• Christian L
    Posts: 1421
    Joined: Aug 7th, 2006
    Re: Logic 403 Mixing R&B
    [quote:7638]Hey, Who is Chris? ;) Rounik[/quote] I am. ;-)
  • French Composer
    Posts: 18
    Joined: Oct 10th, 2007
    Re: Logic 403 Mixing R&B
    I know i know i did an awful mistake and am extremely sorry ! I promise it will never happen again on this forum and everywhere :) Nonetheless my remarks about this tutorial worth to be read ... The non-use of compression could feed an interresting discussion. I've read also an interview of Bruce Sweeden (Michael Jackson's sound ingeenier) on gearsslutz forum where he's talking about compression. Here's what he says : Originally Posted by lawrence_o Hey Bruce, So if you're not using compression, or not a lot, I can imagine you'll be having a lot of dynamic range in your mixes. How do you deal with that on the mix-bus? I mean, do you put a limiter on it, a bus-compressor (if so which one?)? Or do you just record it a few dB from the max and let the mastering engineer do whatever he wants tih it? If so, do you tell the M.E. then "No maximizing! No heavy limiting on my tracks!"? Thanks. Cheers Lawrence Lawrence..... When my mixes go to the mastering room, they don't need much. They are ready!!! Of course that sounds a bit egotistical, but I always strive for that... If you can, ask Bernie Grundman... I'm sorry, but it sounds to me like you are listening to what your pals tell you to do! All that compression and limiting is ABSOLUTELY UNNECESSARY!!! It only minimizes the drama of the music!!! At least that's what I think.... If you don't allow those transients to live, you are destroying the most dramatic element in "Pop" music!!! Here's what I am talking about.... I am frequently asked to define transient response, as it applies to music recording. Here are some of my toughts on this very important subject. First let’s try to define the basic issue. A- Transient response in electronic recording equipment, is the ability of a device or electronic component, to handle and faithfully reproduce sudden waveforms called transients. A transient is a short duration, high level sonic energy peak, such as a hand-clap ot snare drum hit. Any sound source in the percussion family requires excellent transient response in the recording equipment to sound real. B- To me, a sound transient is the steep wave-front of the sound. In other words, the transient of the sound is the first impact of the sound before the sound falls and begins to decay, or die. Good transient response is especially important when recording acoustic instruments. This is one case where it’s extremely important for one to have equipment that is able to capture as much of the initial transient as possible, and all it’s accompanying delicate details. In the music that I am normally involved in, I have always felt that good transient response is one of the very most important components of the recorded image. I would even go so far as to say that transient response has at it’s core a direct relationship to the emotional impact of a recording. Particularily in the main genre’s of music that I record.... namely R & B and ‘Pop’ recordings. Faithful recording and reproduction of sound source transients make the strong rhythmic elements of music much more dramatic. These are the elements that are so important to R & B and ‘Pop’ recordings, such as the ‘Kick’ drun, the ‘Snare’ drum, hand-claps, percussion...etc. I think that well recorded transients give R & B and ‘Pop’ recordings a feeling of tremendous energy. To me, compression and limiting diminish the drama of sound source transients in recorded music. Along that same line of thinking, I should also point out that I am not a big fan of over-compression and over-limiting anywhere during the recording process. To me, when R & B and ‘Pop’ recordings are over-compressed and over-limited they lack the extemely fundamental qualities of both primitive energy and smooth high-frequencies. The reason that over-compressed and over-limited recordings lose high end energy, is that much of the sound energy in a recording is concentrated in the lower frequencies. These low-end signals will negatively influence a wide-band compressor’s operation, causing higher frequencies to be attenuated during peaks in level, making the music sound dull and lifeless. Personally, I love transients and what they do to dramatize music. let them live! If a recording is over-compressed, it will always be over-compressed. In other words, it will sound dull and lifeless forever! Bruce Swedien I thought it could be interresting to read it ... Olivier aka
  • Richard Temple
    Posts: 14
    Joined: Jun 29th, 2007
    Re: Logic 403 Mixing R&B
    I like the use of 'outside' plugins, but it would be nice to maybe have had some examples of his prefered plug vs. something he came up with using Logic's plugs to hear the difference. Also, I was surprised that there wasn't lead vocals in the tutorial!! If he couldn't use the Lead vocals because of the artists' wishes, then he should have picked a different example... I enjoyed the mixing electronica tutorial and was exited about this tutorial because most R&B has lead vocals. I love MacProVideo tutorials! But this was a little weaker for me because of these two issues. Rich
  • macnando
    Posts: 134
    Joined: Sep 23rd, 2006
    Re: Logic 403 Mixing R&B
    I understand what R. Temple suggests but it's difficult to tell someone very well established on the market, what to do. For me this tutorial is like a workshop, where you can see how a pro deals with sound. I would support any other tutorial in the same direction. I am not talking about R&B because for me, it doesn't matter the style. Toby Gad would be a great choice, Logic user since Emagic times, openminded, selftaught, great sound...or someone like him. Greetings, macnando
  • Kwackman
    Posts: 35
    Joined: Sep 30th, 2007
    Re: Logic 403 Mixing R&B
    I was watching videos 34 and 35 about the backing vocal mix. I think there's a weird sound going on..... On the 2nd and 4th vocal phrase (around Bar32 and 36) there's a couple of clicks just as the "you" is ending. I thought it was just the computer keyboard being clicked, but it happens on all the vocal tracks at the same time. You only hear it when the vocals are solo'd. With the rest of the tracks added you can't hear it. Tell me I'm not going mad here.....
  • Oliver
    Posts: 10
    Joined: Oct 9th, 2007
    Re: Logic 403 Mixing R&B
    I've also heard these clicks on the video. He actually mentioned them at one point, which made me think he was going to take care of them... Anyway, I really enjoyed that tutorial, but I'de really like to know which logic pluggings could replace(to some extent) some of the third parties pluggings Mr Isaac is using. Thanks
  • Beobe
    Posts: 22
    Joined: Feb 10th, 2007
    Re: Logic 403 Mixing R&B
    Yes, I also thought the tutorial was fantastic. I made exact copies of his channel strip settings for guitar, rhodes, strings, bass, etc., none of which use 3rd-party plug-ins. But yes, the mastering plug-ins are very expensive, except Izotope Ozone 3. David seemed to really like that one and I got it from MusiciansFriend for only $200. I just haven't figured out how to make it appear in Logic yet... Bob :o)
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