Wow Chris! You have allready listened to all 41 mixes!
chrisj wrote on Fri, 08 June 2007 03:37 |
Oh my god, IMP12-UnderTow- Yay, weird introness! Synths cut and pasted everywhere!
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There are only three short synth sections I used. The one at the beginning, the one just before the start of the drums (it was reversed) and the one in the break. The other synthy sounds are the organ going through Ohmboyz Emhatohm and/or iZotope Spectron, the backing vocal going through Bufffer Overflow and the female vocal going through iZotope Spectron and/or GRM Freeze. The noise burst comes from the start of the bass track. Oh and all going through delays with filters and two reverbs.
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This is certainly establishing the 'so much sick' concept, though funnily enough the singer doesn't seem vulnerable at all. It sounds like he's SMILING, then he's on a telephone.
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Smiling? Lol.
I just dual-band compressed the shit out of the lead vocal, added a bit of presence and saturation. Oh and verb.
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A lot in the mix is supporting a disorienting lead vocal, but the lead vocal itself has been made stronger somehow. I don't remember it being sung strongly and solidly, there's a vulnerability that has gone away.
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I tried different things with the male vocal but ended up going back to a relatively clean (albeit compressed) version. Anything else I tried felt too outlandish and didn't work with the female vocals.
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WHOA- you have to tell how you produced a sort of flanged conga track out of what you were given, because I'd swear it was new tracking and if it was, BZZT
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Heh.
It was actually purely accidental: I was changing things arround and accidentaly routed the drum mix to one of my FX busses and this sound came out more or less. The bus had Antares Filter, CamelSpace and Nitro in series. (You can also more or less hear it at the beginning on the synth). The combined swept filter resonance of these plugins created these conga'ish sounds. I bounced the bus to a track and cut out the hits that were in tune with the rest and then made them sound more percussive with heavy compression, some layering with other more distorted hits and more filter sweeping.
In the last section I took one of the bass notes, lowpassed it so that there was nearly only sine left, layerd it under the attack of one of the conga'ish sounds and then compressed to the max. I also used different hits in the last section to change the beat a bit.
I fed these new beats to delays and more swept filter resonance, flanging maybe a few other things.
The snare hit is one of the snare hits going through cianyde, EQued and filter delayed.
Now off to listening to 40 mixes.
Alistair