Mixing into a limiter

Posted at TOMB:

FWIW, and I may be misunderstanding your question, but I also mix into a limiter.

I try to do all of my individual track processing first, and then I mix into a paralleled global compressor just to even things up with (possibly) a paralleled global reverb.

My last step before “mastering” is to take the final mix track up such that the peaks are -1dB, with the apparent, visual average at about -6dB – also comparing by listening. (I can usually use around those rather specific figures as I tend to record the same types of instruments and material, i.e., guitar rock, but see below.)

I will call that use of a limiter the thing that I do after I “gain stage conservatively and wind up with a quiet mix” (“quiet mix” is usually peaking at about -3 to -6, averaging about -9 or -12).

At that point I’m referencing the tracks to each other as I go into the limiter to have consistent levels before I go into my mastering schtick.

The limiter, then is raising the level, and capping the peaks.

If you go here you can hear that the first 4 tracks were done that way, but # 5 was deliberately left the same level – which for an acoustic track would be too loud if it was anywhere but the last track of the E.P.

But all were level-set using the “transparent” limiter in CEP (and only #5 has a global reverb).

bandcamp; vlayman;
THD; Geronimo Cowboys;
blog.
I mix with olive juice.

‘tomin: *My Head is Hurtin’ (a e.p.)**

1. Hurtin’ Head 04:12
2. Burnin’ Tears 03:43
3. Too Hot 03:46
4. Exsanguination 03:59
5. Riding Me 04:26

Vax’d and drinkin’, we shed burnin’ tears as we recorded – turn it up and share our hurtin’ heads.
released April 24, 2021
Guitars: Tom
Bass and vox (left acoustic, #5): Mick
Drums: WTFK

Writ, recorded, mixt, masturd, sequenced at FetaCentralRecording DDL in early 2021 under pandemic protocols.

Fartwerk: Jose Jonesbandcamp; vlayman;
THD; Geronimo Cowboys;
blog.
I mix with olive juice.

Re Wynn, D.S., *The Universe Inside*

Corresponding with a friend re this article/record:

https://www.allmusic.com/blog/post/dream-syndicate-steve-wynn-interview

I think his comparison [to Days of Wine and Roses] was more limited than that (“full circle”), just that it was late at night and they were loose and tired (read, “high”) and jamming.
I like that record, like I like all their records, a lot.
But it is a jam, like listening to an hour of “John Coltrane Stereo Blues”; 12:15 AM sounds about right.
Which, BTW, is a jam tune in all of my recent bands.
In some ways, had I a career as a pro musician, I might like Wynn’s – many bands and styles, hot drummer wife, popular and even famous in the indie underground, great credentials, no band member ever died …

Overdrive, distortion, fuzz

Posted at TOMB:

Here’s how I think of it (I am a cis guy, feel free to adjust):

overdrive is when she’s a little annoyed, and you can just hear it or hear some edge in her voice;

distortion is when she’s about to or is actually yelling, and I’m gonna lose some sleep;

fuzz is when she’s about to or is actually screamin’, keeps me up all night.

A small amp ramble

poste at ew:

Perhaps interesting trivia: watch any Beck DVD of the last, say 7-10 years and you will see Marshall stacks, etc. Stage right you will see a cuppla-3 tweed Fender Pro, Jr.’s. More than one pro I know use those, and others use Fender Hot Rod Deluxes. They are (especially the latter, particularly for clubs) known as “pedal platforms”, fully tube, mass-produced and thus relatively inexpensive and easily replaced. They are mic’d thru the P.A., and help to keep the stage volume down. (The ProJr is considered the better-sounding of the two but is only 15 watts and must be mic’d, the HRDx is a loud 40 watts – enough for a small room). Keef is a big proponent of small amps, altho’ of course, his are vintage and tweaked.
Beck admits to tinnitus, BTW, Blackmore started Blackmore’s Night because of his hearing problems, Brian Johnson left AC/DC for a few years, Roger Miller of MOB, and Townshend … there are many such.
The well-financed are using a lot of digital stuff nowadays, Kemper, Line 6 Helix, with in-ears. Check out any recent live Cure videos to see ’em in use – Reeves Gabrels (Bowie’s former guitarist) and Smith have ’em in plain view.
Digital amps can be good for recording, IMO, but there’s really nothing like hot tubes, small amp or large – think a Tesla vs. a muscle car.
I bartended in dance clubs for a few years, always kept the P.A. to my left, and I have always insisted on playing stage right: I have tinnitus and loss in my left ear. I mostly blame it on crash cymbals.

*frank black francis*: review

yep, demos
the second disc with The Pale Boys (collaborators with Per Ubu’s Dave Thomas) are reworkings of the songs, kinda electronica
the album came out a few years ago, too little notice, but I buy everything to do with him and Pixies – I think he’s a current lyrical genius, along with Mark Lanegan and Jason Isbell, Sturgill Simpson and Nick Cave, and all either write or collab to write (Lanegan, Cave) excellent music and make excellent albums
I buy everything from all of them, except I dislike bluegrass and so haven’t gotten the two latest from Sturgill
the latest 3 Pixies albums all came out to mediocre reviews; they are all now 4.5/5 stars on Amazon
Black in particular has some left turn albums; he did an erotic lovesong record, he did live to two-track stuff, he did Muscle Shoals/country-type stuff and now that he’s back as The Pixies he’s likely to tour as possible
I have a DVD of just him on acoustic guitar – he’s intense, pitchy, sweaty and rockin’
look for the Euro imports of  live shows – great stuff from Pixies, so, and Pistoleros (my fave)

Sidecars

A friend asked how I make ’em, so I gave ‘im this:

Now for the important stuff!

White Lady, as I make ’em:

1.5 oz. Seagram’s Extra Dry Gin
.75 oz. Triple Sec
.75 oz. lemon juice

Shake with 1-2 cubes and strain into martoonie glass

Martoonie, as I make ’em:

Dirty –
1.5 oz. Seagram’s Extra Dry Gin
1-2 tsp. olive juice
garnish (olives and/or onions [any raw or pickled] and/or sliced jalapenos [1-2, raw or pickled] )

Conventional –
alternative 1:
2 drops to 1/2 oz. dry Vermouth (can substitute any wine to be drier or sweeter, or Scotch for really dry)
garnish

Pink –
alternative 2:
1-2 dashes bitters (add more and it’s a Pink Lady)

Bonus – Manhattan, as I make ’em:

1.5 oz Jack Daniels Rye (but any decent, or crappy, whiskey)
.5 oz sweet Vermouth
2-4 dashes bitters (different ones taste different, Angostura is the standard)
2 tsp. cherry juice
garnish with 2-3 cherries

All of these are technically “sidecar” drinks.

Vlayman: *Needa Bus (a e.p.)*

1. Glad I Did 03:57
2. Goes Down Easy 03:42
3. The Bullet’s 03:11
4. Need a Bus 03:34
5. Love & Gold 04:23

A feverish, fervent prayer what we ain’ needa amb’lance anytime soon.

released April 3, 2021

All songs yo and noises by yo except drums as credited.
Writ, mixt, masturd, sequenced at FetaCentralRecording DDL
in March and April, 2021, pre-innoc.

Fartwerk: Jose Jones

bandcamp; vlayman;
THD; Geronimo Cowboys;
blog.
I mix with olive juice.