Home » The PARIS Forums » PARIS: Main » Some of that Paris glue
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| Re: Some of that Paris glue [message #89276 is a reply to message #89273] |
Sun, 02 September 2007 21:23   |
jjdpro
Messages: 9
Registered: January 2006
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Junior Member |
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Hey DJ. I started to ge that Glue sound when I purchaed the Waves SSL & URS
plugins.
Before that I struggled to get that "glue". But, for starters, all I have
to do is strap the Waves SSL Bus Compressor on the master fader..Boom..Insant
tightness..
Then on the tracks, i either go with the SSL channel or URS channles (API,
LA2a)..
Charles Dyes DVD (Mix it like a Record) talks about how to use analog channel
plugins to to "glue" a mix together. It made a lot a sense.
Still to this day, when I fire up Paris (When I Have a nice $$$) gig)it's
isnstant Magic. Instant smile.. Man what a DAW. I love the power of Nuendo/SX,
even yes Pro Tools, but Paris has that instant radio ready sound as my friends
say.
It's funny, but when we have a really important mix, my partners will say,
hey "Mont" we mix this song on Paris..They can tell the differnce.
"DJ" <animix _ at _ animas _ dot _ net> wrote:
>One thing I always liked about Paris was how I could push it and it wouldn't
>get small on me and at the same time the mix would gel without sounding
>overcompressed.
>
>I "think" I'm getting there now. I had to take a hiatus from mixing for
>about three weeks while helping Amy nurse Crash back to some semblance of
>health. He reinjured himself pretty bad about a week after we took off his
>cast and we were sweating bullets but didn't permanently damage the surgery,
>thank goodness, so now he's getting back up to speed and I have some time
to
>get into the studio again.
>
>I'm getting ready to post a couple of links up in a few minutes. OPne of
the
>songs you've heard (adnauseum) and the other you may have heard a long time
>ago. I never was hapy with a certain CD I mised a couple of years ago
>because I was in a ig rush. the first run of CD's is about to sell out and
I
>get a royalty on the sales so I'm remixing the entire project. Good practice
>on the new system.
>
>The processing on the mix us has the following processors (top to bottom).
>
>UAD-1 Precision EQ
>Neve Portico 5042
>UAD-1 Fairchild
>UAD-1 Precision Limiter.
>
>I'm using the UAD-1 Neve 88-RS console strip on every track of these mixes.
>This thing is the bees knees IMO.
>
>Stay tuned
>
>;o)
>
>
>
>
>
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| Re: Some of that Paris glue [message #89277 is a reply to message #89273] |
Sun, 02 September 2007 21:39 |
Dedric Terry
Messages: 788
Registered: June 2007
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Senior Member |
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DJ - have you tried Nebula 3? It isn't light on cpu, but it's as close to
analog as I've heard in a plugin. The U-140 plate sounds better than UA's,
and imho, the 747 comp sounds better than anything the UAD-1 has as well.
I'm gonna have to go quad core soon. A preamp instance, 3 bands of EQ, comp
and reverb took 30% of my core 2 duo cpu, so you won't get it on every track
like the Neve 88. I don't have the Neve plugins to compare Nebula to, but
fwiw, it's worth a try for only $110 or so (80 euro).
Glad to hear Crash didn't do more damage.
Regards,
Dedric
On 9/2/07 10:02 PM, in article 46db88a8@linux, "DJ" <animix _ at _ animas _
dot _ net> wrote:
> One thing I always liked about Paris was how I could push it and it wouldn't
> get small on me and at the same time the mix would gel without sounding
> overcompressed.
>
> I "think" I'm getting there now. I had to take a hiatus from mixing for
> about three weeks while helping Amy nurse Crash back to some semblance of
> health. He reinjured himself pretty bad about a week after we took off his
> cast and we were sweating bullets but didn't permanently damage the surgery,
> thank goodness, so now he's getting back up to speed and I have some time to
> get into the studio again.
>
> I'm getting ready to post a couple of links up in a few minutes. OPne of the
> songs you've heard (adnauseum) and the other you may have heard a long time
> ago. I never was hapy with a certain CD I mised a couple of years ago
> because I was in a ig rush. the first run of CD's is about to sell out and I
> get a royalty on the sales so I'm remixing the entire project. Good practice
> on the new system.
>
> The processing on the mix us has the following processors (top to bottom).
>
> UAD-1 Precision EQ
> Neve Portico 5042
> UAD-1 Fairchild
> UAD-1 Precision Limiter.
>
> I'm using the UAD-1 Neve 88-RS console strip on every track of these mixes.
> This thing is the bees knees IMO.
>
> Stay tuned
>
> ;o)
>
>
>
>
>
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| Re: Some of that Paris glue [message #89286 is a reply to message #89273] |
Mon, 03 September 2007 08:55 |
Nil
Messages: 245
Registered: March 2007
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Senior Member |
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Hey Deej - I found that this plugin...
http://www.the29a.org/nickcrow/TubeDriver%20v0.961.zip
Here's the full page with a screenshot & that link...
http://www.the29a.org/nickcrow/TubeDriver%20v0.961.zip
....can get things nice & "glue-y" if you use it judiciously
(and subtly) on your lo-end stuff like bass, kik, etc., or even
a few choice things that have a decent amount of lo-mid
content. Now, I don't have this newest version, but I would
assume it's not gotten any worse than the probably two versions
prior (which is the one I have, but now i'm gonna try this new
one, too!).
I used it on the DiMakina stuff I played for you guys I guess a
couple of months ago, In that case I used it on the kick, bass,
snare, and one stack o' tracks of rhythm guitar in each tune.
Definitely try subtle settings, and if you want more glue,
don't nessarily turn it up at first, just add it to something
else - 'specially for the genre you're working in, since you
wouldn't want to get too dirty on anything. IOW, use it mainly
for the harmonics, not the drive.
I would start with the Bias in the middle, the Drive at about a
third of the way up, and adjust the Volume/Output for unity
gain at that point so you can click it in & out of bypass to
see if you like it. That'll give you a good starting point,
anyway. Cranking up the Bias carves out a countour in the low-
mids a bit - maybe kind of a little bit like a Pultec-ish
thang, but not exactly - you'll see. This new version has an
EQ, too, which the one I have does not, so that's even cooler!
For example, on the mix for "Faith in Love" that you linked
us to, I would probably try it on bass, kick, snare/sidestick,
and since it's really more of an acoustic guitar-dominant song,
I think I might even try something like create a copy of the
main acoustic guitar track, and set a lo-pass filter around
600hz on one & a hi-pass around the same place on the other,
and use it on the low track. :D
Also, if you have the ride cymbal miced separately, I'd even
try it on that track - it can work real well to soften up highs
without losing presence (like, for example, if you like the
tone of the ride & didn't want to EQ it any differently, but
wanted to soften up some of the "ping" attack -
knowwhatahmean?). Not that I'm saying you should, but that's
about the only thing about this mix that kinda sticks out &
bothers me a little bit. I like the mandolin tone a lot, but if
you wanted to give that a little more body without changing the
overall EQ, that's another thing this plug would be good for.
Try it, you'll like it! It's a great "adhesive additive" lol
Can't remember who pointed me to this plugin the first time,
but I know I was someone on this NG, so props go out to
whomever it was that posted the info at the time!
Neil
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| Re: Some of that Paris glue [message #89287 is a reply to message #89286] |
Mon, 03 September 2007 08:56 |
Neil
Messages: 1645
Registered: April 2006
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Senior Member |
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Crap - pasted the wrong link for the homepage. Here's the
correct one:
http://www.the29a.org/nickcrow/index.html
:)
"Neil" <IUOIU@OIU.com> wrote:
>
>Hey Deej - I found that this plugin...
>
>http://www.the29a.org/nickcrow/TubeDriver%20v0.961.zip
>
>Here's the full page with a screenshot & that link...
>
>http://www.the29a.org/nickcrow/TubeDriver%20v0.961.zip
>
>
>...can get things nice & "glue-y" if you use it judiciously
>(and subtly) on your lo-end stuff like bass, kik, etc., or even
>a few choice things that have a decent amount of lo-mid
>content. Now, I don't have this newest version, but I would
>assume it's not gotten any worse than the probably two versions
>prior (which is the one I have, but now i'm gonna try this new
>one, too!).
>
>I used it on the DiMakina stuff I played for you guys I guess a
>couple of months ago, In that case I used it on the kick, bass,
>snare, and one stack o' tracks of rhythm guitar in each tune.
>Definitely try subtle settings, and if you want more glue,
>don't nessarily turn it up at first, just add it to something
>else - 'specially for the genre you're working in, since you
>wouldn't want to get too dirty on anything. IOW, use it mainly
>for the harmonics, not the drive.
>
>I would start with the Bias in the middle, the Drive at about a
>third of the way up, and adjust the Volume/Output for unity
>gain at that point so you can click it in & out of bypass to
>see if you like it. That'll give you a good starting point,
>anyway. Cranking up the Bias carves out a countour in the low-
>mids a bit - maybe kind of a little bit like a Pultec-ish
>thang, but not exactly - you'll see. This new version has an
>EQ, too, which the one I have does not, so that's even cooler!
>
>For example, on the mix for "Faith in Love" that you linked
>us to, I would probably try it on bass, kick, snare/sidestick,
>and since it's really more of an acoustic guitar-dominant song,
>I think I might even try something like create a copy of the
>main acoustic guitar track, and set a lo-pass filter around
>600hz on one & a hi-pass around the same place on the other,
>and use it on the low track. :D
>
>Also, if you have the ride cymbal miced separately, I'd even
>try it on that track - it can work real well to soften up highs
>without losing presence (like, for example, if you like the
>tone of the ride & didn't want to EQ it any differently, but
>wanted to soften up some of the "ping" attack -
>knowwhatahmean?). Not that I'm saying you should, but that's
>about the only thing about this mix that kinda sticks out &
>bothers me a little bit. I like the mandolin tone a lot, but if
>you wanted to give that a little more body without changing the
>overall EQ, that's another thing this plug would be good for.
>
>Try it, you'll like it! It's a great "adhesive additive" lol
>
>Can't remember who pointed me to this plugin the first time,
>but I know I was someone on this NG, so props go out to
>whomever it was that posted the info at the time!
>
>Neil
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| Re: Some of that Paris glue [message #89288 is a reply to message #89285] |
Mon, 03 September 2007 10:06 |
LaMont
Messages: 828
Registered: October 2005
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Senior Member |
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Hey John,
when I insert the SSL Comp on the master buss, I'm going for that SSL sound
just like on the real SSL Console. The Plugin SSL comp reacts just like the
the real thing. The beuaty of the SSL comp is that is does not suck life
out of a mix , but rather hold a mix together. It does not fix offending
rack levels. You still have to mix, but the SSL Comp keeps a well mixed song
tightly knited together. Thus, getign a more agressive, puchier mix.
Also, the Sonalkis comps have this glueing quality. Overall, the SSL & Faichild
comps were used for making amix soudn like a record. hey are to be used after
you have your mix 90 percent complete..
"John" <no@no.com> wrote:
>
>The problem with a compressor on the master bus is that it kills the sharp
>live transients that give it life. Finis is a great plug in because you
can
>monitor the Crest Factor (the difference between the peaks and averages)
>and you can compress the rhythm section or just the kick, snare and bass
>to get the dynamics to a manageable level. A crest factor of 14 is a great
>start to finding a mix that is of good dynamic contrast.
>
>If all you do is compress the master bus you can get this but you'll sacrifice
>overall life in the mix. Instead, compress the parts that are causing the
>problem and just ride the fader on the other parts (like hihat, shakers,
>vocals, keyboards). This way you'll have a very tight mix plus a very live
>sounding mix (aka Thriller). Just compressing the entire mix may put you
>in the proper crest factor (dynamic range) but you can potentially end up
>with a lifeless mix. I'm working on a reggae album right now and the
raw
>recording has a crest of about 24. WAY too dynamic, but using the above
>techniques I'm going to reel it in without crushing the whole mix.
>
>John
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| Re: Some of that Paris glue [message #89339 is a reply to message #89321] |
Tue, 04 September 2007 21:26 |
LaMont
Messages: 828
Registered: October 2005
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Senior Member |
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I agree wih you about voxengo Elephant. That's one mean Mastering plugin.
Very Powerful. I have only played with the demo, but what I remember is how
powerful and it was. Voxengo, very underrated plugin maker(s)..
Like Kjaerhus plugins http://www.kjaerhusaudio.com/ Killer. Check out their
Free Plugins. Their Delay and compressor (free) is my go to for those effects.
The Golden Compressor is processor intensive, but is great at what it doeshttp://www.kjaerhusaudio.com/gco-1.php
.
"Neil" <OIUOIU@OIU.com> wrote:
>
>"John" <no@no.com> wrote:
>>
>>That's great to know. I'm gonna have to try that out after I track down
>Neil's
>>sonic nirvana. Thanks
>>John
>
>Izotope Ozone followed by Voxengo Elephant on the 2-buss.
>Elephant is capable of processing internally at up to four
>times the samplerate (or 2x in my case, since i'm at 88.2k),
>and I think that's part of what's enabling me to get those few
>extra db without sacrificing clarity.
>
>I also think that recording at 88.2k makes a difference from
>the get-go, but I'm not in the mood to argue that point again.
>The results are in, though, and I think the combination works.
>
>Neil
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