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-CMTPatreon-Funding01.htm',0,0,1,NULL),(591,'document','text/html','Banner_LongWait_Album','','http://www.audio-issues.com/thelongwait/\r\n','Banner-LongWait-Album','',0,0,0,556,0,'Check out The Long Wait\'s new album -- complete with exclusive multitracks!','[[$sitePrefixCMT]]/SitePix/Ads/LongWaitAdJPEG.jpg',1,0,12,1,1,1,1477724575,1,1488229363,0,0,0,0,0,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-LongWait-Album.htm',0,0,1,NULL),(592,'document','text/html','October 2016','Cambridge-MT Patrons Podcast','','PatronsPodcast1610tjmtruth','',1,0,0,493,0,'<h4 class=\"h4IntroTextSubtitle\">[[*pagetitle]] Episode</h4>\r\n\r\n<p>In this month\'s episode of the Patrons Podcast, I provide general-purpose mixing tips for Street Noise\'s \'I\'d Rather Be Drinkin\'\' and critique one of that same production\'s Discussion Zone mixes in-depth. Plus I subject KRK\'s Rokit 8 G3 affordable nearfield monitors to the Unvarnished Review process -- how will they compare to the Yamaha HS8s I delivered my verdict on last month?</p>\r\n<p>\r\n<div data-wimpyplayer data-inline=\"1\" data-skin=\"wimpy7/PodcastPlayer002.tsv\" data-media=\'http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1610tjmtruth.mp3\'></div>\r\n</p>\r\n<br>\r\n<p><span class=\"spanPodcastMiniText\">320kbps MP3 playback quality (downloadable versions: <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1610tjmtruth.mp3\">320kbps MP3</a>; <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1610tjmtruth_HiRes.zip\">24-bit/44.1kHz WAV</a>)</a></span></p>','<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>01:24 -- <strong>This Month\'s Featured Multitrack: Street Noise\'s \'<a href=\"[[~373]]#StreetNoise2\">I\'d Rather Be Drinkin\'</a>\'</strong><br><br></li>\r\n\r\n  <ul>\r\n    <li>02:06 -- overheads balance: cymbals versus drums</li>\r\n<ul>\r\n    <li><span class=\"spanPodcastMiniText\">02:34 - 02:59 -- [[$podcastDemo]] raw stereo overheads recording (unprocessed tracks)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:09 - 03:22 -- [[$podcastDemo]] raw stereo overheads recording (unprocessed tracks)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:55 - 04:02 -- [[$podcastDemo]] raw stereo overheads recording (unprocessed tracks)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:03 - 04:10 -- [[$podcastDemo]] stereo overheads recording with transient reduction (processed tracks)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:00 - 05:12 -- [[$podcastDemo]] raw stereo overheads recording (unprocessed tracks)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:13 - 05:25 -- [[$podcastDemo]] stereo overheads recording with heavy, fast compression (processed tracks)</span><br><br></li>\r\n</ul>\r\n    <li>05:25 -- kick drum<br><br></li>\r\n    <li>05:49 -- snare drum: enhancement of close mic using overheads</li>\r\n<ul>\r\n    <li><span class=\"spanPodcastMiniText\">06:07 - 06:16 -- [[$podcastDemo]] raw snare close-mic recording (unprocessed track)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">07:38 - 07:51 -- [[$podcastDemo]] raw stereo overheads recording (unprocessed tracks)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">07:52 - 08:05 -- [[$podcastDemo]] stereo overheads recording with snare-triggered gating (processed tracks)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">08:28 - 08:41 -- [[$podcastDemo]] unprocessed balance of stereo overhead mics and snare close mic (unprocessed tracks)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">08:42 - 08:55 -- [[$podcastDemo]] balance of stereo overhead mics (with snare-triggered gating) and snare close mic</span><br><br></li>\r\n</ul>\r\n    <li>06:40 -- hi-hat</li>\r\n<ul>\r\n    <li><span class=\"spanPodcastMiniText\">09:17 - 09:24 -- [[$podcastDemo]] raw stereo overheads recording (unprocessed tracks)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">09:30 - 09:35 -- [[$podcastDemo]] raw snare close-mic recording (unprocessed track)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">09:55 - 10:09 -- [[$podcastDemo]] raw hi-hat close-mic recording (unprocessed track)</span><br><br></li>\r\n</ul>\r\n    <li>10:13 -- toms</li>\r\n<ul>\r\n    <li><span class=\"spanPodcastMiniText\">11:00 - 11:11 -- [[$podcastDemo]] drums mix \r\n(my rough mix)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">11:12- 11:23 -- [[$podcastDemo]] drums mix \r\nwith spill through tom mics muted (my rough mix)</span><br><br></li>\r\n</ul>\r\n    <li>11:33 -- bass guitar</li>\r\n<ul>\r\n    <li><span class=\"spanPodcastMiniText\">11:42 - 11:59 -- [[$podcastDemo]] raw bass guitar recording (unprocessed track)</span><br><br></li></li>\r\n</ul>\r\n    <li>12:17 -- electric guitars</li>\r\n<ul>\r\n    <li><span class=\"spanPodcastMiniText\">12:44 - 12:55 -- [[$podcastDemo]] raw electric guitar 1 recording (unprocessed track)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">12:56 - 13:07 -- [[$podcastDemo]] electric guitar 1 recording with 130Hz high-pass filter<br><br></li></li>\r\n</ul>\r\n    <li>14:05 -- piano</li>\r\n<ul>\r\n    <li><span class=\"spanPodcastMiniText\">14:12 - 14:27 -- [[$podcastDemo]] raw piano recording (unprocessed track)</span><br><br></li></li>\r\n</ul>\r\n    <li>15:39 -- lead-vocal</li>\r\n<ul>\r\n    <li><span class=\"spanPodcastMiniText\">16:01 - 16:20 -- [[$podcastDemo]] raw lead-vocal recording (unprocessed track)</span><br><br></li></li>\r\n</ul>\r\n    <li>16:42 -- timing adjustments</li>\r\n<ul>\r\n    <li><span class=\"spanPodcastMiniText\">17:41 - 18:10 -- [[$podcastDemo]] full mix snippet with timing adjustments across all tracks (my rough mix)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">18:11 - 18:40 -- [[$podcastDemo]] full mix snippet without any timing adjustments (my rough mix)<br><br></li></li>\r\n</ul>\r\n\r\n  </ul>\r\n  <li>18:57 -- <strong>Mix Critique: <a href=\"http://discussion.cambridge-mt.com/member.php?action=profile&uid=3334\">tjmtruth</a>\'s mix of \'I\'d Rather Be Drinking\'\'</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">19:20 - 22:40 -- [[$podcastDemo]] tjmtruth\'s full mix</span><br><br></li>\r\n    <li>24:12 -- Critique Point #1: overall mix \'constriction\'</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">25:36 - 26:03 -- [[$podcastDemo]] snippet of commercial reference mix 1</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">26:04 - 26:18 -- [[$podcastDemo]] snippet of tjmtruth\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">26:19 - 26:38 -- [[$podcastDemo]] snippet of commercial reference mix 2</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">26:39 - 26:54 -- [[$podcastDemo]] snippet of tjmtruth\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">27:17 - 27:32 -- [[$podcastDemo]] snippet of multitrack library preview mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">27:33 - 27:48 -- [[$podcastDemo]] snippet of tjmtruth\'s mix</span><br><br></li>\r\n    </ul>\r\n    <li>27:48 -- Critique Point #2: overprominent, spiky kick-drum (and toms)</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">28:40 - 28:55 -- [[$podcastDemo]] snippet of multitrack library preview mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">28:56 - 29:11 -- [[$podcastDemo]] snippet of tjmtruth\'s mix</span><br><br></li>\r\n    </ul>\r\n    <li>29:26 -- Critique Point #3: depth-perspective contradictions &amp; lack of band cohesion</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">30:36 - 31:04 -- [[$podcastDemo]] dry processed backing mix (my rough mix)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">31:05 - 31:33 -- [[$podcastDemo]] processed backing mix with reverb effects (my rough mix)</span><br><br></li>\r\n    </ul>\r\n  </ul>\r\n  <li>32:30 -- <strong>Unvarnished Review: <a href=\"http://www.krksys.com/krk-studio-monitor-speakers/rokit/rokit-8.html\">KRK Rokit 8 GS3</a> affordable active nearfield monitors</strong><br><br></li>\r\n  <li>42:27 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 43:14)</span></li>\r\n</ul>\r\n \r\n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\r\n\r\n<ul>\r\n<li><strong>Uncompressed Audio Version:</strong> The player on this page uses 320kbps MP3 quality. If you\'d prefer to hear uncompressed PCM audio, <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1610tjmtruth_HiRes.zip\">this ZIP archive</a> contains the podcast in 24-bit/44.1kHz WAV format.<br><br></li>\r\n\r\n<li><strong>Mix The Same Raw Multitracks Yourself:</strong> The raw multitracks for Street Noise\'s \'I\'d Rather Be Drinkin\'\' can be downloaded via <a href=\"[[~373]]#StreetNoise2\">The \'Mixing Secrets\' Free Multitrack Download Library</a>.<br><br></li>\r\n\r\n<li><strong>Have Your Say About This Mix:</strong> The original thread featuring this month\'s critiqued mix can be found <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16086\">here in the Discussion Zone</a>.<br><br></li>\r\n\r\n<li><strong>Overheads Processing Plug-ins I Used:</strong> The extreme compression I showcased on the drum overheads in this podcast used Sknote\'s [[$software_Sknote_Disto]], and the transient reduction processing was courtesy of Izotope\'s [[$software_Izotope_Alloy2]]. For boosting the snare ambience in the overheads, I used the freeware Cockos [[$software_Cockos_ReaGate]] plug-in.<br><br></li>\r\n\r\n</ul>',1,6,6,1,1,1,1477766896,1,1477865981,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronsPodcast1610tjmtruth.htm',0,0,1,NULL),(593,'document','text/html','November 2016','','','November-2016','',1,0,0,31,1,'','',1,7,6,1,1,1,1477917224,1,1477917647,0,0,0,1477917647,1,'',0,0,0,0,0,'modDocument','web',1,'November-2016/',0,0,1,NULL),(594,'document','text/html','Cold Water','','','Cold-Water','',1,0,0,593,0,'','',1,8,1,1,1,1,1477917224,1,1477917453,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Cold-Water.htm',0,0,1,NULL),(595,'document','text/html','Careless Whisper','','','Careless-Whisper','',1,0,0,643,0,'','',1,8,5,1,1,1,1477917224,1,1488321545,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Careless-Whisper.htm',0,0,1,NULL),(596,'document','text/html','God Save The Queen','','','God-Save-The-Queen','',1,0,0,593,0,'','',1,8,4,1,1,1,1477917224,1,1477917618,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'God-Save-The-Queen.htm',0,0,1,NULL),(597,'document','text/html','Formation','','','Formation','',1,0,0,593,0,'','',1,8,3,1,1,1,1477917224,1,1477917589,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Formation.htm',0,0,1,NULL),(598,'document','text/html','Charlemagne','','','Charlemagne','',1,0,0,593,0,'','',1,8,2,1,1,1,1477917224,1,1477917476,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Charlemagne.htm',0,0,1,NULL),(599,'document','text/html','December 2016','','','Octember-2016','',1,0,0,31,1,'','',1,7,5,1,1,1,1479564766,1,1479565073,0,0,0,1479565073,1,'',0,0,0,0,0,'modDocument','web',1,'Octember-2016/',0,0,1,NULL),(600,'document','text/html','Starboy','','','Duplicate-of-Duplicate-of-TemplateTrack4','',1,0,0,599,0,'','',1,8,1,1,1,1,1479564767,1,1479564938,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Duplicate-of-Duplicate-of-TemplateTrack4.htm',0,0,1,NULL),(601,'document','text/html','Heathens','','','Heathens','',1,0,0,599,0,'','',1,8,0,1,1,1,1479564767,1,1479564883,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Heathens.htm',0,0,1,NULL),(602,'document','text/html','You\'ve Lost That Lovin\' Feelin\'','','','Youve-Lost-That-Lovin-Feelin','',1,0,0,599,0,'','',1,8,4,1,1,1,1479564767,1,1479565038,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Youve-Lost-That-Lovin-Feelin.htm',0,0,1,NULL),(603,'document','text/html','Wolves Of Winter','','','Wolves-Of-Winter','',1,0,0,599,0,'','',1,8,3,1,1,1,1479564767,1,1479565002,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Wolves-Of-Winter.htm',0,0,1,NULL),(604,'document','text/html','Closer','','','Closer','',1,0,0,599,0,'','',1,8,2,1,1,1,1479564767,1,1479564976,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Closer.htm',0,0,1,NULL),(605,'document','text/html','December 2016: Kasimir Voiceover','','Recording An Audiobook','December-2016','',1,0,0,110,0,'','',1,10,1,1,1,1,1479565765,1,1479566066,0,0,0,1479566066,1,'',0,0,0,0,0,'modDocument','web',1,'December-2016.htm',0,0,1,NULL),(606,'document','text/html','Banner_SpeakSoftly_Bandcamp1','','http://speaksoftly.bandcamp.com/','Banner-SpeakSoftly-Bandcamp1','',1,0,0,432,0,'Check out Speak Softly\'s latest new release on Bandcamp!','[[$sitePrefixCMT]]/SitePix/Ads/SpeakSoftlyAd1JPEG.jpg',1,0,3,1,1,1,1479807590,1,1479807765,0,0,0,1476519900,1,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-SpeakSoftly-Bandcamp1.htm',0,0,1,NULL),(607,'document','text/html','Banner_SpeakSoftly_Bandcamp2','','http://speaksoftly.bandcamp.com/','Banner-SpeakSoftly-Bandcamp2','',1,0,0,432,0,'Check out Speak Softly\'s latest new release on Bandcamp!','[[$sitePrefixCMT]]/SitePix/Ads/SpeakSoftlyAd2JPEG.jpg',1,0,4,1,1,1,1479807783,1,1479807796,0,0,0,1476519900,1,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-SpeakSoftly-Bandcamp2.htm',0,0,1,NULL),(608,'document','text/html','November 2016','Cambridge-MT Patrons Podcast','','PatronsPodcast1611javierpg84','',1,0,0,493,0,'<h4 class=\"h4IntroTextSubtitle\">[[*pagetitle]] Episode</h4>\n\n<p>In this month\'s episode of the Patrons Podcast, I provide general-purpose mixing tips for Carlos Gonzalez\'s \'A Place For Us\' and critique one of that same production\'s Discussion Zone mixes in-depth. I also give Izotope\'s <i>Neutron</i> plug-in the Unvarnished Review treatment, including its hotly debated Masking Meter and Track Assistant features.</p>\n<p>\n<div data-wimpyplayer data-inline=\"1\" data-skin=\"wimpy7/PodcastPlayer002.tsv\" data-media=\'http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1611javierpg84.mp3\'></div>\n</p>\n<br>\n<p><span class=\"spanPodcastMiniText\">320kbps MP3 playback quality (downloadable versions: <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1611javierpg84.mp3\">320kbps MP3</a>; <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1611javierpg84_HiRes.zip\">24-bit/44.1kHz WAV</a>)</a></span></p>','<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\n\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\n<ul>\n  <li>00:00 -- Intro<br><br></li>\n  <li>01:48 -- <strong>This Month\'s Featured Multitrack: Carlos Gonzalez\'s \'<a href=\"[[~373]]#CarlosGonzalez\">A Place For Us</a>\'</strong><br><br></li>\n  <ul>\n    <li>02:31 -- drum tracks: arrangement potential<br><br></li>\n    <li>03:58 -- live drum tracks: unstable phase relationships</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">05:33 - 05:37 -- [[$podcastDemo]] unprocessed balance of Drumkit1KickIn and Drumkit1KickOut tracks (unprocessed tracks)</span></li>\n      <li><span class=\"spanPodcastMiniText\">05:46 - 05:50 -- [[$podcastDemo]] unprocessed balance of Drumkit1KickIn and Drumkit1KickOut tracks (unprocessed tracks)</span></li>\n      <li><span class=\"spanPodcastMiniText\">06:10 - 06:14 -- [[$podcastDemo]] unprocessed balance of Drumkit1KickIn and Drumkit1KickOut tracks with opposite polarity (unprocessed tracks)</span></li>\n      <li><span class=\"spanPodcastMiniText\">06:48 - 06:58 -- [[$podcastDemo]] unprocessed balance of Drumkit1SnareMic1 and Drumkit1SnareMic2 tracks (unprocessed tracks)</span></li>\n      <li><span class=\"spanPodcastMiniText\">07:12 - 07:26 -- [[$podcastDemo]] unprocessed balance of Drumkit2KickIn and Drumkit1KickSub tracks (unprocessed tracks)</span></li>\n      <li><span class=\"spanPodcastMiniText\">09:30 - 09:34 -- [[$podcastDemo]] Drumkit1KickOut track (unprocessed track)</span></li>\n      <li><span class=\"spanPodcastMiniText\">09:35 - 09:39 -- [[$podcastDemo]] Drumkit1KickIn track with low-frequency EQ boost (processed tracks)</span><br><br></li>\n    </ul>\n    <li>09:52 -- bass guitar</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">09:30 - 09:34 -- [[$podcastDemo]] raw bass guitar recording (unprocessed track)</span><br><br></li>\n    </ul>\n    <li>11:03 -- arrangement pads<br><br></li>\n    <li>13:34 -- backing vocals: proximity-effect build-up, artificial doubletracks, and tuning-corrector mistracking</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">14:54 - 14:59 -- [[$podcastDemo]] unprocessed balance of backing vocal track and real doubletrack (unprocessed tracks)</span></li>\n      <li><span class=\"spanPodcastMiniText\">15:00 - 15:05 -- [[$podcastDemo]] unprocessed balance of backing vocal track and artificial doubletrack (unprocessed tracks)</span></li>\n      <li><span class=\"spanPodcastMiniText\">14:54 - 14:59 -- [[$podcastDemo]] unprocessed balance of two backing vocal tracks with tuning-corrector mistracking (unprocessed tracks)</span><br><br></li>\n    </ul>\n    <li>16:03 -- lead vocals</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">16:35 - 16:39 -- [[$podcastDemo]] raw lead vocal recording (unprocessed track)</span></li>\n      <li><span class=\"spanPodcastMiniText\">16:35 - 16:39 -- [[$podcastDemo]] lead vocal recording with de-essing against \'t\' sounds (processed track)</span></li>\n      <li><span class=\"spanPodcastMiniText\">16:35 - 16:39 -- [[$podcastDemo]] lead vocal recording with automated de-essing against \'t\' sounds (processed track)</span><br><br></li>\n    </ul>\n  </ul>\n\n  <li>17:49 -- <strong>Mix Critique: <a href=\"http://discussion.cambridge-mt.com/member.php?action=profile&uid=6930\">javierpg84</a>\'s mix of \'A Place For Us\'</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">18:12 - 22:02 -- [[$podcastDemo]] javierpg84\'s full mix</span></li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">23:12 - 23:21 -- [[$podcastDemo]] snippet of multitrack library preview mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">23:22 - 23:31 -- [[$podcastDemo]] snippet of javierpg84\'s mix</span><br><br></li>\n    </ul>\n    <li>23:31 -- Critique Point #1: overall mix tonality</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">24:14 - 24:34 -- [[$podcastDemo]] snippet of javierpg84\'s mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">24:35 - 24:55 -- [[$podcastDemo]] snippet of javierpg84\'s mix with suggested master-buss EQ</span><br><br></li>\n    </ul>\n    <li>25:18 -- Critique Point #2: lead vocal low-midrange resonance</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">26:01 - 26:10 -- [[$podcastDemo]] snippet of javierpg84\'s mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">26:31 - 26:40 -- [[$podcastDemo]] snippet of javierpg84\'s mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">26:41 - 26:50 -- [[$podcastDemo]] snippet of javierpg84\'s mix with narrow 3dB EQ cut at 180Hz</span></li>\n      <li><span class=\"spanPodcastMiniText\">28:56 - 29:11 -- [[$podcastDemo]] snippet of tjmtruth\'s mix</span><br><br></li>\n    </ul>\n    <li>29:26 -- Critique Point #3: backing vocals: proximity effect muddiness, narrow stereo image, and overprominent consonants</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">27:53 - 28:13 -- [[$podcastDemo]] snippet of javierpg84\'s mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">28:38 - 28:58 -- [[$podcastDemo]] snippet of javierpg84\'s mix</span><br><br></li>\n    </ul>\n    <li>28:59 -- Critique Point #4: lack of low-end punch</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">29:36 - 28:58 -- [[$podcastDemo]] snippet of javierpg84\'s mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">30:19 - 30:24 -- [[$podcastDemo]] snippet of javierpg84\'s mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">30:25 - 30:30 -- [[$podcastDemo]] my rough mix of bass and kick-drum tracks</span><br><br></li>\n    </ul>\n    <li>29:26 -- Critique Point #5: long-term mix dynamics concerns</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">31:51 - 32:12 -- [[$podcastDemo]] snippet of javierpg84\'s mix: transition into first prechorus</span></li>\n      <li><span class=\"spanPodcastMiniText\">32:22 - 32:28 -- [[$podcastDemo]] snippet of javierpg84\'s mix: transition into second verse</span></li>\n      <li><span class=\"spanPodcastMiniText\">33:54 - 33:59 -- [[$podcastDemo]] my rough mix: transition into second verse (no edits)</span></li>\n      <li><span class=\"spanPodcastMiniText\">34:00 - 34:07 -- [[$podcastDemo]] my rough mix: transition into second verse, edited to emphasise a couple of the electronic percussion elements</span></li>\n      <li><span class=\"spanPodcastMiniText\">34:36 - 34:55 -- [[$podcastDemo]] snippet of javierpg84\'s mix: transition into second chorus</span><br><br></li>\n    </ul>\n  </ul>\n  <li>37:06 -- <strong>Unvarnished Review: <a href=\"https://www.izotope.com/en/products/mix/neutron.html\">Izotope <i>Neutron</i></a> processing plug-in</strong><br><br></li>\n  <li>43:00 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 43:48)</span></li>\n</ul>\n \n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\n\n<ul>\n<li><strong>Uncompressed Audio Version:</strong> The player on this page uses 320kbps MP3 quality. If you\'d prefer to hear uncompressed PCM audio, <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1611javierpg84_HiRes.zip\">this ZIP archive</a> contains the podcast in 24-bit/44.1kHz WAV format.<br><br></li>\n\n<li><strong>Mix The Same Raw Multitracks Yourself:</strong> The raw multitracks for Carlos Gonzalez\'s \'A Place For Us\' can be downloaded via <a href=\"[[~373]]#CarlosGonzalez\">The \'Mixing Secrets\' Free Multitrack Download Library</a>.<br><br></li>\n\n<li><strong>Have Your Say About This Mix:</strong> The original thread featuring this month\'s critiqued mix can be found <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16590\">here in the Discussion Zone</a>.<br><br></li>\n\n</ul>',1,6,5,1,1,1,1480492193,1,1483115772,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronsPodcast1611javierpg84.htm',0,0,1,NULL),(609,'document','text/html','PatronPost_2016_12_InitialMixingLevels','Q: How do you set your initial mixing levels?','','PatronPost-2016-12-InitialMixingLevels','',1,0,0,506,0,'<p>Q: \"How do you approach setting your initial mixing levels? For example, setting the kick or loudest instrument to peak at a certain level dBFS. I don\'t recall you addressing this in your book (<a href=\"[[~29]]\">Mixing Secrets For The Small Studio</a>).\"</p>\r\n<p>A: Well, I couldn\'t honestly remember whether I\'d dealt with this in the book, so I went back and checked -- and I do believe you\'re right! I\'m not that surprised I didn\'t mention it, though, for one simple reason: I don\'t actually think it\'s very important. Let me explain...</p>','<p>The thing about the mixing engine in most modern DAWs is that it uses a kind of DSP calculation method (floating-point maths) that effectively gives you ludicrous amounts of headroom. As a result of this, you can be lighting up 0dBFS warning lights across every channel of your mixer, but you won\'t actually be clipping anything -- as long as you pull the master fader down so that you don\'t clip your master channel, and therefore your audio interface\'s output D-A converters (and indeed any bounced-out audio file of your mix). So the truth of the matter is that I don\'t typically give the master output level a tremendous amount of thought these days.</p>\r\n\r\n<p>However, there are two provisos to this:</p>\r\n<ul>\r\n<li>Some plug-ins (particularly anything that\'s modelling analogue circuitry) may sound different depending on how hard you drive it, so you need to bear that in mind when processing. In practice, all this really means is that I sometimes use gain plug-ins in my plug-in chain to determine how hard certain processors are driven if I feel it\'s necessary.</li>\r\n<li>I generally try to avoid going above 0dBFS on any individual channels if I can avoid it. This isn\'t because I\'m worried about something clipping before it reaches the main mix buss (as I already mentioned), but rather because if I find I later have to bounce out stems or individual channels for any reason, then I can do so without there being any clipping bounced into those files. In practice, this means that I usually end up with my master buss peaking at least 6dB below 0dBFS, and often even more.</li>\r\n</ul>\r\n\r\n<p>As you can see, I\'m far from systematic about it (in the way you had to be in the analogue domain,  or indeed back in the early days of fixed-point digital mixers), because I don\'t think it really makes any difference to the sound. Hope that helps! Incidentally, if you\'d like a quick refresher on the the mechanics of how to manage digital audio gain structure in general, check out this great Hugh Robjohns article from <i>Sound On Sound</i>, which is now free to view: \'<a href=\"http://www.soundonsound.com/techniques/digital-problems-practical-solutions\">Digital Problems, Practical Solutions</a>\'. </p>',1,6,6,1,1,1,1481227753,1,1481229189,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronPost-2016-12-InitialMixingLevels.htm',0,0,1,NULL),(618,'document','text/html','ms-mtk-Projects','','','ms-mtk-projects','',0,0,0,622,0,'','[[!ms-mtk-postProjects]]\r\n[[!ms-mtk-getProjectsJS]]\r\n<div id=\"openPreviews\" class=\"modalDialog\">\r\n	<div>\r\n		<a href=\"#close\" title=\"Close\" class=\"close\">X</a>\r\n		<h2>Select a Preview</h2>\r\n                <div id=\"previewsList\" class=\"scroller h400 \" onKeyPress=\"previewsKeyPress(event);\" ></div><br>\r\n		<p>Click to select a preview. Double-click to select and close.</p>\r\n	</div>\r\n</div>\r\n\r\n<div id=\"openDownloads\" class=\"modalDialog\">\r\n	<div>\r\n		<a href=\"#close\" title=\"Close\" class=\"close\">X</a>\r\n		<h2>Select a Download</h2>\r\n                <div id=\"downloadsList\" class=\"scroller h400 \" onKeyPress=\"downloadsKeyPress(event);\" ></div><br>\r\n		<p>Click to select a download. Double-click to select and close.</p>\r\n	</div>\r\n</div>\r\n\r\n<div id=\"projectList\" class=\"scroller h100\" onKeyPress=\"projectsKeyPress(event);\" ></div><br>\r\n\r\n<form action=\"[[~[[*id]]]]\" method=\"post\" name=\"delForm\" onSubmit=\"return checkForDelete();\">\r\n    <input name=\"delArtist\" id=\"delArtist\" type=text hidden>\r\n    <input name=\"delProject\" id=\"delProject\" type=text hidden>\r\n    <input name=\"delProjectType\" id=\"delProjectType\" type=text hidden>\r\n    <input type=\"submit\" value=\"Delete\" name=\"delete\" id=\"delete\" />\r\n</form>\r\n<br>\r\n\r\n<form action=\"[[~[[*id]]]]\" method=\"post\" name=\"addForm\" id=\"addForm\" onSubmit=\"return checkRequired();\" >\r\n<span class=\"lineHeight\">\r\n\r\nArtist Name <input type=\"text\" name=\"artist\" id=\"artist\" onkeyup=\"makeArtistSortAnchor();\" class=\"w400 bgWhite\" />\r\nArtist Sort Key <input type=\"text\" name=\"artistSort\" id=\"artistSort\" class=\"w400 bgWhite\" /><br>\r\n\r\nArtist Anchor <input type=\"text\" name=\"artistAnchor\" id=\"artistAnchor\" class=\"w400 bgWhite\" />\r\nAlbum Title <input type=\"text\" name=\"albumTitle\" id=\"albumTitle\" class=\"w400 bgWhite\" /><br>\r\n\r\nGeneral Style \r\n<select id=\"generalStyle\" name=\"generalStyle\" class=\"bgWhite\">\r\n[[!ms-mtk-getGeneralStyles]]\r\n</select>\r\nSpecific Style <input type=\"text\" name=\"specificStyle\" id=\"specificStyle\" class=\"bgWhite\" /><br>\r\n\r\nArtist/Gen Style/Spec Style/Album Title Comment<br>\r\n<textarea name=\"comment\" id=\"comment\" rows=\"3\" cols=\"150\" class=\"bgWhite\" ></textarea><br>\r\n\r\nProject Name <input type=\"text\" name=\"project\" id=\"project\" class=\"bgWhite\" />\r\nProject Type \r\n<select name=\"projectType\" id=\"projectType\" class=\"bgWhite\" >\r\n    <option value=\"Full\">Full</option>\r\n    <option value=\"Excerpt\">Excerpt</option>\r\n</select>\r\n<a href=\"javascript:document.getElementById(\'dateAdded\').value=getDateString();true;\">Date Added</a> \r\n<input type=\"text\" name=\"dateAdded\" id=\"dateAdded\" class=\"bgWhite\" />\r\nActive \r\n<select name=\"active\" id=\"active\" class=\"bgWhite\" >\r\n    <option value=\"1\">Yes</option>\r\n    <option value=\"0\">No</option>\r\n</select>\r\n<br>\r\n\r\n<div style=\"float:left; 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width:9%; height:250px; \">\r\n    <input type=\"button\" value=\"Open Downloads\" onClick=\"showDownloads();\" /><br>\r\n</div>\r\n<div style=\"float:right; width:91%; height:250px; \">\r\n    URL 1 <input type=\"text\" name=\"DLURL1\" id=\"DLURL1\" class=\"w800 bgWhite\" />DL Size 1 <input type=\"text\" name=\"dlSize1\" id=\"dlSize1\" class=\"w60 bgWhite\" /><br>\r\n    URL 2 <input type=\"text\" name=\"DLURL2\" id=\"DLURL2\" class=\"w800 bgWhite\" />DL Size 2 <input type=\"text\" name=\"dlSize2\" id=\"dlSize2\" class=\"w60 bgWhite\" /><br>\r\n    URL 3 <input type=\"text\" name=\"DLURL3\" id=\"DLURL3\" class=\"w800 bgWhite\" />DL Size 3 <input type=\"text\" name=\"dlSize3\" id=\"dlSize3\" class=\"w60 bgWhite\" /><br>\r\n    URL 4 <input type=\"text\" name=\"DLURL4\" id=\"DLURL4\" class=\"w800 bgWhite\" />DL Size 4 <input type=\"text\" name=\"dlSize4\" id=\"dlSize4\" class=\"w60 bgWhite\" /><br>\r\n    URL 5 <input type=\"text\" name=\"DLURL5\" id=\"DLURL5\" class=\"w800 bgWhite\" />DL Size 5 <input type=\"text\" name=\"dlSize5\" id=\"dlSize5\" class=\"w60 bgWhite\" /><br>\r\n    URL 6 <input type=\"text\" name=\"DLURL6\" id=\"DLURL6\" class=\"w800 bgWhite\" />DL Size 6 <input type=\"text\" name=\"dlSize6\" id=\"dlSize6\" class=\"w60 bgWhite\" /><br>\r\n    URL 7 <input type=\"text\" name=\"DLURL7\" id=\"DLURL7\" class=\"w800 bgWhite\" />DL Size 7 <input type=\"text\" name=\"dlSize7\" id=\"dlSize7\" class=\"w60 bgWhite\" /><br>\r\n    URL 8 <input type=\"text\" name=\"DLURL8\" id=\"DLURL8\" class=\"w800 bgWhite\" />DL Size 8 <input type=\"text\" name=\"dlSize8\" id=\"dlSize8\" class=\"w60 bgWhite\" /><br>\r\n    URL 9 <input type=\"text\" name=\"DLURL9\" id=\"DLURL9\" class=\"w800 bgWhite\" />DL Size 9 <input type=\"text\" name=\"dlSize9\" id=\"dlSize9\" class=\"w60 bgWhite\" /><br>\r\n</div>\r\n\r\n<input type=\"button\" value=\"Clear All\" onClick=\"clearAll();\" />\r\n<input type=\"button\" value=\"Clear Project\" onClick=\"clearProject();\" />\r\n<input type=\"button\" value=\"Flip Type\" onClick=\"flipType();\" />\r\n<input type=\"submit\" value=\"Update/Add\" name=\"updateAdd\" id=\"updateAdd\" />\r\n\r\n</span>\r\n</form>',1,16,2,1,1,1,1475624399,1,1485997435,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projects.htm',0,0,1,NULL),(612,'document','text/html','Drum Compression','Cambridge-MT Patrons Video Preview','','CMTPatrons-DrumCompression','',1,0,0,431,0,'<h4 class=\"h4IntroTextSubtitle\">Drum Compression At Mixdown: Six Common Tasks &amp; How To Handle Them</h4>\r\n\r\n<p>In this video series I explain how to deal with six common drum-compression tasks: level balancing; modifying attack; reshaping sustain; enhancing detail; adding \'glue\'; and colouring timbre. In each case I focus specifically on minimising unwanted processing side-effects and, in addition, I suggest alternative mixing approaches for those situations when compression can\'t provide the fix you\'re looking for.</p>\r\n\r\n<p>(Some of the effects and side-effects demonstrated in this video series are quite subtle, as they frequently are in real-world mixes, so you may only be able to hear them properly using studio-grade monitoring headphones/loudspeakers.)</p>','<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#Part1\">PART 1: LEVEL-BALANCING BASICS</a> -- <a href=\"#Part2\">PART 2: BALANCING SUBMIXES</a> -- <a href=\"#Part3\">PART 3: MODIFYING ATTACK</a><br><a href=\"#Part4\">PART 4: RESHAPING SUSTAIN</a> -- <a href=\"#Part5\">PART 5: ENHANCING DETAIL</a> -- <a href=\"#Part6\">PART 6: ADDING \'GLUE\'</a> -- <a href=\"#Part7\">PART 7: COLOURING TIMBRE</a><br><a href=\"#resources\">RELATED RESOURCES</a></h5>\r\n\r\n<h3 class=\"h3VideoTitle\"><a name=\"Part1\">PART 1: LEVEL-BALANCING BASICS</a></h3>\r\n<p>\r\n<div data-wimpyplayer data-coverArt=\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp1Header.jpg\" data-skin=\"/wimpy7/PatronsVideo640x360_001.tsv\" data-media=\'[{\"file\":\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp1.mp4\",\"kind\":\"mp4\",\"title\":\"Cambridge Music Technology: Cambridge-MT Patrons Video Preview: Drum Compression At Mixdown: Six Common Tasks &amp; How To Handle Them -- Part 1: Level Balancing Basics\"}]\' data-width=640 data-height=413></div><br><br>\r\n</p>\r\n<h3 class=\"h3ResourceCategory\">TABLE OF CONTENTS</h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>01:49 -- <strong>Level-balancing A Simple Drum Loop</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">02:03 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> unprocessed kick-drum loop</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:23 -- preliminary ratio and attack time settings</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:33 -- adjusting the threshold</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:42 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> threshold adjustment</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:04 -- adjusting the ratio</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:13 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> ratio adjustment</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:27 -- adjusting the attack time</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:53 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> attack-time side-effect: transient distortion</span>\r\n    <li><span class=\"spanPodcastMiniText\">04:12 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> attack-time adjustment</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:29 -- adjusting the release time</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:52 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> release-time adjustment</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:52 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparison of processed and unprocessed signals</span><br><br></li>\r\n  </ul>\r\n\r\n  <li>05:29 -- <strong>Gain-reset Side-effects</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">05:38 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> unprocessed kick-drum loop</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:45 -- side-effects of gain-reset action</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:06 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> release-time side-effect: decay-tail reshaping</span>\r\n    <li><span class=\"spanPodcastMiniText\">07:00 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> release-time side-effect: distortion</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">07:50 -- an alternative approach: slice-based processing</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">07:00 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> release-time side-effect: distortion</span><br><br></li>\r\n  </ul>\r\n  <li>08:44 -- <strong>Dealing With Inconsistent Tone</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">08:57 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> unprocessed snare-drum close-mic recording</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">09:05 -- limitations of compression in dealing with tonal variation</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">09:11 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> heavy compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">09:05 -- an alternative approach: audio copy/paste editing</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">09:29 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparison of edited and unedited signals</span><br><br></li>\r\n  </ul>\r\n  <li>09:52 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 10:50)</span><br><br></li>\r\n</ul>\r\n\r\n<h3 class=\"h3VideoTitle\"><a name=\"Part2\">PART 2: BALANCING SUBMIXES</a></h3>\r\n<p>\r\n<div data-wimpyplayer data-coverArt=\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp2Header.jpg\" data-skin=\"/wimpy7/PatronsVideo640x360_001.tsv\" data-media=\'[{\"file\":\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp2.mp4\",\"kind\":\"mp4\",\"title\":\"Cambridge Music Technology: Cambridge-MT Patrons Video Preview: Drum Compression At Mixdown: Six Common Tasks &amp; How To Handle Them -- Part 2: Balancing Submixes\"}]\' data-width=640 data-height=413></div><br><br>\r\n</p>\r\n<h3 class=\"h3ResourceCategory\">TABLE OF CONTENTS</h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>00:24 -- <strong>Using Side-chain EQ</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">00:59 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> unprocessed mixed drum loop</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">01:04 -- compressing the kick-drum independently</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">01:35 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> threshold adjustment</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:04 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> ratio adjustment</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:15 -- using side-chain EQ</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:45 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> side-chain low-pass filter and ratio adjustments</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:32 -- compressing the shaker independently</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:43 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> side-chain high-pass filter and ratio adjustments</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:16 -- compressing the snare drum independently</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:38 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> independent snare gain reduction using compressor\'s high-pass and low-pass filters</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:49 -- EQ\'ing the compressor\'s side-chain via a dedicated side-chain input</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:09 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> independent snare gain reduction with a separate EQ plug-in feeding compressor\'s side-chain input</span><br><br></li>\r\n  </ul>\r\n  <li>05:31 -- <strong>Beyond Side-chain EQ</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">05:31 -- limitations of side-chain EQ because of frequency overlaps</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:39 -- an alternative approach: a programmed side-chain trigger signal</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:01 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> independent snare gain reduction with a programmed trigger signal feeding compressor\'s side-chain input</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:12 -- limitations of side-chain EQ with simultaneous mixed hits</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:34 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> shaker compression using full-band compressor with side-chain EQ</span>\r\n    <li><span class=\"spanPodcastMiniText\">06:52 -- an alternative approach: multi-band compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">07:10 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> shaker compression comparison: full-band compressor with side-chain EQ versus multi-band compressor</span><br><br></li>\r\n  </ul>\r\n  <li>07:32 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 08:08)</span><br><br></li>\r\n</ul>\r\n\r\n<h3 class=\"h3VideoTitle\"><a name=\"Part3\">PART 3: MODIFYING ATTACK</a></h3>\r\n<p>\r\n<div data-wimpyplayer data-coverArt=\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp3Header.jpg\" data-skin=\"/wimpy7/PatronsVideo640x360_001.tsv\" data-media=\'[{\"file\":\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp3.mp4\",\"kind\":\"mp4\",\"title\":\"Cambridge Music Technology: Cambridge-MT Patrons Video Preview: Drum Compression At Mixdown: Six Common Tasks &amp; How To Handle Them -- Part 3: Modifying Attack\"}]\' data-width=640 data-height=413></div><br><br>\r\n</p>\r\n<h3 class=\"h3ResourceCategory\">TABLE OF CONTENTS</h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>00:32 -- <strong>Transient Reduction</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">00:40 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> snare loop with basic level-balancing compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">00:46 -- adapting level-balancing compression for attack-reduction</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">01:09 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> setting release time for transient reduction</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">01:48 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> fine-tuning attack time</span><br><br></li>\r\n  </ul>\r\n  <li>02:06 -- <strong>Transient Enhancement</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">02:11 -- adapting level-balancing compression for attack-enhancement</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:30 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> setting attack time and threshold level for transient enhancement</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:02 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> bypass level mismatch</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:22 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> setting make-up gain for evaluating transient enhancement</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:58 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> fine-tuning attack time and threshold level: three different settings compared</span><br><br></li>\r\n  </ul>\r\n\r\n  <li>04:21 -- <strong>Alternatives For Transient Manipulation</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">04:26 -- limitations of compression for transient reduction</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:44 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> compression setting for extreme transient reduction</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:13 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> compression setting for extreme transient reduction, with make-up gain for loudness matching</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:25 -- an alternative approach: slow-attack gating</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:38 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> transient reduction with a slow-attack gate</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:51 -- limitations of compression for transient enhancement</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:19 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> compression setting for extreme transient enhancement</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:41 -- an alternative approach: threshold-independent transient processing</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:58 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> transient enhancement with a threshold-independent transient processor</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">07:26 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> transient enhancement with a multiband threshold-independent transient processor: three different settings compared</span><br><br></li>\r\n  </ul>\r\n\r\n  <li>08:03 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 08:25)</span><br><br></li>\r\n</ul>\r\n\r\n<h3 class=\"h3VideoTitle\"><a name=\"Part4\">PART 4: RESHAPING SUSTAIN</a></h3>\r\n<p>\r\n<div data-wimpyplayer data-coverArt=\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp4Header.jpg\" data-skin=\"/wimpy7/PatronsVideo640x360_001.tsv\" data-media=\'[{\"file\":\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp4.mp4\",\"kind\":\"mp4\",\"title\":\"Cambridge Music Technology: Cambridge-MT Patrons Video Preview: Drum Compression At Mixdown: Six Common Tasks &amp; How To Handle Them -- Part 4: Reshaping Sustain\"}]\' data-width=640 data-height=413></div><br><br>\r\n</p>\r\n<h3 class=\"h3ResourceCategory\">TABLE OF CONTENTS</h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>00:34 -- <strong>Sustain Enhancement</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">00:46 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> snare loop with basic transient-reduction compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">00:55  -- adapting transient-reduction compression for sustain enhancement</span></li>\r\n  </ul>\r\n  <li>01:23 -- <strong>Reshaping Sustain</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">01:32 -- adjusting release time to reshape sustain</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">01:42 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> setting release time for a gain-reset \'bump\' in the drum\'s decay tail</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:13 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> setting release time to lengthen the drum\'s decay tail</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:42 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> long release-time settings undermining sustain-reshaping action<br><br></li>\r\n  </ul>\r\n  <li>02:58 -- <strong>Alternatives For Sustain Enhancement</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">03:04 -- limitations of traditional compression for sustain enhancement</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:15 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> live drums submix section 1 (unprocessed)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:36 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> heavy sustain-enhancement using traditional compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:08 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> live drums submix section 2 (unprocessed)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:18 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> heavy sustain-enhancement using traditional compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:28 -- an alternative approach: parallel compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:54 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> heavy sustain-enhancement using traditional compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:05 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> heavy sustain-enhancement using parallel compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:15 -- parallel compression for frequency-selective sustain enhancement</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:37 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> heavy sustain-enhancement using equalised parallel compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:48 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> heavy sustain-enhancement using parallel compression without EQ</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:58 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> heavy sustain-enhancement using equalised parallel compression</span><br><br></li>\r\n  </ul>\r\n\r\n  <li>06:08 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 06:37)</span></li>\r\n</ul>\r\n\r\n<h3 class=\"h3VideoTitle\"><a name=\"Part5\">PART 5: ENHANCING DETAIL</a></h3>\r\n<p>\r\n<div data-wimpyplayer data-coverArt=\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp5Header.jpg\" data-skin=\"/wimpy7/PatronsVideo640x360_001.tsv\" data-media=\'[{\"file\":\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp5.mp4\",\"kind\":\"mp4\",\"title\":\"Cambridge Music Technology: Cambridge-MT Patrons Video Preview: Drum Compression At Mixdown: Six Common Tasks &amp; How To Handle Them -- Part 5: Enhancing Detail\"}]\' data-width=640 data-height=413></div><br><br>\r\n</p>\r\n<h3 class=\"h3ResourceCategory\">TABLE OF CONTENTS</h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>00:26 -- <strong>From Transient Reduction To Detail Enhancement</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">00:38 -- adjusting ratio and threshold settings</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">00:56 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> drum submix: adjusting threshold for detail enhancement</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">01:07 -- adjusting make-up gain</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">01:18 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> basic detail-enhancement compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">01:57 -- ratio and make-up gain changes for a more dramatic effect</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:34 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> stronger detail-enhancement compression</span><br><br></li>\r\n  </ul>\r\n  <li>03:03 -- <strong>Minimising Side-effects For Stronger Effects</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">03:13 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> extreme detail-enhancement compression with gain-pumping side-effects</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:44 -- an alternative approach: multiband compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:05 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> extreme detail-enhancement using multiband compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:40 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> extreme detail-enhancement: comparing full-band and multiband compression</li>\r\n    <li><span class=\"spanPodcastMiniText\">05:18 -- multiband compression side-effects</span><br><br></li>\r\n  </ul>\r\n  <li>05:50 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 06:10)</span></li>\r\n</ul>\r\n\r\n<h3 class=\"h3VideoTitle\"><a name=\"Part6\">PART 6: ADDING \'GLUE\'</a></h3>\r\n<p>\r\n<div data-wimpyplayer data-coverArt=\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp6Header.jpg\" data-skin=\"/wimpy7/PatronsVideo640x360_001.tsv\" data-media=\'[{\"file\":\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp6.mp4\",\"kind\":\"mp4\",\"title\":\"Cambridge Music Technology: Cambridge-MT Patrons Video Preview: Drum Compression At Mixdown: Six Common Tasks &amp; How To Handle Them -- Part 6: Adding &#39;Glue&#39;\"}]\' data-width=640 data-height=413></div><br><br>\r\n</p>\r\n<h3 class=\"h3ResourceCategory\">TABLE OF CONTENTS</h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>00:40 -- <strong>From Balancing To \'Glue\' Compression</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">00:49 -- adjusting ratio and threshold settings</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">00:58 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> drum submix: adjusting threshold</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">01:11 -- adjusting release time</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">01:30 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> adjusting release time</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:05 -- side-chain EQ for more even-handed processing</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:31 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> \'glue\' compression with side-chain EQ</span><br><br></li>\r\n  </ul>\r\n  <li>03:09 -- <strong>An Alternative Approach: Slow-attack \'Glue\' Compression</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">03:15 -- side-effects of fast-attack \'glue\' compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:54 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> kick-drum low-frequency loss from fast-attack \'glue\' compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:14 -- an alternative approach: slow-attack \'glue\' compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:35 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparing fast-attack and slow-attack \'glue\' compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:14 -- side-effects of slow-attack \'glue\' compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:37 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> transient enhancement from slow-attack \'glue\' compression</span><br><br></li>\r\n  </ul>\r\n  <li>06:09 -- <strong>From \'Glue\' To \'Pumping\'</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">06:09 -- adjusting ratio and threshold settings</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:36 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparing fast-attack and slow-attack \'pumping\' compression</span><br><br></li>\r\n  </ul>\r\n  <li>07:16 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 07:54)</span></li>\r\n</ul>\r\n\r\n<h3 class=\"h3VideoTitle\"><a name=\"Part7\">PART 7: COLOURING TIMBRE</a></h3>\r\n<p>\r\n<div data-wimpyplayer data-coverArt=\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp7Header.jpg\" data-skin=\"/wimpy7/PatronsVideo640x360_001.tsv\" data-media=\'[{\"file\":\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp7.mp4\",\"kind\":\"mp4\",\"title\":\"Cambridge Music Technology: Cambridge-MT Patrons Video Preview: Drum Compression At Mixdown: Six Common Tasks &amp; How To Handle Them -- Part 7: Colouring Timbre\"}]\' data-width=640 data-height=413></div><br><br>\r\n</p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"contentsPart7\">TABLE OF CONTENTS</a></h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>00:35 -- <strong>Different Compressors For Different Tasks</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">01:26 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> snare-drum loop without processing</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">01:31 -- compressing for increased sustain</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">01:46 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> compressing with Stillwell Audio\'s <i>Major Tom</i> plug-in (inspired by the classic Dbx 160 hardware compressor)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:20 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> increasing compression ratio</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:00 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> compressing with Stillwell Audio\'s <i>The Rocket</i> plug-in (inspired by the classic Urei 1176 hardware compressor)</span><br><br></li>\r\n  </ul>\r\n  <li>03:19 -- <strong>Implementing Side-chain EQ For Compressors Without It</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">03:39 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> drum submix without processing</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:02 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> compressing with IK Multimedia\'s <i>T-RackS Vintage Compressor</i> plug-in (inspired by the classic Fairchild 670 hardware compressor)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:21 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> compressing with IK Multimedia\'s <i>T-RackS Vintage Compressor</i> plug-in using side-chain EQ workaround</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:58 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> checking sonic transparency of side-chain EQ workaround</span><br><br></li>\r\n  </ul>\r\n  <li>06:16 -- <strong>Beyond Gain-reduction</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">06:41 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> fast, heavy compression using IK Multimedia\'s <i>T-RackS Classic Tube Compressor</i> plug-in</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:50 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> fast, heavy compression using Stillwell Audio\'s <i>The Rocket</i> plug-in</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:59 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> fast, heavy compression using Voxengo\'s <i>Crunchessor</i> plug-in</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">07:21 -- the advantage of parallel compression for colouristic processing</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">07:53 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparison of fast, heavy compression in \'insert\' and \'parallel\' configurations</span><br><br></li>\r\n  </ul>\r\n  <li>08:14 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 08:33)</span></li>\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\r\n\r\n<ul>\r\n<li><strong>Experiment With The Compression Settings For Yourself:</strong> Here are the ZIP archives containing Cockos [[$software_Cockos_Reaper]] demonstration projects for each of the videos in this series: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp1_DemonstrationProject.zip`]]\">Part 1</a>; <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp2_DemonstrationProject.zip`]]\">Part 2</a>; <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp3_DemonstrationProject.zip`]]\">Part 3</a>; <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp4_DemonstrationProject.zip`]]\">Part 4</a>; <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp5_DemonstrationProject.zip`]]\">Part 5</a>; <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp6_DemonstrationProject.zip`]]\">Part 6</a>; <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp7_DemonstrationProject.zip`]]\">Part 7</a>. To open these projects, just download <i>Reaper</i>\'s <a href=\"http://www.reaper.fm/download.php\">fully-functional, cross-platform demo version</a> and install it on your computer system.<br><br></li>\r\n\r\n<li><strong>Demonstration Mixdown Plug-ins:</strong> The compressor I\'m primarily using in this video is the freeware Cockos [[$software_Cockos_ReaComp]] plug-in, but here are links to other processors featured in this video series: Cockos [[$software_Cockos_ReaXcomp]] and [[$software_Cockos_ReaGate]]; Cytomic [[$software_Cytomic_TheGlue]]; FabFilter [[$software_FabFilter_ProC2]]; Flux [[$software_Flux_BitterSweet]]; Focusrite [[$software_Focusrite_MidnightCompressor]]; IK Multimedia [[$software_IKMultimedia_TRackSClassicCompressor]] and [[$software_IKMultimedia_TRackSVintageCompressor]]; Melda [[$software_Melda_MDrumLeveler]] and [[$software_Melda_MTransient]]; Sknote [[$software_Sknote_Disto]]; Sleepy Time DSP [[$software_SleepyTimeDSP_Transient]]; Softube [[$software_Softube_TubeTechCL1B]]; SoniqWare [[$software_SoniqWare_picoEdge]] and [[$software_SoniqWare_MT1]]; Sound Radix [[$software_SoundRadix_DrumLeveler]]; Stillwell Audio [[$software_StillwellAudio_Bombardier]], [[$software_StillwellAudio_TheRocket]], [[$software_StillwellAudio_MajorTom]] and [[$software_StillwellAudio_TransientMonster]]; Voxengo [[$software_Voxengo_Crunchessor]] and [[$software_Voxengo_TransGainer]]; Waves [[$software_Waves_TransX]].<br><br></li>\r\n\r\n<li><strong>More Information About Classic Analogue Compressors:</strong> For more detailed information about the characteristics and usage of many classic analogue compressors, check out this article of mine in <i>Sound On Sound</i> magazine: \'<a href=\"http://www.soundonsound.com/sos/sep09/articles/classiccompressors.htm\">Classic Compressors: Choosing The Right Compressor For The Job</a>\'.<br><br></li>\r\n\r\n<li><strong>Attack &amp; Release-time Values In The Demonstrations:</strong> For the sake of clearer demonstration, I have made the ReaComp compressor as peak-sensitive as possible in these videos by setting its RMS Window to zero. What this means, though, is that you need to take the exact attack-time and release-time settings you see in the video with a large pinch of salt, because they probably won\'t translate very well onto most other compressor plug-ins. This doesn\'t invalidate any of the advice in the video, however, because (as I repeatedly explain in the videos) setting up compression in practice isn\'t a question of dialling in exact millisecond values -- the point is to set the attack and release parameters to achieve a specific gain-reduction characteristic, and the only way to judge that is by using your ears and by keeping an eye on your compressor\'s gain-reduction meter.<br><br></li>\r\n\r\n<li><strong>Compressor Output Clipping In The Demonstrations:</strong> In some of the demonstrations, you may see ReaComp\'s output metering or some of the Reaper track meters apparently overloading. Just to clarify: because of the way I\'ve set up my DAW\'s internal gain structure, none of the audio demonstrations have actually been clipped at all.<br><br></li>\r\n\r\n<li><strong>More About General-purpose Compression Techniques:</strong> For a more in-depth and wide-ranging explanation of compression, check out my Focal Press book <a href=\"[[~29]]\"><i>Mixing Secrets For The Small Studio</i></a>.<br><br></li>\r\n</ul>\r\n\r\n[[$MSFTSSPicAndBlurb]]',1,6,4,1,1,1,1481534968,1,1490792997,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'CMTPatrons-DrumCompression.htm',0,0,1,NULL),(614,'document','text/html','Drum Compression (Non-patron)','Additional Resources Page','','drumcompressionep1ep2','',1,0,0,431,0,'<h4 class=\"h4IntroTextSubtitle\">Drum Compression At Mixdown: Six Common Tasks &amp; How To Handle Them</h4>\r\n\r\n<p>In this video series I explain how to deal with six common drum-compression tasks: level balancing; modifying attack; reshaping sustain; enhancing detail; adding \'glue\'; and colouring timbre. In each case I focus specifically on minimising unwanted processing side-effects and, in addition, I suggest alternative mixing approaches for those situations when compression can\'t provide the fix you\'re looking for.</p>\r\n\r\n<p>(Some of the effects and side-effects demonstrated in this video series are quite subtle, as they frequently are in real-world mixes, so you may only be able to hear them properly using studio-grade monitoring headphones/loudspeakers.)</p>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#Part1\">PART 1: LEVEL-BALANCING BASICS</a> -- <a href=\"#Part2\">PART 2: BALANCING SUBMIXES</a> -- <a href=\"#Part3\">PART 3: MODIFYING ATTACK</a><br><a href=\"#resources\">RELATED RESOURCES</a></h5>','\r\n\r\n<h3 class=\"h3VideoTitle\"><a name=\"Part1\">PART 1: LEVEL-BALANCING BASICS</a></h3>\r\n<h3 class=\"h3ResourceCategory\">TABLE OF CONTENTS</h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>01:49 -- <strong>Level-balancing A Simple Drum Loop</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">02:03 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> unprocessed kick-drum loop</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:23 -- preliminary ratio and attack time settings</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:33 -- adjusting the threshold</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:42 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> threshold adjustment</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:04 -- adjusting the ratio</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:13 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> ratio adjustment</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:27 -- adjusting the attack time</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:53 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> attack-time side-effect: transient distortion</span>\r\n    <li><span class=\"spanPodcastMiniText\">04:12 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> attack-time adjustment</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:29 -- adjusting the release time</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:52 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> release-time adjustment</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:52 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparison of processed and unprocessed signals</span><br><br></li>\r\n  </ul>\r\n\r\n  <li>05:29 -- <strong>Gain-reset Side-effects</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">05:38 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> unprocessed kick-drum loop</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:45 -- side-effects of gain-reset action</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:06 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> release-time side-effect: decay-tail reshaping</span>\r\n    <li><span class=\"spanPodcastMiniText\">07:00 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> release-time side-effect: distortion</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">07:50 -- an alternative approach: slice-based processing</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">07:00 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> release-time side-effect: distortion</span><br><br></li>\r\n  </ul>\r\n  <li>08:44 -- <strong>Dealing With Inconsistent Tone</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">08:57 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> unprocessed snare-drum close-mic recording</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">09:05 -- limitations of compression in dealing with tonal variation</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">09:11 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> heavy compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">09:05 -- an alternative approach: audio copy/paste editing</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">09:29 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparison of edited and unedited signals</span><br><br></li>\r\n  </ul>\r\n  <li>09:52 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 10:50)</span><br><br></li>\r\n</ul>\r\n\r\n<h3 class=\"h3VideoTitle\"><a name=\"Part2\">PART 2: BALANCING SUBMIXES</a></h3>\r\n<h3 class=\"h3ResourceCategory\">TABLE OF CONTENTS</h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>00:24 -- <strong>Using Side-chain EQ</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">00:59 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> unprocessed mixed drum loop</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">01:04 -- compressing the kick-drum independently</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">01:35 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> threshold adjustment</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:04 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> ratio adjustment</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:15 -- using side-chain EQ</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:45 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> side-chain low-pass filter and ratio adjustments</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:32 -- compressing the shaker independently</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:43 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> side-chain high-pass filter and ratio adjustments</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:16 -- compressing the snare drum independently</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:38 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> independent snare gain reduction using compressor\'s high-pass and low-pass filters</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:49 -- EQ\'ing the compressor\'s side-chain via a dedicated side-chain input</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:09 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> independent snare gain reduction with a separate EQ plug-in feeding compressor\'s side-chain input</span><br><br></li>\r\n  </ul>\r\n  <li>05:31 -- <strong>Beyond Side-chain EQ</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">05:31 -- limitations of side-chain EQ because of frequency overlaps</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:39 -- an alternative approach: a programmed side-chain trigger signal</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:01 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> independent snare gain reduction with a programmed trigger signal feeding compressor\'s side-chain input</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:12 -- limitations of side-chain EQ with simultaneous mixed hits</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:34 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> shaker compression using full-band compressor with side-chain EQ</span>\r\n    <li><span class=\"spanPodcastMiniText\">06:52 -- an alternative approach: multi-band compression</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">07:10 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> shaker compression comparison: full-band compressor with side-chain EQ versus multi-band compressor</span><br><br></li>\r\n  </ul>\r\n  <li>07:32 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 08:08)</span><br><br></li>\r\n</ul>\r\n\r\n<h3 class=\"h3VideoTitle\"><a name=\"Part3\">PART 3: MODIFYING ATTACK</a></h3>\r\n\r\n<p>To see the remaining parts of this video series, and also benefit from my other small-studio tutorial videos and regular monthly mixing podcast, please <a href=\"[[~425]]\">support the Cambridge-MT resources via Patreon</a>.\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\r\n\r\n<ul>\r\n<li><strong>Experiment With The Compression Settings For Yourself:</strong> Here are the ZIP archives containing Cockos [[$software_Cockos_Reaper]] demonstration projects for each of the videos in this series: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp1_DemonstrationProject.zip`]]\">Part 1</a>; <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteVideo/CMTPatrons_DrumCompressionEp2_DemonstrationProject.zip`]]\">Part 2</a>. To open these projects, just download <i>Reaper</i>\'s <a href=\"http://www.reaper.fm/download.php\">fully-functional, cross-platform demo version</a> and install it on your computer system.<br><br></li>\r\n\r\n<li><strong>More About General-purpose Compression Techniques:</strong> For a more in-depth and wide-ranging explanation of compression, check out my Focal Press book <a href=\"[[~29]]\"><i>Mixing Secrets For The Small Studio</i></a>.<br><br></li>\r\n</ul>\r\n\r\n[[$MSFTSSPicAndBlurb]]',1,6,5,1,1,1,1481539652,1,1482675164,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'drumcompressionep1ep2.htm',0,0,1,NULL),(615,'document','text/html','MSFTSS_Diesel13Competition','Cambridge-MT Patrons \'Colour Me Red\' Mix Contest','','Diesel13Competition','',1,0,0,23,0,'<h4 class=\"h4IntroTextSubtitle\">1 Multitrack -- 57 Mixes!</h4>\r\n\r\n<p>In November 2016, I presided over a <a href=\"[[~588]]\">Cambridge-MT Patrons Mixing Contest</a>, based on the raw tracks of a song called \'Colour Me Red\', which had been written and performed by the talented alt-Americana artist <a href=\"https://www.reverbnation.com/diesel13\">Diesel13</a>. 57 different mixes were submitted for the competition and I wrote detailed critiques of 28 of those, which I\'ve drawn together into an archive here (along with their related audio files) so that they\'re easier to navigate and compare. The critiques provide lots of material for general mix-related ear-training, but the multitrack files are also still available in my <a href=\"[[~373]]#Diesel13\">\'Mixing Secrets\' Free Multitrack Download Library</a> if you fancy trying your hand at a mix to see how your own skills stack up!</p>','<a href=\"https://www.reverbnation.com/diesel13\"><img alt=\"Diesel13\" src=\"[[$sitePrefixCMT]]/SitePix/Ads/Diesel13AdJPEG.jpg\" class=\"imgBannerAd\"></a>\r\n\r\n<p>Many thanks to Diesel13 for allowing us to use his song as the basis of this competition. Please support him and his music by clicking <a href=\"https://www.reverbnation.com/diesel13\">here</a>. Thanks also to Joe Lonsdale of <a href=\"http://www.joepublicstudios.com\">Joe Public Studios</a> for making such great multitrack material available to mixing students -- for more information about how this particular song was produced, check out Joe\'s e-book \'<a href=\"https://www.etsy.com/uk/shop/JoePublicStudios?ref=hdr_shop_menu#\">Building The Band In The Bedroom</a>\'.</p>\r\n\r\n<p>If you have any questions about any of the critiques, do please <a href=\"[[~420]]\">let me know</a> so that I can clarify. Also, if you like the mix critiques on this page, then do check out my <i>Sound On Sound</i> magazine <a href=\"[[~376]]#MixReview\">The Mix Review</a> column, where I analyse commercial chart productions in a similar way. If you need this kind of critique for your own work, then please head over to the <a href=\"[[~418]]\">Advice & Training</a> page.</p>\r\n\r\n\r\n<a href=\"http://www.joepublicstudios.com/\"><img alt=\"Joe Public Studios\" src=\"[[$sitePrefixCMT]]/SitePix/Ads/JoePublicAdJPEG.jpg\" class=\"imgBannerAd\"></a>\r\n<a href=\"https://www.etsy.com/uk/shop/JoePublicStudios?ref=hdr_shop_menu#\"><img alt=\"Check out \'Building The Band In The Bedroom\', the new e-book from Joe Lonsdale\" src=\"[[$sitePrefixCMT]]/SitePix/Ads/BBBAdJPEG.jpg\" class=\"imgBannerAd\"></a>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#Brief\">THE BRIEF</a> -- <a href=\"#Mixes\">MIXES & CRITIQUES</a> -- <a href=\"#Shortlist\">THE SHORTLIST</a> -- <a href=\"#Winners\">THE WINNERS</a> -- <a href=\"#PatronsPodcast\">THE PATRONS PODCAST</a> -- <a href=\"#DownloadProject\">DOWNLOAD THE WINNER\'S DAW PROJECT!</a></h5>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"Brief\">The Brief</a></h3>\r\n\r\n<p>Contestants had access to a ZIP archive of Diesel\'s raw multitrack recordings, as well as Joe Lonsdale\'s original mix, made in collaboration with Diesel. (These are still available for download <a href=\"[[~373]]#Diesel13\">here</a>.) I agreed to critique all mixes submitted within the first two weeks of the competition, after which contestants were allowed to continue updating their mixes until the final submission deadline a couple of weeks later.</p>\r\n\r\n<p>Otherwise, the brief was wide open, and as such no commercial reference tracks were provided. Diesel said that he welcomed any slant people chose to take on his music -- even if they wanted to get radically creative with the multitrack elements or completely change the style. That said, Diesel was also interested in hearing mixes with a modern sensibility, things that might compete in one way or another with current artists in today\'s music market. The loudness of the mix was not a contributing factor in the competition adjudication, but the way in which the mix responded to loudness processing was taken into consideration, depending on the market expectations for the target style in each specific case.</p>\r\n\r\n<p><span class=\"spanYGOriginalContext\">(Read the brief in its original context <a href=\"[[~588]]\">here</a>.)</span></p>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"Mixes\">Mixes & Critiques</a></h3>\r\n\r\n<p>In total I critiqued 28 mixes. All of these were subsequently updated for final submission, and joined by one more late entrant. I\'ve listed all the mixes below, along with their related sound files, critiques, and forum responses.</p>\r\n\r\n<p>For the purposes of the critiques I refer to the song structure as follows:</p>\r\n\r\n<ul>\r\n<li>0:00 -- <strong>Intro 1</strong></li>\r\n<li>0:07 -- <strong>Intro 2</strong></li>\r\n<li>0:25 -- <strong>Verse 1</strong></li>\r\n<li>0:44 -- <strong>Verse 2</strong></li>\r\n<li>1:02 -- <strong>Mid-section 1</strong></li>\r\n<li>1:36 -- <strong>Verse 3</strong></li>\r\n<li>1:54 -- <strong>Verse 4</strong></li>\r\n<li>2:12 -- <strong>Mid-section 1</strong></li>\r\n<li>2:46 -- <strong>Outro 1</strong></li>\r\n<li>2:58 -- <strong>Outro 2</strong></li>\r\n</ul>\r\n\r\n<p>With hindsight, what I called \'Mid-sections\' should probably have been called \'Choruses\', as that\'s fundamentally their function -- and that\'s the way many other forum posts refer to them. Hopefully that\'s not too confusing!</p>\r\n\r\n<p>Also, just to clarify: in order to avoid loudness bias while carrying out my mix comparisons, I used Klangfreund\'s excellent [[$software_Klangfreund_LUFSMeter]] plug-in to match all the mixes to the same -23dBLUFS reference level. The mix files on this archive page, however, are provided completely unprocessed, so please <strong>be careful with your listening levels</strong>, as there are occasionally big loudness differences between the tracks.</p>\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"QuickLinks\">Quick Links:</a></strong><br><br></dt>\r\n\r\n<dd><strong>Mixes by number:</strong> \r\n<a href=\"#Mix01\">01</a>, \r\n<a href=\"#Mix02\">02</a>, \r\n<a href=\"#Mix03\">03</a>, \r\n<a href=\"#Mix04\">04</a>, \r\n<a href=\"#Mix05\">05</a>, \r\n<a href=\"#Mix06\">06</a>, \r\n<a href=\"#Mix07\">07</a>, \r\n<a href=\"#Mix08\">08</a>, \r\n<a href=\"#Mix09\">09</a>, \r\n<a href=\"#Mix10\">10</a>, \r\n<a href=\"#Mix11\">11</a>, \r\n<a href=\"#Mix12\">12</a>, \r\n<a href=\"#Mix13\">13</a>, \r\n<a href=\"#Mix14\">14</a>, \r\n<a href=\"#Mix15\">15</a>, \r\n<a href=\"#Mix16\">16</a>, \r\n<a href=\"#Mix17\">17</a>, \r\n<a href=\"#Mix18\">18</a>, \r\n<a href=\"#Mix19\">19</a>, \r\n<a href=\"#Mix20\">20</a>, \r\n<a href=\"#Mix21\">21</a>, \r\n<a href=\"#Mix22\">22</a>, \r\n<a href=\"#Mix23\">23</a>, \r\n<a href=\"#Mix24\">24</a>, \r\n<a href=\"#Mix25\">25</a>, \r\n<a href=\"#Mix26\">26</a>, \r\n<a href=\"#Mix27\">27</a>, \r\n<a href=\"#Mix28\">28</a>, \r\n<a href=\"#Mix29\">29</a>\r\n<br><br></dd>\r\n\r\n<dd><strong>Mixes by contestant (alphabetical):</strong> \r\n<a href=\"#Mix25\">Activesense</a>, \r\n<a href=\"#Mix01\">APZX</a>, \r\n<a href=\"#Mix21\">ArmedNDaverous</a>, \r\n<a href=\"#Mix28\">coldvodka</a>, \r\n<a href=\"#Mix08\">Dangerous</a>, \r\n<a href=\"#Mix05\">Digitaldruglord</a>, \r\n<a href=\"#Mix29\">Faders_up</a>, \r\n<a href=\"#Mix04\">HbGuitar</a>, \r\n<a href=\"#Mix20\">Herb Felho</a>, \r\n<a href=\"#Mix17\">idearden</a>, \r\n<a href=\"#Mix24\">IRONWORK</a>, \r\n<a href=\"#Mix06\">javierpg84</a>, \r\n<a href=\"#Mix11\">jeffd52</a>, \r\n<a href=\"#Mix14\">JMac52</a>, \r\n<a href=\"#Mix12\">johnfueston</a>, \r\n<a href=\"#Mix18\">jp65535</a>, \r\n<a href=\"#Mix13\">jtbStudio</a>, \r\n<a href=\"#Mix07\">juanjose1967</a>, \r\n<a href=\"#Mix15\">Kesman2401</a>, \r\n<a href=\"#Mix26\">loweche6</a>, \r\n<a href=\"#Mix19\">Mandubien</a>, \r\n<a href=\"#Mix23\">Marty</a>, \r\n<a href=\"#Mix09\">Mixinthecloud</a>, \r\n<a href=\"#Mix27\">moussasfeir</a>, \r\n<a href=\"#Mix16\">nate</a>, \r\n<a href=\"#Mix03\">Olli H</a>, \r\n<a href=\"#Mix10\">RVMusic</a>, \r\n<a href=\"#Mix02\">thedon</a>, \r\n<a href=\"#Mix22\">yuen_roddy</a>\r\n<br><br></dd>\r\n\r\n<dl>\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix01\">Mix 01</a>: APZX</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix01a_APZX.mp3\">5MB 192kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix01a_APZX`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Overall I like this mix a lot -- it\'s got plenty of punch and excitement and a very decent general balance between the main elements: vocals, kick, snare, bass, guitars, cymbals. Plus I like the way you\'ve slotted in some of the \'feature\' moments: the high AcousticGtr03 parts at the end of Verse 1, at the beginning of Verse 2, and in Mid-section 2; ElecGtr02\'s falling broken chords in the Mid-sections; the banjo in Verse 3; that eerie ElecGtr04 part in Outro 1; and the backing vocals in Outro 2. All well judged to be audible and make their statement, but never in a distracting or overwrought way. Those backing vocals are particularly interesting, because you\'ve tackled the potential for muddiness well, and also left them a little bit indistinct in terms of intelligibility. Although instinctively I bridled at that indistinctness from the perspective of wanting to hear the lyrics more clearly, the overall impression grew on me, and added to the rootsy feel somehow, so I\'m not sure I\'d change it.<br><br>\r\n\r\nIn terms of areas that could perhaps be improved, I\'d say it\'s the low end I\'d look at first of all. One of the challenges of this multitrack as I see it is that the bass guitar itself has a lot more first harmonic than it has fundamental, and the amp it\'s put through actually seems to accentuate that even more. This means that if you fade up the bass so that it sounds reasonably well balanced with the guitars overall (and where it doesn\'t bloat out the lower midrange) you end up with very little real weight. As a result, it seems to me you\'ve relied a little too hard on the kick-drum\'s low end to even out the overall mix\'s tonality. Clearly, these kinds of things are a judgement call, but I think the music works better with a slightly more even-handed LF contribution from those two instruments. Here\'s a version of your mix <span class=\"spanExampleFile\">(<a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix01a_APZX_MoreBassGuitar.mp3\">5MB 192kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix01a_APZX_MoreBassGuitar`]])</span> where I\'ve added more of the kind of low end I\'m thinking of (using the raw multitrack\'s DI part), so you can hear what I mean -- it\'s like it puts the harmony and the groove more on equal terms. I\'ve also added a touch more 15kHz \'air\' to that mix too, as that\'s another thing I thought would help, especially in terms of balancing the extra low end I\'ve added.<br><br>\r\n\r\nYou\'ve gone for a very upfront drum sound, which I do like a lot in terms of the groove, but I also wonder whether fitting in a little more room sound on the snare in particular might help it belong better to the rest of the mix. At the moment it sounds a bit gated, and that slight sense of artificiality somehow niggles me as a listener. Maybe it\'s because it\'s neither dramatic enough to be a \'hey here\'s Americana with EDM drums\' thing, but neither is it natural-sounding enough to fit comfortably with the style of the rest of the elements -- it\'s kind of like you\'ve not made up your mind either way! To be fair, that slightly gated character is inherent in the virtual drum kit used here, but I think the preview mix mitigates it a bit more believably than yours at the moment, for instance.<br><br>\r\n\r\nOne more thing -- I\'d probably try to tilt the vocal sound a bit away from the low mids, because it sounds a bit muffled in context. In general there\'s some low-mid build-up in this mix, so you need to work out where you can afford to clean some of that out, I reckon.<br><br>\r\n\r\nStill, thanks for putting in a mix and starting off these critiques with the quality bar set high!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16965&pid=53439#pid53439\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16965&pid=53794#pid53794\">APZX post</a>; <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16965&pid=53801#pid53801\">my reply</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix01b_APZX.mp3\">5MB 192kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix01b_APZX`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix02\">Mix 02</a>: thedon</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix02a_thedon.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix02a_thedon`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Lots of good balancing going on, Don -- everything comes through clearly, with lots of definition on the main riff and the vocals and particular, which appeals to me. There\'s a really good sense of blend too, so whatever effects you\'ve used here are doing something that works for me. Maybe the banjo could sit a little bit more into the track? I kind of like it as a statement, but it does pull me a bit out of the environment of the rest of the band. You\'ve also done a great job filling out the low end of the bass, which gives the low end a nice fullness, not only when the riff arrives each time, but also during the mid-sections.<br><br>\r\n\r\n<a href=\"#Mix09\">Mixinthecloud</a> has already made a point in this thread that I think I\'d agree with, though: my main criticism of this mix would be that it sounds just a bit overmixed -- if that makes any sense! For a start, the 3-5kHz region seems over-pushed, and that\'s often a spectral area that can get overpopulated if you keep adding it to different instruments to get them all to sound more energetic and upfront. I wonder whether part of this might also be you adding psychoacoustic enhancements or saturation algorithms to things (particularly the drums and cymbals) so that their upper harmonics actually become too dense, masking too many of the melodic/harmonic frequency components of other instruments. I suspect this may also be the reason that the cymbal and drum sustains sound a bit abrasive overall, which makes me want to reach for either the EQ or the volume control. It\'s not that I disagree with giving this music a dose more aggression, but I think I\'d also rather I could turn it up, which at the moment is a bit fatiguing.<br><br>\r\n\r\nAs I said, I like the way you featured the banjo here, but other elements of variety in the arrangement felt a bit underplayed -- the ElecGtr02 broken chords or Rhodes parts in the Mid-sections, for instance, or ElecGtr04 in Outro 1. For that reason the long-term mix dynamics seem rather static. In music that makes such a feature of a repeated riff, I think it\'s worth working a bit harder to draw out and highlight whatever arrangement variety there is, from the perspective of keeping the listener engaged.<br><br>\r\n\r\nStill, this is clearly a very creditable mix overall -- thanks for uploading it for us all to hear!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16665&pid=53441#pid53441\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16665&pid=53580#pid53580\">thedon post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix02b_thedon.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix02b_thedon`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix03\">Mix 03</a>: Olli H</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix03a_OlliH.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix30a_OlliH`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Lovely smooth and hi-fi sound you\'ve put together here, Olli, with very tasteful use of effects and panning giving a great sense of openness which I like a lot. The clarity is also exceptional, as several other posters have already commented, which speaks of very classy use of EQ and faders. I really like what you\'ve done with the backing vocals in particular -- they poke out and deliver their lyrics very effectively. The long-term dynamics of your mix are also commendable -- the arrival of the Mid-sections makes a real statement, for instance, and your left-right call-and-response idea there is also very nifty. The arrival of Intro 2 is another highlight, because of the way you contrast the rather lo-fi (multed?) guitar and snare with the wide-open sound of the full band when it comes in. Very cool effects on ElecGtr04 in Outro 1 -- it takes us to a new otherworldly place just for a moment, which is all the more effective because the overall ambience feels so natural.<br><br>\r\n\r\nThere are only two issues I\'d really query here. The first thing is that the depth perspective doesn\'t quite add up for me. The vocal feels a bit too distant, somehow. I\'m all for giving it a bit of room sound, in keeping with the kind of vision you\'ve developed here, but that room seems to be dragging it behind the snare and particularly the guitars. In this respect I\'m not sure it helps that your dynamics settings seem to emphasis the transients of the guitars, which also brings them further forward. A particularly stark example is the banjo in verse 3, which is quite distracting by virtue of being so much more upfront. I wonder whether you might take some of the natural room sound off the lead vocal and try using a slapback delay or something that won\'t distance it as much? A bit of HF smoothing for the picked guitars/banjo (whether EQ or transient shaping) might also help, as well as adding a further dose of short ambience to them. The toms also suddenly leap forward in the fills -- although partly as a result of their extreme panning, admittedly.<br><br>\r\n\r\nThe vocal distancing dovetails into my second concern, which is simply that, from a purely aesthetic angle, I think your vision might be a bit too polite for the lyric, and indeed the vocal style. Don\'t get me wrong, I think your vision sounds great, but I\'m not convinced it\'s the most supportive vision for this performance of this music. I find myself wanting a little less restraint and a bit more attitude somehow. A bit more audible pumping to the buss compression, maybe. Sacrificing a bit of clarity to get a bit more dirt and power, perhaps. And pulling the vocals further forward would fit in with that concept too, because he\'s one of the prime carriers of the song\'s combative attitude, after all.<br><br>\r\n\r\nThanks for posting -- lots of things worthy of emulation there!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16923&pid=53443#pid53443\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16923&pid=53477#pid53477\">Olli H post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix03b_OlliH.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix03b_OlliH`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix04\">Mix 04</a>: HbGuitar</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix04a_HbGuitar.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix04a_HbGuitar`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Interesting approach here, making more of a feature of the electric guitars and turning it in more of a pure rock direction. There\'s a fantastic crunch you\'ve got on those guitars -- you\'ve managed to give them aggression without them getting too fizzy, which is always a bit of a balancing act, so well done there. It\'s got a lot going for it. For a start it makes sense of the thick and slightly gated snare sound on the multitracks, as this is much more stylistically in keeping with a mainstream rock sound. The transition into the Mid-sections is also great, because of the way the cleaner panned call-and-response guitars contrast so beautifully with both the chugging stabs underpinning them and the more aggressive HMF-emphasis in the preceding riff section. Overall the balancing is pretty slick too, as I\'ve come to expect of your mixes, and I like the lead vocal tone as well, which is both meaty enough to be taken seriously, and cutting enough to demand attention at all times (with the help of some careful automation, I imagine).<br><br>\r\n\r\nIn terms of what I\'d try to improve, I\'d say the main thing is that the bass guitar feels underpowered at the low end, and therefore the mix as a whole feels a bit lightweight. The bass recordings are in general quite light on fundamental frequency, so you\'ll have to do some processing to tackle this, otherwise the instrument\'s first and second harmonics will bloat the mix sound before you get the low end solid enough.<br><br>\r\n\r\nThe toms sound rather dislocated from the rest of the drum sound, and particularly the snare -- check out the fill at the end of Verse 4, for instance, where the snare has lots of ambience, but the toms sound like refugees from a Supertramp record! <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"> I\'m completely in tune with the idea of blending the snare in the way you have, but if you\'re going to do that, then you have to give the toms some of that sauce too, I reckon.<br><br>\r\n\r\nOn a more general level, though, I think there are also some downsides to this more traditional rock vision. One is that it seems to lose some of the rootsy character of the raw tracks, which I think\'s a bit of a shame. But, that aside, relying more on the distorted elements robs your mix of a certain amount of internal movement and dynamics (electric guitars simply aren\'t as dynamic as acoustic guitars) and this combines with the tightly controlled drums to give the mix a slightly static and constricted feeling. If you\'re going to go with this vision, then I\'d try to introduce a little more interaction and movement within the balance. This might be partly a case of more automation, but I think letting groups of instruments hit slightly more audible compression might also be a strategy.<br><br>\r\n\r\nOne other thing -- the noisy consonants on the backing vocals are really jumping out. I\'m assuming it\'s on account of the compression scheme you\'re using, so it might just be a question of lengthening the compressor\'s release time to avoid it pulling things like that up. That said, I quite like the tone of those vocals, so if you can\'t change the compression without sacrificing that, then just program a bit of automation in post-compressor to rebalance the consonants.<br><br>\r\n\r\nAnother great new slant on this multitrack. It\'s really cool to hear everyone\'s different takes!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16863&pid=53452#pid53452\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16863&pid=53968#pid53968\">HbGuitar post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix04b_HbGuitar.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix04b_HbGuitar`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix05\">Mix 05</a>: Digitaldruglord</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix05a_Digitaldruglord.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix05a_Digitaldruglord`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Well, this is certainly a sound that takes no prisoners! It\'s almost got a bit of a punk aesthetic going on here, which is an interesting angle to hear -- especially in contrast to more conservative, hi-fi-sounding visions such as <a href=\"#Mix03\">Olli H</a>\'s for instance. Within this context some potential criticisms of finer points of balance or blend become less relevant, because a certain amount of imbalance is inherent to this kind of \'everything fighting with everything else\' sound. The most important thing to me is that it sounds exciting, after which most other things are just window-dressing! <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"> I really like the way the Mid-sections open out in stereo, with that wide modulation on the cleaner guitars providing a great contrast to the super-aggressive and focused drums/guitar sound. I also enjoyed the way the gnarly bass tone pulled out all Joe\'s little melodic fills and slides -- I\'d not properly noticed them all until now!<br><br>\r\n\r\nEven taking your mix on its own terms, though, I think you\'ve mid-biased it too much, which makes it a pretty tough listen at louder volumes, or on anything that further emphasises its prominent 1-2kHz region or upper-midrange distortion components. It just comes across as rather hard and brittle at the moment. I reckon you might also be able to push the loudness more cleanly than you have -- at the moment the vocal in the verses seems to be hitting a clipping stage in a way that\'s sending clipping \'sprinkles\' dancing around the stereo picture. I\'m not at all squeamish as far as clipping goes, but you tend not to be able to get away with it on periodic waveforms as well as you often can on transient peaks.<br><br>\r\n\r\nDespite my general liking of the bass, it does still seem shy of fundamental (as indeed the raw recording is), and that also tends to further highlight the mid-emphasis of the mix as a whole. Some EQ or LF compression on the bass buss might help here. I also wonder whether the snare drum might be a bit overpowering compared with the lead vocal -- it seems a bit \'stuck on\' as a result, makes the guitars feel a bit small, and also makes the verses a big drop-down in terms of energy and rhythmic drive compared with the riff sections that precede and follow them.<br><br>\r\n\r\nAnother strong vision, though, which I\'m always a fan of -- thanks for posting!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16969&pid=53459#pid53459\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16969&pid=53475#pid53475\">Digitaldruglord post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix05b_Digitaldruglord.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix05b_Digitaldruglord`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix06\">Mix 06</a>: javierpg84</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix06a_javierpg84.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix06a_javierpg84`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Well, first things first, your mix tonality feels a bit off-kilter, with a big build-up centred around 200Hz -- I felt I wanted to dial out about 3-4dB around there most of the time. I think the nature of the bass sound is partly to blame here, because (as mentioned in my other feedback posts) the bass guitar\'s fundamental frequency isn\'t very strong on these recordings. It feels to me as if you\'ve tried to balance the bass guitar to compete with the kick-drum at the low end, but that\'s then over-stuffed the low midrange with the bass\'s first and second harmonics. Just EQ\'ing the mixbuss won\'t do the trick, either, because (having tried that here) you lose unacceptable amounts of warmth and body from the guitars in particular. The best thing to do would be to try to get a bit more low end out of the bass guitar track itself, and then see if it\'ll balance more easily with the rest of the track without adding too much woolliness. The plus-side of the bass prominence is that we can really enjoy all his great little performance details and fills, but I\'d look to bring those out by tweaking further up the spectrum personally.<br><br>\r\n\r\nThat aside, though, I really like the directness of the sound you\'ve put together here, which totally suits the vibe of the music and performance -- a very appropriate vision to choose, for my taste. Not only is the balance very solid (especially the kick and vocal), but there\'s a subtle sense of movement within the balance as well, which gives it life. It\'s not as \'heaving\' as some people\'s visions in terms of audible compression artefacts, and might perhaps benefit from exploring that a little further, but I already like it as it is. There\'s a particularly nice balance between the electric and acoustic guitars: you get the attitude of the electrics, but the liveliness of the acoustics. Nice effects on the clean Mid-section guitars too. You\'ve not gone for such a strong alternating panning as some people have, but you\'ve nonetheless made an impact in the stereo image with the lovely reverb/modulation halo you\'ve added.<br><br>\r\n\r\nAnd this leads me on to another highlight of this mix for me -- the depth perspective. The vocal blends really well, but never risks its dominant upfront position, while the drums, bass, and rhythm instruments also feel punchy and present, but never seem to eclipse the vocal, which takes some doing. But the cherry on the top is when things like those Mid-section guitars (and indeed the ElecGtr04 and backing vocals in the Outro) suddenly open up different, more distant perspectives that not only serve to make the whole mix more varied, but also cement the psychological impression that the main band is right up your nose! <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"><br><br>\r\n\r\nBut it\'s not just the dry/wet issue that\'s making the depth picture work so well: I think it\'s also the EQ and transient-processing choices, which all seem to support the front-back position suggested by the effects. That said, I think the snare could afford to have a bit more level and snap without it taking attention from the vocal. At the moment, the kick drum seems almost like it\'s a bit more present than the snare. <br><br>\r\n\r\nThe more I listen to this mix, though, the more I like it. Great work!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17024&pid=53465#pid53465\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17024&pid=54070#pid54070\">javierpg84 post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix06b_javierpg84.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix06b_javierpg84`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix07\">Mix 07</a>: juanjose1967</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix07a_juanjose1967.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix07a_juanjose1967`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> This mix has a nice homogeneous quality to it -- it seems to glue together nicely. Presumably this is because of careful use of effects and compression, the latter also providing some nice pumping effects in the mix which help bring it alive. I think the transients of the acoustic guitars could perhaps be smoothed off a little to prevent them sitting so far forward of the rest of the band, but otherwise I like the illusion being generated here.<br><br>\r\n\r\nIn any mix where there\'s a bass guitar with electric/acoustic guitars over it, there\'s one particular question that\'s critical: how much low midrange should the guitars have, relative to the bass guitar. In Americana it\'s particularly tricky to gauge this, because if you give the guitars too much low end you end up sounding too much like heavy rock, whereas if you give the bass guitar too much low midrange it begins to sound a bit too much like pop country -- and it\'s the latter direction that this mix seems to be tending towards a bit too much for me. The plus side is that you get lots of sweet-sounding warmth and plenty of focus on the melodic interest of the bass part itself, but what you lose is a sense of power and authority from the guitars. Someone on another thread commented that the guitars are the soul of the groove here, and I can see their point. By curtailing their body as much as this they don\'t seem to propel the music nearly as effectively, as well as generally giving the mix tonality a strangely \'hollow\' feel, despite no lack of sheer low end from the bass guitar. Of course, the nature of the bass guitar itself doesn\'t help here, as it has a good deal more low midrange than you can probably make use of. Try favouring its fundamental more, and you should then be able to rely less on the midrange for subjective power.<br><br>\r\n\r\nI wonder whether the guitar thinning is also the reason why the arrival of the Mid-sections doesn\'t make the psychological impact I\'d hope, but it might just be that you\'ve been too coy with the ElecGtr02 and ElecGtr03 parts -- they\'re a vital part of the arrangement dynamics, so I\'d let them shine more than you have, whether you do that with simple level and panning, or by odd effects (as some people have).<br><br>\r\n\r\nLots of good solid decisions here, though, and there\'s a good logic internally. Thanks for letting us hear it!<br><br>\r\n</dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16902&pid=53470#pid53470\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16902&pid=53864#pid53864\">juanjose1967 post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix07b_juanjose1967.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix07b_juanjose1967`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix08\">Mix 08</a>: Dangerous</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix08a_Dangerous.mp3\">9MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix08a_Dangerous`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Before saying anything technical about this mix, I\'d just like to say that it has something about it that I associate with all my favourite mixes: namely, that even though I\'m already familiar with the multitracks and various other mixes of them, there were numerous moments in this mix where I felt that I was rediscovering elements afresh. The backing vocals stunt is the most obvious thing -- an inspired choice to give us the chance to hear them on their own, because fundamentally they deserve it in terms of pure character. Another thing that really opened my ears was the banjo during Outro 2 -- beautifully judged to come through clearly for a last-minute injection of interest, and fitting as if the mix had been just waiting for it to come along, even though it didn\'t seem as if anything was missing from the texture until then.<br><br>\r\n\r\nSonically, though, this mix is also pretty impressive. Great sense of frequency bandwidth, with plenty of well-controlled low end to the bass guitar (one of the challenges on this multitrack), and an impressive sense of stereo width by virtue of the LCR panning. Perhaps counterintuitively, I think that the comparatively narrow drum image actually makes the overall mix panorama seem wider, given that it seems to put more horizontal distance between the drums/bass axis and outlying guitars. It also, incidentally, provides a nice little stereo pocket at mid-left and mid-right for those backing vocals to slide into.<br><br>\r\n\r\nNot that I\'m implying that this is an overly \'technical\' mix, because it still gives an enviable sense of excitement and rawness -- reminds me of some of Randy Staub\'s mixes, in fact, in that respect. It\'s a living, breathing thing, and gives a powerful psychological impression (by virtue of what I\'m assuming is no scarcity of compression!) of straining fiercely at some kind of leash. Not a bad impression to give for a song like this, I reckon!<br><br>\r\n\r\nMy only real criticism is that perhaps some of the compression is a touch too fast, particularly on the drums, as the mix as a whole seems to lack some midrange punch. I\'d prefer to leave a few more peaks in there to add more of a real \'slam\' to the attitude and excitement that\'s already on offer. That said, as it stands, this mix does, by virtue of its well-controlled bass and \'less voltage, more illusion\' drum sound, respond ridiculously well to loudness processing, if that happens to be appropriate -- go on, try it for yourself, it\'s surprising how far you can go without unacceptable processing side-effects.<br><br>\r\n\r\nAnd if I\'m really picking nits: is the vocal a bit too recessed in the Mid-sections? I reckon it might work better to give it a bit of a new effect, something with a tail, to support the more open sound of that section as well as allowing you to pull the vocal a bit up in level without ungluing it. Just a thought. That aside, though, I would agree with the other poster who complimented you on the vocal sound in general -- very commercial and contemporary sounding. We could all learn something if you wanted to go into more detail about your specific settings there, I imagine!<br><br>\r\n\r\nAnyway, as you can probably tell, I like this mix quite a bit. <img src=\"[[$sitePrefixCMT]]SitePix/EmoRolleyes.gif\"> Thanks Dangerous for the masterclass! It might not be everyone\'s cup of tea in terms of vision, but on its own terms it\'s pretty hard to fault.<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17057&pid=53471#pid53471\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17057&pid=53633#pid53633\">Dangerous post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix08b_Dangerous.mp3\">9MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix08b_Dangerous`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix09\">Mix 09</a>: Mixinthecloud</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix09a_Mixinthecloud.mp3\">9MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix09a_Mixinthecloud`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Another nice alternative perspective here, focusing more on rich-sounding guitars and deep LF power from the kick. Actually, I wondered whether you might be a guitarist yourself, because you\'ve brought out such a lot of nice tones from those instruments here. For the most part I like your balance decisions too (especially during the main riff), although I do wonder whether the clean guitars in the Mid-section are too loud and full-sounding in context -- I kind of lose focus on the vocal as a listener, and it also slightly undermines the illusion of power and rhythmic energy in the rest of the band. Another couple of things that also feel a bit far forward for me are the banjo transients in Verse 3/4 and the overall level of the backing vocals -- again both tend to make the rest of the backing parts sound subjectively less impressive by contrast, for me.<br><br>\r\n\r\nThe drum sound has a nice blend to it, which I like, but I\'d maybe query the snare sound, which seems very dependent on the instrument\'s sustain, with very little front-end on the hits. My problem\'s less a pure sonic thing, it\'s more that it seems to make the groove lag, to my ears. The bass guitar recordings on the multitrack are quite light on the subs, so I also can see why you decided to let the kick-drum dominate that realm in your mix, but again this seems to slow things down somehow. Personally, I think a little EQ on the bass to give it more fundamental would have allowed you to keep the kick a touch more perky in terms of groove. (In fact, speaking of groove: has your vocal part shifted a fraction early on the timeline? Again, there\'s just something that feels a little shaky about the groove in your version compared with the others I\'ve heard.)<br><br>\r\n\r\nYour arrangement changes are bold (which is always an endearing quality in my eyes!), and the way you shorten the intro to get to the lyrics more quickly is often a canny move on a commercial level. I also like the way the band entry isn\'t exactly in tempo with the opening SFX section -- it leaves that moment of feeling like I\'m \'holding my breath\' just before the band arrives. My only concern about the intro is that it\'s such a statement sonically that the actual band entry ends up sounding almost a bit of a let-down! If that\'s also a concern for you, then maybe you could try limiting the bandwidth and/or the stereo picture of the initial modulation effect? The Outro is also a cool innovation, although from a musical perspective I did ask myself whether it might not be overkill to repeat the riff section further, given how often it appears in the rest of the song anyway. I agree it\'s a cool riff, though, and I could certainly listen to it all day myself -- but I am a mix engineer, so I\'m not sure how well I represent the regular punter in that respect! <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"><br><br>\r\n\r\nThanks for presenting another thought-provoking vision -- it\'s a mind-expanding business this mix critiquing!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16955&pid=53593#pid53593\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16955&pid=53649#pid53649\">Mixinthecloud post</a>; <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16955&pid=53734#pid53734\">my reply</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix09b_Mixinthecloud.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix09b_Mixinthecloud`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix10\">Mix 10</a>: RVMusic</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix10a_RVMusic.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix10a_RVMusic`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Wow -- super-forward-sounding rhythm section, this! I like the wiry bass quality you\'ve brought out in particular, as it really seems to drive the track rhythmically. The voice also has an assertive quality that fits well with the rhythm-sound you\'ve chosen. I do have some reservations about the overall tonality, though, which seems rather hollow, as if you\'ve over-scooped the low mids on too many tracks. (Perhaps in response to the <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17063&pid=53149#pid53149\">previous poster\'s comments</a>?) The low end also seems rather light, and I reckon you could bring more of those low frequencies out of the bass guitar to even out and extend the frequency bandwidth as a whole.<br><br>\r\n\r\nAlthough the snare is clearly designed to drive this track, I think you\'ve maybe overbrightened it, as it pushes too far in front of the vocal for me, and quickly gets a bit fatiguing too -- I found myself turning your mix down as a result, which probably isn\'t a good thing! <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"> The toms feel too forward as well when they play, although this is as much a pure level issue as it is to do with their also quite forward HF character.<br><br>\r\n\r\nThe guitars are balanced quite low in the mix overall in your version, which in principle I have nothing against, but in the case of this particular track the guitars are responsible for most of the arrangement variation, so it reduces the sense of \'light and shade\' musically doing that, in my opinion, so I\'d maybe reconsider that a little.<br><br>\r\n\r\nOne other area you might want to work further on is effects, in particular the kinds of general-purpose delay and reverb effects that help blend things together so they sound like a real ensemble. The toms are a case in point here, because they sound like samples rather than part of the kit, and the snare also suffers from this to a lesser extent. The vocal sounds rather too much like an overdub for me too, despite the rather nice characterful effect tail you\'ve chosen, and in general I think you could get a more cohesive and full-sounding result if you investigated more what tempo-delays and reverbs can do here. I\'d certainly use some kind of a short ambience reverb to help tie the overdubs together and blend the drum close mics with the overheads, for instance.<br><br>\r\n\r\nThanks for posting, though -- my head\'s definitely nodding to the beat on this one!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17063&pid=53598#pid53598\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17063&pid=53814#pid53814\">RVMusic post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix10b_RVMusic.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix10b_RVMusic`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix11\">Mix 11</a>: jeffd42</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix11a_jeffd42.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix11a_jeffd42`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> This mix certainly has that <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16944&pid=52640#pid52640\">grungy quality you were looking for</a>, which does work rather well with the mood of the lyrics and vocal performance, so no problems about that from my perspective. It\'s also the wettest version of the mix I\'ve heard so far, I think, by which I mean that you\'re wearing your delays/reverbs more on your sleeve than most other mixers here. I love the way this works on those Mid-section guitars, where it steers the mix well clear of trad-rock -- to its benefit I think. That said, I think maybe you could be a bit more choosy about how you apply these effects. I\'m all for audible reverbs as creative additions, but for every ounce of reverb we\'re consciously hearing in your mix, I think there are several other ounces (to use the technical term...) that are simply clouding the picture by adding mix mud and concealing sonic details, as well as distancing the ensemble in general. (I don\'t think it helps in this respect either that the backing vocals seem significantly more forward-sounding than the rest of the ensemble, as this makes the subjective distancing more stark by virtue of the contrast.)<br><br>\r\n\r\nI like that there\'s plenty of movement in the compression, especially on the drums (love the fill at 2:11!), which helps add to the general excitement for me. I do wonder whether you\'ve lost a bit too much mid-range punch in the process though -- all the snare and kick attack elements sound quite slender, somehow, rather than meaty. Yes, there\'s low end on the kick, but it\'s rather soft-sounding and sub-heavy, and doesn\'t seem to really punctuate that nice round-sounding bass guitar you\'ve created. Speaking of which, although I do like the warmth of the bass in general, I think the guitars seem rather thin by comparison, so I\'d be tempted to scoop a bit of LMF out of the bass and give it back to the guitars.<br><br>\r\n\r\nThe distorted vocal sound is another great addition, which again keeps this mix quite rootsy, despite the more electric sound you\'ve gone for. I also like your vocal balancing -- it\'s not too loud, but it does maintain its position in the balance very solidly nonetheless and demands the attention it deserves. On the other hand, the clean acoustic-guitar transients in the verses seem to sit over it, which is maybe not ideal -- I\'d either take some transient off, or balance them lower... or maybe even distort them too! <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"><br><br>\r\n\r\nThanks for posting -- you\'ve suggested a lot of interesting new approaches to this multitrack, which is one of the things I really love about being able to hear so many different mixes of this song!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16944&pid=53599#pid53599\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16944&pid=53610#pid53610\">jeffd42 post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix11b_jeffd42.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix11b_jeffd42`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix12\">Mix 12</a>: johnfueston</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix12a_johnfueston.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix12a_johnfueston`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> I like the loose, rattling snare sound, as well as the well-blended drums, which help make that slightly gated-sounding snare recording fit into the kit really nicely. There\'s something very rootsy about this roomier presentation, which suits the overall vibe of the music, and it also helps keep the drums from being unduly far forward in the front-back perspective. Some of the acoustic guitar and banjo strums in the verses do seem to come a bit far out front for me, though, and I also wonder whether the lead vocal could afford to be a touch further forward.<br><br>\r\n\r\nInteresting vocal sound you\'ve chosen here, with quite a chorusey, comb/filtered quality -- partly a side-effect of that split-channel micro-delay effect you used, I imagine. In abstract terms it doesn\'t make the vocal sound very hi-fi, but as an aesthetic choice it works quite well, again by giving a sense of something captured live in some kind of appropriately backroom acoustic. I also like the backing vocals\' processing, which gives them a nice growl and places them far enough forward to make a statement without undermining the size illusion of the rest of the band unduly -- although I\'d still do some extra work to de-emphasise the \'ch\' and \'f\' consonants in particular, which do leap out a bit too much for me.<br><br>\r\n\r\nOverall the tonality seems light on the bass, as with quite a few of the mixes I\'ve critiqued, presumably on account of the bass guitar\'s fairly weak fundamentals, although on the plus side it doesn\'t feel like you\'ve overcompensated by over-egging the kick drum\'s low end, which is clearly a temptation here. As before, I\'d recommend trying to enhance the bass\'s low end a bit to fill out the lower octaves of the spectrum.<br><br>\r\n\r\nI like a lot of what you\'ve done with the guitars tonally, especially the way the banjo fits into the Outro 2 section. The clean guitars in the Mid-sections, however, sound a little too pristine somehow for this mix overall, so don\'t seem to sit comfortably with your vision. I\'m OK with the idea of them being a new idea and/or in a new space, but at the moment they just feel a bit \'stuck on\'. Perhaps they just need a little bit less dynamics and a touch of \'fur\' from some kind of analogue harmonics processor. It may also be that the low mids feel a little too large for their role in the arrangement, and just slimming those might help sit those parts better.<br><br>\r\n\r\nStill, this is a great vision which fits round the vocal and lyric really appropriately. Thanks for posting!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16993&pid=53735#pid53735\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix12b_johnfueston.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix12b_johnfueston`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix13\">Mix 13</a>: jtbStudio</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix13a_jtbStudio.mp3\">6MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix13a_jtbStudio`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Well, you\'re certainly not afraid to wield the editing scalpel! I can see where you\'re coming from here, in that the riff is such a strong element of the arrangement that it feels a shame on some level to interrupt its relentless groove in Outro 1. Even in that context, though, I think I\'d still have left Mid-section 2 in there, as that provides crucial musical variety -- you could still have cut straight from that to Outro 2 without dropping the beat. I like that you kept the ElecGtr04 part from Outro 1 in there, though, as it\'d have been a shame to lose that!<br><br>\r\n\r\nThe blend of acoustic and electric guitars in the main riff section is also pretty cool, making a nice balance between lively dynamics and rock attitude. When it gets to the Mid-section, though, the cleaner guitar layers seem rather understated, which feels like a bit of a wasted opportunity in terms of differentiating the song sections. Could the bass maybe have a bit more bite in the midrange too overall, so we hear its nice little fills and slides better?<br><br>\r\n\r\nThe overall tonality does seem rather clouded and middly on the whole, partly because the sub-100Hz region feels underplayed to me, and partly because the lead vocal\'s pretty much the only part that\'s contributing much above 5kHz -- there\'s a bit of energy from the acoustic guitar strums and snare transient, but there\'s not much besides. I can see the argument for clearing away some high end to reduce vocal masking, but I think that needs to be weighed against the danger that the mix will then sound a bit woolly whenever the singer\'s absent, which it quite often is here.<br><br>\r\n\r\nIn some cases, overall-tonality issues are quite simple to remedy with a bit of buss EQ -- it\'s rare that I do a mix without buss EQ myself, in fact, because I usually end up giving my first-draft mix a bit too much of some frequency range or other, and then my ears get used to it so they don\'t notice... at least, until I get slapped round the face with it at the referencing stage! <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"> However, in this case I think you\'d need to rework the lead vocal sound, because if you simply boosted the highs on your mix buss as things stand, the vocal would become very harsh -- even without buss EQ, in fact, the vocal\'s already on the bright side, and discourages me from turning the listening volume up, which probably isn\'t good for a song like this. I do like the vocal delay effect, which gives a feeling of room boundaries without overtly distancing the singer, although I\'d perhaps low-pass filter the return, as the consonant \'ricochets\' get a touch distracting in the verses.<br><br>\r\n\r\nHope some of that\'s useful. Thanks for posting!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16988&pid=53736#pid53736\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16988&pid=53763#pid53763\">jtbStudio post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix13b_jtbStudio.mp3\">6MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix13b_jtbStudio`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix14\">Mix 14</a>: JMac52</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix14a_JMac52.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix14a_JMac52`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Lots of very intelligent arrangement ideas here. The biggest innovation is the drop-down at Verse 3, which makes a lot of sense. The problem with riff-based structures is that they often try to pull off one big build-up lasting throughout the whole song, which is extraordinarily difficult to deal with from a mixing perspective: either the earlier sections sound over-sparse; or the later sections become over-cluttered and run out of headroom; or somewhere between those two points the momentum just flags, because there\'s so little you can afford to add to each new section without making the following section feel like a let-down. This is something you can hear people like Mumford & Sons grappling with repeatedly, for instance. If you can stick a drop-down in the middle of the song, however, the long-term dynamics of the mix get much easier to manage -- you only have to sustain the momentum of your build-ups across half the time.<br><br>\r\n\r\nNow in this song, there\'s already a drop-down of sorts at Outro 1, but that still leaves a lot of the song as a single long build-up, so in that respect I think your move to add another drop-down at the start of Verse 3 is a canny one in terms of maintaining the music\'s sense of excitement and forward drive. I also like the way you\'ve generated a sense of build-up across your \'multi-ramp\' structure by differentiating repeating sections, for example: Mid-section 1 versus Mid-section 2; the Intro riff texture versus the riff texture following Verse 1; and Verse 1/3 versus Verse 2/4. So, overall, your thought-process appeals to me a great deal.<br><br>\r\n\r\nHowever, I think a few of the specific arrangement decisions don\'t necessarily work out that well for you in practice. For instance, the decision to remove the heavy electric guitar chugs from Mid-section 1 leaves that section sounding a bit lacking in energy after the riff-section that preceded it. The electric guitars already play a more stripped-back, subsidiary role by nature of the part, so I\'m not sure you needed to remove them there in terms of clearing space for the new cleaner parts. Of course, though, keeping them in means your Mid-section 2 isn\'t then substantially bigger-sounding than Mid-section 1... Ah, the joys of juggling long-term dynamics! <img src=\"[[$sitePrefixCMT]]SitePix/EmoGrin.gif\"> One way of squaring the circle here might be simply to mult that Rhodes part for Mid-section 1 so you can give it more of a middly, upfront sound which is closer to the function of those missing electric guitars. It\'d need to be finely judged, but then dealing with these kinds of issues tends to be a bit finicky -- it\'s one of the hardest parts of mixing, I think.<br><br>\r\n\r\nAnother moment that seems to fall a little flat is the lack of kick-drum in Verse 3. I agree it\'s nice to be able to reintroduce it for the following riff section, but Verse 3 feels like too late a point in the song to completely drop the pulse. One idea would be to add some subtle percussion there (even just cross-sticks counting off) or another idea might be to shift the picked banjo part four or eight bars earlier so it begins contributing rhythmic information before the rest of the band come back in. Just throwing mud at the wall... <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"><br><br>\r\n\r\nIn terms of sonics, I love the squishy cymbals you\'ve got going here -- they have a great attitude! In general, however, I think the balances aren\'t that solid yet. It feels like the lead vocal is often too quiet, while other things leap forward at times -- the acoustic guitars at 0:35, 0:43, and 1:45, for instance, the backing vocals at 1:30, the banjo in Verse 3, or the ElecGtr04 part at 2:46. I get a sense too that the mix doesn\'t quite cohere, which makes me think that some addition work with subtle delays/reverbs might help. The vocal seems to be being masked rather a lot by other parts in the 1kHz region, which gives it a slightly soft/hissy impression in the mix. As on quite a few of the other mixes I\'ve critiqued, the low end feels a bit lightweight, and could probably do with a bit of sub-100Hz LF boost on the bass guitar. (Whatever you\'ve got on the toms, though, it sounds like it\'s contributing way too much low end -- for example at the end of Verse 4 where it seems out of control.)<br><br>\r\n\r\nOverall, though, thanks for throwing a load of great arrangement ideas into the pot here -- it sounds to me as if you\'re thinking like a musician, which is never a bad thing!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17055&pid=53738#pid53738\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix14b_JMac52.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix14b_JMac52`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix15\">Mix 15</a>: Kesman2401</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix15a_Kesman2401.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix15a_Kesman2401`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> This mix presents an extremely cohesive vision -- the sense of blend is excellent, and you\'ve achieved it without sacrificing too much attitude or the generally fairly upfront sound. I love the fact that almost everything sounds like it\'s \'of a piece\' aesthetically, and that you\'ve not spared the compression, but at the same time you\'ve maintained enough internal dynamics to keep things exciting.<br><br>\r\n\r\nIn general, I think your overall tonality would have benefited from more low end on the bass guitar (in common with many of the other mixes I\'ve critiqued) but otherwise I like the slightly middly guitars tone, because of the bluesy quality it emphasises. That said, the difficulty this creates for you is that it masks the lead vocal strongly in that region, so you\'ve had to rely heavily on the singer\'s high end for audibility, leaving the vocal tone feeling a touch wispy and lacking solidity. I think I\'d try to give the vocal a bit more midrange so that it feels more solid, and then duck the guitars as necessary when he\'s singing to avoid too much of a midrange build-up. I suspect it might also help to dip a bit of midrange out of the drums, which don\'t need to be quite as upfront in that range, I reckon.<br><br>\r\n\r\nOverall, though, I like your balancing in general. Perhaps the Mid-section clean guitars could have a little less low midrange, as they make the rest of the mix begin to sound a bit \'terrier in a tin\' there -- it\'s not a huge thing, but worth doing I think. Great idea with the distortion on the Outro 1 vocal! The backing vocals are pretty cool too: just on the verge of being too loud, but perhaps it\'s just the consonants that are over-prominent to me. Maybe just de-ess them a bit more?<br><br>\r\n\r\nAll things considered, I like this version a lot. A no-nonsense, powerful groove with a coherent and convincing identity. Great work! <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"><br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17066&pid=53739#pid53739\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17066&pid=53818#pid53818\">Kesman2401 post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix15b_Kesman2401.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix15b_Kesman2401`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix16\">Mix 16</a>: nate</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix16a_nate.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix16a_nate`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Lovely meaty kick-drum sound, but it does seem to overpower the rest of the mix a bit. For me this isn\'t just a balance issue, though, because the kick takes the back-beat during the verses and seems to slightly imbalance the groove there as a result. To be fair, the snare is also nice and strong, although the toms feel then very underpowered by comparison, and the kit as a whole also sounds more hip-hop than it does roots/rock. Were the rest of the production also in line with a more programmed perspective, I reckon you\'d get away with it, but as it is the comparatively conventional guitar and vocal sounds make it less convincing as a vision for me.<br><br>\r\n\r\nThe bass guitar has a nice muscly sound -- not too wiry, but with plenty of note definition so that we can really appreciate the details of Joe\'s performance. As with many mixes on this sub-forum, the low end of the bass feels a bit underplayed, but if you were going to add much low end to it you might have to rein in the low end of the kick to avoid your overall LF levels getting out of control. The guitar sounds are appealing in a general sense, and the acoustic guitar/banjo pick noise is well handled to avoid those instruments poking out of the balance too much. Overall, though, the combination of bass and guitars is giving you too much low midrange, I think, so some careful dips in that region across those parts (or even across a buss of them all) might bring some benefits there.<br><br>\r\n\r\nI\'d personally bring the lead vocals up a good decibel or so, and also add something to make them sound a little less starkly separated. I like the idea of upfront vocals, but I think you could still add some width and/or a hint of some kind of acoustic without distancing them unduly, and that way they\'d seem to belong better with the guitars/drums, I reckon. Just something like a hint of stereo slapback would do the trick, I\'d have thought.<br><br>\r\n\r\nThe same issue about effects applies to the backing vocals too, although there I\'d probably bring them a little down in level overall. Also, it seems a bit odd that the backing vocals move over to the left for the Outro, and then hop over to the right again for the penultimate phrase, returning for the final phrase. Pan stunts are all well and good, but this one just seems a bit random -- not mad enough to be a feature, yet not quite logical either somehow. A lot of listeners seem to be sharing earbuds these days, though, so maybe it doesn\'t matter... <img src=\"[[$sitePrefixCMT]]SitePix/EmoWink.gif\"><br><br>\r\n\r\nThanks for delivering another distinct vision -- there\'s some serious punch and attitude here!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16938&pid=53741#pid53741\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix16b_nate.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix16b_nate`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix17\">Mix 17</a>: idearden</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix17a_idearden.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix17a_idearden`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> You\'ve got a nice cohesion on the drums here, plus I like the way they fit together with the electric guitars in particular. Certainly, the groove skips along very nicely, which is a good sign in terms of the balance of the rhythm section, and I like the gutsy attitude of the mix as a whole. Careful with the low end of the toms, though, which seems to boom out on that big fill at the end of Verse 4. As with a lot of the mixes for this multitrack, I reckon you might get a fuller low-end sound by adding more fundamental to the bass guitar, and I\'d probably also cut a bit of 150-200Hz on the kick, bass, and/or electric guitars, where you\'re getting a frequency build-up that\'s making things seem a bit muddy.<br><br>\r\n\r\nThe other culprit in terms of subjective muddiness, though, is the lead vocal, which seems very veiled tonally, especially by contrast with things like the cymbals, acoustic guitars, and banjo. A 2-3dB of EQ cut around 250Hz on the lead vocal would probably help straight away, I reckon, allowing you to pull the track up further in the balance for a more upfront overall presentation. I also wonder whether some slightly wider stereo effects might help glue it in with the wide drums/guitars better, as well as giving it a bit more of a sense of \'air\'. A bit of a boost to the mix overall in the top octave of the spectrum might also open it up in general (I\'d try at least 3-4dB up above 10kHz), although you might want to rein in the acoustic guitar transients a little in that case, to avoid them sounding too plasticky.<br><br>\r\n\r\nI wonder whether you could make more of the clean guitar parts that arrive in the Mid-sections. At the moment they seem a little bit apologetic, where I think they could be a much more active source of arrangement variation and section definition. There also seems to be something slightly dissonant going on in this section too, and I wonder whether it\'s related to some processing on those parts or on the Rhodes. Listen at 2:16, under \"...taste, and everything\'s the...\" -- it\'s like there\'s an E natural pitched resonance being added to that Cm chord somewhere, which feels odd. I\'ve quickly bounced this out for illustration <span class=\"spanExampleFile\">(<a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix17a_idearden_Resonance.mp3\">5MB 192kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix17a_idearden_Resonance`]])</span>, and I\'ve also bounced out a version with a 656Hz EQ notch that removes it  <span class=\"spanExampleFile\">(<a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix17a_idearden_Resonance_NotchedAt656Hz.mp3\">5MB 192kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix17a_idearden_Resonance_NotchedAt656Hz`]])</span>, just to illustrate what I\'m hearing.<br><br>\r\n\r\nHope some of that\'s helpful, and thanks for posting!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16879&pid=53742#pid53742\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16879&pid=53751#pid53751\">idearden post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix17b_idearden.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix17b_idearden`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix18\">Mix 18</a>: jp65535</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix18a_jp65535.mp3\">7MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix18a_jp65535`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Nice to hear a more acoustic-led version of this track, having just critiqued several that take a more electric slant, and it\'s a very convincing version in general from the perspective of the band. Some people have taken a very compressed sound for the drums, but here the compression feels much more moderate and in keeping with the more acoustic outlook. Things also seem to blend quite well, too, although the effects have been carefully applied to be pretty stealthy, which is rarely a bad thing and certainly seems to keep things fairly direct-sounding in this case.<br><br>\r\n\r\nI\'d maybe pull back the higher frequencies of the acoustic guitar\'s picking transients, because they do come a little too far out from the texture, relatively speaking, and the low midrange of the backing vocals feels like it\'s building up in the mix a bit too much, so some subtractive EQ might be worthwhile there. Otherwise I like the way the sounds fit together for the most part, with the exception of the bass guitar, which seems to major on the frequencies that prove most troublesome from a mix perspective, namely the low midrange. I\'d suggest giving it a bit more fundamental (the raw tracks are a bit shy in that respect) and then maybe some more true midrange to bring out the melodic interest, which is maybe a bit too understated at the moment.<br><br>\r\n\r\nI can see there\'s already been <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16937&pid=53562#pid53562\">some discussion on this thread about the vocal distortion</a>. If I can pay in my tuppence-worth, I think it actually works really nicely in terms of making the vocal seem more exciting. The patch suits the voice in this case, and hearing it made me think \'wow, that really is a great vocal performance\' despite my having heard it more often than Diesel himself has by this point... <img src=\"[[$sitePrefixCMT]]SitePix/EmoRolleyes.gif\"> What I\'m trying to say is that the processing seems to be enhancing what I already like about the vocal, which I think is great. On a technical level I think you might want to automate an EQ on the distortion return, though, because it does make the vocal tone feel overly congested at times, particularly in the Mid-sections. In Mid-section 1, for instance, it seems a bit muddy on \"here\", \"taste\", \"away\", \"see the writing on\", and \"me fall\", to be specific.<br><br>\r\n\r\nHowever, despite all the things I like about the vocal distortion, it does cause a bit of a problem getting the vocal to sit with the backing track, because it feels a bit like it belongs to a different (probably more electric/rock) vision of the mix. So, in that respect I think something in the backing needs to bridge this divide before the vocal will sit properly. I actually wonder whether you might just be able to sort it out simply by setting up a stereo distortion+compression send, feeding it from the acoustic guitars and snare, and then mixing that in a little bit. It\'s not that I don\'t like the acoustic vision, it\'s just that it seems a bit clean to work with that kind of furry vocal character.<br><br>\r\n\r\nAltogether, though, I like your approach a lot, and it\'s really highlighted what a dose of vocal distortion can offer for this multitrack. Thanks for posting!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16937&pid=53743#pid53743\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16937&pid=53830#pid53830\">jp65535 post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix18b_jp65535.mp3\">7MB 302kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix18b_jp65535`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix19\">Mix 19</a>: Mandubien</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix19a_Mandubien.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix19a_Mandubien`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Glad to see you\'re not hanging around getting to the vocal! It is, after all, the star turn here, so I can certainly see where you\'re coming from by shortening the intro. Not sure the slightly glitchy intro effects really suit the style of the rest of the track, though -- it\'s just a bit too EDM! <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"> The tambourine is an interesting addition, especially the way it changes the feeling of the verses by accompanying the kick drum. I think I rather like how that works, in fact -- a nice touch!<br><br>\r\n\r\nOverall, the first thing that hit me, though, was that the overall mix tonality felt a bit muffled, with a couple of decibels too much energy in the 150-250Hz region and too little above about 5kHz. Nothing a bit of master-buss EQ can\'t handle, but that said, you have a similar lack of bass-guitar low end as many of the other mixes I\'ve critiqued, and I reckon your mix would benefit from a bit more of that instrument\'s fundamental. You might have to cut a touch of the kick-drum\'s extreme LF to make space, and I don\'t think that really hurts the song, as it\'ll tend to make the groove skip a bit more lightly.<br><br>\r\n\r\nThe vocal tonality feels like it\'s a little too heavy on the low mids, which makes for a slightly congested tone. On the one hand that low-mid energy helps it sound more solid in the balance than in some of the mixes I\'ve heard on this sub-forum, but it\'s at the expense of a touch of muddiness overall whenever the singer\'s active. Admittedly, the whole question of how to get this vocal sitting solidly in the mix is one of the critical issues with this multitrack, so the solution, whatever it is, is likely to involve a bit of \'smoke and mirrors\' -- you know, ducking things in some way when the vocal\'s present, either with side-chains or automation. By comparison with the lead vocal, the backing vocals feel a touch too crispy, so I\'d probably try to tame those a little -- it\'s a shame to have the backing vocals sounding more upfront than the lead, I reckon.<br><br>\r\n\r\nOverall the drums work quite well for me. I like your toms tone in particular, and the way those drums cohere fairly effectively with the kit as a whole, which is something that\'s been a bit wayward overall on the mixes I\'ve heard so far. The low tom probably has a bit too much \'woof\' at the low end, though -- it just seems too \'large\' to match the rest of the kit.<br><br>\r\n\r\nHope some of the above makes sense and is helpful -- and thanks for posting!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16953&pid=53783#pid53783\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16953&pid=53796#pid53796\">Mandubien post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix19b_Mandubien.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix19b_Mandubien`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix20\">Mix 20</a>: Herb Felho</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix20a_HerbFelho.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix20a_HerbFelho`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Well, you\'re preaching to the choir on that banjo <i>[Herb had previously posted: \"The banjo is featured throughout the song in the instrumental parts. Not sure if this is everybody´s cup of tea, but I love banjos and wanted to hear it more often.\"]</i>, because I think it\'s a great part in this song, and also works very well in the intro, so I\'m certainly not going to question that arrangement call. Overall, this is another almost punk-flavoured interpretation, which is an approach I rather like, as it emphasises the inherent aggression of the lead vocal performance. I wonder whether you might have overplayed the 2kHz region, though, as there\'s a slightly telephony edge to the tone. This doesn\'t help with the backing vocals, which really hit this range hard and feel a bit piercing as a result.<br><br>\r\n\r\nA touch less 150-200Hz overall as well, perhaps? It\'s mostly the bass that feels slightly too porky there, so maybe it could simply be a dip on that channel required. Overall I love the attitude here, and it everything holds together within that concept -- the heavily compressed drums, the electrics-heavy balance, the hairy vocal tone. The vocal treatment is particularly nice in that it really brings out his performance character -- so nice job there! However, I wonder whether you could have \'hardened\' the sound a little more to compete better with such hard-edged guitars. In terms of effects, I like what you\'ve done. There\'s great blend, and that delay spin in the Mid-section is nicely placed.<br><br>\r\n\r\nAs with some of the other mixes I\'ve critiqued, I think maybe the acoustic guitar transients are undermining your \'band turned up to 11\' illusion -- maybe just dial in a touch of transient reduction there. (I seem to remember you\'re a Reaper user, in which case, try Reaper\'s JS Transient Controller, which works well for this.)<br><br>\r\n\r\nOne thing that niggles slightly is (I\'m guessing) the action of your buss compression, which feels like it\'s unduly ducking the backing in response to the lead vocal. Check out the end of Verse 3, for instance, and how the track seems to suddenly bump up in level when the vocal finishes (around 1:48). And then you really seem to lose impact at the start of Verse 4 when the vocal ducks the backing level again. I have nothing against the healthy vocal level in the mix, but I think it might be worth controlling it a little more on the channel, rather than relying as much on the buss compression for that purpose. Admittedly, this kind of thing can be complicated to deal with in practice -- in fact, this is one of the reasons people sometimes use multi-buss mix processing, so that they can keep the main buss compressor pumping away on the backing-track without it excessively catching the lead vocal.<br><br>\r\n\r\nI do like this version a lot, though -- bags of attitude, but still well controlled where it matters. Thanks for posting, Herb!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17078&pid=53784#pid53784\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17078&pid=53799#pid53799\">Herb Felho post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix20b_HerbFelho.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix20b_HerbFelho`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix21\">Mix 21</a>: ArmedNDaverous</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix21a_ArmedNDaverous.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix21a_ArmedNDaverous`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> This mix immediately convinces me with its vision, as well as impressing me with the solid balance, clear and open tone, and natural-sounding dynamics. I think you might have pushed the 500Hz zone a touch too much, perhaps, and the bass LF could afford to have a bit more energy too, but those are pretty small issues. There\'s an even-handed balance between the acoustic and electric elements, and the cleaner guitars are nicely enhanced to make for a good contrast between the riffing and the Mid-sections. The kick isn\'t overstated, the snare\'s \'gated\' sound has been well managed so that it seems to blend well with the kit, and the toms are also well-blended (although maybe a touch low in level on that Verse 4 fill). The bass and guitars fit together without muddiness, and the vocal sits at a good level to avoid making them sound too small. Effects are very nice, blending things subtly and musically, but also providing ear-candy at times (eg. for the lead vocal and clean guitars in the Mid-sections -- that lead-vocal delay is a definite highlight). Honestly, it\'s quite hard to pick holes in this one -- but I\'ll try nonetheless for the sake of form! <img src=\"[[$sitePrefixCMT]]SitePix/EmoGrin.gif\"> In no particular order...<br><br>\r\n\r\nThe lead vocal still feels a bit \'soft\', and doesn\'t feel as solid as, say, the electric guitars or banjo. This is something that can be very difficult to adjust, but I\'d suggest experimenting with a bit of parallel distortion, or at least something with slightly grubbier compression. Funnily enough, the backing vocals seem to fare better in this respect, so perhaps you might be able to transplant some processing ideas from them? And in the process, maybe you might make the backing vocals a touch less hard-sounding into the bargain -- they\'re about the only thing that doesn\'t really seem to blend well at present for me. The acoustic guitars also feel like they\'re poking too far forward, which slightly undermines the illusion of power in the band as a whole.<br><br>\r\n\r\nOther than that, though, there\'s only one thing to add: this is definitely a good mix, but is it the <i>right</i> mix? What you\'ve produced here is great to listen to on a technical level (and, incidentally, very much after my own heart instinctively, in case you hadn\'t noticed!), but it does niggle me that it feels a bit too safe and \'pop\'. I\'m not judging the winner of this competition myself (that\'s up to the artist), but I could easily imagine that this mix might end up sounding more hi-fi than the one he chooses, because musicians often prioritise attitude over craft. In that respect, I have to say I\'d personally have fought my own instinctive inclination to create exactly the kind of mix you\'ve produced here, because it\'s my hunch that something more risky and less controlled would serve the music (and indeed the musician) better. Clearly it\'s a judgement call, but I figured it might still be useful to at least air what my gut\'s telling me here! <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"><br><br>\r\n\r\nOn its own terms, though, this was a pleasure to listen to -- thanks for sharing it with us all!<br><br>\r\n\r\n</dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17099&pid=53785#pid53785\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17099&pid=54002#pid54002\">ArmedNDaverous post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix21b_ArmedNDaverous.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix21b_ArmedNDaverous`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix22\">Mix 22</a>: yuen_roddy</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix22a_yuenroddy.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix22a_yuenroddy`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> The basic balancing makes a lot of sense here, and I like the emphasis on the vocal -- since that\'s the star turn, after all. However, there\'s a bit of a mismatch between the tonality of your backing track (which is rather heavy on the 100-200Hz region and generally lacking high end) and that of the lead vocal (which, while far from bright, still has considerably more energy in the upper octaves of the spectrum). While a bit of master-buss EQ can help redress the backing track\'s tonality, it also overbrightens the vocal, so you\'ll need to do some work with at least the vocal channel EQ as well to find a more convincingly balanced spectrum overall. I realise that keeping the backing track less bright makes the vocal less masked, but if this was the thinking then I think you\'ve perhaps pursued that goal too far in this case.<br><br>\r\n\r\nOne side-effect of the aforementioned mismatch is that the lead vocal never really sits well with the rest of the backing track (which otherwise isn\'t at all badly blended), but rather floats over it. You seem to have added some kind of subtle stereo ambience to help glue it in there, but it\'s not doing the whole job yet, for me. That said, I reckon that if you deal with the EQ issue, it may actually end up being enough.<br><br>\r\n\r\nAs with many of the other mixes I\'ve critiques, I think you\'ve let the kick-drum dominate unduly below 100Hz. Try giving the bass a little support in this area instead, and I think the mix as a whole will seem more wide-bandwidth -- it\'ll also mean you don\'t have to rely as much on the 150Hz zone to hold the bass\'s place in the mix. Another thing that might also help open up the sound subjectively is if you widened the stereo picture for the main riff a bit. The drums are wide enough, admittedly, but the guitars all seem rather narrow. Although this does give you some extra contrast for the Mid-section when the wide-panned clean guitars arrive, I think there\'s enough opportunity for timbral/effect changes there that you don\'t really need to rely on the stereo change that heavily.<br><br>\r\n\r\nThe backing vocals have caused problems for some people, but I like what you\'ve done with them. They\'re a little bit more upfront than the band, but less so than the lead vocal and not seriously endangering the apparent power of the backing track.<br><br>\r\n\r\nHope some of that makes sense and is helpful -- and thanks for posting!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17060&pid=53815#pid53815\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix22b_yuenroddy.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix22b_yuenroddy`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix23\">Mix 23</a>: Marty</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix23a_Marty.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix23a_Marty`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Nice meaty drum sound you\'ve created here, which really helps drive the mix as a whole forward -- the groove in this mix feels particularly good to me. The drums are pretty heavily compressed, but just on the right side of overcompressed, and that gives you lots of nice attitude, especially during fills like at 1:00. The snare and toms blend pretty well too. As on some of the other mixes I\'ve critiqued, I think you\'ve probably over-specified the low end on the kick drum relative to the bass guitar -- I\'d add a bit more low end to the bass, and then go easier on the kick\'s sub-100Hz region. In terms of overall tonality, I think you\'re maybe hitting the 100-200Hz zone a bit hard (largely on account of strong bass-guitar energy there), whereas there seems a bit of a suckout in the 300-400Hz region. Evening those up with a couple of decibels of EQ cut/boost respectively seems to me to give a clearer sound overall.<br><br>\r\n\r\nThe stereo\'s nicely managed, and the stereo call-and-response thing with the clean guitars in the Mid-sections works well. I like your electric guitar sounds in general, actually, although you may have cut a little too much of the low mids, because I think you could probably get away with making them a touch fatter, especially if you cut enough 100-200Hz from the bass to make room. The guitar balance is good, though, and I like the way they all fit with the drums and the vocals.<br><br>\r\n\r\nThe acoustic instruments do feel a bit spindly, however, and not very well blended in that they push in front of the electric guitars and vocals in a way that\'s a bit distracting for me. It\'s not so much a question of level balance, more that they\'re rather bright and spiky. If you rounded them off a touch, that might be the only thing they need to sit a lot better. With such powerful drums, I wonder whether you might be able to turn the lead vocal up a bit more too, as well as maybe giving it an extra shot of 800-900Hz to solidify its place in the mix. That\'d also make more sense of the lead-vocal versus backing-vocal balance, which seems a bit back-to-front, given that the backing vocals feel stronger in the balance.<br><br>\r\n\r\nAltogether, then, this is a pretty successful interpretation with plenty of attitude. Thanks for posting!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17050&pid=53816#pid53816\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17050&pid=53928#pid53928\">Marty post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix23b_Marty.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix23b_Marty`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix24\">Mix 24</a>: IRONWORK</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix24a_IRONWORK.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix24a_IRONWORK`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> This mix is very focused-sounding, but I\'d say a little too heavy on the lower midrange, which makes it sound a bit tubby. Even if you cut a bit of this with master EQ, however, the lead vocal continues to make the low mids sound clouded, so I\'d maybe reevaluate the EQ choices there as well. It just seems a shame that Diesel seems veiled by comparison with the slightly punky guitar sounds (which I like, and which blend nicely with the banjo in particular). In this context, majoring on the kick drum\'s sub-100Hz frequencies unfortunately exacerbates the slightly boxy feeling, but I reckon that wouldn\'t be too tricky to redress with a bit of EQ cut on the kick, making way for some enhancement of the bass guitar\'s fundamentals perhaps.<br><br>\r\n\r\nBy the same token, the comparatively narrow stereo image you\'ve chosen for the main riff and verses also contributes to the sense of constriction. I can see the thinking here, though, as the way the wide-panned clean guitars in the Mid-sections then dramatically open out the picture is a nice bit of structural reinforcement. However, I think you could do more to suggest that the mix is still full-width elsewhere, even if you don\'t pan sounds obviously to the extremes: wide stereo ambiences, perhaps, or a bit of panned delay slapback -- even stereo background noise might do it!<br><br>\r\n\r\nThose more \'big-picture\' issues notwithstanding, in general I like the balances you\'ve chosen in this mix. It\'s a bit of a rockier vision than some, but the acoustic aspects still make their presence felt, and you can hear lots of detail in there, which is a good thing when there\'s so much tasteful musicianship in Joe\'s playing. The snare ambience is very thick, and might be out of place in a more acoustic mix, but here I like the way it fits in with the compression and lends that specific drum extra stature. The toms blend pretty well too. Finally, I like the way you slot the backing vocals in, but they could probably use a touch of de-essing, as the consonants seem a little out of balance with the body of the sound.<br><br>\r\n\r\nThanks for another eminently rocky version, and I hope the comments are some help!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16991&pid=53817#pid53817\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16991&pid=53885#pid53885\">IRONWORK post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix24b_IRONWORK.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix24b_IRONWORK`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix25\">Mix 25</a>: Activesense</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix25a_Activesense.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix25a_Activesense`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> It sounds like you\'ve been fighting to make sense of what you\'re hearing <i>[through Waves NX and headphones, as stated in a previous post]</i>, because the overall tonality of the mix is very middly, with the region from 100Hz to about 1kHz dominating over the rest for the most part. That said, there also seems to be quite a lot of energy in the top octave -- on the vocal sibilants and snare in particular -- and the 2kHz zone seems a bit recessed. No panics, though. I\'ve had this kind of thing when recording on headphones (or when dealing with unfamiliar speakers and acoustics) on location, so I know how easy it for this to happen, and I know that it\'s possible to tackle. The main thing is (as you\'ve already surmised) to give enough time to the mix-referencing process, as that\'ll make any spectral biases of the monitoring more obvious to you as you work.<br><br>\r\n\r\nAs for specific suggestions for references, this contest mix was tricky in that respect, because Diesel left the field wide open for new interpretations, rather than dictating the sound he was after, so it puts the responsibility back onto each mix engineer to decide what sound they\'re aiming for, at which point they need to find specific references to support that. In acknowledgement of that I personally threw my net fairly wide when selecting things for comparison while doing these critiques. For instance, I referred to a couple of dozen things out of my own personal reference collection (though most frequently to Paolo Nutini\'s \'New Shoes\' and James Morrison\'s \'One Last Chance\') and then worked through about 20 likely-looking tracks I\'d recently come across in my work for The Mix Review column, ending up with a shortlist of James Bay\'s \'Hold Back The River\', Chris Stapleton\'s \'Traveller\', Alabama Shakes \'Don\'t Wanna Fight\', and The Steeldrivers\' \'Hanging Around\' so that I had plenty of bases covered. Of course, if I were mixing this myself, I\'d probably shortlist a little more stringently, in order to decide for myself what the most relevant tracks were to my own choice of vision for the mix. It\'s a bit of a pain in the neck, but what I can definitely say without reservation is that it\'s worth the effort!<br><br>\r\n\r\nIt\'s a bit tricky to comment about more subtle balance issues in your mix in the light of the tonality concerns, but I suspect you\'ve got your heart in the right place, as many of the levels do nonetheless seem instinctively pretty sensible. I suspect you could, like many others, benefit from more low-end on the bass guitar, and some de-essing on the backing vocals would make sense, even with less HF fizz, as the consonants are pulling those singers too far forward for me. A bit of extra stereo width in the riff and verse sections would probably help give more of a sense of openness to the mix too, once the overall spectrum\'s more balanced.<br><br>\r\n\r\nHope some of that\'s useful!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17102&pid=53820#pid53820\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17102&pid=53823#pid53823\">Activesense post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix25b_Activesense.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix25b_Activesense`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix26\">Mix 26</a>: loweche6</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix26a_loweche6.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix26a_loweche6`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> Masses of attitude here, with an unapologetically processed and compressed sound. Certainly caught my attention! On the one hand, its such a strident and confident vision that it\'s tricky to evaluate from a technical standpoint, but on the other hand I think there are some things I might still tweak, even while trying to put myself into your shoes, so to speak.<br><br>\r\n\r\nThe first question is that drum reverb, which is nothing if not a statement! There\'s something I like about the way it rumbles away under the riff sections, and it does provide a kind of subjective compensation for the bass-guitar\'s low-end lightness, somehow. It also does no harm in terms of pulling the drums back (allowing the more interesting parts to stay forward), and the kick doesn\'t play anything fast enough to get lost in it either. Yet somehow I can\'t warm to it, and I\'m not quite sure why -- in fact, it may honestly say more about me and my personal preferences than about the mix! Perhaps it\'s to do with the mismatch between the upfront snare and the very diffuse kick? I can imagine that EQing the kick for a bit more bite to compete with the snare might make it sit better for me, so maybe that might be worth experimenting with. Or else, just ignore me... <img src=\"[[$sitePrefixCMT]]SitePix/EmoGrin.gif\"> Along similar lines, I\'d maybe suggest bringing the toms more upfront than they currently are, again to be more in keeping with the snare.<br><br>\r\n\r\nI like the lead vocal, although I might have added a scrap more 800Hz and dipped a bit of 200Hz to harden the tone a touch. It feels a bit recessed compared with the snare and electric guitars. The reverb is maybe a bit hissy too on the sibilants. I\'ve no problem with an obvious reverb like this, but a bit of de-essing in the reverb send would perhaps help reduce this artefact. I like the backing vocals a lot: where other mixes I\'ve critiqued are quite well-defined in this department, these grumble along less distinctly as more of a textural device, but are no less effective for that, I reckon.<br><br>\r\n\r\nFinally, is that momentary chord change at 1:57 intentional? If so, then I\'m not quite sure where I stand on it. Yes, it does drag my attention back to the track at that late stage (the fourth verse repetition) which is a good thing, but it also seems to interrupt the groove too, which I\'m less keen on. On balance I\'d probably ditch that myself.<br><br>\r\n\r\nThanks for another horizon-expanding version -- I think I probably learn more from these critiques than anyone else does, in fact!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17192&pid=53821#pid53821\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17192&pid=53837#pid53837\">loweche6 post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix26b_loweche6.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix26b_loweche6`]])</span><br><br></dd>\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix27\">Mix 27</a>: moussasfeir</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix27a_moussasfeir.m4a\">6MB 261kbps M4A</a>; preview: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix27a_moussasfeir_preview.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix27a_moussasfeir_preview`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> An extremely full-sounding mix this, but nicely balanced in general, and with a great sense of blend too, despite no obvious surfeit of reverb. Love the effects spins on the vocal in Verses 2/4 and the Mid-section -- it\'s this kind of active differentiation of the sections that\'s part of what helps really draw me into the song in your version. Incidentally, both those effect spins would have been overkill if you\'d used them all the way through, but when they only operate as spot effects they work really well, and this actually illustrates a wider truth about mixing, I think. One of the secrets to an engaging mix is doing things in the short-term that would be unacceptable if carried through the whole mix -- whether that\'s an odd balance, an odd effect, an odd arrangement, or whatever. It\'s those things that really catch the ear, so I\'m delighted that you\'ve made good use of this principle.<br><br>\r\n\r\nThat said, I can\'t really see the rationale behind muting the cleaner guitar parts in the Mid-sections, as those provide some great musical variety, and anything riff-based like this needs all the arrangement variation it can get. (Perhaps just leave them for Mid-section 2 -- I can see that working well, especially given how full you\'ve managed to make the band texture even with just the rhythm chugs there.) By the same token, you\'ve taken a bit of a gamble by giving the acoustic parts so little exposure. It\'s not that your vision doesn\'t work, because it does on its own terms -- in fact, it blends better than many other mixes I\'ve heard that feature the acoustic elements more strongly. The gamble is that you\'re chucking out a lot of things the artist connected with while tracking, and there\'s always the possibility that you\'ve over-highlighted the parts he liked less! That\'s not meant to be a criticism, though, because I like bold mixes, and some of the most well-received mixes I\'ve ever done have been where I\'ve focused the production into a clearer and more direct form like this. And it\'s probably also worth saying that in any competition situation (whether for a contest like this or when competing for business) it\'s more often the daring mixes that win out in my experience, so the chances of success may arguably be better if you deliver a unique vision that stands or falls according to whether it appeals in its own right, rather than if you play things safe and have to compete on finer details against a larger number of more conservative mixes that sound similar.<br><br>\r\n\r\nI like the heavy compression you\'ve used on the vocal and the mix in general -- it\'s not going to win any awards from Bob Katz, but it feels absolutely appropriate to me. One technical issue with the vocal compression, though, is that I think the breaths and the starts of some of the words are getting overemphasised, so I\'d probably do a bit more vocal level automation to compensate for that. I also like the way you seen to have enhanced the midrange of the vocal tone, which is something that I think it really benefits from in terms of sounding solid in the mix. As a result, you don\'t have any troubles with the guitars or drums sounding like they\'re in front of the vocals -- although clearly the healthy vocal level is also responsible. Bear in mind, though, that there are plenty of effects on the vocal too, which could also have pulled it way back in the perspective, so I think the midrange issue still counts. Speaking of which, this mix also puts the lead clearly ahead of the backing vocals, which seems quite appropriate again.<br><br>\r\n\r\nThe overall mix tonality seems too full in the 100-200Hz region, as has frequently happened in the mixes I\'ve critiqued. Clearly, you want a good strong bass presence in this mix, but I\'d suggest cutting some of that zone out and pushing the sub-100Hz region instead. As it is it feels like you\'ve over-pushed the low end of the kick drum to fill out the overall mix spectrum, given the lightweight fundamentals of that particular bass recording.<br><br>\r\n\r\nThanks for posting another great vision -- we\'re spoilt for choice!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16924&pid=53846#pid53846\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16924&pid=53881#pid53881\">moussasfeir post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix27b_moussasfeir.m4a\">7MB 262kbps M4A</a>; preview: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix27b_moussasfeir_preview.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix27b_moussasfeir_preview`]])</span><br><br></dd>\r\n\r\n\r\n\r\n<dt class=\"dtYGInlineHead\"><strong><a name=\"Mix28\">Mix 28</a>: coldvodka</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix28a_coldvodka.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix28a_coldvodka`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dt>\r\n\r\n<dd><strong>Critique:</strong> I like a lot of your balance decisions in general here. It\'s a gutsy vision you\'ve gone for, which is no bad thing with a song that has such a combative attitude as this one. I like that you\'ve kept the vocal solidly upfront, as befits his importance to the track, and that the backing vocals are a good step behind him when they arrive. The blend between the drums and the electric guitars is good too, and gives a respectable \'band playing together\' illusion.<br><br>\r\n\r\nAs with a lot of the mixes in this subforum, I think the kick-drum\'s sub-100Hz contribution is stronger than it need be, and that the guitar texture would feel more powerful and full-range if you enhanced the bass guitar\'s fundamental frequencies in that spectral zone instead. I suspect you may possibly not be able to hear well enough what\'s going on sub-50Hz in your room, because the kick\'s putting out a lot of energy down there, and more than I\'d really advise -- you may find it does funny things to your mix in some end-user playback situations. Certainly, the subjective impression of kick-drum level in your mix via full-range monitors is very different to the impression via smaller speakers, which is rarely a good idea as far as mainstream mix-translation is concerned. Other than that, though, the overall mix tonality seemed fairly well balanced -- maybe a fraction over-scooped in the 300Hz region?<br><br>\r\n\r\nAlthough this is definitely an electrics-biased guitar balance, the acoustic elements actually blend better than I\'ve heard on a lot of the other mixes I\'ve critiqued, primarily because the transients and high-end don\'t seem overemphasised. (I actually wonder whether some people are adding high end to these acoustic guitar parts almost as a reflex, but that\'s only surmise on my part.) That fast tremolo effect on the ElecGtr03 part in the Mid-sections is very cool -- I like that a lot, as it\'s almost a little hook in its own right. Not sure about the vocal effects there, though. While I\'m totally in agreement that a change in vocal effects can usefully help differentiate that section, and I can also hear the retro kind of idea you have in mind, in practice I think the effect\'s got too much low midrange, so it gives a rather muddy-sounding frequency build-up that doesn\'t seem to fit with the clarity of most of the rest of the mix. That said, I love what it does with the \"hah\" at 2:09, because this gives a great sense of him shouting \'off mic\', so to speak, and adds to the sense of live performance for me.<br><br>\r\n\r\nOverall I like your use of more \'techical\' mix effects too, and this is clearly part of the well-blended character of what you\'ve done. A couple of small queries with respect to the front-back perspective, though. Firstly, could the ElecGtr04 part have something to glue it in a bit better during Outro 1? It certainly makes a statement by being so dry, but somehow it also seems to undermine the acoustic illusion you\'ve been developing up to that point. And, secondly, are the cymbals a touch too bright? They feel like they\'re maybe a bit too far forward at points. Besides, if you clear a little of the high end out of the cymbals, you\'ll be able to get a bit more detail into the electric guitars, for example.<br><br>\r\n\r\nThanks for uploading your version, and I hope some of the above is useful!<br><br></dd>\r\n\r\n<dd><span class=\"spanYGOriginalContext\">(Read the critique in its original forum context <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16963&pid=53853#pid53853\">here</a>.)</span><br><br></dd>\r\n\r\n<dd><strong>Forum responses: <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=16963&pid=53979#pid53979\">coldvodka post</a>.</strong><br><br></dd>\r\n\r\n<dd><strong>Final contest submission:</strong> <span class=\"spanYGFollowUpFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix28b_coldvodka.m4a\">6MB 251kbps M4A</a>; preview: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix28b_coldvodka_preview.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix28b_coldvodka_preview`]])</span><br><br></dd>\r\n\r\n</dl>\r\n\r\n<dt class=\"dtYGInlineHead\"><strong>Additional Competition Entry (submitted after critique deadline):</strong><br><br></dt>\r\n\r\n<dd class=\"dtYGInlineHead\"><strong><a name=\"Mix29\">Mix 29</a>: Faders_up</strong> <span class=\"spanYGExampleFile\">(submitted file: <a href=\"[[$sitePrefixCMT]]/SiteAudio/MSFTSS/Diesel13MixContest/Mix29a_Fadersup.mp3\">8MB 320kbps MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/Diesel13MixContest/Mix29a_Fadersup`]]) -- <a href=\"#QuickLinks\">back to Quick Links</a> <a href=\"#QuickLinks\"><img src=\"[[$sitePrefixCMT]]SitePix/ArrowUp.jpg\" alt=\"back to Quick Links\" border=\"0\"></a></span><br><br></dd>\r\n\r\n</dl>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"Shortlist\">The Shortlist</a></h3>\r\n\r\n<p>Following the competition deadline, I sent all the final submissions to Diesel and Joe, and they came up with the following shortlist:</p>\r\n\r\n<ul>\r\n<li><a href=\"#Mix21\">ArmedNDaverous</a></li>\r\n<li><a href=\"#Mix08\">Dangerous</a></li>\r\n<li><a href=\"#Mix20\">Herb Felho</a></li>\r\n<li><a href=\"#Mix24\">IRONWORK</a></li>\r\n<li><a href=\"#Mix15\">Kesman2401</a></li>\r\n<li><a href=\"#Mix23\">Marty</a></li>\r\n<li><a href=\"#Mix27\">moussasfeir</a></li>\r\n<li><a href=\"#Mix03\">Olli H</a></li>\r\n<li><a href=\"#Mix02\">thedon</a></li>\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"Winners\">The Winners</a></h3>\r\n\r\n<p>And here are the competition winners, with some further feedback direct from Diesel and Joe...\r\n\r\n<dl>\r\n<dd><strong>1st Prize: <a href=\"#Mix08\">Dangerous</a></strong>: \"Exciting as hell to listen to! An original and well-constructed new take on the intro and a great crackling, barrage of guitars. We love the snare sound -- lots of under-snare in the mix (which isn\'t the usual choice), bringing it sonically into line with the guitars. A few resonant frequencies start to get wearing and the bass is a little light, but the sheer energy and use of original ideas lift this mix above such petty considerations! Brilliant work Dangerous!\"<br><br></dd>\r\n\r\n<dd><strong>2nd Prize: <a href=\"#Mix03\">Olli H</a></strong>: \"An energetic and original mix with tonnes of energy and attitude. Imperfect in many ways, but great choice of sounds, particularly the guitars, backing vocals, and bass.\"<br><br></dd>\r\n\r\n<dd><strong>Runner-up: <a href=\"#Mix02\">thedon</a></strong>: \"The best mix in terms of balance and cohesion, but a little on the safe side. Great mix though!\"<br><br></dd>\r\n\r\n<dd><strong>Honourable Mentions</strong>:\r\n<ul>\r\n<li><a href=\"#Mix05\">Digitaldruglord</a>: \"Great vocal effect!\"</li>\r\n<li><a href=\"#Mix20\">Herb Felho</a>: \"Original and chaotic, with great energy.\"</li>\r\n<li><a href=\"#Mix15\">Kesman2401</a>: \"An exciting mix.\"</li>\r\n<li><a href=\"#Mix12\">johnfueston</a>: \"Nicely balanced.\"</li>\r\n<li><a href=\"#Mix23\">Marty</a>: \"Brave, exciting, and head-nodding.\"</li>\r\n</ul>\r\n<br><br></dd>\r\n\r\n<dd><strong>Further general critique points:</strong>\r\n<ul>\r\n<li>\"On the whole the entries seemed to underplay the vocal in terms of volume and power.\"</li>\r\n<li>\"The low end was wildly inconsistent across the different submissions -- non-existent in some and overpowering in others -- so we suspect that many entrants may have suffered from working on small speakers and headphones.\"</li>\r\n<li>\"There were resonant frequencies in almost all the mixes that needed taming and made the overall mix sound tiring -- at least to those familiar with the recording of the song! Here\'s a screengrab of a suggested setting for the main acoustic guitar, for instance:\"<br><br>\r\n<img src=\"[[$sitePrefixCMT]]SitePix/AcousticGuitarResonanceEQSmall.jpg\" alt=\"Acoustic guitar resonance-reduction EQ\" border=\"0\"><br><br></li>\r\n</ul>\r\n</dd>\r\n</dl>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"PatronsPodcast\">The Patrons Podcast</a></h3>\r\n\r\n<p>For a roundup of the most common issues highlighted by this competition, illustrated with audio demonstrations from the various submitted mixes, check out the <a href=\"patreon.htm\">December 2016 Patrons Podcast</a>. Also featured are my own personal highlights from the critiqued mixes.</p>\r\n\r\n<h3 class=\"h3ResourceTitle\"><a name=\"DownloadProject\">Download The Winner\'s DAW Project!</a></h3>\r\n\r\n<p>Following the Podcast, Dangerous very kindly agreed to provide his full DAW mix project so that everyone could scrutinise his winning formula! <img src=\"[[$sitePrefixCMT]]SitePix/EmoGrin.gif\"> So here\'s a <a href=\"http://multitracks.cambridge-mt.com/Diesel13_ColourMeRed_DangerousMixProject.zip\">574MB ZIP download</a> containing that Cockos <i>Reaper</i> project, complete with all the project\'s audio files. <strong>Please be very careful when playing back this project for the first time, because if your installed plug-ins vary from those Dangerous used then you may get unexpectedly high output levels from some tracks!</strong> The ZIP archive\'s \'ThirdPartyPluginScreens\' folder contains bitmap images of the settings for all the third-party plug-ins used, so you can see all their settings even if you don\'t have all the same plug-ins installed. The image files are named according to track number and plug-in slot number, so it should be pretty quick to find what you\'re looking for. Where there\'s more than one important page of settings in the plug-in GUI, there are several images of the same plug-in with suffix letters to differentiate them.</p>\r\n\r\n[[$MSFTSSPicAndBlurb]]\r\n\r\n<br><br>\r\n\r\n[[$RSFTSSPicAndBlurb]]',1,6,32,1,1,1,1482475702,1,1484906613,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'Diesel13Competition.htm',0,0,1,NULL),(398,'document','text/html','James May: \'On The Line\'','','','ms-mtk-projectmr1210','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\n[[$MTKProjectTemplate]]',1,6,1,1,1,1,1433916647,1,1435302646,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1210.htm',0,0,1,NULL),(401,'document','text/html','Spektakulatius: \'Wayfaring Stranger\'','','','ms-mtk-projectmr1507','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\n[[$MTKProjectTemplate]]',1,6,4,1,1,1,1435250148,1,1435302669,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1507.htm',0,0,1,NULL),(399,'document','text/html','Santi Vega: \'Ying Yang\'','','','ms-mtk-projectmr1207','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\n[[$MTKProjectTemplate]]',1,6,2,1,1,1,1434114002,1,1435302652,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1207.htm',0,0,1,NULL),(400,'document','text/html','Selwyn Jazz: \'Much Too Much\'','','','ms-mtk-projectsn1301','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\n[[$MTKProjectTemplate]]',1,6,3,1,1,1,1434266217,1,1435302660,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectsn1301.htm',0,0,1,NULL),(404,'document','text/html','Girls Under Glass: \'We Feel Alright\'','','','ms-mtk-projectmr1011','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\n[[$MTKProjectTemplate]]',1,6,7,1,1,1,1435253395,1,1435302697,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1011.htm',0,0,1,NULL),(405,'document','text/html','Bruks: \'Kak Tvoi Dela, Vova?\'','','','ms-mtk-projectmr1505','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\r\n[[$MTKProjectTemplate]]',1,6,8,1,1,1,1435253669,1,1463649426,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1505.htm',0,0,1,NULL),(406,'document','text/html','Cristina Vane: \'So Easy\'','','','ms-mtk-projectmr1305','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\n[[$MTKProjectTemplate]]',1,6,9,1,1,1,1435254014,1,1435302711,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1305.htm',0,0,1,NULL),(407,'document','text/html','James Elder; \'The English Actor\'','','','ms-mtk-projectmr0902','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\n[[$MTKProjectTemplate]]',1,6,10,1,1,1,1435254476,1,1435302718,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr0902.htm',0,0,1,NULL),(408,'document','text/html','Turn Back To Spring: \'Another Day Calling\'','','','ms-mtk-projectmr1005','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\n[[$MTKProjectTemplate]]',1,6,11,1,1,1,1435254743,1,1435302726,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1005.htm',0,0,1,NULL),(409,'document','text/html','The Wrong\'uns: \'Rothko\'','','','ms-mtk-projectmr1303','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\n[[$MTKProjectTemplate]]',1,6,12,1,1,1,1435301660,1,1435302735,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1303.htm',0,0,1,NULL),(410,'document','text/html','Arise: \'Run Run Run\'','','','ms-mtk-projectmr1111','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\n[[$MTKProjectTemplate]]',1,6,13,1,1,1,1435301893,1,1435302742,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1111.htm',0,0,1,NULL),(411,'document','text/html','Dunning Kruger: \'Sascha\'','','','ms-mtk-projectsascha','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\n[[$MTKProjectTemplate]]',1,6,14,1,1,1,1435302191,1,1435302751,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectsascha.htm',0,0,1,NULL),(412,'document','text/html','The Mountaineering Club: \'Mallory\'','','','ms-mtk-projectmr1205','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\n[[$MTKProjectTemplate]]',1,6,15,1,1,1,1435302448,1,1435302793,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1205.htm',0,0,1,NULL),(413,'document','text/html','Nerve 9: \'Pray For The Rain\'','','','ms-mtk-projectmr1503','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\r\n[[$MTKProjectTemplate]]',1,6,16,1,1,1,1435302807,1,1435303119,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1503.htm',0,0,1,NULL),(414,'document','text/html','We Fell From The Sky: \'Not You\'','','','ms-mtk-projectmr1105','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\r\n[[$MTKProjectTemplate]]',1,6,17,1,1,1,1435303199,1,1435303324,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1105.htm',0,0,1,NULL),(415,'document','text/html','Young Griffo: \'Facade\'','','','ms-mtk-projectmr1110','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\r\n[[$MTKProjectTemplate]]',1,6,18,1,1,1,1435303567,1,1435303679,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1110.htm',0,0,1,NULL),(416,'document','text/html','Jokers, Jacks & Kings: \'Sea Of Leaves\'','','','ms-mtk-projectmr1204','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\r\n[[$MTKProjectTemplate]]',1,6,19,1,1,1,1435303847,1,1435304180,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1204.htm',0,0,1,NULL),(418,'document','text/html','AdviceTraining','Cambridge-MT Small-studio Advice &amp; Training','','AdviceTraining','',1,0,0,626,0,'<p>&quot;I\'ve heard people make very bad records on expensive gear. The gear does not dictate the quality &ndash; it\'s how you use it.&quot; - Tony Visconti (<small>producer for David Bowie, Iggy Pop, T-Rex, The Moody Blues, Thin Lizzy</small>)</p>\r\n<p>Over the years, professional engineers have developed a range of techniques for achieving high-quality results even when they\'re using budget gear or working outside a \'proper\' studio environment. Cambridge-MT\'s <a href=\"[[~376]]\">Mike Senior</a> specialises in training small-studio engineers to apply such skills so that they can elevate their productions to a professional level, and his most commonly requested training services are listed below. For further details and pricing, please <a href=\"[[~420]]\">get in touch</a>.</p>','<ul>\r\n        <li><u><strong><a id=\"ProductionCritiques\"></a>Production Critiques:</strong></u> Send in a soundfile of your mix and receive in-depth written feedback on all aspects of the production. As the author of <a href=\"http://www.soundonsound.com\"><i>Sound On Sound</i></a> magazine\'s regular \'<a href=\"[[~376]]#MixReview\">The Mix Review</a>\' and \'<a href=\"[[~376]]#MixRescue\">Mix Rescue</a>\' features, Mike is uniquely placed to identify musical and technical issues which may be undermining your work\'s commercial competitiveness.<br><br></li>\r\n\r\n        <li><u><strong><a id=\"MixTraining\"></a>One-on-one Mix Training:</strong></u> If you operate a small studio and want a fast-track to achieving commercial-quality mixes for your music, then bring one of your productions to Mike\'s Munich-based mix room and let him work alongside you, explaining how to improve your results at every stage of the mixing process. Alternatively, Mike can also mix and advise on your multitrack production remotely via file-exchange, email, and telephone conversation.<br><br></li>\r\n\r\n        <li><u><strong><a id=\"StudioVisits\"></a>Studio Visits:</strong></u> For the ultimate in tailored tuition, bring Mike into your own studio so that he can show you how to achieve release-quality results for your own music, in your own environment, using your own gear.<br><br></li>\r\n</ul>',1,6,2,1,1,1,1435322042,1,1485243490,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'AdviceTraining.htm',0,0,1,NULL),(434,'document','text/html','MSFTSS_Ch00ms-MTKLibTester','The \'<a href=\"[[~29]]\">Mixing Secrets</a>\' Free Multitrack Download Library','','ms-mtkTester','',1,0,0,23,0,'','StaticResources/ms-mtkTester.htm',1,14,6,1,1,1,1436248398,1,1494862699,0,0,0,1433143200,1,'',0,0,0,0,0,'modStaticResource','web',1,'ms-mtkTester.htm',0,0,1,NULL),(419,'document','text/html','StudioServices','Studio Recording &amp; Mixing Services','','StudioServices','',1,0,0,626,0,'<p>Cambridge-MT offer studio services tailored specifically for small-studio owners and recording musicians. What is unique about Cambridge-MT is that we understand that many musicians are increasingly keen to take charge of the production process for themselves, but that they often lack crucial specialist skills required to create a commercially competitive product. Our response to this problem is to provide the option for our customers to partner our recording/mixing services with bespoke <a href=\"[[~418]]\">advice and training</a>, so not only will we get you the high-quality results you need right now, but we can also show you how to improve your own production approach to save you time and money in the future.</p>','<ul>\r\n\r\n<li><strong><a id=\"RecordingServices\">Recording Services:</a></strong> If you\'re looking for a complete location recording service for your band or ensemble, then Cambridge-MT can supply that for you. However, the flexibility you get with Cambridge-MT is that if you already have some recording skills and equipment, we can also work more cooperatively alongside you just to supplement these. So if you know how to connect up mics and record them, but you\'re not as confident about which ones to use and where to point them, we can step in to help at that point, improving both your recording and your recording knowledge at the same time. <a href=\"[[~420]]\">Get in touch</a> to discuss what we can do for you.<br><br></li>\r\n\r\n<li><strong><a id=\"MixingServices\">Mixing Services:</a></strong> Sound On Sound magazine\'s \'<a href=\"[[~376]]#MixRescue\">Mix Rescue</a>\' articles prove how much <a href=\"[[~376]]\">Mike Senior</a> can improve your sound at mixdown, even for recordings made under severe budget restrictions. If you want to get that kind of professional makeover for your own productions, then <a href=\"[[~420]]\">contact us</a> for further details.</li>\r\n      </ul>',1,6,3,1,1,1,1435322498,1,1485243541,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'StudioServices.htm',0,0,1,NULL),(420,'document','text/html','AboutCMT','About Cambridge-MT','','AboutCMT','',1,0,0,626,0,'<p>Cambridge Music Technology (Cambridge-MT) is run by recording engineer and author <a href=\"[[~376]]\">Mike Senior</a> to provide studio production services and music-technology training specifically aimed at project studios and educational institutions.</p>\r\n      <p>Unfortunately the demons of spam prevent us from providing a direct contact email address here. If you\'d like to contact any of the Cambridge-MT team, please use the following contact form, which has been kept as simple as possible -- we\'ll email you back pronto! If you\'re applying for information about <a href=\"[[~419]]\">Studio Recording &amp; Mixing Services</a> or <a href=\"[[~418]]\">Small-studio Advice &amp; Training</a>, then please let us know your location so that we can account for travel.</p>','<p class=\"pContactFAQs\"><strong><span class=\"spanLibraryRedirectHeader\">FAQ:\r\n<a href=\"[[~396]]\">Can I use my mixes of the library multitracks for my portfolio/showreel?</a><br>\r\nFAQ: <a href=\"[[~396]]\">Can I use the library multitracks for my online video tutorials?</a></span></strong><br><br></p>\r\n<a id=\"contact\"></a><iframe class=\"iframeContactForm\" src=\"http://root.cambridge-mt.com/tinc?key=Aaxh5Jzj\">\r\n  <p>Your browser does not support iframes.</p>\r\n</iframe>',1,6,4,1,1,1,1435323397,1,1485243576,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'AboutCMT.htm',0,0,1,NULL),(651,'document','text/html','March 2017','Cambridge-MT Patrons Podcast','','PatronsPodcast1703StereoSonic','',1,0,0,493,0,'<h4 class=\"h4IntroTextSubtitle\">[[*pagetitle]] Episode</h4>\r\n\r\n<p>In this, the First Anniversary episode (woo-hoo!) of the Patrons Podcast, I provide general-purpose mixing tips for BKS\'s \'Bulldozer\', including tricks for giving virtual drum instruments a more organic sound and reducing unwanted recorded reverb on guitar parts. Plus there\'s the usual in-depth critique of one of this same production\'s Discussion Zone mixes in-depth, as well as a recommendation of one of my favourite records of the year!</p>\r\n<p>\r\n<div data-wimpyplayer data-inline=\"1\" data-skin=\"wimpy7/PodcastPlayer002.tsv\" data-media=\'http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1703StereoSonic.mp3\'></div>\r\n</p>\r\n<br>\r\n<p><span class=\"spanPodcastMiniText\">320kbps MP3 playback quality (downloadable versions: <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1703StereoSonic.mp3\">320kbps MP3</a>; <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1703StereoSonic_HiRes.zip\">24-bit/44.1kHz WAV</a>)</a></span></p>\r\n','\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>01:36 -- <strong>This Month\'s Featured Multitrack: BKS\'s \'<a href=\"[[~373]]#BKS\">Bulldozer</a>\'</strong><br><br></li>\r\n  <ul>\r\n    <li>01:23 -- achieving an organic drum sound from a virtual drum instrument</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">04:46 - 04:54 -- [[$podcastDemo]] soloed parallel compression/distortion channel fed from drums submix (my rough mix)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">05:18 - 05:27 -- [[$podcastDemo]] basic drums submix (my rough mix)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">05:27 - 05:36 -- [[$podcastDemo]] basic drums submix with parallel compression/distortion channel (my rough mix)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">05:58 - 06:10 -- [[$podcastDemo]] snippet of my rough mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">06:10 - 06:22 -- [[$podcastDemo]] snippet of my rough mix with master-buss compression</span><br><br></li>\r\n    </ul>\r\n    <li>07:06 -- kick-drum sonics</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">07:20 - 07:27 -- [[$podcastDemo]] raw balance of the two kick-drum \'virtual mic\' signals</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">08:01 - 08:08 -- [[$podcastDemo]] raw balance of the two kick-drum \'virtual mic\' signals with phase-alignment</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">08:26 - 08:33 -- [[$podcastDemo]] balance of the two kick-drum \'virtual mic\' signals with phase-alignment and low-frequency EQ cuts</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">08:45 - 08:52 -- [[$podcastDemo]] balance of the two kick-drum \'virtual mic\' signals with phase-alignment, low-frequency EQ cuts, and gating</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">09:08 - 09:15 -- [[$podcastDemo]] raw balance of the two kick-drum \'virtual mic\' signals</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">09:16 - 09:24 -- [[$podcastDemo]] balance of the two kick-drum \'virtual mic\' signals with phase-alignment, low-frequency EQ cuts, and gating</span><br><br></li>\r\n    </ul>\r\n    <li>09:24 -- guitar tracks and arrangement</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">10:39 - 10:47 -- [[$podcastDemo]] raw verse guitar part (\'20_ElecGtr1bGR4\')</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">11:56 - 12:04 -- [[$podcastDemo]] raw verse guitar part (\'20_ElecGtr1bGR4\')</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">12:05 - 12:14 -- [[$podcastDemo]] verse guitar part with transient processing to reduce recorded reverb</span><br><br></li>\r\n    </ul>\r\n    <li>12:22 -- bass guitar tracks: tonal inconsistencies and underpowered low end</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">12:51 - 13:08 -- [[$podcastDemo]] raw bass guitar DI track</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">13:24 - 13:41 -- [[$podcastDemo]] raw bass guitar distorted DI track</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">14:27 - 14:44 -- [[$podcastDemo]] bass guitar within mix context without compensatory low-frequency boost (my rough mix)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">14:44 - 15:00 -- [[$podcastDemo]] bass guitar within mix context with compensatory low-frequency boost (my rough mix)</span><br><br></li>\r\n    </ul>\r\n    <li>15:01 -- lead vocal tonal inconsistencies</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">15:16 - 15:23 -- [[$podcastDemo]] raw lead vocal recording</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">15:42 - 15:49 -- [[$podcastDemo]] lead vocal with dynamic EQ processing</span><br><br></li>\r\n    </ul>\r\n    <li>15:59 -- piano MIDI velocity inconsistencies</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">16:06 - 16:25 -- [[$podcastDemo]] raw piano recording</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">16:57 - 17:18 -- [[$podcastDemo]] uncompressed piano recording within mix context (my rough mix)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">17:26 - 17:48 -- [[$podcastDemo]] compressed piano recording within mix context (my rough mix)</span><br><br></li>\r\n    </ul>\r\n    <li>18:13 -- backing vocals: tuning and arrangement<br><br></li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">18:31 - 18:47 -- [[$podcastDemo]] backing vocals within mix context without tuning correction</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">18:47 - 19:03 -- [[$podcastDemo]] backing vocals within mix context with tuning correction</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">19:46 - 19:49 -- [[$podcastDemo]] backing vocals within mix context, including lead-vocal doubling</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">19:49 - 19:53 -- [[$podcastDemo]] backing vocals within mix context, but with the lead-vocal doubling edited out</span><br><br></li>\r\n    </ul>\r\n  </ul>\r\n  <li>20:10 -- <strong>Mix Critique: <a href=\"http://discussion.cambridge-mt.com/member.php?action=profile&uid=4504\">Stereo Sonic</a>\'s version-two mix of \'Bulldozer\'</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">20:20 - 25:51 -- [[$podcastDemo]] Stereo Sonic\'s full mix</span><br><br></li>\r\n    <li>25:58 -- Critique Point #1: balancing of keyboard/synth elements</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">26:31 - 26:56 -- [[$podcastDemo]] snippet of Stereo Sonic\'s mix</span><br><br></li>\r\n    </ul>\r\n    <li>27:11 -- Critique Point #2: solo-section balancing of guitar and piano</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">27:31 - 28:01 -- [[$podcastDemo]] snippet of Stereo Sonic\'s mix</span><br><br></li>\r\n    </ul>\r\n    <li>28:16 -- Critique Point #3: lead vocal balancing and sibilance</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">28:57 - 29:09 -- [[$podcastDemo]] snippet of Stereo Sonic\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">29:09 - 29:20 -- [[$podcastDemo]] snippet of Stereo Sonic\'s mix with additional vocal de-essing</span><br><br></li>\r\n    </ul>\r\n    <li>29:32 -- Critique Point #4: murky overall mix tonality</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">29:58 - 30:08 -- [[$podcastDemo]] snippet of multitrack library preview mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">30:08 - 30:19 -- [[$podcastDemo]] snippet of Stereo Sonic\'s version-one mix (loudness matched)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">30:48 - 30:59 -- [[$podcastDemo]] snippet of Stereo Sonic\'s version-two mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">30:59 - 31:09 -- [[$podcastDemo]] snippet of Stereo Sonic\'s version-two mix with low-midrange EQ cuts (loudness matched)</span><br><br></li>\r\n    </ul>\r\n    <li>31:37 -- Critique Point #5: soft-sounding kick drum imbalanced against snare drum</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">32:21 - 32:31 -- [[$podcastDemo]] snippet of Stereo Sonic\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">32:31 - 32:41 -- [[$podcastDemo]] snippet of my rough mix</span><br><br></li>\r\n    </ul>\r\n    <li>32:41 -- Critique Point #6: snare drum disolated from the rest of the kit</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">33:00 - 33:10 -- [[$podcastDemo]] snippet of Stereo Sonic\'s mix</span><br><br></li>\r\n    </ul>\r\n    <li>33:22 -- Critique Point #7: electric-guitar low riff balance</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">33:42 - 33:52 -- [[$podcastDemo]] snippet of Stereo Sonic\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">34:24 - 34:36 -- [[$podcastDemo]] snippet of my rough mix without additional bass-guitar midrange frequencies</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">34:36 - 34:48 -- [[$podcastDemo]] snippet of my rough mix with additional bass-guitar midrange frequencies</span><br><br></li>\r\n    </ul>\r\n    <li>34:52 -- Critique Point #8: abrupt final fade-out</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">35:01 - 35:10 -- [[$podcastDemo]] ending of Stereo Sonic\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">35:58 - 36:10 -- [[$podcastDemo]] ending of my rough mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">36:31 - 36:43 -- [[$podcastDemo]] ending of my rough mix with automated EQ notch</span><br><br></li>\r\n    </ul>\r\n  </ul>\r\n  <li>37:12 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 39:21)</span></li>\r\n</ul>\r\n \r\n \r\n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\r\n\r\n<ul>\r\n<li><strong>Uncompressed Audio Version:</strong> The player on this page uses 320kbps MP3 quality. If you\'d prefer to hear uncompressed PCM audio, <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1703StereoSonic_HiRes.zip\">this ZIP archive</a> contains the podcast in 24-bit/44.1kHz WAV format.<br><br></li>\r\n\r\n<li><strong>Mix The Same Raw Multitracks Yourself:</strong> The raw multitracks for BKS\'s \'Bulldozer\' can be downloaded via <a href=\"[[~373]]#BKS\">The \'Mixing Secrets\' Free Multitrack Download Library</a>.<br><br></li>\r\n\r\n<li><strong>Have Your Say About This Mix:</strong> The original thread featuring this month\'s critiqued mix can be found <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=17685\">here in the Discussion Zone</a>.<br><br></li>\r\n</ul>',1,6,1,1,1,1,1490995746,1,1490997362,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronsPodcast1703StereoSonic.htm',0,0,1,NULL),(652,'document','text/html','April 2017: Don Camillo Chor','','Recording A Choir In The Studio','April-2017-Don-Camillo-Chor','',1,0,0,110,0,'','',1,10,0,1,1,1,1491027341,1,1491027684,0,0,0,1479566040,1,'',0,0,0,0,0,'modDocument','web',1,'April-2017-Don-Camillo-Chor.htm',0,0,1,NULL),(653,'document','text/html','April 2017','','','April-2004','',1,0,0,31,1,'','',1,7,1,1,1,1,1491027813,1,1491208154,0,0,0,1491208154,1,'',0,0,0,0,0,'modDocument','web',1,'April-2004/',0,0,1,NULL),(654,'document','text/html','Shape Of You','','','sdfdssdfds','',1,0,0,653,0,'','',1,8,1,1,1,1,1491027813,1,1491207914,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'sdfdssdfds.htm',0,0,1,NULL),(659,'document','text/html','Rockabye','','','sdfsdg','',1,0,0,653,0,'','',1,8,4,1,1,1,1491208054,1,1491208096,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'sdfsdg.htm',0,0,1,NULL),(655,'document','text/html','In The Summertime','','','In-The-Summertime','',1,0,0,653,0,'','',1,8,5,1,1,1,1491027813,1,1491208121,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'In-The-Summertime.htm',0,0,1,NULL),(656,'document','text/html','You Don\'t Know Me','','','You-Dont-Know-Me','',1,0,0,653,0,'','',1,8,3,1,1,1,1491027813,1,1491208028,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'You-Dont-Know-Me.htm',0,0,1,NULL),(657,'document','text/html','No Lie','','','No-Lie','',1,0,0,653,0,'','',1,8,2,1,1,1,1491027813,1,1491207972,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'No-Lie.htm',0,0,1,NULL),(658,'document','text/html','Wait For It','','','Wait-For-It','',1,0,0,653,0,'','',1,8,0,1,1,1,1491027813,1,1491207881,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Wait-For-It.htm',0,0,1,NULL),(660,'document','text/html','April 2017','Cambridge-MT Patrons Podcast','','PatronsPodcast1704ArmedNDaverous','',1,0,0,493,0,'<h4 class=\"h4IntroTextSubtitle\">[[*pagetitle]] Episode</h4>\r\n\r\n<p>This episode of the Patrons Podcast features my general-purpose mixing tips for Perpetual Escape\'s \'Sin Six\', as well as an in-depth critique of one of that production\'s Discussion Zone mixes. Plus, in the Unvarnished Review slot are ADAM\'s affordable new F7 active nearfield monitors.</p>\r\n<p>\r\n<div data-wimpyplayer data-inline=\"1\" data-skin=\"wimpy7/PodcastPlayer002.tsv\" data-media=\'http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1704ArmedNDaverous.mp3\'></div>\r\n</p>\r\n<br>\r\n<p><span class=\"spanPodcastMiniText\">320kbps MP3 playback quality (downloadable versions: <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1704ArmedNDaverous.mp3\">320kbps MP3</a>; <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1704ArmedNDaverous_HiRes.zip\">24-bit/44.1kHz WAV</a>)</a></span></p>','<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>01:05 -- <strong>This Month\'s Featured Multitrack: Perpetual Escape\'s \'<a href=\"[[~373]]#PerpetualEscape\">Sin Six</a>\'</strong><br><br></li>\r\n  <ul>\r\n    <li>02:22 -- electric guitars: low-end emphasis, cabinet choice, and drive levels; </li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">02:56 - 03:13 -- [[$podcastDemo]] raw rhythm guitar track recorded with AKG C212 close mic (\'29_ElecGtr02DTMic1\')</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">03:13 - 03:29 -- [[$podcastDemo]] raw rhythm guitar track recorded with Sennheiser e906 close mic (\'30_ElecGtr02DTMic2\')</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">03:30 - 03:46 -- [[$podcastDemo]] raw rhythm guitar track recorded with Shure SM57 close mic (\'32_ElecGtr02DTMic4\')</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">04:05 - 04:21 -- [[$podcastDemo]] raw rhythm guitar track recorded with Rode K2 room mic (\'31_ElecGtr02DTMic3\')</span><br><br></li>\r\n    </ul>\r\n    <li>05:47 -- bass: inconsistent fundamental levels</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">05:53 - 06:12 -- [[$podcastDemo]] raw bass DI track</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">06:59 - 07:18 -- [[$podcastDemo]] raw bass DI track with low-frequency dynamic EQ processing</span><br><br></li>\r\n    </ul>\r\n    <li>07:18 -- kick drum: low-frequency balance and phase alignment</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">08:01 - 08:06 -- [[$podcastDemo]] raw balance of two kick mic signals </span></li>\r\n      <li><span class=\"spanPodcastMiniText\">08:07 - 08:13 -- [[$podcastDemo]] raw balance of two kick mic signals with phase alignment</span><br><br></li>\r\n    </ul>\r\n    <li>08:12 -- snare drum mics: mic positioning, mix balance, and sample replacement</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">08:28 - 08:34 -- [[$podcastDemo]] raw over-snare microphone</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">09:00 - 09:07 -- [[$podcastDemo]] raw under-snare microphone</span><br><br></li>\r\n    </ul>\r\n    <li>09:07 -- drum room mics: stereo-image impact and relative balance</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">09:54 - 10:06 -- [[$podcastDemo]] raw \'drum room 1\' track </span></li>\r\n      <li><span class=\"spanPodcastMiniText\">10:06 - 10:18 -- [[$podcastDemo]] raw \'drum room 2\' track </span><br><br></li>\r\n    </ul>\r\n    <li>10:18 -- lead vocal automation/multing<br><br></li>\r\n  </ul>\r\n  <li>11:30 -- <strong>Mix Critique: <a href=\"http://discussion.cambridge-mt.com/member.php?action=profile&uid=7327\">ArmedNDaverous</a>\'s version-two mix of \'Sin Six\'</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">11:45 - 15:15 -- [[$podcastDemo]] ArmedNDaverous\'s full mix</span><br><br></li>\r\n    <li>15:45 -- Critique Point #1: low midrange of overall tonality</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">16:05 - 16:20 -- [[$podcastDemo]] snippet of ArmedNDaverous\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">16:21 - 16:36 -- [[$podcastDemo]] snippet of ArmedNDaverous\'s mix with low-midrange EQ cut</span><br><br></li>\r\n    </ul>\r\n    <li>16:50 -- Critique Point #2: mix translation of kick and snare</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">17:58 - 18:14 -- [[$podcastDemo]] snippet of ArmedNDaverous\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">18:14 - 18:30 -- [[$podcastDemo]] snippet of my rough mix</span><br><br></li>\r\n    </ul>\r\n    <li>18:38 -- Critique Point #3: indistinct/diffuse tom fills </li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">18:47 - 18:54 -- [[$podcastDemo]] snippet of ArmedNDaverous\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">19:23 - 19:30 -- [[$podcastDemo]] snippet of ArmedNDaverous\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">19:30 - 19:37 -- [[$podcastDemo]] snippet of ArmedNDaverous\'s mix with additional tom close-mic signals</span><br><br></li>\r\n    </ul>\r\n    <li>19:41 -- Critique Point #4: mono-incompatible guitar texture</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">20:07 - 20:41 -- [[$podcastDemo]] snippet of ArmedNDaverous\'s mix with periodic mono/stereo switching</span><br><br></li>\r\n    </ul>\r\n    <li>21:08 -- Critique Point #5: vocal balancing</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">21:22 - 21:34 -- [[$podcastDemo]] snippet of ArmedNDaverous\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">22:16 - 22:27 -- [[$podcastDemo]] snippet of ArmedNDaverous\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">22:27 - 22:39 -- [[$podcastDemo]] snippet of ArmedNDaverous\'s mix with additional lead-vocal midrange</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">22:59 - 23:17 -- [[$podcastDemo]] snippet of ArmedNDaverous\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">23:36 - 24:09 -- [[$podcastDemo]] snippet of ArmedNDaverous\'s mix</span><br><br></li>\r\n    </ul>\r\n    <li>24:09 -- Critique Point #6: effects automation for long-term dynamics</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">24:40 - 25:19 -- [[$podcastDemo]] snippet of Stereo Sonic\'s mix</span><br><br></li>\r\n    </ul>\r\n    <li>25:31 -- Critique Point #7: overall mix vision?<br><br></li>\r\n  </ul>\r\n  <li>27:01 -- <strong>Unvarnished Review: <a href=\"https://www.adam-audio.com/en/f-series/f7/\">ADAM F7 nearfield monitors</a></strong><br><br></li>\r\n  <li>33:45 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 34:16)</span></li>\r\n</ul>\r\n \r\n \r\n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\r\n\r\n<ul>\r\n<li><strong>Uncompressed Audio Version:</strong> The player on this page uses 320kbps MP3 quality. If you\'d prefer to hear uncompressed PCM audio, <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1704ArmedNDaverous_HiRes.zip\">this ZIP archive</a> contains the podcast in 24-bit/44.1kHz WAV format.<br><br></li>\r\n\r\n<li><strong>Mix The Same Raw Multitracks Yourself:</strong> The raw multitracks for Perpetual Escape\'s \'Sin Six\' can be downloaded via <a href=\"[[~373]]#PerpetualEscape\">The \'Mixing Secrets\' Free Multitrack Download Library</a>.<br><br></li>\r\n\r\n<li><strong>Have Your Say About This Mix:</strong> The original thread featuring this month\'s critiqued mix can be found <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=18733\">here in the Discussion Zone</a>.<br><br></li>\r\n</ul>',1,6,0,1,1,1,1493499774,1,1493502042,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronsPodcast1704ArmedNDaverous.htm',0,0,1,NULL),(661,'document','text/html','May 2017: Balazs Daniel Boogie Woogie Trio','','','Balazs-Daniel','',1,0,0,103,0,'','',1,9,0,1,1,1,1493589256,1,1493589533,0,0,0,1493589533,1,'',0,0,0,0,0,'modDocument','web',1,'Balazs-Daniel.htm',0,0,1,NULL),(662,'document','text/html','May 2017','','','May-2017','',1,0,0,31,1,'','',1,7,0,1,1,1,1493589739,1,1493590157,0,0,0,1493590157,1,'',0,0,0,0,0,'modDocument','web',1,'May-2017/',0,0,1,NULL),(663,'document','text/html','\'Nel Blu Dipinto Di Blu (Volare)\'','','','Nel-Blu-Dipinto-Di-Blu-(Volare)','',1,0,0,662,0,'','',1,8,4,1,1,1,1493589739,1,1493590084,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Nel-Blu-Dipinto-Di-Blu-(Volare).htm',0,0,1,NULL),(664,'document','text/html','City Of Stars','','','City-Of-Stars','',1,0,0,662,0,'','',1,8,3,1,1,1,1493589739,1,1493590001,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'City-Of-Stars.htm',0,0,1,NULL),(665,'document','text/html','I Hate U, I Love U','','','I-Hate-U,-I-Love-U','',1,0,0,662,0,'','',1,8,2,1,1,1,1493589739,1,1493589857,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'I-Hate-U,-I-Love-U.htm',0,0,1,NULL),(666,'document','text/html','Never Be Like You','','','Never-Be-Like-You','',1,0,0,662,0,'','',1,8,1,1,1,1,1493589739,1,1493589827,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Never-Be-Like-You.htm',0,0,1,NULL),(667,'document','text/html','Call On Me','','','Call-On-Me','',1,0,0,662,0,'','',1,8,0,1,1,1,1493589739,1,1493589798,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Call-On-Me.htm',0,0,1,NULL),(616,'document','text/html','December 2016','Cambridge-MT Patrons Podcast','','PatronsPodcast1612Diesel13MixContest','',1,0,0,493,0,'<h4 class=\"h4IntroTextSubtitle\">[[*pagetitle]] Episode</h4>\r\n\r\n<p>In this month\'s special edition of the Patrons Podcast, I\'m focusing on the Diesel13 \'Colour Me Red\' mixing contest. Not only do I announce the prize-winners, runner-up, and \'honourable mentions\', but I also provide tips on dealing with some of this multitrack\'s inherent challenges -- as well as picking out some of my own personal favourite mix moves from all the mixes I critiqued!</p>\r\n<p>\r\n<div data-wimpyplayer data-inline=\"1\" data-skin=\"wimpy7/PodcastPlayer002.tsv\" data-media=\'http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1612Diesel13Contest.mp3\'></div>\r\n</p>\r\n<br>\r\n<p><span class=\"spanPodcastMiniText\">320kbps MP3 playback quality (downloadable versions: <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1612Diesel13Contest.mp3\">320kbps MP3</a>; <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1612Diesel13Contest_HiRes.zip\">24-bit/44.1kHz WAV</a>)</a></span></p>','<a href=\"https://www.reverbnation.com/diesel13\"><img alt=\"Diesel13\" src=\"[[$sitePrefixCMT]]/SitePix/Ads/Diesel13AdJPEG.jpg\" class=\"imgBannerAd\"></a>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>01:38 -- <strong>This Month\'s Featured Multitrack: Diesel13\'s \'<a href=\"[[~373]]#Diesel13\">Colour Me Red</a>\'</strong><br><br></li>\r\n  <ul>\r\n    <li>02:31 -- bass guitar: level of fundamental frequency</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">03:24 - 03:36 -- [[$podcastDemo]] mix of kick, snare, overheads, and bass DI (my rough mix)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">03:37 - 03:49 -- [[$podcastDemo]] mix of kick, snare, overheads, and bass DI, with LF boost of bass DI (my rough mix)</span><br><br></li>\r\n    </ul>\r\n    <li>04:13 -- low-midrange balance of bass and guitars</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">05:12 - 05:42 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix07\">juanjose1967</a>\'s critiqued mix</span><br><br></li>\r\n    </ul>\r\n    <li>05:56 -- lead-vocal midrange considerations</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">06:25 - 06:49 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix15\">Kesman2401</a>\'s critiqued mix</span><br><br></li>\r\n    </ul>\r\n    <li>08:13 -- acoustic guitar transients</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">08:34 - 08:50 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix21\">ArmedNDaverous</a>\'s critiqued mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">09:30 - 09:42 -- [[$podcastDemo]] my rough mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">09:43 - 09:55 -- [[$podcastDemo]] my rough mix with HF transient-reduction of left-panned acoustic guitar</span><br><br></li>\r\n    </ul>\r\n    <li>10:01 -- depth-perspective considerations</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">11:17 - 11:44 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix12\">johnfueston</a>\'s critiqued mix</span><br><br></li>\r\n    </ul>\r\n    <li>12:12 -- arrangement considerations<br><br></li>\r\n    <li>13:46 -- mid-section guitars: problematic low-midrange</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">14:11 - 14:32 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix09\">Mixinthecloud</a>\'s critiqued mix</span><br><br></li>\r\n    </ul>\r\n    <li>14:46 -- stylistic target</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">15:12 - 15:40 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix20\">Herb Felho</a>\'s critiqued mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">15:41 - 16:09 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix18\">jp65535</a>\'s critiqued mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">16:41 - 17:06 -- [[$podcastDemo]] raw lead vocal recording (unprocessed track)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">17:43 - 17:52 -- [[$podcastDemo]] raw overheads recording (unprocessed stereo track)</span><br><br></li>\r\n    </ul>\r\n  </ul>\r\n\r\n<a href=\"http://www.joepublicstudios.com/\"><img alt=\"Joe Public Studios\" src=\"[[$sitePrefixCMT]]/SitePix/Ads/JoePublicAdJPEG.jpg\" class=\"imgBannerAd\"></a>\r\n\r\n  <li>18:56 -- <strong>Critique Highlights</strong><br><br></li>\r\n  <ul>\r\n    <li>19:07 -- mid-section clean electric guitars entry</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">19:22 - 19:43 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix06\">javierjp84</a>\'s critiqued mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">19:22 - 19:43 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix11\">jeffd52</a>\'s critiqued mix</span><br><br></li>\r\n    </ul>\r\n    <li>19:07 -- interesting spot-effects</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">20:54 - 21:15 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix27\">moussasfeir</a>\'s critiqued mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">21:41 - 22:11 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix20\">Herb Felho</a>\'s critiqued mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">22:12 - 22:42 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix21\">ArmedNDaverous</a>\'s critiqued mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">23:04 - 23:25 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix15\">Kesman2401</a>\'s critiqued mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">23:34 - 23:54 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix03\">Olli H</a>\'s critiqued mix</span><br><br></li>\r\n    </ul>\r\n    <li>23:54 -- verse-three arrangement drop-down</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">24:10 - 24:38 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix14\">JMac52</a>\'s critiqued mix</span><br><br></li>\r\n    </ul>\r\n    <li>24:58 -- outro banjo entry</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">25:10 - 25:45 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix08\">Dangerous</a>\'s critiqued mix</span><br><br></li>\r\n    </ul>\r\n  </ul>\r\n\r\n<a href=\"https://www.etsy.com/uk/shop/JoePublicStudios?ref=hdr_shop_menu#\"><img alt=\"Check out \'Building The Band In The Bedroom\', the new e-book from Joe Lonsdale\" src=\"[[$sitePrefixCMT]]/SitePix/Ads/BBBAdJPEG.jpg\" class=\"imgBannerAd\"></a>\r\n\r\n<li>26:02 -- <strong>The Judges\' Verdict!</strong><br><br></li>\r\n  <ul>\r\n    <li>Honourable Mentions: <a href=\"[[~615]]#Mix05\">Digitaldruglord</a>, <a href=\"[[~615]]#Mix20\">Herb Felho</a>, <a href=\"[[~615]]#Mix15\">Kesman2401</a>, <a href=\"[[~615]]#Mix23\">Marty</a>, and <a href=\"[[~615]]#Mix12\">johnfueston</a>.</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">26:16 - 26:34 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix05\">Digitaldruglord</a>\'s final submitted mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">26:44 - 27:09 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix20\">Herb Felho</a>\'s final submitted mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">27:20 - 27:45 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix15\">Kesman2401</a>\'s final submitted mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">27:53 - 28:16 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix23\">Marty</a>\'s final submitted mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">28:21 - 28:46 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix12\">johnfueston</a>\'s final submitted mix</span><br><br></li>\r\n    </ul>\r\n    <li>Runner-up: <a href=\"[[~615]]#Mix02\">thedon</a></li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">29:02 - 29:32 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix02\">thedon</a>\'s final submitted mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">29:53 - 30:11 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix02\">thedon</a>\'s critiqued mix</span><br><br></li>\r\n    </ul>\r\n    <li>2nd Prize: <a href=\"[[~615]]#Mix03\">Olli H</a></li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">30:29 - 31:33 -- [[$podcastDemo]] snippet of <a href=\"[[~615]]#Mix03\">Olli H</a>\'s final submitted mix</span><br><br></li>\r\n    </ul>\r\n    <li>1st Prize: <a href=\"[[~615]]#Mix08\">Dangerous</a></li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">32:09 - 35:49 -- [[$podcastDemo]] <a href=\"[[~615]]#Mix08\">Dangerous</a>\'s complete final submitted mix</span><br><br></li>\r\n    </ul>\r\n  </ul>\r\n  <li>36:27 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 36:58)</span></li>\r\n</ul>\r\n \r\n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\r\n\r\n<ul>\r\n<li><strong>Uncompressed Audio Version:</strong> The player on this page uses 320kbps MP3 quality. If you\'d prefer to hear uncompressed PCM audio, <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1612Diesel13Contest_HiRes.zip\">this ZIP archive</a> contains the podcast in 24-bit/44.1kHz WAV format.<br><br></li>\r\n\r\n<li><strong>Mix The Same Raw Multitracks Yourself:</strong> The raw multitracks for Diesel13\'s \'Colour Me Red\' can be downloaded via <a href=\"[[~373]]#Diesel13\">The \'Mixing Secrets\' Free Multitrack Download Library</a>.<br><br></li>\r\n\r\n<li><strong>Contest Archive Page:</strong> Now that this mixing contest has run its course, I\'ve collected together all the mixes, all my critiques, and all the information about the judges\' verdicts onto this special archive page: <a href=\"[[~615]]\">The Cambridge-MT Patrons \'Colour Me Red\' Mix Contest</a>.<br><br></li>\r\n\r\n<li><strong>Loudness Matching Software:</strong> Just to clarify, all the mixes included in this podcast have been loudness-matched using Klangfreund\'s affordable [[$software_Klangfreund_LUFSMeter]] plug-in, to avoid loudness bias when making comparisons between them. 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Thanks also to Joe Lonsdale of <a href=\"http://www.joepublicstudios.com\">Joe Public Studios</a> for making such great multitrack material available to mixing students -- for more information about how this particular song was produced, check out Joe\'s new e-book \'<a href=\"https://www.etsy.com/uk/shop/JoePublicStudios?ref=hdr_shop_menu#\">Building The Band In The Bedroom</a>\'.</li>\r\n</ul>',1,6,4,1,1,1,1482513974,1,1484492908,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronsPodcast1612Diesel13MixContest.htm',0,0,1,NULL),(617,'document','text/html','GreatFloridaGetTogether','Merry Christmas 2016!','','GreatFloridaGetTogether','',1,0,0,374,0,'<p>Here\'s a collection of video memories from our time in Florida. 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At the first stage of mixing, I usually use my main nearfield 2.1 system to quickly balance, edit and shape stuff; then after that I almost only use NS10s or an Auratone to fine-tune the balance, do automation, and make fine adjustments. After I feel the mix is good, I recheck on my main 2.1 nearfields to see if I need to tweak anything. Howeer, I\'d really like to hear your opinion on this topic.\"</p>\n<p>A: Well, how you use a multi-monitor system does depend on the specific monitoring systems you have available to you. Fundamentally, though, the principle is the same: you\'re just trying to get a wide-ranging impression of what a mix really sounds like \'out in the world\'. In my specific case, the main systems I use are:<p>\n<ul>\n<li>a first-generation Blue Sky Pro Desk system, which is a full-range closed-box 2.1 nearfield design</li>\n<li>a single Avantone Mixcube Active, in mono</li>\n<li>Beyerdynamic DT880 Pro and Sennheiser HD650 headphones</li>\n<li>an ancient pair of plastic multimedia speakers (powered ported design made by Goodmans) in my living room -- my \'grotboxes\'.</li>\n</ul>\n<p>I do also occasionally check on other real-world/grotbox systems if appropriate, but after all these years using the systems listed above I don\'t often feel the need these days. Now about the workflow...</p> ','<p>Usually, I start off my mixing process having heard the client\'s own rough mix and a few references, and I\'ll have listened to those on my nearfields. Then I\'ll do almost all my initial investigations of the raw multitrack files on the nearfields, normally at a good volume so that I hear all the details and get a physical feel for the way the drums and low-end instruments fit together. From time to time I\'ll switch monitoring volume to give me a more robust perspective of how my initial balance is stacking up, and I may also flip over to the Avantone briefly to check that I\'m getting an appropriate balance between bass, kick, and snare for smaller speakers. Once I\'ve created a basic first-draft mix of one section of the track (usually without send effects or detailed automation at this stage, but including any master-buss compression), I\'ll then export it to a separate DAW project to do some initial referencing so I can head off any obvious overall-tonality issues early on, and I\'ll usually do that first referencing primarily on the nearfields still, though often at lower volumes, because I find that tonal differences aren\'t as clear when things are loud. Then I\'ll return to the mix project, add an overall master EQ if necessary, and use mostly the nearfields again to work on the send effects for that section before bouncing it out again into my referencing project.</p>\n\n<p>It\'s at this stage that I start getting more anal about switching systems (in conjunction with <a href=\"http://www.soundonsound.com/techniques/listen-learn-analysing-commercial-mixes\">various analysis and auditioning hacks</a>), in order to really drill into exactly how my mix-in-progress relates to my references. All the systems can provide information here: nearfields will give the best frequency overview, as well as stereo information and mix detail -- and at high volume they\'ll highlight any harshness; the Avantone focuses on the more translatable frequencies, as well as resolving exact balance questions; the headphones really resolve miniature details and give an insight to headphone translation; and the grotboxes give me an idea of how the mix will fare in the face of difficult listening environments, particularly as regards vocal intelligibility. When I\'ve got a list of things to do, I return to the mix project and do them, before rebouncing back into the referencing project for more analysis. If I\'m lucky, I\'ll only have to do that once or twice before I\'m happy, but I\'ve been known to go through more than a dozen versions on occasion.</p>\n\n<p>Once that section\'s done, I start to map out the rest of the arrangement in relation to the section I\'ve worked on so far. For this, I again primarily use the nearfields, and often work at a decent volume again so I hear the detail of any new parts and effects I\'m working on. Once the whole arrangement\'s pretty much mapped out, I\'ll start focusing on the detailed automation, at which point I switch over to listening mostly on the Avantone -- both when dialling in detailed levels for the vocals/hooks, and when pulling out little interesting details from other parts. Occasionally I\'ll switch back to the main speakers to confirm that my balances are holding up there too, and if not then it\'s usually an issue of some part not being consistent enough in the frequency domain -- if that\'s a problem I\'ll perhaps start automating EQ or using some multiband channel processing. While working on detailed automation, I\'ll often walk away from the sweetspot and listen from elsewhere in the room (not looking at the screen) to check that I\'m not \'listening with my eyes\'. (I also do something similar as a reality check at the low end while referencing my first mix section, because my room, like most people\'s, has some remaining resonances despite my acoustic treatment.)</p>\n\n<p>Once the mix is effectively done, I\'ll again reference it in detail on the nearfields and Avantone in the referencing project, as well as doing a detailed \'snag list\' listening three or four times up in the living room. I then go back to my mix project, implement the \'snag-list\' changes and leave it overnight. If it still holds up the following morning, then I\'ll send it off for feedback from the client. At which point they tell me I\'ve completely got the wrong end of the stick and I have to go back to the drawing board...  <img src=\"[[$sitePrefixCMT]]SitePix/EmoGrin.gif\"></p>\n\n<p>However, I should also say that the above description makes things out as being a bit more orderly than they actually are in practice! For example, if there\'s plenty of timing/tuning work to do, I\'ll usually do that at moderate-to-low volume on the nearfields to avoid fatigue, double-checking things on the Avantone. If there\'s lots of arrangement and sound-design additions to do, I usually work on those on the nearfields with the volume fairly high, so that the balance doesn\'t have to be great for me to hear everything and I can concentrate on the timbres, textures, and atmospheres I\'m creating without getting bogged down in too much technical mixing. Also, I sometimes feel I need to consolidate the lead vocal automation while referencing the first mix section I do, in which case I\'ll turn over to the Avantone for that earlier in the process. And sometimes I don\'t end up referencing on the grotboxes at all until the full mix is complete. It depends a lot on what kind of target sound I\'m aiming at -- some styles involve <i>much</i> heavier lifting at the mix stage than others!</p>\n\n<p>Overall, I\'d say the main take-aways are:\n<ul>\n<li>I listen at different volume levels and in different room locations.</li>\n<li>I often listen without looking, whether that\'s by simply closing my eyes or by walking away from the screen.</li>\n<li>I use different complementary monitor systems so that the strengths of each compensate for the weaknesses of the others and I get a better idea of what the mix will sound like outside my studio.</li>\n<li>I spend a whole lot more time and energy on referencing than most people realise -- at least judging by the reaction of most of the people I\'ve done one-on-one mix training for.</li>\n</ul>\n</p>\n\n(In case you\'re wondering why I do my referencing in a separate project, check out this <a href=\"http://www.soundonsound.com/sound-advice/q-why-would-i-want-bounce-out-mixes-referencing\">Q&A response</a> I did for Sound On Sound magazine a year or so ago.)\n\n\n<p>Hope that helps -- just <a href=\"[[~420]]#contact\">let me know</a> if I\'ve not been clear enough and I can elaborate further!</p>',1,6,7,1,1,1,1483198801,1,1488445023,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronPost-2017-01-MultiMonitorWorkflow.htm',0,0,1,NULL),(635,'document','text/html','February 2017','','','February-2017','',1,0,0,31,1,'','',1,7,3,1,1,1,1484944571,1,1488321263,0,0,0,1484944920,1,'',0,0,0,0,0,'modDocument','web',1,'February-2017/',0,0,1,NULL),(636,'document','text/html','Starving','','','Starving','',1,0,0,635,0,'','',1,8,1,1,1,1,1484944571,1,1484944865,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Starving.htm',0,0,1,NULL),(637,'document','text/html','Don\'t Mind','','','Dont-Mind','',1,0,0,635,0,'','',1,8,0,1,1,1,1484944571,1,1484944737,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Dont-Mind.htm',0,0,1,NULL),(638,'document','text/html','Africa','','','Africa','',1,0,0,635,0,'','',1,8,4,1,1,1,1484944571,1,1484944954,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Africa.htm',0,0,1,NULL),(639,'document','text/html','Shout Out To My Ex','','','Shout-Out-To-My-Ex','',1,0,0,635,0,'','',1,8,3,1,1,1,1484944571,1,1484944924,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Shout-Out-To-My-Ex.htm',0,0,1,NULL),(640,'document','text/html','Human','','','Human','',1,0,0,635,0,'','',1,8,2,1,1,1,1484944571,1,1484944892,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Human.htm',0,0,1,NULL),(641,'document','text/html','January 2017','Cambridge-MT Patrons Podcast','','PatronsPodcast1701fHumblefHingaz','',1,0,0,493,0,'<h4 class=\"h4IntroTextSubtitle\">[[*pagetitle]] Episode</h4>\r\n\r\n<p>In this month\'s episode of the Patrons Podcast, I provide general-purpose mixing tips for Forkupines\'s \'Sleep By The Fire, Bloom In Water\' and critique one of that same production\'s Discussion Zone mixes in-depth. I also give the Focal Spirit Professional and Shure SRH940 studio headphones the Unvarnished Review treatment within the context of their market competition.</p>\r\n<p>\r\n<div data-wimpyplayer data-inline=\"1\" data-skin=\"wimpy7/PodcastPlayer002.tsv\" data-media=\'http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1701fHumbefHingaz.mp3\'></div>\r\n</p>\r\n<br>\r\n<p><span class=\"spanPodcastMiniText\">320kbps MP3 playback quality (downloadable versions: <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1701fHumblefHingaz.mp3\">320kbps MP3</a>; <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1701fHumblefHingaz_HiRes.zip\">24-bit/44.1kHz WAV</a>)</a></span></p>','<a href=\"http://coldroomstudio.com\"><img alt=\"Coldroom Studio -- Online Mixing\" src=\"[[$sitePrefixCMT]]/SitePix/Ads/PatronBanner_ColdroomStudio.jpg\" class=\"imgBannerAd\"></a>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>01:22 -- <strong>This Month\'s Featured Multitrack: Forkupines\'s \'<a href=\"[[~373]]#Forkupines\">Sleep By The Fire, Bloom In Water</a>\'</strong><br><br></li>\r\n  <ul>\r\n    <li>02:06 -- kick drum microphones and sample: combining with the BassSansamp track</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">02:44 - 02:56 -- [[$podcastDemo]] mix of bass Sansamp track, overhead mics, and inside kick mic (my rough mix)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">02:57 - 03:08 -- [[$podcastDemo]] mix of bass Sansamp track, overhead mics, and outside kick mic (my rough mix)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">03:09 - 03:20 -- [[$podcastDemo]] mix of bass Sansamp track, overhead mics, and kick-drum sample (my rough mix)</span><br><br></li>\r\n    </ul>\r\n    <li>03:52 -- snare drum microphones and sample: polarity relationship</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">04:12 - 04:16 -- [[$podcastDemo]] raw balance of oversnare mic and snare sample</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">04:17 - 04:21 -- [[$podcastDemo]] raw balance of oversnare mic and snare sample, with the sample\'s polarity inverted</span><br><br></li>\r\n    </ul>\r\n    <li>04:25 -- snare room sample: tom ringing</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">04:36 - 04:41 -- [[$podcastDemo]] raw snare room sample</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">04:55 - 05:00 -- [[$podcastDemo]] snare room sample gated to remove tom ringing</span><br><br></li>\r\n    </ul>\r\n    <li>05:01 -- drum room microphones: cymbal harshness</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">05:12 - 05:19 -- [[$podcastDemo]] raw close drum room mic 1</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">05:20 - 05:27 -- [[$podcastDemo]] raw close drum room mic 2</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">05:43 - 05:50 -- [[$podcastDemo]] raw far drum room mic</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">05:56 - 06:03 -- [[$podcastDemo]] raw far drum room mic with 3dB EQ cut at 3kHz</span><br><br></li>\r\n    </ul>\r\n    <li>06:09 -- bass-guitar Sansamp track: level inconsistencies of fundamental frequency and first harmonic</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">06:38 - 06:54 -- [[$podcastDemo]] raw bass-guitar Sansamp track</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">06:55 - 07:12 -- [[$podcastDemo]] bass-guitar Sansamp track within a mix context (library preview mix)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">07:42 - 07:59 -- [[$podcastDemo]] bass-guitar Sansamp track with multiband compression working on two different low-frequency bands</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">08:00 - 08:16 -- [[$podcastDemo]] bass-guitar Sansamp track within a mix context (my rough mix)</span><br><br></li>\r\n    </ul>\r\n\r\n    <li>08:30 -- lead vocal: proximity-effect variations</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">08:45 - 09:17 -- [[$podcastDemo]] raw lead-vocal track</span><br><br></li>\r\n    </ul>\r\n  </ul>\r\n  <li>17:49 -- <strong>Mix Critique: <a href=\"http://discussion.cambridge-mt.com/member.php?action=profile&uid=1246\">fHumble fHingaz</a>\'s mix of \'Sleep By The Fire, Bloom In Water\'</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">10:45 - 13:59 -- [[$podcastDemo]] fHumble fHingaz\'s full mix</span></li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">14:30 - 14:48 -- [[$podcastDemo]] snippet of fHumble fHingaz\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">15:36 - 15:56 -- [[$podcastDemo]] snippet of fHumble fHingaz\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">16:16 - 16:35 -- [[$podcastDemo]] snippet of fHumble fHingaz\'s mix</span><br><br></li>\r\n    </ul>\r\n    <li>16:48 -- Critique Point #1: anticipatory transient undermining chorus arrival<br><br></li>\r\n    <li>17:48 -- Critique Point #2: bass low-frequency inconsistency<br><br></li>\r\n    <li>18:04 -- Critique Point #3: snare balance and blend</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">18:30 - 18:53 -- [[$podcastDemo]] snippet of fHumble fHingaz\'s mix</span><br><br></li>\r\n    </ul>\r\n    <li>20:36 -- Critique Point #4: tom transients</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">20:48 - 21:11 -- [[$podcastDemo]] snippet of fHumble fHingaz\'s mix</span><br><br></li>\r\n    </ul>\r\n    <li>20:36 -- Critique Point #5: heavier compression?<br><br></li>\r\n  </ul>\r\n  <li>22:40 -- <strong>Unvarnished Review: <a href=\"http://www.focal.com/en/headphones/headphones/spirit-professional/spirit-professional\">Focal Spirit Professional</a> and <a href=\"https://www.shure.co.uk/products/headphones/srh940\">Shure SRH940</a> closed-back studio headphones</strong><br><br></li>\r\n  <li>31:57 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 32:22)</span></li>\r\n</ul>\r\n \r\n \r\n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\r\n\r\n<ul>\r\n<li><strong>Uncompressed Audio Version:</strong> The player on this page uses 320kbps MP3 quality. If you\'d prefer to hear uncompressed PCM audio, <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1701fHumblefHingaz_HiRes.zip\">this ZIP archive</a> contains the podcast in 24-bit/44.1kHz WAV format.<br><br></li>\r\n\r\n<li><strong>Mix The Same Raw Multitracks Yourself:</strong> The raw multitracks for Forkupines\'s \'Sleep By The Fire, Bloom In Water\' can be downloaded via <a href=\"[[~373]]#Forkupines\">The \'Mixing Secrets\' Free Multitrack Download Library</a>.<br><br></li>\r\n\r\n<li><strong>Have Your Say About This Mix:</strong> The original thread featuring this month\'s critiqued mix can be found <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=14417\">here in the Discussion Zone</a>.<br><br></li>\r\n\r\n<li><strong>Headphones Mentioned In This Podcast:</strong> The other headphones name-checked in this month\'s Unvarnished Review segement were AKG\'s K701 &amp; K240 Studio; Beyerdynamic\'s DT880 Pro &amp; DT770 Pro; Sennheiser\'s HD25 &amp; HD600; and Sony\'s (discontinued) MDR7509.<br><br></li>\r\n\r\n</ul>',1,6,3,1,1,1,1485807576,1,1485808830,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronsPodcast1701fHumblefHingaz.htm',0,0,1,NULL),(642,'document','text/html','February 2017','Cambridge-MT Patrons Podcast','','PatronsPodcast1702beefyblue','',1,0,0,493,0,'<h4 class=\"h4IntroTextSubtitle\">[[*pagetitle]] Episode</h4>\r\n\r\n<p>In this month\'s episode of the Patrons Podcast, I provide general-purpose mixing tips for Atlantis Bound\'s \'It Was My Fault For Waiting\' and critique one of that same production\'s Discussion Zone mixes in-depth. Also, Richard King\'s new Focal Press book <i>Recording Orchestra And Other Classical Music Ensembles</i> occupies the Unvarnished Review slot.</p>\r\n<p>\r\n<div data-wimpyplayer data-inline=\"1\" data-skin=\"wimpy7/PodcastPlayer002.tsv\" data-media=\'http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1702beefyblue.mp3\'></div>\r\n</p>\r\n<br>\r\n<p><span class=\"spanPodcastMiniText\">320kbps MP3 playback quality (downloadable versions: <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1702beefyblue.mp3\">320kbps MP3</a>; <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1702beefyblue_HiRes.zip\">24-bit/44.1kHz WAV</a>)</a></span></p>','\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>00:55 -- <strong>This Month\'s Featured Multitrack: Atlantis Bound\'s \'<a href=\"[[~373]]#AtlantisBound\">It Was My Fault For Waiting</a>\'</strong><br><br></li>\r\n  <ul>\r\n    <li>01:23 -- optimising phase/polarity relationships for kick, snare, and electric guitars</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">02:23 - 02:26 -- [[$podcastDemo]] balance of raw kick-drum and \'kick sub\' signals</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">02:26 - 02:29 -- [[$podcastDemo]] balance of raw kick-drum and \'kick sub\' signals with phase and polarity matching</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">02:47 - 02:50 -- [[$podcastDemo]] balance of raw over-snare and under-snare microphone signals</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">02:50 - 02:53 -- [[$podcastDemo]] balance of raw over-snare and under-snare microphone signals with phase and polarity matching</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">03:18 - 03:23 -- [[$podcastDemo]] balance of ElecGtr01 raw microphone signals </span></li>\r\n      <li><span class=\"spanPodcastMiniText\">03:23 - 03:29 -- [[$podcastDemo]] balance of ElecGtr01 raw microphone signals with phase matching</span><br><br></li>\r\n    </ul>\r\n    <li>04:17 -- usefulness of \'kick sub\' signal</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">04:46 - 04:49 -- [[$podcastDemo]] raw kick-drum close mic signal</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">05:21 - 05:24 -- [[$podcastDemo]] kick-drum close mic signal with sustain-reduction processing</span><br><br></li>\r\n    </ul>\r\n    <li>05:40 -- possibilities for using snare ambience from the overhead mics</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">06:26 - 06:32 -- [[$podcastDemo]] raw drum overhead mics signal</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">06:32 - 06:38 -- [[$podcastDemo]] drum overhead mics signal with snare-triggered gain pulses</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">06:51 - 06:57 -- [[$podcastDemo]] raw drum overhead mics signal within drum submix context (my rough mix)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">06:57 - 07:02 -- [[$podcastDemo]] drum overhead mics signal with snare-triggered gain pulses within drum submix context (my rough mix)</span><br><br></li>\r\n    </ul>\r\n    <li>07:09 -- mono drum room microphone: cymbal harshness</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">07:15 - 07:21 -- [[$podcastDemo]] raw mono drum room mic signal </span></li>\r\n      <li><span class=\"spanPodcastMiniText\">08:02 - 08:08 -- [[$podcastDemo]] raw mono drum room mic signal within basic mic context (my rough mix)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">08:08 - 08:14 -- [[$podcastDemo]] mono drum room mic signal with snare-triggered gating within basic mix context (my rough mix)</span><br><br></li>\r\n    </ul>\r\n    <li>08:20 -- stereo drum room: unusual imaging</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">08:24 - 08:30 -- [[$podcastDemo]] raw stereo drum room mics signal</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">09:19 - 09:25 -- [[$podcastDemo]] stereo drum room mics signal with MS decoding</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">09:57 - 10:03 -- [[$podcastDemo]] raw stereo drum room mics signal within drum submix context (my rough mix)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">10:03 - 10:09 -- [[$podcastDemo]] stereo drum room mics signal with MS decoding within drum submix context (my rough mix)</span><br><br></li>\r\n    </ul>\r\n\r\n    <li>10:09 -- bass DI: low-frequency balance<br><br></li>\r\n  </ul>\r\n  <li>10:39 -- <strong>Mix Critique: <a href=\"http://discussion.cambridge-mt.com/member.php?action=profile&uid=5184\">beefyblue</a>\'s mix of \'It Was My Fault For Waiting\'</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">10:57 - 14:55 -- [[$podcastDemo]] beefyblue\'s full mix</span><br><br></li>\r\n    <li>16:19 -- Critique Point #1: upper midrange harshness to guitars and cymbals</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">16:41 - 16:54 -- [[$podcastDemo]] snippet of beefyblue\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">16:41 - 16:54 -- [[$podcastDemo]] snippet of beefyblue\'s mix with 5dB EQ notch at 2.8kHz</span><br><br></li>\r\n    </ul>\r\n    <li>17:27 -- Critique Point #2: recessed cymbal sustains and guitars</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">18:07 - 18:18 -- [[$podcastDemo]] snippet of beefyblue\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">18:18 - 18:35 -- [[$podcastDemo]] snippet of commercial reference mix (loudness matched)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">18:35 - 18:47 -- [[$podcastDemo]] snippet of beefyblue\'s mix 1</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">18:47 - 18:59 -- [[$podcastDemo]] snippet of commercial reference mix (loudness matched)</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">18:59 - 19:11 -- [[$podcastDemo]] snippet of beefyblue\'s mix 2</span><br><br></li>\r\n    </ul>\r\n    <li>19:29 -- Critique Point #3: slender snare<br><br></li>\r\n    <li>19:55 -- Critique Point #4: more compression?</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">20:13 - 20:26 -- [[$podcastDemo]] snippet of beefyblue\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">20:26 - 20:42 -- [[$podcastDemo]] snippet of commercial reference mix 2 (loudness matched)<br><br></span></li>\r\n    </ul>\r\n    <li>21:00 -- Critique Point #5: layered synths</li>\r\n    <ul>\r\n      <li><span class=\"spanPodcastMiniText\">21:46 - 21:59 -- [[$podcastDemo]] snippet of beefyblue\'s mix</span></li>\r\n      <li><span class=\"spanPodcastMiniText\">21:59 - 22:12 -- [[$podcastDemo]] snippet of beefyblue\'s mix with additional synth layer</span><br><br></li>\r\n    </ul>\r\n  </ul>\r\n  <li>22:58 -- <strong>Unvarnished Review: Richard King\'s <i><a href=\"https://www.routledge.com/Recording-Orchestra-and-Other-Classical-Music-Ensembles/King/p/book/9781138854543\">Recording Orchestra And Other Classical Music Ensembles</a></i> (Focal Press Book)</strong><br><br></li>\r\n  <li>31:57 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 32:22)</span></li>\r\n</ul>\r\n \r\n \r\n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\r\n\r\n<ul>\r\n<li><strong>Uncompressed Audio Version:</strong> The player on this page uses 320kbps MP3 quality. If you\'d prefer to hear uncompressed PCM audio, <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1702beefyblue_HiRes.zip\">this ZIP archive</a> contains the podcast in 24-bit/44.1kHz WAV format.<br><br></li>\r\n\r\n<li><strong>Mix The Same Raw Multitracks Yourself:</strong> The raw multitracks for Atlanta Bound\'s \'It Was My Fault For Waiting\' can be downloaded via <a href=\"[[~373]]#AtlantisBound\">The \'Mixing Secrets\' Free Multitrack Download Library</a>.<br><br></li>\r\n\r\n<li><strong>Have Your Say About This Mix:</strong> The original thread featuring this month\'s critiqued mix can be found <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=18055\">here in the Discussion Zone</a>.<br><br></li>\r\n\r\n<li><strong><i>Sound On Sound</i> Magazine Interview With Richard King:</strong> For more information about Richard King, and a taster of the kind of information he provides in his book, check out my <a href=\"http://www.soundonsound.com/people/richard-king-how-record-acoustic-ensembles\">interview with him here</a>.<br><br></li>\r\n\r\n<li><strong>Free <i>Recording Orchestra</i> Audio Files:</strong> All the supporting audio files for Richard King\'s book <i>Recording Orchestra And Other Classical Music Ensembles</i> can be found on the Focal Press site <a href=\"http://www.routledgetextbooks.com/textbooks/9781138854543/audio-examples.php\">here</a>.<br><br></li>\r\n</ul>',1,6,2,1,1,1,1488319753,1,1488320232,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronsPodcast1702beefyblue.htm',0,0,1,NULL),(643,'document','text/html','March 2017','','','March-2017','',1,0,0,31,1,'','',1,7,2,1,1,1,1488321126,1,1488321600,0,0,0,1488321600,1,'',0,0,0,0,0,'modDocument','web',1,'March-2017/',0,0,1,NULL),(644,'document','text/html','Party Like A Russian','','','Party-Like-A-Russian','',1,0,0,643,0,'','',1,8,4,1,1,1,1488321126,1,1488321504,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Party-Like-A-Russian.htm',0,0,1,NULL),(645,'document','text/html','Just Your Fool','','','Just-Your-Fool','',1,0,0,643,0,'','',1,8,3,1,1,1,1488321126,1,1488321453,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Just-Your-Fool.htm',0,0,1,NULL),(646,'document','text/html','Somewhere','','','Somewhere','',1,0,0,643,0,'','',1,8,2,1,1,1,1488321126,1,1488321411,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Somewhere.htm',0,0,1,NULL),(647,'document','text/html','Black Beatles','','','Black-Beatles','',1,0,0,643,0,'','',1,8,1,1,1,1,1488321126,1,1488321375,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Black-Beatles.htm',0,0,1,NULL),(648,'document','text/html','Sexual','','','Sexual','',1,0,0,643,0,'','',1,8,0,1,1,1,1488321126,1,1488321332,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Sexual.htm',0,0,1,NULL),(649,'document','text/html','PatronPost_2017_03_HardwareControl','Q: What are your opinions on using control surfaces during the mix?','','PatronsPost-2017-03-HardwareControl','',1,0,0,506,0,'<p>Q: .\"What are your opinions on using control surfaces during the mix? I know a lot of this stuff is subjective, but since you\'ve worked with many systems I\'m curious what your opinion of fader controllers is.\"</p>\r\n<p>A: My relationship with hardware control has had a bit of an odd history, and it probably bears going into that a bit in relation to this question, so bear with me a moment... I actually started learning about recording using the Roland VS-series multitrackers: first the original VS880, then the VS2480 (which I still own, and have only recently retired as a location recorder after more than a decade of trusty service). Those machines had an automation system that was as clunky as hell, and the only way to get them to work well was to input automation data points by hand with the data wheel. Those are a few days of my life I\'ll never get back!\r\n<p>','<p>Anyway, once I began to get into \'serious\' studio work in commercial facilities, I mixed on a completely analogue system (Studer A820 tape machines and a vintage Neve console -- those were the days!) retrofitted with Neve\'s touch-sensitive Flying Faders system. The thing that was wonderful about this system (and indeed the automation on the big SSL desks) was that it offered a mode called \'relative trim\' that made recording mix automation a joy. Once you\'d set up your basic fader balance, you\'d enter relative trim mode and all the faders would jump to their 0dB positions, but without your actual channel volume levels changing. Then if you ran the tape and touched any fader, it would start writing automation <strong>as an offset to any underlying automation that was already there</strong>. This meant that you could play the track again and again and iteratively tweak the automation without the faders whizzing around the whole time, and without having to think about what the automation curves actually looked like. You\'d just listen, tweak faders, listen again, tweak further, etc., etc. -- it was almost as musical a process as playing an instrument, and a super-quick way to work, especially when automating things like lead vocals which typically need a lot of detailed rides.</p>\r\n\r\n<p>When I moved out of the commercial studios to work for <em>Sound On Sound</em>, I suddenly found myself in the world of in-the-box mixing, and there were two things I missed in particular from the old hardware setup. The first was nothing to do with hardware control: it was the ability to route audio <em>anywhere</em>. Early DAWs were dreadfully restrictive about how and where you could route audio, side-chaining possibilities were almost non-existent, and plug-in delay compensation was a joke. Fortunately, this was all solved when I moved to Reaper, which is great in that respect -- and this kind of thing has also since improved a great deal in most other DAWs, to be fair. However, the second thing I missed was relative trim mode, and while many other DAWs have implemented this in recent years, it only become possible very recently in Reaper. (Grrr.)</p>\r\n\r\n<p>As such, until very recently I\'ve actually felt no need at all to have a hardware controller for mixing. It\'s not that I\'ve not tried any -- I have -- but honestly the mouse and keyboard have never felt like the speed bottleneck when mixing on a computer. Most of my mixing process is listening, not doing, fundamentally, so the mouse can keep up with that just fine. Admittedly, I can appreciate that a bank of hardware faders makes setting up initial balances quicker and more intuitive (which is why I <em>do</em> have a 24-fader hardware controller for my new location recording rig), but to be honest most of my projects have so many channels and folders that dealing with all the banking and stuff has always felt like a faff with any reasonable-sized control surface. After all, I\'m not having to mix live events, so I don\'t really need that \'instant reaction\' ability of leaping for a fader that\'s out of balance the moment I hear it.</p>\r\n\r\n<p>But, of course, where I\'ve long cursed my lack of hardware control has been at the automation stage. However, without relative trim mode, hardware faders for automation aren\'t much use, so it\'s only now that Reaper\'s (finally!) caught up with the pack that I\'ve got myself some control hardware for mixing. And because I only do detailed automation rides on one channel at a time, I only need one fader, so I just got a Presonus FaderPort. And it\'s brilliant -- just thinking of the hours it saves me on every mix these days brings a smile to my face!</p>\r\n\r\n<p>So, to answer the question directly now: what are my opinions on using control surfaces during the mix? Well, for mixing purposes, I don\'t think hardware control offers much of a time saving except at the automation stage (assuming your DAW provides relative trim mode), so I wouldn\'t feel any compulsion to invest in anything other than a single-fader unit. I know from my analogue days how nice it is to have all the physical controls laid out in front of you, and I\'ve tried systems such as Focusrite\'s AutoMap which give you remappable plug-in controls, but fundamentally hardware control beyond a single fader isn\'t something that I think really justifies the investment in terms of workspeed -- certainly when set against many other things that usually warrant the expenditure much more in most project studios: monitoring hardware, acoustic treatment, microphones, instruments... (Bear in mind, too, that hardware controllers, like any computer peripheral, will have a shelf-life that\'ll be limited by their operating-system and connectivity compatibility, so a big investment in hardware control will get you probably 10 years use at best, and will at that point be all-but-valueless, whereas monitors, mics, and acoustic treatment tend to hold their value for a greater length of time.)</p>\r\n\r\nFor tracking or live sound, however, the situation\'s different, because having one fader (and mute/solo/select button) per track makes an enormous difference in terms of being able to react super-quickly under those circumstances. So if your system serves double-duty, that might swing your vote towards using more comprehesive hardware control at mixdown.</p>',1,6,8,1,1,1,1488444891,1,1489345713,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronsPost-2017-03-HardwareControl.htm',0,0,1,NULL),(650,'document','text/html','PatronPost_2017_03_UnknownAlbums','Some Of My Favourite Albums... That You\'ve Probably Never Heard Of!','','PatronPost-2017-03-UnknownAlbums','',1,0,0,506,0,'<p>It recently occurred to me that quite a few of my favourite albums are actually pretty obscure, and that most of you probably haven\'t heard any of them. That seems like a bit of a shame to me, on two counts: firstly, because I feel that these artists deserve wider recognition; and, secondly, because some of you may be missing out on enjoying some of my favourite records simply because you\'re not aware of them. So I figured it wouldn\'t hurt to round up a few of them for you, along with some of the reasons I like them.</p>','<h2><i><a href=\"https://en.wikipedia.org/wiki/The_Goat_Rodeo_Sessions\">The Goat Rodeo Sessions</a></i> (by Yo-Yo Ma, Stuart Duncan, Edgar Meyer &amp; Chris Thile)</h2>\r\n<table>\r\n  <tr>\r\n    <td class=\"tdPatronPostCDCovers\">\r\n<a href=\"https://en.wikipedia.org/wiki/The_Goat_Rodeo_Sessions\"><img width=300px class=\"imgPatreonPost\" src=\"[[$sitePrefixCMT]]/SitePix/2017_03_PatronPost_GoatRodeoSessions.jpg\"></a>\r\n    </td>\r\n    <td class=\"tdPatronPostCDText\">\r\n<p>This was the record that specifically spurred me write this post, and it\'s been on my mind (and on my car stereo) a lot recently because I\'ve been reviewing engineer Richard King\'s book <i>Recording Orchestras And Other Classical Ensembles</i> (as featured in the <a href=\"[[~642]]\">February 2017 Patrons Podcast</a>). For me this record is just one of those situations where all the stars come into alignment. Firstly, it brings together four of the greatest virtuoso performers on the planet, including two MacArthur Fellowship recipients, a five-time winner of the Academy of Country Music\'s Fiddle Player Of The Year, and arguably the greatest living classical cellist. (Admittedly, I have a bit of a soft spot for Yo-Yo Ma, as he was heavily involved with the Tanglewood Institute, a summer orchestral course I attended three years on the trot back in school, so maybe I\'m biased...) Secondly, the music manages its classical/Nashville crossover beautifully, I think, as well as mixing in a good dose of pop sensibility without feeling dumbed down in any way. And, thirdly, it was recorded, mixed, and mastered by Richard King (the only living engineer to have won Grammies for Best Engineering in both the classical and non-classical categories) and it sounds phenomenal -- warm, natural, and intimate, but with an almost holographic sense of space. In short, I still frequently find myself scraping my jaw off the floor and/or shaking my head in disbelief while listening to this record, and it\'s very much a motivational quality benchmark against which I measure (with an inevitable sense of crushing inadequacy) any acoustic recording I make myself.</p>\r\n    </td>\r\n  </tr>\r\n<table>\r\n\r\n<h2><i><a href=\"http://www.sepiamusic.com/\">Prototype</a></i> (by Sepiamusic)</h2>\r\n<table>\r\n  <tr>\r\n    <td class=\"tdPatronPostCDCovers\">\r\n<a href=\"http://www.sepiamusic.com/\"><img class=\"imgPatreonPost\" src=\"[[$sitePrefixCMT]]/SitePix/2017_03_PatronPost_Prototype.jpg\"></a>\r\n    </td>\r\n    <td class=\"tdPatronPostCDText\">\r\n<p>This record landed on my desk in the <i>Sound On Sound</i> magazine offices back in 2003, while I was still their full-time Reviews Editor. Intrigued by the wacky cover art, I gave it a spin, and fell in love with the sound, which combines rather trip-hoppy drums with moody synth riffs and widescreen textures, topped off with the breathy angst of vocalist Erin Chapman. Although the music itself isn\'t bad, what continually draws me back to this record (and increasingly to its sequel, <i>Trenches</i>) is its sheer sonics. The sound design is particularly inspiting: the drum sounds, the fluid lead-synth programming, and the multitude of inventive transition effects. But it\'s also just the sheer richness of the sound and the enveloping atmospherics that just draw me in emotionally in a way that goes well beyond what I\'d honestly attribute to the raw song-writing. This is a great \'realtime soundtrack\' album -- in other words, even if you\'re listening to it while doing the washing up, it\'ll still somehow make that seem epic and cinematic! <img src=\"[[$sitePrefixCMT]]/SitePix/EmoSmile.gif\"> Sadly, however, Sepiamusic no longer appear to be working together, but it seems that you can still get hold of Prototype on iTumes and Amazon, thankfully.</p>\r\n    </td>\r\n  </tr>\r\n<table>\r\n\r\n<h2><i><a href=\"https://en.wikipedia.org/wiki/D%C3%BAlam%C3%A1n_(album)\">D&uacute;l&aacute;man</a></i> (by Clannad)</h2>\r\n<table>\r\n  <tr>\r\n    <td class=\"tdPatronPostCDCovers\">\r\n<a href=\"https://en.wikipedia.org/wiki/D%C3%BAlam%C3%A1n_(album)\"><img class=\"imgPatreonPost\" src=\"[[$sitePrefixCMT]]/SitePix/2017_03_PatronPost_Dulaman.jpg\"></a>\r\n    </td>\r\n    <td class=\"tdPatronPostCDText\">\r\n<p>When I was at school, I occasionally used to go to the library, borrow some LPs (remember those?), and copy them to cassette to listen to in my walkman. Ah, those were the days... Anyway, one time this happened to be one of the records I taped, but I managed to mix up the name of the record label with the name of the band when I copied out the track listing, and for years thought that this record was by a band called Gael-Linn. Needless to say, once I\'d grown to love it, I tried to find other records by the band with little success, and then assumed that they were a one-off! Only about 10 years ago was I able to use Google to work out where I\'d gone wrong (because I wanted to replace the tape that I\'d by then all but worn out!), and was astonished to discover it was a Clannad record, given that I\'d only ever heard (and not particularly liked) their much more famous 80s electric/synth albums. What you get here is something completely different: from the late 70s, entirely acoustic, with wonderfully inventive harp, guitar and upright-bass performances and beautifully plaintive tin-whistle and lead-vocal melodies. Which reminds me, I keep meaning to investigate some of their other early albums, but have never got round to it. Excuse me for a moment, while I do a a quick Amazon run...</p>\r\n    </td>\r\n  </tr>\r\n<table>\r\n\r\n<h2><i><a href=\"https://en.wikipedia.org/wiki/If_You_Can%27t_Join_%27Em..._Beat_%27Em\">If You Can\'t Join \'Em... Beat \'Em</a></i> (by DJ Format)</h2>\r\n<table>\r\n  <tr>\r\n    <td class=\"tdPatronPostCDCovers\">\r\n<a href=\"https://en.wikipedia.org/wiki/If_You_Can%27t_Join_%27Em..._Beat_%27Em\"><img class=\"imgPatreonPost\" src=\"[[$sitePrefixCMT]]/SitePix/2017_03_PatronPost_IfYouCantJoinEmBeatEm.jpg\"></a>\r\n    </td>\r\n    <td class=\"tdPatronPostCDText\">\r\n<p>I\'m quite a big fan of hip-hop in general, and although I like a lot of American records, there are a number of UK releases that really float my boat too. For instance, I was thinking of mentioning something by <a href=\"https://en.wikipedia.org/wiki/The_Streets\">The Streets</a> here, because I think Mike Skinner\'s an absolute genius, but I figured a lot of you might already have him on your radar. (If not, then I\'d recommend  <a href=\"https://en.wikipedia.org/wiki/A_Grand_Don%27t_Come_for_Free\">A Grand Don\'t Come For Free</a> as a starting point.) Instead, I decided to go with this album, which is also brilliant -- a combination of DJ Format\'s no-nonsense break-based backing tracks with rapper Abdominal\'s tremendously inventive and funny rhymes, my personal highlight being the track \'Ugly Brothers\'. That said, it was still tricky to decide between this album and its predecessor, <a href=\"https://en.wikipedia.org/wiki/Music_for_the_Mature_B-Boy\">Music For The Mature B-Boy</a>, which includes my all-time favourite DJ Format &amp; Abdominal track \'Ill Culinary Behaviour\', so if you see a 2-for-1 offer on those two, don\'t hesitate!</p>\r\n    </td>\r\n  </tr>\r\n<table>\r\n\r\n<h2><i><a href=\"https://en.wikipedia.org/wiki/Stoosh\">Stoosh</a></i> (by Skunk Anansie)</h2>\r\n<table>\r\n  <tr>\r\n    <td class=\"tdPatronPostCDCovers\">\r\n<a href=\"https://en.wikipedia.org/wiki/Stoosh\"><img class=\"imgPatreonPost\" src=\"[[$sitePrefixCMT]]/SitePix/2017_03_PatronPost_Stoosh.jpg\"></a>\r\n    </td>\r\n    <td class=\"tdPatronPostCDText\">\r\n<p>This is probably the most mainstream of these five records, but I decided to include it here nonetheless because it never really made much of a mark outside Europe, and it\'s one of my all-time favourite albums. I also have a personal attachment to it, because I ended up working at the studio where it was recorded not long after it was released, and knew one of the recording engineers involved quite well, so it brings back a lot of fond memories. Still, that\'s far from the only reason I like it. \'Twisted\' is one of the tightest indie/punk/pop songs ever written, in my opinion. \'Infidelity (Only You)\' is a beautifully produced ballad with enormously wide frequency bandwidth that still resides on my own personal reference CD for testing the low-end performance of rooms and speakers. The lead singer, Skin, manages a fabulous cross between punk activist and pop diva. And the band provide such inspired arrangements (with help from producer Garth Richardson and mix engineer Joe Barresi). What\'s not to like? Other than the cover art, that is...</p>\r\n    </td>\r\n  </tr>\r\n<table>\r\n',1,6,9,1,1,1,1489345694,1,1489385541,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronPost-2017-03-UnknownAlbums.htm',0,0,1,NULL),(668,'document','text/html','Recording A Choir In The Studio','Cambridge-MT Patrons Video Preview','','CMTPatrons-RecordingAChoirInTheStudio','',1,0,0,431,0,'<h4 class=\"h4IntroTextSubtitle\">Recording A Choir In The Studio: A Dominant-array Miking Case-study</h4>\r\n\r\n<p>In this video I explain how I recorded a 25-voice mixed choir at Munich\'s Mastermix Studios. In the process, I showcase the sounds of all the microphones used, as well as demonstrating how you can combine them to enhance the ensemble presentation at mixdown.</p>','<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\r\n\r\n<p>\r\n<div data-wimpyplayer data-coverArt=\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_ChoirRecordingHeader.jpg\" data-skin=\"/wimpy7/PatronsVideo640x360_001.tsv\" data-media=\'[{\"file\":\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_ChoirRecording.mp4\",\"kind\":\"mp4\",\"title\":\"Cambridge Music Technology: Cambridge-MT Patrons Video Preview: Recording A Choir In The Studio: A Dominant-array Miking Case-study\"}]\'></div><br><br>\r\n</p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>01:35 -- <strong>A Three-mic Dominant Array</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">02:29 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> Neumann SM69 stereo mic</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:31 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparing and balancing Neumann U87 spaced mic pair with Neumann SM69 stereo mic</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:40 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparing the sound of the SM69+U87 dominant array with and without phase-alignment delay</span><br><br></li>\r\n  </ul>\r\n  <li>04:58 -- <strong>Per-section Spot Mics</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">05:40 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> tenor-section spot mic (Neumann U47 FET)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:49 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> bass-section spot mic (Neumann U47 FET)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:59 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> soprano-section spot mic (AKG C414EB)</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:08 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> alto-section spot mic (AKG C414EB)</span></li>\r\n\r\n\r\n    <li><span class=\"spanPodcastMiniText\">06:26 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparing the per-section spot mics with the dominant array</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">07:16 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> blending the per-section spot mics with the dominant array</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">08:07 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> rebalancing tenor fill with per-section spot mics</span><br><br></li>\r\n  </ul>\r\n  <li>08:16 -- <strong>Per-singer Spot Mics</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">09:00 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparing the bass section\'s per-singer spot mics with the overall bass-section spot mic</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">09:34 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> using low-pass-filtered per-singer bass mics to supplement the low end of the dominant array and per-section spot mics</span><br><br></li>\r\n  </ul>\r\n  <li>10:08 -- Credits <span class=\"spanPodcastMiniText\">(Total Running Time 10:30)</span></li>\r\n</ul>\r\n \r\n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\r\n\r\n<ul>\r\n<li><strong>Mix The Same Raw Multitracks Yourself:</strong> My raw multitracks for the music performed in this video (Don Camillo Choir\'s \'The Marsh Marigold\'s Song\') can be downloaded directly from <a href=\"[[~373]]#DonCamilloChoir\">The \'Mixing Secrets\' Free Multitrack Download Library</a>.<br><br></li>\r\n\r\n<li><strong>More About Dominant-array Recording Techniques:</strong> For a more in-depth and wide-ranging explanation of dominant-array recording approaches, check out chapter 9 of my latest Focal Press book <a href=\"[[~370]]\"><i>Recording Secrets For The Small Studio</i></a>. The Printable Stereo Protractor shown in the video can be downloaded from the book\'s resources pages <a href=\"[[~358]]#links\">here</a>.<br><br></li>\r\n</ul>\r\n\r\n[[$RSFTSSPicAndBlurb]]',1,6,6,1,1,1,1493986606,1,1493990107,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'CMTPatrons-RecordingAChoirInTheStudio.htm',0,0,1,NULL);

--
