![]() ![]() In this case, there was no doubting that at the point where the track needed to take wings and fly, it remained stubbornly earthbound. Pinpointing the origin of a mix problem sometimes requires a bit of lateral thinking, because the symptoms don’t always have an obvious connection with the source. It’s just sounding flat, to be honest.” Fault Finding Guitarist Chris Timmins used the SOS Forum to canvass opinion, saying “For us the whole song is good up until the two-minute mark where, in our minds, it needs to open out into some kind of atmospheric climax. However, they emerged a little unhappy with the way the song ‘Flashing Swords’ had come out. ![]() Having built up a fanbase through gigging, they’d used crowdfunding to pay for the recording of a six-track EP, which had been tracked and mixed at a well-appointed London studio. Cats On The Beach are an indie-rock band from London. This month’s Mix Rescue could be seen as a case in point. How might an engineer have tackled the same problem 40 years ago, without today’s digital magic to call on? ![]() After all, few mix problems are really new. And when you do find yourself piling up plug-in after plug-in, it’s often worth stepping back and asking yourself whether you’ve identified the issue correctly - and, if so, whether there might be a simpler and more sonically transparent way of dealing with it. With almost endless processing power at our disposal, it’s easy to forget that not all mix problems can be solved by throwing CPU cycles at them. The conventional overhead mics are not visible in this shot from the recording session, but one of the ribbon mics used in the ‘Glyn Johns’ configuration can be seen poking in from the right.Ĭats On The Beach: We go back to basics and turn up the heat on an indie-rock production. ![]()
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