Allrighty then, here was my take on the whole things...
First in Sound Forge 8, I wanted to do a little work on the gliss sections. In Steves request, he said they needed to be brought to a similar level of the rest of the tune without losing the impact of the crescendos, and they were a bit brittle.
So, in SoundForge 8, just on the gliss sections:
Waves Ren EQ, -2.4db, 3750hz, Q=3.86 to take off some edge of the violins
Waves Ren Comp, 1.44:1 with about 3db reduction on the peaks of the crescendos.
Saved as a new version, than opened up in a WaveLab 6 montage:
Waves LinEq Lowband:
HP@32hz with a slope of .26
1.5db boost at 96, Q=.9
-1.3db at 419 with a wide Q of .29
I wanted to help clean up some lower midrange mud and try and "under" the cello's to give the kick a little help to drive the track a little more.
External gear plugin wiith a 3db gain which feeds my usual setup...
Crane Song HEDD D/A
Manley Vari Mu to try and get a little more glue going. Med-slow attack, slow rel, 2-3db of reduction, maybe 4 on the peaks.
Millennia NSEQ-2 Solid State Mode:
Low Shelf, +4db at 100
-2db at 200hz, Q=1.5
+2db at 7500hz, Q=.6
High Shelf, +4db at 10K
The goal was to continue to clean up the mud around that low "G" and try to get some air in the top end. I think I could have been a little more aggresive in my cuts, and the HF boosts, though.
Crane Song HEDD A/D
No Triode or Pentode, Tape at 3.
Trying to get a touch more "glue."
Back in WL6:
Voxengo Elephant:
In +4.5
Out -.3
Oversample = off
Mode AIGC-4
Lim Speed = Med
When listening to the gliss sections, I decided that I wasn't quite happy with impact at the end of each section. So, back in SoundForge, I used an L2 to just bump up (+2db) the kick drum hit that provides the impact at the end of the gliss sections. I just wanted a little more "umph" to help release the wonderful tension built in the glissandos.
While I felt this worked pretty well for the first section, that same hit and the end of the second section just isn't as solid, so it didn't work as well there. I thought about trying to copy the kick from the first one and mix it into the second, but felt I would be over stepping my place, so I went with the same L2 treatment as the first one.
I felt the head of the tune was a little tight with only 29 or so ms, so I added another 100 ms to keep the front edge from being clipped off by slow CD players.
R8Brain to conver the sample rate, fade in/out and dither in SoundForge.
This was a really good WUMP, tons o' fun!
Mike Bruce