etc., in slate they thought things, as they occur in the world of studios Hardwares isįrankly successful. Part in a studio and the other in another so the grains are different and real. Example 2 for mixing rich, I can mix like I do example1, I can take, inprimer grain particular console, hard on the track. I have too many options at my fingertips with this plug. So next performance, I can not say enough wonderful things in digital slate, how can I describe it? this plug is magical, because yes, I am unable to say what he brings, but eyes closed, after all, I feel his absence and it becomes very quickly even embarrassing for me sans.Le happiness level mixing is Yes, no problems very fast even for the moment no bugs encountered. I put it from systematically before treatment on all segments of my session and I am very happyĪ try for those who want to experiment, digital slate proposed in demo version and there are often great reduction.įor me, the only drawback being the ilok 2. On the other hand, you really build your mix with rather than add the "Mixbus" on the master, which really has no effect. Remove and immediately feel the difference. What does this plug is pretty subtle, but it adds to the thickness and depth to the mix "doing nothing". We can group the slices that you want (eg drums, bass, guitar) and manage the volume of each group through the plug. Then increases more or less the "Drive" if you want more or less "effective". Each brings a little thing so the choice is made according to individual tastes. You can choose between five emulations consoles, SSL, API, Neve, Trident or RC tube. It consists of two versions, one with input gain (channel) and one without (the Mixbus). That's something I'd have spent time refining, had I managed to find a spare month to do the rest of the record.The big advantage of this plug is that it consumes very few resources, so we can put all the slices on large sessions without problem if you have a computer that meets at least the road! I wish I had a bit more time to experiment with the guitar reamps, as the tone came out a bit more sizzly and less gutteral than I would've liked. The guy's voice loves compression, saturation and distortion so I threw on as much as I could get away with. So many mixes of this song were done, and on so few did I feel any justice was done to his crazy vocal takes.
To me Feared is all about making Mario sound massive. I pretty much always use analogue compression on snares. It was compressed by hardware DBX 160 and Distressor compressors. One of the one-shots I detuned by an octave in order to give me some massive low-end to blend instead of needing to crank the low shelves. I used samples mostly to beef up the tops and bottoms, using some of my common Slates and one-shots. I wanted to keep a lot of the raw vibe as he played it quite well. Brit N contributed to some of the 'looseness' of the bottom end, as that's just how it's voiced. More tops and bottoms, less mids, less glue but more 'brutality' I guess. It was a bit of an experiment, to hear how a mix would sound with it as opposed to my usual use of Brit 4k. I used a lot more VCC Brit N than I normally do. I used mostly the dunlop MXR pedal for the grinding distortion, Ampeg SVX to shape the bottom end, and tried to keep the bass out of the way of the kick as much as possible while still having it as a driving force in the song.
The performance was very aggressive so it didn't need too much compression. I do recall running the bass DI through my Distressor and bass rider before reamping though.
I did this mix at the start of the year, so my memory isn't too great on the details.