Hahaha,
Love that last bit.
I truly appreciate your skill and advice at this, and will heed your
warnings.I did notice after rendering down a wave with L1, that the
mowed grass was happenin.Which is good I take it from your discussion
about points being simliar.
There is one section in the song;middle single guitar part that lasts
15 sec.s that is of course not as loud{non mowed} as the next piece
that brings everything back to full volume.
I would assume this will be ok?
Loud,softer 15 seconds,Loud again.
lotsa beef on this song.
Any more advice well listened too.
Thanx again Aaron!!!:-)

Aaron Carey wrote:
>>
>>
>>David W. Ruby wrote:
>>>>We have a quick deadline that is for a song that will go to
>>>>radio in 24hrs and I am in the process of doing vocal edits
>>>>and remixing for radio.Well, we usually send this to a
>>>>mastering house but time being short this will not be the
>>>>case.So if anyone has suggestions on plugs to use and
>>>>how.Let me know.This music is metal/hard rock ala korn/limp
>>>>bizkit.The artist of course really wants alot of punch,but
>>>>I understand this to be hard to accomplish for radio has
>>>>it's squashing effect.
>>>>Current plugs we have are:L1 from waves,steinberg mastering
>>>>software;we have not played with it yet so if this is good
>>>>help?,Levelizer from sawpro,and a few others.
>>>>Any help would be great at this point.
>>
>>You may, I say MAY want to do some "organic dynamics" on the mix or
>>on the final two track in Vegas, before anything else...
>>You have an idea about what kind of information will be squashed or
>>masked by the radios HUGE amounts of compression. So, for example,
>>assume a VERY long release time for a compressor at the radio
>>station...If you see a huge peak in your song somewhere, remember
>>that everything after that peak will probably be squashed by the
>>station for a second or even more. In this case, I would turn down
>>that peak a little, using either cross fade techniques, like two
>>separate stereo tracks in vegas, one louder, one softer, or using
the
>>volume envelopes in Vegas.
>>
>>After all this, you seem to have decent enough, by PC standards,
>>plugs for the rest. I would NEVER advocate mastering myself, unless
>>the situation were dire. I feel very strongly that a mastering lab
is
>>a completely different entity altogether, with different goals,
>>rules, and properties than a recording studio...
>>I gotta laugh in this town here, there are a billion mackie/ADAT
>>studios that advertise mastering included, with no skill, or even
an
>>understanding of what mastering is.
>>Ok I had to say all that to save my hide...but I do believe
it...so,
>>if you are gonna do it yourself, here are my humble
offerings....not
>>gospel, just stuff that has "worked" for me
>>
>>Put the L1 at the very end of the chain, set it to the preset"16
bit
>>final master highest resolution"...seeing the waves L2 hardware
unit
>>at my favorite mastering lab, and hearing that they are at least
>>somewhat similar, makes me trust this plugin...
>>it will make your mix way louder, and you will probably not even be
>>aware of the process it uses...
>>
>>The steinberg Mastering Edition compressor should probably be at
the
>>front of your chain, although if you have it, I think sonic
foundry's
>>Muilti-band dynamics does a better job, even though the metering is
>>very odd in behavior...with either of these plugsyou may want to
get
>>the lows (180 hz or so on down) very squished for the radio, and
then
>>turn them up....same with the extereme highs, like 12 k on
>>up...concentrate on giving the mids only enough dynamics as they
>>need, cuz a sudden jump here could bring the overall level down for
a
>>second or so, on air.
>>
>>Between the compressor and the L1, I would put an eq( if needed)
and
>>remember, its the mid bands that are most important to that old
Dodge
>>Coronet with the AM single dashboard mounted speaker! Concentrate
on
>>CLARITY above all else....
>>
>>OK that was all pretentious as hell, but just my humble opinion...
>>good luck!
>>after you get a killer response on the air, you can justify someone
>>paying to have a mastering lab do it right, and have them laugh at
my
>>advice....
>>
>>Aaron Carey
>>Pipelineaudio
>>Phoenix, AZ
>>
>>

Try copying the softer guitar solo, double it with the copy
crossfaded back-in. This will beef it up without boosting levels too
much although you may have to adjust volume in that section. Once is
probably enough, but you can experiment with more doubling if you
think its needed. Vegas is great for this because you can send the
doubled tracks to separate buses & render things back together,
helping to avoid over-levels. I've heard all the stories why this is
the same as boosting the volume; it's not the same, it works.

David W. Ruby wrote:
>>There is one section in the song;middle single guitar part that
lasts
>>15 sec.s that is of course not as loud{non mowed} as the next piece
>>that brings everything back to full volume.
>>I would assume this will be ok?
>>Loud,softer 15 seconds,Loud again.

Hi, David.

Borrowing from my own experience, I would suggest that in emergency
situations like the one you so horrifyingly describe, you begin your
"mix" with equal amounts of vodka and pot in the client's main
channel. This is a DirectKO plugin intended for an ultrafast
"fade-out" effect on his hearing.
Your very next step, even before you beging to "bury" that guitar, is
to collect your money. The 16k "air" that you so stubbornly infuse
every mix with, tends to get a little stale and rather chilly when the
song is again heard in the morning with clear senses.
As far as the quiet guitar parts, you can always add some spice by
combining them with the banjo you recorded in your dorm many
years ago, while your college girlfriend setup the "mic". Any
objections are easily put aside by claiming that you own the copyright
to the banjo parts since they were played by Santana when he was not
yet famous and was just another illegal mexican trying to achieve the
American dream, and that his name will certainly help bring the sales
into the high 7 figures.
Finally, if you run into any type of VST (very serious trouble)
situation where the client wakes up and complains about the ugly sound
coming out of your main monitors, you can reverse the "face". This is
the oldest trick in the book, and consists of pretending to be
offended by your client's lack of respect for your experience and his
general ignorance of basic mixing principles. Outside recording
circles, less sophisticated people call this "shifting the blame".
I could give you more advice, but I realize the better part of your 24
hrs is gone, so I will say goodbye with the hope that this crash
course in Vegas Forumation serves your purpose.

Good luck.


Victor.


PS: As general precaution, I would suggest for the next 3-4 days your
work includes monitoring with headphones and the lights off. This is
the usual time it takes a client to go from "Let's kill
this motherf****r" to "He's lucky we didn't find him" to "I'll sue the
sh**t out of him" to "I don't wanna see his face ever again"...
Also, only leave the studio at a very late hour wearing your Elvis
impersonator outfit (sideburns and glasses included!) left over from
last summers's Atlantic City part-time gig.




David W. Ruby wrote:
>>We have a quick deadline that is for a song that will go to
>>radio in 24hrs and I am in the process of doing vocal edits
>>and remixing for radio.Well, we usually send this to a
>>mastering house but time being short this will not be the
>>case.So if anyone has suggestions on plugs to use and
>>how.Let me know.This music is metal/hard rock ala korn/limp
>>bizkit.The artist of course really wants alot of punch,but
>>I understand this to be hard to accomplish for radio has
>>it's squashing effect.
>>Current plugs we have are:L1 from waves,steinberg mastering
>>software;we have not played with it yet so if this is good
>>help?,Levelizer from sawpro,and a few others.
>>Any help would be great at this point.
>>Thanx to all who answer.
>>How bout any Sonic Foundry staff suggestions?:-)
>>Thansx again.