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[Masterer]

Mark Wilder wrote on Wed, 24 December 2008 10:24

Hi, I use this "hand limiting" quite a bit with mixes that I want to control the dynamics but I don't want to "taint" the sound with a conversion, or a plug, or anything. .

Yes, I remember your "hand limiting" technique well. As I recall there was a lot of "taint" involved.

[cass anawaty]

   

[Mark Wilder]

Masterer wrote on Sun, 28 December 2008 11:01

Mark Wilder wrote on Wed, 24 December 2008 10:24 Hi, I use this "hand limiting" quite a bit with mixes that I want to control the dynamics but I don't want to "taint" the sound with a conversion, or a plug, or anything. . Yes, I remember your "hand limiting" technique well. As I recall there was a lot of "taint" involved.

I've gotten better.  And quicker.

[Jerry Tubb]

Mark Wilder wrote on Wed, 24 December 2008 09:24

Have you tried editing the slaps and dropping the level so they are more in align with the voice of the instrument?  There is quite a few, and it will take some time, but if you're looking for transparent... I use this "hand limiting" quite a bit with mixes that I want to control the dynamics but I don't want to "taint" the sound with a conversion, or a plug, or anything.

Hi Mark

Funny you would mention this technique. Recently I ran into a  client from the early '90s, who's no longer producing music. He reminded me of a 1991 mastering session with a song that had the snare drum mixed waaay too loud, the sharp attack of which was dominating the mix.

He had asked if there was any way to "turn it down". Since it was back in the day before the "easy button" of DAW remixing, I did it manually. Edited out a few milliseconds of the attack of each and every drum hit for the whole song, using SDII's Playlist with default crossfades. Don't remember the amount of each edit, but it took an hour or so to complete, slightly shortened the song and the producer loved it, and it was used on the record.

We used to go to great effort to manually fix things with editing & spot EQ'ing... esses, plosives, clicks, pops, odd noises, etc... sometimes still do, although I've lost some of my enthusiasm for such long gruelling sessions. These days if it was more than a few spots I'd probably tell him to go remix it : - )

Cheers - JT

[Mark Wilder]

On SDII...my heavens, that's suffering for your art!

Boy that brought back a bad memory. I remember having to slice out ticks on a Hank Williams 8-double Lp set I did MANY moons ago (on ANALOG).  I must have whittled those songs down to around 45 seconds each!

[imdrecordings]

Like this?  

[Bruno Gouveia]

Samplitude totally rules!

[Adam Dempsey]

Jerry Tubb wrote on Tue, 30 December 2008 02:16

Since it was back in the day before the "easy button" of DAW remixing, I did it manually. Edited out a few milliseconds of the attack of each and every drum hit for the whole song, using SDII's Playlist with default crossfades. Don't remember the amount of each edit, but it took an hour or so to complete, slightly shortened the song and the producer loved it, and it was used on the record.

I can totally imagine that. It can also add an ever so slight ahead-of-the-beat feel which may well have matched the track's vibe. ? Great to do with artist/producer's input. Some drummers (eg, Rob Hirst of Midnight Oil) play that way & everything tends to sound faster, more urgent, than it really is. I recently did something similar with a single already re-submitted remixed by my suggestion (kick drum reduced 2dB). Main issue remaining was in the drum's attack, not its low end, and not every beat. Rounded things nicely.