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Tag: API

The anatomy of a score mix #4

As previously we took a look at the various EQs I’ve used during this particular score mix, now let’s see the dynamics arsenal that helped me shape the final mix.

McDSP AE600

I know now you think I’m crazy because it was also featured in the EQ article, but this beast is also a dynamic EQ, and as such I think it fits in the dynamic processing category also. With this, you can selectively process different frequency bands with great precision. The main point of the dynamic EQ is that it only works when needed. If you cut or boost with a regular EQ, the chosen frequency will be altered continuously. But with a dynamic EQ, the processing affects the frequency range only if the signal is above the threshold.

For example I had a cue where the high strings were getting a bit harsh, instead of cutting with a regular EQ, I just set a dynamic band for them which treated the harsh frequencies only in the loudest parts, otherwise I left them as they were.

Avid channel strip comp section

The second plugin that got mentioned in the EQ part too. As you probably already know this, it is still the channel strip from the famous Euphonix console. The dynamics section is a workhorse, if someone would force me to choose only one plugin for a full mix I’d happily choose this as my all-around tool. One more positive thing is that it maps perfectly on the S6 surface, which is a huge plus in my book.

Avid ProCompressor

Probably one of the most underrated compressor in the plugin world. Actually it is a very clever and great sounding beast, offering a complete Swiss army knife feature set. With the multiple algorithms – smart being a truly smart one actually – , dry-wet, DSP support, clear and informative GUI it always has a place in my mixes. Honestly if you need a great all around compressor, you should consider this as a serious candidate. The algorithms are working truly well, I even use them to experiment and test things with it without inserting many different plugins. You can even listen to the part of the signal that is being affected (that is over the threshold).

Avid ProMultiband

Actually it’s two plugins but mostly people think this is merely a multi-band processor. Well, that is indeed a multi-band compressor with a great interface, with nice options to control your sound, but it also has a truly great part. That is it can split up your audio into different parts based on frequency. So you can split up the signal into different frequency bands adding your own processing for the highs, adding something different to the low-mids while applying a third approach when it comes to real subs. It is all up to you. Or this way you can create interesting parallel chains for different areas of the spectrum.

Softube TLA 100

A true classic with additional features. This is a real know-it-all type plugin. For the lack of a better term it’s really musical sounding even if you hit it harder than the normal. The additional dry/wet mix knob makes it an excellent choice for bus duties also. The other great add-on is the saturation knob, so we can control if it should be absolutely clean or not. I’m a huge fan of adding tiny bits of “analogue” distortion throughout the chain so sometimes I even you this only for the sound, without really using the compressor section.

Brainworx Bx console comp section

What can I say? It’s a Neve compressor with some clever add-on like, dry/wet, side chain HPF and most importantly with the sound of a real gem. Be aware of that it’s gain reduction meter is a bit strange, at first you might end up hitting the compressor harder than you would like to. But once you find the sweet spot, it’s gorgeous. Another thing you have to get used to is the buttons and their behaviour. If you’re familiar with some real old-school Neve gear, then there won’t be any problem. Otherwise it’s not rocket science but certainly requires a little attention here and there.

SSL channel strip comp section

I don’t think I can tell you any more good things about the old classics. Without further explaining my fanboy attitude, this thing just works. It’s really that twist the knobs until it sounds right. No secret sections, no big tricks, it’s mixing on a visceral level.

API 2500

In my opinion this is the king of bus compression. I fell in love with it the first time I’ve tried. The real deal is that this API truly works on any material from drums through electronic stuff to symphonic material. Do not miss the different possibilities this circuit offers. The thrust control, the ability to act like a feed-back or feed-forward type compressor, the unique partial and adjustable stereo link. In my experience if this is not working or doing harm to the sound, then there’s a 99.9% chance that the settings are wrong.

That’s it, although I have more dynamics processors than I can list here, I always use the ones I feel I need. Especially with compression you must be cautious, it is very easy to overdo it and kill the dynamics of your material.

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The anatomy of a score mix #3

By popular demand, let’s take a look at the plugins in the session. As you can imagine there’s plenty of different brands and types represented in this mix. I admit that sometimes I suffer from plugin fetish in a way that I fall in love with some and maybe use them many times, but try to actively control myself in this regard.

During the mix I have the luxury to use both AAX DSP and AAX Native plugins as I don’t need to overdub right into the supersession. If we need some additional recording then I prepare another rec session instead of dealing with this huge monster. It would not only be extremely hard to do everything in the supersession during recording but would put immense burden on the recording machine too.

Let’s see the plugins divided into different categories.

EQ

Probably the first one will raise some eyebrows, but I still use it and actually like it. It is very reliable even when you automate the hell out of it.

EQIII

Yes, the old built-in EQ in Pro Tools, available to anyone. It’s versatile, trusty and requires virtually no DSP or CPU power so if you can have zillions of instances.

Avid Channel Strip

This is also a very good choice, a huge plus is it maps on the control surface almost perfectly. Honestly I could mix a whole score only with this. Don’t get me wrong I still love some other EQs, but I’m happy to use this anytime.

BX console

It’s a beautiful Neve emulation and a very good one in fact. Even if I only use the equaliser part of it, I often have it at certain places just for the sound. This EQ always make me smile, it’s smooth and for the lack of a better term, it’s always musical sounding no matter what you do with it. I don’t use it for surgical stuff but for general ‘console’ EQ. Also maps great on the Avid S6.

Maag EQ 4

I really rarely say this, but this thing is magical. Although by today’s standard this is not a flexible tool as it doesn’t offer variable frequencies. But frankly, it is still one of my all time favourite tone shaping instrument. Even half a dB can make huge difference and the Air band is amazing.

Waves API 550

The 550 B and A also falls into the emulations category, and I confess I’m in love with them. For me, these pieces just works. It doesn’t matter what the application is, you can be sure about that if you insert an API on it, it’s going to sound awesome. It has fixed frequency bands, but the bands are overlapping so it is possible to achieve anything you want.

EMI TG 12345

Yes, I know, another vintage emulation… But believe me, they offer vastly different vibes and sound. These oldies are somewhat limited when it comes to features, especially when you compare them to the newcomers, but they still has some very special magic you can’t really achieve with the modern tools.

SSL EQ

I know this is a big fetish in some circles, and for a very good reason. This is for me a very liberating tool. Just insert it, twist the knob and enjoy the result. Not saying that I’m thinking too much when using any other EQ, but this one always makes me smile.

McDSP AE600 Active EQ

This is a very special one. As this masterpiece can be a spectacular EQ and a Dynamic EQ at the same time. I use it for cleaning up things and for general tone shaping. It also sits on all the stems. As much as I love vintage emulations, this EQ offers all the flexibility you’ll ever need. It has 6 fully overlapping fixed and active bands and you can choose from many different curves depending on your needs.

Well, believe it or not, that’s it, I’ve used these EQs during the score mix. I know many think that using these vintage emulations are useless because you can achieve the very same thing with a flexible and modern tool as are able to have many different curves. I won’t say that sometimes it’s impossible to almost or completely match the curve of a vintage EQ. But! And this BUT is bigger than you’d think. The main point here is to achieve what you want rapidly without overthinking and without loosing perspective. If you start to be an engineer with a white lab coat analysing and reproducing different special curves, you surely won’t have a great mix. This is the reason why we still love and use these emulations.

In my opinion during a mix the bottom line is to use any tool that helps you achieve the result you’re after. Different EQs leads to different results and mixing is definitely more than the sum of its parts. Use whatever you like, use it wisely and trust your ears.

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Marathon

This weekend we’re going to have a Brahms marathon. From about 10 at the morning till 10 at night we’ll have 11 concerts. From piano pieces through clarinet quintet to the great symphonies. This definitely sounds interesting, but not only because we love Brahms, but it is also exciting technically.

Preproduction

We have to consider all the various needs of the different crews. We have the three separate crews from the National Radio, three video crews and our main crew. Why so many? Because the whole act will be broadcasted live through the Radio and online. All the concerts. Besides that we record everything (obviously).

The National Radio uses a Studer Vista 8 console and another very old vintage Studer for the interviews. All the video crews will receive sound from us as we mix live from two studios. As we already did it like this last year, the two main rigs will be a Pro Tools HD 12.6.1 and a Steinberg Nuendo 7. Control surface will be the Avid S6.

As you can guess at this scale we need serious backups. Two Joeco MADI recorders and one Pro Tools and one Nuendo will serve as safety backups so both stages has its own main rig and double-backup just in case.

All the complicated routing is going through the DoTec MADI router which has its own backup. I think we don’t use any equipment without a proper backup that day.

Templates

As we receive all the technical details a few days before the live broadcast we make master templates in every workstation. This way no matter who’s going to mix a particular concert, everyone knows where to find things. At this scale you simply cannot let chaos prevail.

This year I thought we might have the chance to do a very interesting experiment. In Pro Tools all the channel strips will be the Brainworx bx console which is a fantastic Neve emulation. Basically I built a “Neve console” inside Pro Tools. First I modified the default preset. No gate, compressor is active but start to work from -10 dBFS with a 2:1 ratio, eq is engaged but flat, lo-pass off, high-pass engaged at its lowest setting, noise off.

I took the time and set up the whole session like if it was a real console, all channels have different channel numbers in the Neve emulation. If you are even remotely familiar with this old console, it’s a pretty clean console with gorgeous filters. I already tried it on a few different sources, but now I think the time has come to really experience what this channel strip emulation can offer when we really use it as it is intended to be used. Let’s hear if the new Tolerance Modelling Technology has that intangible plus sonically.

All the input channels goes through at least one audio subgroup, then from that particular group all the audio groups routed to a sum bus. All instrument mics goes through at least one audio subgroup and the sum group except the audience and announcer mics, those directly goes to the final mix group. With this I can separately adjust the balance between the orchestra, the audience and the announcer. Although everything is planned properly usually life always entertain us with some unexpected surprises. That’s why I planned separate groups for everything.

The audio subgroups has the very same processing:

After those there is a final master processing chain:

The Active-fixed EQ is our housekeeper, removing any nasty frequency build-up or resonance, maybe subtly adding a tiny amount where needed. The TLA is really there for very soft massage, just kissing the needle or as we say “slowly nodding a bit” and even that is with 50-50 dry-wet ratio. The Brainworx is doing some M/S magic and a little mono-maker helps too. The Vertigo is optional, sometimes it’s the real magic dust, sometimes it just stays there in bypass. The Maag EQ is one of our favourite tone shaper while the API 2500 is my first choice for 2bus compression. The ProLimiter is there as a true peak limiter and has a fantastic metering so no other 3rd party meter is needed during the mix.

It might seem too much but keep in mind that these plugins are are doing very little things. But I decided I rather put them into the template than try to improvise during the rehearsals or the live broadcast. With this there’s no situation you cannot solve easily.

The effect chain has been selected to serve every possible need. Those are tried and tested. The room is the Eventide 2016 Stereo room, the plate, the chamber and one hall is made from Exponential Audio’s Nimbus, and the last hall is Exponential Audio’s R2 reverb.

Here’s the simplified structure of the session:

session structure

This is the first time I try to mix with a console emulation live so now I check and practice the Eucon mapping daily to get accustomed to it. The beauty of a proper control surface is that you become much faster because of muscle memory. There are still some black spots but it seems that the Bx console is nicely mapped. One tricky spot is its dynamics section as you have to learn and feel the threshold, but once you get familiar with it, it’s great.

Of course, all the mixes must adhere to the latest EBU standard with a target loudness of -23LUFS, while the online broadcast is going to be at -18LUFS.

I hope everything is going to be flawless with this much preparation. Wish me luck.

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