up to 720p or 1080p before watching for best representation.
Mix of Alex B Consoles (CLC, MLC), CDS Master Tape, TB+, S2N 6K Hall, Neb 140 plate. Proper console bussing structure applied through Cubase 64 bit daw.
No digital plugins were used apart from delay, bass enchancement and de-essing. Oh yeah, brick wall was digital ughh.
Vocal has three parallel compressors running, Summit TLA50, 1968 DME (S2N), and the MC77 smash (free) with the makeup at 7dB to catch the.
I must say, I'm still getting accustomed to the work flow of nebula but I have to extend a very personal thanks to the multiple teams behind this project. Per my own principles, I've bought literally EVERYTHING that's available through this project (Neb, AlexB, CDS, S2N Eric Beam, VNXT) and I've recommended it to my fellow nashville producers/engineers/mastering/mixers.
As our new 12-16 core 48g of ram machines begin to replace our older boxes, I can only see this technology replacing pure digital modeling altogether very similar to how sample libraries eventually took back the market from any synthesizers attempting to reproduce an organic instrument. Nebula/ or nebula styled sampling technology will represent the best of organic analog mixing, and plugins will continue to split down a very specific path of distinct digital sound impressions just as synthesizers have a very specific role in today's sound design.
I think the best thing from here is to continue getting other talented audio professionals to stop spending money on digital plugins for analog purposes and to align their assets toward funding the R&D of this exciting technology by purhcasing the libraries and software involved with nebula. No matter what the future holds, way to go guys. 10,000 kudos to everyone involved.
oh my god, I really thrilled with this work... I play the piano too ... Jesus! wonderful! The mix is fantastic, Congrats want to reach that level my friend. The girl is beautiful and sings very ... It reminded me of the happiness of seeing Nikka costa, a child Your work is amazing... I'm speechless with what I saw and heard... I agree with every word you said
you guys are really too kind. i still have tons to learn about mixing It's been so much easier since figuring out nebula, but I will be on a lifelong pursuit to discover more and more about how to connect recorded music directly to the hearts of people. that's all that really matters in the end right?
Dude, Really, Really Great Job. I'm curious if you do not mind , what was the process in the voice? the Peluso 2247 is a SE or LE ? which preamp you are using? The video looks great and the sound is perfect, that girl can sing for real and you're killing that piano. If you continue that work this girl may be the next Taylor Swift. I noticed and improvement beyond the previous videos I not sure if was the change of mic's, mixing, singing lessons or maybe a little bit of everything ?
Hard to place exactly what item is contributing most to the sound you hear on the voice.
About the Peluso, I'm not entirely sure which model. I borrow it from a friend. We trade mics back and forth all the time.
The preamp was a Summit Audio 2BA-221 with a tiny bit of tube drive on recording. The pianos were a N**e 1060 on the left side and a N**e 1070L on the right side. Everything went AD through an old Otari RADAR II / Motu2408 into cubase.
Every time I added a few db of color from nebula or outboard, I removed the same amount on output to keep my headroom.
1.) The raw vocal (peaks at -12dbfs) was sent to R2R revox -6 15a with 2db boosted on the input and 2db removed at makeup.
2.) 1.5 db drive from the S*L E (AlexB)
3.) high pass from S2N vintage filter
4.) -4db 4800hz from N**e 1084 (CDS Master)
5.) NOW IT GETS FUN
I then split the chain into three independent paths of parallel compression
PATH 1 (Main Sound)
1. S2N 1968 BIG - 5db of GR with the makeup set to not lose signal. This added some bite and tube sheen without
2.) TLA-50 tube leveler adding about 5db of character (RADAR II was used for the conversion)
PATH 2 STEREO (Just for the plate)
1.) S2N 1968 BIG - same settings as before
2.) 140 Plate (nebula stock sounded just right)
PATH 3 MONO (just for articulation and snap)
1.) MC77 NUKED with the most I could get out of GR and then added about 7db of output gain
Finally I mixed and matched all three into an S*L G bus with Alex B's vocal bus setting
Also the room (U87) being squashed with maximum GR out of the 1968 BIG with a 30ms pre-delay did a nice thing to both the piano and vocal in a subtle way.
Used the MLC Glue on the main mix bus after sending through a T**e-T**h LCA2B (L+R) to gently control about 3db-4db of GR out of the loudest sections. I didn't link as I prefer the natural imgage from each side compressing independently. I drove about 2-3 db of output makeup to push the headroom of the MLC glue to a nice overal grit which is actually accounting for alot of the tone of the entire recording.
From there, it was an Otari Tape at 30 and a single decibel of TB+ 96 low to smooth things out for my mastering engineer. He uses reaktor's multiband limiter and a spatial enhancing plugin to further expand the image. Didn't catch his settings.
It's not HARD... It'S IMPOSSIBLE to go back; my ears hurt if I try. I'm almost through the transition.(just ordered a few D*x and O***n de-essers) so i can officially be completely plugin free. I was amazed at what Ren. De-Esser did (destroyed) to the vocal after I put it in the chain. It's not safe to use plugins anywhere it seems haha
I think digital effects are the only thing left for plugins to do. Sometimes its better to leave out one more step of AD/DA if you can help I guess.