Analog Tape Warmth

non linear
Consists of:
Low end boost
High end roll of
saturation
compression
distortion
and tape hiss

Distortion adding musical character

Use Saturation Devices if signal is too clean when recorded: We can tube-tapesolid state the type of warmth, punch and saturation from hardware or plugins.

Mixing:
To add what an analog console was adding to the sound use:
Hardware: Analog summing buss Dangerous
summing bus/ folcrom or
Plugins
Saturation Plug-in across mix buss
MCDSP AC1 plug in is emulates solid state console saturation
Put on Master fader right from the beginning of the mix, do mix through it
With Ac1 colors mix in a way that influences eq, compression fx, and automation,
giving a punchy and geled sound.
Ac1 Saturation tracks with the dynamics, adds slight distortion on kick and snare
and adds distortion to instruments underneath, in an analog type of way.
Using Ac1:
Choose Multi-mono mode really emulates two mono buss saturating
independentaly like an analog console. Wider sound
Presets:
Console 1/ Hybrid of SSL satuartion and Neve transient response

Console 2/ SSL
Console 3/ Neve
Turn up Input to drive console hotter, put meter on GR and shoot for maxing of
about 1 to 2db of GR in the hottest part of song. Watch the green and yellow
lights, he likes when the yellow light is bouncing fairly even in the hottest part of
the song.
Mix Buss Compression SSL emulation
Put compression on in the beginning one approach. Benefit, mix together quicker,
not as much compression on indiv tracks, less automation needed, and mixing
through compression brings a more powerful sound from the bet from kick, snare,
bass, and hat
Will use softer style of compression going for compression as SSL
Rcomp by waves: Opto= Softer LA-2A/Fairchild Style Compression
Electro = Faster 1176/DBX Style Compression
Once on the RComp:
Ration 2;1
Fast attck- 2 to 20ms
Slow release 200 to 300ms
Rcomp resonds faster than ssl so adjust attack until get the sound you want.
For aggressive music compress= 4db
What we are listening for is: Mix tighter, kick and drum thicker, bass brought up
and better sustain, mix fuller and more exciting
FX Sends:
Setup mix with:
Room
Short Plate
Lg hall
Short Gate
Long Gate
Split Harm
Flanger
Delay 1
Delay 2

Delay 3
delay 4
Delay 5
Delay 6
Create FX Template
Keep all returns at 0db
Room: Basic common reverb used on drums and percussion tracks, its also the
smallest space. Live kits dont usually require it , but samples do.Great for unified
sound. Great when using sampled drums. Song always influences choice,
sometimes you want warmer room or brighter room.
Princeton Digital Stereo Room or Ren TruVerb
Lots of character, set decay to a second or late.
Settings on Ren Tru verb
Pre Set Studio A
Dimension 1.68, Room size: 473 Distance 1.40 blue arrow of Balance -2.6
Decay time .9 PreDelay 11.0 Density 1.000 Er Lowcut (grey light) 16, revshelf
-4.7 ERAbsorb -4.3 Freq 2007 reverb Damping: 752, 1.10x, 1.00x, 3402. Input
Gain -3.0, Output Mix: Direct 0.0 (Grey Light), EarlyRefl (orange light) 0.0,
Reverb (blue light) 0.0
Q1-Paragraphic EQ:
1=Bandpass gain 1.8, Freq 1288, Q 6.5
Short Plates/Drum Plate
Short plate usually brighter, main medium length reverb. Use it for most drums
that you wanna give a larger space than just the room. Set decay 1.2 seconds.
Usung Tl Space
EMT 140a impulse resonponse.
Set decay 1.2 seconds/ in decay page, bring decay lever down 65% and bring
high lever to 1%
Gorgeous warm thick plate sounds great on snare
Shortened i up a bit by decay
And going for darker sound than original sample, bring down the high lever.

Long Plate/Vocal Plate

Attended for other instruments like vocals, sometimes on drumswhen wanting a
longer plate sound.
Decay 1.5 to 2 seconds, use Reverb 1
Vocal plate with a bright and airy sound
PreDelay 33.6, Time 1.50, Size 100, Difusion 37.0, Decay Linear. Early ref.
-11.6, Reverb 0.0, Wet/dry 100, Gain -5.5
Digirack high pass filter set at 80hz to clean up low end.
Large Hall or chamber
Big reverb, warm and rich, with a relatively long predealy and a slow attack a soft
sound. Good on sounds that you want big and far away, like strings and pianos,
not best for sounds with hard attacks...like drums.
Using Oxfor Reverb: Warm and Large Hall or
Settings Waves Rverb: Preset Large Hall.. Predelay 66.2, Time 3.03, Size 100.0,
Difusion 80.5, Decay 2.94, Earlyref. 0.0, Reverb 0.0, Wet/dry 100, Gaine-2.3
and using eq high pass filter set at 64hz to clean up the low
Gated Reverbs:
Gated Reverb (nonlin) emualtes linear reverb followed by a gate that is triggered
by input signal.
Use for cool retro sounds and adds percussive quality to diferent instruments.
Like to have one available to throw diferent drums like kick snare and toms,
sometimes percussion bongos congas and timbales.
Using: Dverb: Short gate:Nonlinear Small settings, has ams zipper gritty sound
Settings: Difusion 0%, Decay 168, Pre-Delay 15ms, HF Cut 4.82Khz, LP Filter
5.49khz
Long Gate: Using Dverb
settings: Nonlin, Medium
Difusion 0%, Decay 150ms, Pre-Delay 48ms, HF Cut 4.18khz, LP Filter 4.67khz
Split Harmonizer
Thicken and widen tracks. Originally created with eventide 910 harmonizer

panned hard left and right. One pitched slightly up and the other pitched slightly
down.
Soundtoys Pitch blender
Set picth on left -9 cents and right 9 cents
set delay left 17msec and right 22msecs
and low pass filter: 16khz on both sides
or Waves Doubler:
Direct Grey box, Gain 0.0, Align No (grey box dark), FB 16, Range (purple box)
80hz, Modulation Reser, Gain (dark grey box) 0.0, Freq 101, Gain (Turqouise
box) -88.0, Freq 16000
Voice 1: Gain 0.0, Pan -45.0, Delay 14.0, Fdbk 0, Detune 9, Depth 0, Rate .1
Voice 2: Gain 0.0, Pan 45.0, Delay 19.0, Fdbk 0, Detune -9, Depth 0, rate 0.1
Chorus/Flanger
Use diferent ones, sometimes an aggressive deep flang and sometimes a
sweeter chorus
Using Waves Metaflanger followed by Q2- Paragraphic EQ
High trash and high feedback with a slow modulation and a high pass and low
pass filter to really focus the sound.
Settings:
Mix 100, Its on green button right beside, Feedback 76 green button on,
Type/freq Hi Pass filter/ 1.0k Button of (defaul), Delay 4.6 Tape button on,
rate(hz) 0.09, Depth 67, Green link button on, Waveform Sine, Modulation should
be moving slowly, Stereo 180
Q2 Settings:
Hi pass filter Gain 0.0, Freq 500, Q 7.0
Low Pass Filter Gain 0.0, Freq 5187, Q 7.0

Delays:
Two difernt sets of delays: Instruments and Vox
Set for Insturments

#1 eighth note: Digi Long Delay II

Settings: LPF: 5159hz, Delay 280.37ms, Depth 0%, Rate 0.00hz, feedback 3%,
Set to 8th notes.
Sending to: Vocal Plate, Split Harm, Metaflanger
#2 quarter note Digi Extra Long Delay II
Settings: LPF 4462hz, Delay 560.75ms, Depth 0%, Rate 0.00hz, Feedback 0%,
Quarter note set
send to split harm, Large Hall, room, metaflanger
Vox delays:
#3 eighth Digi Long Delay II
Settings: LPF 2496hz, Delay 280.37ms, Depth 0%, Rate 0.00hz, Feedback 2%,
set to eight notes
send to split harm
Followed by 4band Eq II Digi:
Settings: Gain -3.0db Freq 12.0khz shelf, Band Pass Gain 9.5db, freq 1.70khz, Q
1.30, Bandpass 2 Gain 0.0db, Freq 1.20khz, Q 1.30, Low Shelf Gain -5.0db, Freq
270hz
#4 quarter Digi Extra Long Delay II send to split harm, lg hall, room
Delay Settings: LPF 4915hz, Delay 560.75ms, Depth 0%, rate 0.00hz, Feedback
18%, set on quarter note
send to split harm, lg hall, room
#5Half note Line 6 echo farm or Extra Long Delay II Digi Half note
Settings: LPF 3029hz, Delay 1121.5ms, Depth 0%, rate 0.00hz, Feedback 43%,
half note
Digi 4-Band EQ:
Settings: HiShelf -6.5db, Freq 6.40khz, Bandpass 4.5db gain Freq 2.80khz, Q
1.30, Bandpass 2 Gain 7.5db, Freq 1.50khz, Q 1.30, Low Shelf Gain -4.0 db,
Freq 110hz
send to split harm, lg hall, room
#6 stereo ping pong Waves Super Tap-2 Tape mod, Preset: pong delay Place on
4th insert

Turn Manual tempo on and set to bpm of song, Turn on Gain Rotate FieldPut grid
on bottom to Quarter notes, Turn on EQ section by hitting buttons
So the diferences of the delays are usually in the treatment that the delays have
on the return.
On instruments: Maybe be drier and have smaller reverb and less feedback from
keeping them from cluttering the notes that the instrument that they are on.
Vocal delays usually have similar efects to those that are on the vocals, but with
more...an additional Large Hall to make the delay seem further in the back.
Signal Flow:
Dry Snare will be bussed to Delay 1 and Delay 1 will be sent to stereo room
reverb.
Fx sends and returns

Drums
When mixing looks at drums as 3 elements:
Attack
Tone
Ambiance
Use Eq compression and gating to control and balance them.
Kick sound comes from four channels, kick in, kick out and trigger track thats the
inside kick in track advanced 80 samples ahead to trigger the gate and
submaster.
Kick In
Inside kick mic use: Ren Eq6 to bring out punch (take picture of Req.-6) take out
some mids and bring out attacks
Kick Out
Outside kick mic: using ren EQ 6
using it most for sub lows and taking out much of the top end because its making

noise
Valve: for punch: snare preset
C1 Gate: keyed by advanced in time trigger allows gate to open just ahead of
kicks attack
Smack for compressor: Opto setting that brings out attack on kick
Urs Eq: For the aggressive Ssl drum sound, boosting lows and highs and
scooping out low mids
DUY Tape:
Excellent distortion and crunchy sound
Sending to Vocal plate: Nice airy sound without alot of lows mudding up the kick
Snare:
Made up of two tracks: A bright track and a dark track, its the same snare pasted
onto to two diferent tracks.
Five plugins:
Valve: Snare Preset
C1 Gate
RComp
URS S series EQ: Fairly bright but because tape absorbs top end
Tape
Figure out what sends are:
Hihat:
Fairly simple
Using Oxford Filters and Equaliser plugin
Clean up lows up to 250hz and boost high in 2k and 10k region
Then adding Plate:
Toms:

In addition to gating toms also mute roar in between tom fills. Gives much more
control of toms especially on reverb. To get overall sound of kit, rely on overheads
and first set of room mics. Also doesnt like to pan toms too wide somewhere
between 50 and 70. more natural and less distracting.
Panning: rack at -60 and floor at 60?
Using:
Vavle: Snare Preset
Gate C1: tightening up
Rcomp: Bringing out attack and sustaining toms a bit
URs Neve Eq: Perfect for toms
Duy Tape: Adding excellent saturation
Sends:
Plate
Drum Plate
Short gate for reverbs
Cymbals
Made up of two tracks, one live overheads and pother cymbal samples that are
placed in time whenever there is a crash in the song.
Using: Oxfor Eq and Filters: Filters taking out some of the lows and then bringing
up the highs in the high mids.
Using TL Aggro: Post Eq Compression, to add sustain to live cymbals and bring
out the rest of the kit
Send:
Reverb on live over head tracks
Crashes: split harmonizer efx and Room verb to give more of a live realistic
sound
Room A:
Fairly simple
Ren Eq: Cleaning up lows and notching out low mids and boosting highs and
high mids.
This track provides a warmer overall drum kit sound that we blend in with the

punchier and more tightly gated individual drum tracks

Room B:
Compressor Bank Cb4: Using British Neve 3369 emulation, compressing room
mics alot to really bring out the rooms ambiance
Ren EQ4: taking out lows and highs to just focus on midrange of room to really
focus on the midrange of room to really bring out snare
MCDSP Chrome Tone: Using Distortion section to really distort room mics, and
gives mics alot of character
Intro hat:
Hat originally played with side stick too...but wanted only hi hats.
Using:
Req4- Rolled low end of up to 1.2k then brought up highs
Soundtoys Phase mistress: Then hi Hat Panned hard left
Send to Delay: Digi long delay two- eight note delay with -71% feedback and this
sent hard right
Parallel Drum Compression tracks: First track clean with no processing
Second tracks squish hyper compressed and blended in with clean drums to give
more attack
Using: Analog channel ac1 being pushed hard to get a very aggressive distortion
(input like 10.6)
RCOMP: Compressing 13db with a very fast attack and medium release really
bringing out attack of kick and snare
attack: 4.0
release 199
ratio 4:01
Threshold
Then blend both tracks to taste in your mix.
Tambourine:
Using
Valve: Snare Preset (sounds great on alot of drums)
Isa 110 Focusrite EQ: take out some of the lows and bring up some of the highs

DUY Tape: Adding splatter efect on louder parts of tamborine

Send to Vocal Plate and Room to give alot of size so can sit in back

Bass:
Clean DI track, which does great job holding low end, but for aggressive song
bass is to clean to compete with the rest of the tracks.
We wanted to capture the sound of the distored amp but only DI, so duplicating
track and calling it amp and processing as amp and other DI.Three tracks
totall..send two to bass mono sub mixDI track:
Using: Filterbank e4: Just contouring the sound a bit.
Bass Amp track:
Using:
Izotope Trash:Preset Garage Fuzz, tons of distortion option and extremely warm
sound. We are using it to give bass a real guuitar tone for the mids and highs. It
will really help bass cut though the track.
Filterbank E4: Take out lows and boost the high mids, because we want just to
use this track to give high mid sounds and di to give lows
Bass submaster: Taking basic sounds and running through submaster and
shaping sound with the following plugins
Using: Dad Valve: Bass Preset...nice warm sound
Ren Eq6: Lot of lows, scooped out low mids, and lots of high mids, this i where
the majority of sound is coming from
Rcomp: With attack and release settings to give alot of attack:
Ratio: 4.01-1
Attack:
Release: 50.2
Tape: Nice warm round sound
Renbass; give great sound that cuts through all speakers (bass setup preset)

Guitars:
Great clean guitar sounds originally, but we want a much more edgier sounds.
Rhythm Gtr 1:

Using:
MCDSP Filterbank E6: take out lows and bring up hghs
Valve: Adding distortion and saturation
URS Neve EQ: Bring out more highs
Dad Tape: Nice bit of saturation and some extra crunch
Rhythm Gtr 2:
Tracks same parts essentially, not using to thicken but used for a stereo tremolo
highlight shimmer sound underneath.
using:
MCDSP Cb1: to compress sound a bit
Filterbank E6: takes out lows and brings up high
Soundtoys Tremolator: Tremolo
REq4: Gives shimmer sound we want underneath previous rhytym guitar
Acoustic Guitars
Using:
Universal audio 1176:
Ratio 4
Attack: 5
Release 7
GR
URS: Neve EQ: Bring out highs and take a lil of lows
Chug 1 track:
Thick sound to start with
Using: DUY VALVE Make thicker
REQ4: Take out all low end and bring up highs because we want it to cut
Tape: Make a lil thick with tape to make it a bit more older vintage sound
Woodys Guitar
Using:
Smack: Compress it warm setting
Ratio: 4.1
Att: 2.0
Rel: 2.0
Input 4.1

Output 7.7
URS SSL EQ; S Series EQ: To make it really bright
send :
split harmonizer
Flanger
then in bridge:
Plate
Delay
hall
Chug 2 Guitar:
In first chorus, want to make it much more agressive sound
Using:
Valve: El Gtr setting, gave more distortion and grit
Req4: take out lows and bring alot of mids and highs
Tape: Preset 80's 2 track adds nice saturation and a little bit of distortion
Les Paul guitars:
Mostly in chorus
Using:
Valve...warm sound first
REQ4: Lot of highs take out lows because we want bright sound
Tape; gave nice saturation and added nice distortion on top
High Distorted arpegio guitar track:
Plays in second and thir chorus, not needing much processing to it:
Using : ISA a 110 EQ: to bring out highs
Bridge guitar
Panning from left to right speaker:
using
RComprssor: All notes equally loud so you can hear everyone in bridge
Tape: Smooth out dynamics a bit and add warmth
Ending Acoustic Guitars:
Put a compressor so you can hear all notes when they play together with electric

guitars
Using: Rcomp:
Reneq": to really bring out mids so they can cut and compete with electric guitars
at end
Scream Guitar:
Appears in outro of song, its intended to sound really shrill and annoying to grap
your attention
Using:
Valve: guitar prest to give tube sat.
REQ: really take out lows and boost tons of high to really make it cut through the
track

Space:
Visualize surreal space where the song will play out of. He doesns limit his self
to trying to recreate a stage. A mix is a fantasy. Lets create an imaginary world.
Juxtaposition of spaces can create a drama and emotion, that cant be created
when going for a realistic sound. Creating depth and space trick, find one or two
instrument place in back of mix These elements get the large spaces,
hall/plate/whatever. They dont have to play all the time but when they do, they
define the back wall of the mix. These tracks demonstrate how large a space the
rest of the tracks reside in. In addition panning these tracks more toward the
center and making eq not too bright gives them more of a realistic sound. For
sounds I wanna see really far away, will use a low pass filter to roll of top end,
thats because air does not transmit high frequencies as well as it does transmits
mids and lows. Thsi adds to realism, the lower the low pass filter the further away
it will sound. The only way it works if many of the other tracks don t have the
same large reverb on them. A big sounding track does not require lots of goopy
reverb on lots of its tracks. The perfect example of this is, drums. Its size is
mainly defined by the reverb on snare drum. The kick hat and cymbals dont have
to be wet to accomplish this. Next find a few more tracks again not a lot put in a
medium space. Like a short or med plate. Finally leave many tracks with no
reverb at all. These tracks use delay, chorus, split harmonizer, which when loud
enough sounds like a small room. All early reflections and no reverb. This is how
to define depth and space and create separation in the mix.

Keyboards:
Dont want to dominate track in any way, just want to add depth and space in
track. They are their to add color, size and space in track...this is a guitar based
track. At first thought piano was mono.....but its stereo: figured that out by using:
Waves Phycoacoustic analyzer
Then S1 Stereo Imager: Set to widest setting to make piano as far left and right
as could, then narrowed it up a bit because it was too wide in context.
After getting stereo imaging together time to go after sound. Sound looking for
CP70 simple mind. really processed flangy reverby
Using:
TL Aggro: Add lots of compression, with tube drive settings on and threshold
shut way down.
Oxfor EQ; Needed a nice clean eq which was perfect for aggressive tgaggro
Engima for Flanger:
SSend
Split Harm
Flanger
Delay
Plate
Hall
Giving a drenched and processed piano sound.
Hammond:
Its about limiting the frequencies to focus a sound, so you can hear part and
doesnt get in way of other instruments. Take out of lot of lows and highs, it
sounds great even though you arent hearing the full sound of hammond.
Using: Isa110 Eq
Using TLaggro: Fair amount of compression to smooth it ouut using a tube drive
sound adds a nice harmonic., wont organ to sit in tarck
Normally eq after compressor thats because you wanna take compressed sound
and highlight with eq's. But since so much high and lows, dont want compressor
to react to frequencies not be using.
Send:

Split Harm: little wider, helps with leslie type organs

Flange: Extra modulation seems to give leslie type efx
Large Hall: A lot of hall...-1.6db almost equal amount of organ to put organ waaay
in back of track.
string Mellotron:
Appears in same spot as hammond.
Using: Oxford Compression: Both compression and warmth circuit
Oxfor Eq: Just a little low end out and boosting some high mids to make strings
come out in tracks
Sends:
Spliat Harm
Flanger
Hall: Automated to only come on in intro
VOcal plate

Placing tracks:
Notice Organ has much more reverb placing it in back, less verb on strings
bringing more in front. That way tracks sit better in mix organ way in back, strings
somewhere in middle, and guitars in the front with no reverb.
Synbow Pad:
Goal to give ebo sound
Using:
Ren Axxe; to really compress sound...its very dynamic so we want it to sound all
sustain
Oxford Eq: Took out lot of lows, some mids, boosted high mid point, took out top
end, to make it fit just right in track right behind guitar.
Sountoys crystalizer: It adds high octave or two, elements just floating on top,
really pretty
Filterfreak: Adds a bit of motion, subtle efect sounds great
Izotope Spectron: Using for stereo imaging add sort of a flang stereo image
sound
Large Hall

half note Delay: to add space and depth to sound

Juno:
Synth track in bridge
Using:
Soundtoys: Cyrstallizer: not using harmonizer function as much as delay, slightly
out of time seemed to work well in bridge of song in an out of sync bubbly way
URS A Series EQ: Using Api 550 EQ A emulation, take out of lot of lows and
really boosted mids to allow those to cut through bridge in such a busy part of
song
Phaser: TL Space Every Phase as send: Subtle sweeping efx, using it to add
width and motion to track.
The lead vox is the most important part of mix in a song. The lead vox is the
star of the mix and needs to sound that way.
Normally eq after compressor thats because you wanna take compressed sound
and highlight with eq's
Vocals:
Lead vocal:
Using:
Waves C4,preset pop vocal: multiband compressor and eq. Each band is being
compressed, and using c4 to make lead vocal brighter
Waves Desser: Likes to deess after compression but before eq
RVox: Comp...using this to make vocal aggressive and in your face, at the same
time using the gate to eleminate headphone bleed and an stuf between. Making
vocal seem immediate
Comp: -20.1
Gain: -11.2
Gate -18.9
GR -12.3
Oxfor EQ: Both filters in, boosting around 5.5k aand 16k.
Not using any other efx. All muted, verses completly dry so audience can really
connect with his emotions. He found that more efx will really distant him from
music and listener.

Vox Double:
All same efx as lead vox
But add send fx:
Split Harm
MetaFlang
a nbit more than normally use on lead track to make double vox a little on wide
side.
Always wanna keep double track about -6db below lead. When that far down it
doesnt interfere with lead. It just sounds an enhancement. Thickens vocal a bit,
but still a single vocal performance the listener will hear. Doesnt sound fake.
Lead vox on third chorus: slightly diferent from rest of song, lead ox sounded
small against all the rest of instruments in track. theres a piano, synth, ebo, etc
and they are all very large in size. In the other chorus very few keyboards and no
verb.
Lead vox efx;
sends;
split harm; soundtos pitchblender
vox plate
quarter note delay
dble vox: already had the split and flanger so added;
quarter delay
and last note of song
add large hall on both
'and half note delay to hold that note out
With efx lets vox marry to the tracks size.
Background Vocals
Verse two tracks of vox and in chorus four tracks of vocals. They are all going to
a BVox buss and feeding two aux inputs. Only have one on at atime for diferent
processing for verse compared to diferent processing in chorus. Use mute

automation to turn on and of.

Compressing all tracks individually:
Rcomp: compressing
Waves Desse: Allows to add high end without getting too much aggressive
sibilant sound that can almost cut through track in an agressive ways
Isa 910 EQ:
Two tracks Harm Vox, Harm Dbl panned hard right and leftare routed on buss
labeled background to a fader with no processing to give master control over two
tracks in mix. Completely dry but sit perfectly behind lead vox in second verse.
BG vox in chorus:
Same tracks feeding same bg vcals buss, but a diferent aux. Verse muted and
chorus on.
Rcomp: Comp
Waves Desser: Desseing
Isa 910: Eq
Diference this sound not bright enough for chorus,
Using: req6 on buss for chorus: Really bringing up top end, scooping out mids
around 500 and boosting 120 to bring out fundamental of vox
Uad-la-2a: Compressor: To add even more compressor to keep vocals sitting at
one even perfect level in that really dense guitar blend in chorus.
Sends:
Split Harm
Quarter note delay
Rev Room Sound
Then last two sends for last chorus
Vox Plate
Hall
to get bgvocals even bigger on last chorus
The Magic:
Must bring life into track with automation. This is where magic happens. When
begining automation: key goals

Always keeping the listeners connected to the singers and musicians. By

spotlighting feature moments. Creating and reinforcing the dynamics of song and
performances. Giving each section its own feeling and sound.
Focusing on transitions betwen sections, propelling the listerners forward. And
making the listerners feel like they are going somewhere by keeping the mix ever
evolving
Nutshell:
Automation Key Goals
-Keeping the listener connected to the musicians and singer
-creating and reinforcing the dynamics of the song
-giving each section its own feeling and sound
-focusing on the transitions between sections
-keeping the mix ever evolving
Primary goal when mixing, keeping the listener aware of everything thats going
on in the track. Not everything happening all at once, but when something
important happens in a musical way highlight with automation. Can be done in
many ways;
Bring something forward when it does something important, or accenting it with
efx or eq, or any number of plugin stuf.
Goals for keeping the listener connected Create and Reinforce Dynamics:
-At the transitions between the sections
Create a dynamic build over the length of the song so that each section fills like a
progression from the previous ones
And in the balances of the tracks in each of the songs sections
Dynamics can smooth over and dissappear after all processing. Automation is
used to bring back dynamics.
Automation Section Dynamics:
First Step, give each section its own sound and feel. If faders are left in place it
will be a static feel. You can

The Final Touch: Master Fader