Pensado’s Place Mixing Competition – EDM

If you have any interest in the music industry and don’t watch Pensado’s Place, I strongly encourage you to check it out!

The weekly show is the number one place to get insider mixing information from industry professionals at the top of their game. Pensado’s Place and Indaba Music have teamed up on a number of occasions to offer opportunities to mixers around the world. The latest competition involved taking the stems for the song “Blades (Feat. Daenine)” from Indaba Music member The Maniac Agenda and creating the best mix possible.

If you’ve entered a mix in the competition, let me hear it! Leave a comment below.

Don’t forget to check out Pensado’s Place

Bliain In Arainn Mhór (A Year in Arranmore)

Airing in February 2013, Bliain In Arainn Mhór is a four-part series following life on the island, from a number of different perspectives filmed over 12 months the series features the old and the young; those from the island and those who have moved there more recently; those familiar with and still practicing the traditional way of life and those eager to embrace a new and different approach to life on this harsh yet beautiful outpost.

Bliain in Arainn Mhór was produced by David Power of Power Pictures.

Tommy Bowe’s Bodycheck

‘Tommy Bowe’s Bodycheck’ aired last night (Sunday 24th February 2013) on RTÉ1. The documentary gives a unique insight into what it takes to rise to the top of the modern game of professional rugby.

Produced by Conor Moloney and directed by Peter Murphy of Independent Pictures, ‘Tommy Bowe’s Bodycheck’ focuses on the rugby star’s return to action after a long lay-off.

Tommy Bowe

Food Fight – The Toughest Restaurant Challenge on TV

Celebrity chefs Derry Clarke and Clodagh McKenna are taking part in a one-off Christmas special called Food Fight. Each chef is taken from the comfort of their own kitchens, spirited away and given the task of designing the ultimate Christmas-themed restaurant.

Not knowing where they are going, or who they are up against, the programme sees our chefs transported to a secret location (Gorey, Co Wexford) where two similarly-sized eating establishments agreed to allow them to take over for four days.

Each chef will have just 24 hours to revamp their restaurant, meet and train their staff, devise and cook menus which will ultimately win over the locals when they open for business for the next two nights.

The Gorey gourmets will judge both of the newly run establishments with their wallets, as the diners will compare and criticise both venues and leave comment cards telling the chefs what they really thought of their night out.

The chef with the most profits will be crowned the victor of Food Fight – Christmas special.

The show aired on RTE on the 26th of December and it was nice to work with Director, Ciaran Gallagher again. The show was produced by Another Avenue.

Rory McIlroy: The Interview

Enjoyed mixing ‘Rory McIlroy: The Interview’ which was directed by Kevin Corcoran for RTÉ Sport.

Greg Allen interviewed the Northern Irishman following his hugely successful year in 2012.

The show was aired December 27th 2012 on RTÉ2.

The Mario Rosenstock Show

The Mario Rosenstock show consists of a series of sketches caricaturing celebrities and Irish peculiarities.

The series is written by Ian Dempsey and Mario Rosenstock with Damian Farrell of Caboom as the series director.

Nice to be involved in this project and get involved in some comedic music production!

The Mario Rosenstock Show, Monday nights, RTÉ 2 at 9.30pm.

A/B Mixing with Waves Video

As part of my work with the Waves Street Team, I recently produced a video on A/B Mixing with Waves as a follow-up to my article of the same name.

Check it out below!

Hardy Bucks Movie

Following the success of both television series, I recently had the pleasure of working with the Hardy Bucks men once again on their new movie which is due for release in cinemas across Ireland and the UK in February 2013!

The movie features all the usual characters from the original series including Eddie, The Viper, Boo and French Toast as they set out on their adventure to Poland and the Ukraine for the Euro’s!

Jazz Mixing With Waves

Following on from the recent Mixing Jazz with Waves webinar, I’d like to share how I recently approached a jazz mix and the various Waves plugins I used to mix the track.

First of all, Wicked Knee are Steven Bernstein on trumpets, Curtis Fowlkes on trombone, Marcus Rojas on tuba, and Billy Martin from Medeski Martin & Wood on drums and percussion. You can take a listen to the track and then I’ll explain what I did.

As this was a jazz mix, I wanted to stay away from compression and extensive effects and focus on volume automation, equalization and use of the stereo field to shape my sound.

Once I had roughly balanced all the levels in the mix and panned the various tracks the way I liked them, I then listened back to see if there were any problematic or uneven sections and attenuated those further with automation. Why did I focus so much on volume automation at this stage?

  • I was only using gentle compression on the drums and none at all on the individual instrument tracks.
  • With this approach, there is much less work for compressors to do.

With that part of the mixing process complete, I started mixing the drums. When the drums sounded nicely balanced, I moved on to adding the tuba, trombone and trumpet. From there, I worked to create a polished sound with final EQ, buss EFX sends and automation on the individual tracks.

Once finished at a micro level, these tracks fed their relative busses (Music, Drums, Bass, EFX) and finally the stereo buss. As there were not an extensive amount of tracks in the session, I chose to leave everything unmuted and not solo any elements. I think that was a fundamental step in creating an accurate representation of a jazz sound.

The main plugins I used on the mix were the Waves Renaissance Equalizer and Renaissance Compressor.

REQ and RCompressor are part of the Waves Renaissance Maxx Bundle


 
Next, I’ll outline how I used the plugins in the track:


Renaissance Equalizer

Settings do not reflect those used in the track


Kick Drum
I used corrective EQ to cut frequencies before compression with the REQ 4:

  • High-pass filter at 30Hz
  • 8dB cut at around 700Hz
  • 3dB cut at 2kHz
  • 4dB high shelf cut at 10kHz

Post-compression I used the REQ 2 to add a little 50Hz and remove some 80Hz.
 
 
Snare

  • High pass filter at 100Hz.
  • Cut 2-3dB at 950Hz.

I then added in some 5kHz post-compression with the REQ 2.
 
 
Toms

  • 6dB boost at 250Hz
  • 9dB cut at 900Hz
  • 4dB boost at 6kHz


Floor Tom

  • Low shelf at 80Hz
  • 2.5dB boost at 240Hz
  • 8db cut at 650Hz
  • 3.5dB boost at 4.7kHz


Overhead and Side
Ther Overhead and Side mics were high passed at between 1-2kHz respectively and had the required frequencies boosted in the high frequencies using the REQ. I used no compression on either of these mics.


Front
The Front mic was very heavily EQ’d with REQ and there was a high shelf boost added for some top end.


Tuba

  • Low shelf roll off at 34Hz
  • 5dB boost at 90Hz
  • Narrow cut of 4db at 640Hz
  • High shelf roll off of 3db at 4kHz


Trombone

  • Low shelf roll off at 80Hz
  • 6dB boost at 180Hz
  • 5dB cut at 660Hz
  • 5dB high shelf roll off at 6kHz

During the final stages of the mix, I also added a separate REQ 2 to add 3dB at 295Hz and 2.5dB at 6.5kHz.


Trumpet

  • 8dB low shelf roll off at 144Hz
  • High shelf 5dB roll off at 10kHz

Again during the final stages of the mix, I added another REQ 2 and boosted 1.3kHz by 5dB and 11kHz by 3dB.

The delay track was affected in the same way but without the separate EQ boosting additional frequencies.


Renaissance Compressor

Settings do not reflect those used in the track


Kick Drum
4:1 ratio taking off at most 3dB at peak.
 
Snare
2:1 ratio to attenuate an absolute maximum of 2-3dB at peak.
 
Front
I used the CLA 76 Bluey to decrease the influence of the kick on this element.



Buss Effects

 
Snare Reverb

Settings do not reflect those used in the track


Renassance Reverb with a medium room setting. I didn’t send a huge amount of the signal to this buss, just enough for my taste!


Parallel Compression

Settings do not reflect those used in the track


The CLA-76 and Puigtec EQP-1A were used as my chains on 2 separate busses for kick and snare parallel compression.
 

Settings do not reflect those used in the track


Kick settings:

  • CLA 76 Blacky – ratio of 6:1 attenuating 1dB sparingly in places.
  • Puigtec EQP-1A added a small amount of 60hZ.

Snare settings:

  • CLA 76 Blacky – ratio of 4:1 attenuating 3dB.
  • Puigtec EQP-1A adding a small boost at 100Hz.


Music Buss

Settings do not reflect those used in the track


The music buss had an instance of Waves Center on it to help emphasize the low frequencies of the drums and tuba in the center and move some of the low frequencies of the trombone and trumpet to the sides. The high frequencies were also slightly boosted at the sides, which further adds to the “clearing out the middle” effect.

I also used the CLA-76 Bluey compressor to just lightly affect the Music with a 4:1 ratio, slow attack and release. This compressor attenuated 1-2dB at only a few points in the mix.


Drum Buss
On the drum buss, I cut 6dB at 67Hz with the REQ and 7dB at 14.5kHz. I used a narrow Q for both these cuts. The CLA-76 Bluey compressor with a 4:1 ratio was then used to attenuate a maximum of 3dB.


Stereo Buss

Settings do not reflect those used in the track


The L2 Ultramaximizer is my “go to” plugin on the stereo buss. For this track, I set the threshold so that it just touches the mix – taking off at the very most 3dB at the loudest parts of the track.
 
So, that’s it… that’s how approached this particular jazz mix. If you like what you hear, please let me know about it!
 
What way do you approach a mix? Do you have a set formula or workflow, or do things change with every mix?
 
What plugins do you use when mixing jazz?
 
Leave a reply below and add your voice to the conversation!
 

Bratzillaz Webisodes

I’m currently working on the sound design and mix for a number of Bratzillaz webisodes for Boulder Media and MGA Entertainment. This is the second Boulder/MGA collaboration I’ve worked on and you can check out Episode 2 below!: