To get to the tracks that we will be editing and mixing this semester, we must go through the csumbuser folder, then open the mpa 308 folder, then the raw tracks 1 folder. There we will find the ptf file we are working with this semester.
For right now, we are only working through Pro Tools and bypassing the board to get the Pro Tools session organized with some light mixing. So, for patching, we will only need to use the Pro Tools 1 & 2 out into the 2 Track.
These are the notes that I have written down:
TO DO BEFORE ANY FINE-TUNING:
-Give them meaningful names to see the tracks more quickly
-Clean up heads and tails for redundant sounds
-Make location points at top (enter-->name it-->enter). Give them meaningful names (verse 1, good chorus, weak bass, etc.)
-Command + E to delete everything before selected point on audio track
-Remember, tracks are there for choice, and we don't have to use all of them
-After drums are cleaner, group them (Command + G) and call them something distinct to differentiate between other drum groups you may use
-Strip Silence (Command + U) all the tracks you can to get rid of repetitive noise
-R & T to zoom
-Lead vs. Other Guitars:
>Lead centered by itself
>Lead centered with another guitar centered
>Lead centered with the other centered
>Lead centered with both guitars centered
>Lead centered with guitar 3 hard right
>Lead centered with guitar 3 hard left
>Lead centered with guitar 4 hard right
>Lead centered with guitar 4 hard left
>etc...
-Get two new stereo auxiliary channels up (Shift + Apple + N)
>On one channel, input and mix at 100% with reverb send
>Command and click the solo button to safe solo (the track will then always be solo'd)
>Make the other stereo aux channel with a delay send
-Send the vox tracks to the delay aux channel. Pan the lead vox and background vox to right and left (respectively) and send the delayed lead vox to the left and the delayed background vox to the right. It gives the effect of many more singers.
-Use hpf on background vox until it isn't stepping on the lead vox
-Ad hpf on verb track, about 150 Hz, so there won't be a loss of distinction on the lower notes
-Complimentary EQ to find the exact effect you're looking for
Save As -->*dropdown menu* mpa 308 raw tracks 1 -->Group 4-->Group_4_Raw_Tracks_1
So far, as Monday classes go, it was a little atypical since he won't be doing these kinds of lessons for much longer. As class dynamics go, they're just like they were in 307, but we're a little more experienced than before. That, and we're not going to be doing really any recording in this class.
Tuesday's lab, Andy and I worked on mixing the first song. We added a lot of EQ, which was expected. We didn't use the Bomb Factory compressor as often, but we did apply it to a few of the drum tracks, like the snare and toms, and some of the guitars, including the lead guitar. It was helpful to go through all of the EQ and compression practice. It is also a little bit less stressful since the music isn't our own. So, the weird vocal tracks and inconsistent kick aren't ideal, but we can feel better since our job is to improve it.
In Wednesday's class, we went right into the recording room to listen to how well our groups worked in the previous lab. Throughout the two hours, we continued to add to our list of things to do for our mixes:
-Group different instruments together (bass drum, snare, OH) and check for phasing issues. The more combinations the better.
-In most rock music, there's a lot of tonics and fifths then eventually a third.
-Watch for extra noise in the tom tracks and take it out when able.
-Make sub-group with toms to get rid of the filler faster (if working with mono tom tracks and not the summed stereo track)
-Make sure the mid-range is scooped when it is applicable (when there are too many voices in the mid-range)
-Highlight all groups, bring them all the way down, then de-select it all, then go by groups. It makes the balancing easier to do.
-Shelving is good for guitars because they're all in the same tonal range.
-80-160Hz has a lot of power behind it on guitars
-In the compressor, 1 is slow, 7 is fast (for attacks and releases)
-For an extra rude sound, put the attack at 1, the release at 7
We also received the assignment that will be due next week. We have to mix the entire song in mono while checking for phasing issues, being selective of tracks, and using subtractive EQ to bring out the most important instruments. Also, we will have to take the mono track and 1) pan the guitars from center to left and right and back again for different sections, 2) create aux reverb and delay to spread vocals and back up vocals, 3)send the snare to an aux and create a different sound, parallel to the first. Also, we have to transcribe the song. And, it's all to be done by Wednesday.
Thursday's class, the biggest thing to mention is the problems Andy and I were having with the stereo tom track. We both agreed that it seemed to work out the best for the mix, and we started taking out a lot of the extra noise that wasn't necessary. Unfortunately, there were a lot of other things going on in the tom tracks other than the toms (namely the cymbals) that were extremely difficult to hide/take out. When we would be playing the song, there was sometimes an increase in the volume of the cymbals. And it would generally be in the middle of a cymbal crash, so it was really hard to take out. We worked with the EQ and compression a lot to try and get it out as much as we could, as well as using the OH tracks. We're still going to be working at it a bit for next lab, but we do need to move on with the rest of our work. We finished the mono mix and everything that came with it, and we're hoping to finish up the last half of it on Tuesday. Andy and I also worked on the transcription on Friday, and we're going to work on it all day on Monday and Tuesday.
