I thought that too with the snare . I'll adjust and repost when I get home from work .
I think the snare sounds already compressed on the superior drummer program so
Im not sure how to tackle it . I have an active eq on the snare wires and massey l2007
on the drum buss . So Ill take them off for starters . The master buss has 2 instances of
TDR kotelnikov( comp/limiter ) but no more than 1.5 db reduction on either. the first one is fastest attack
and then an eq with high freq boost mainly , Then the other comp/limiter with slower
attack . Both are at 2.1 settings .
Is there any order that is better with that configuration on the master buss ?
Are the comp settings better if lighter , I guess so for that one.
Let me know so I can try and get a clearer image .
I think my close reflections may be too prominent and smudging the mix also.
I will try to mess with their eq to tuck them away better .
Just my thought process I'm sharing here in the hope someone may chime in with their experience,
I love that the performances are really there on this one. It all starts with the song and the players, and you've definitely got that going on here.
Great playing and singing from those involved.
I'm not quite as bothered by the GR on the snare as Chris is, but I see his point that backing off on the compression would open it up a bit. If pressed for something to change, I'd like to hear a db (or so) of 230-260Hz added to the snare to beef it up a bit more, and I'd also keep the Q on that range pretty tightly set. But that's being picky.
Love the guitar, B3 and piano tones, great balance and placement of the instruments. Bass guitar is nice and warm, holding down the low end in a great way.
I Love the kick on this one, and that it's more of a "heartbeat" vibe than an in-your-face modern rock mix "clicky" tone.
The Tokyo Dawn Kotelnikov is kind of a neat limiter... beyond it's industrial looking, Cold War Soviet GUI ( LOL) it can give you some cool tones...but in my experience with it, it's very easy to cross the line between almost-perfect and too-much. It has a sweet spot, but it's not always easy to nail down.
When I was using it on the last album I produced, I found that the trick (for me) to find the sweet spot finally came down to adjusting the input gain, as opposed to working with the settings within the limiter itself.
IMO of course.
Edit... sorry... I was thinking of the Molot from Vladge...this one:
Thanks Donny ,
I haven't experimented with input gain other than to just get the gain reduction to where I think it will
be working ,but not too much . To be honest , I can't really hear it working, but I can see the gain reduction meter working
so I guess it is doing a little work. ( I will experiment on that one )
Do you think the input gain vs threshold will change the overall sound at different settings , even if the gain reduction is
the same (about 1.5 db max)
heres the changes to the snare , I actually had a big boost with a wide Q about 200 on the snare top already
so i narrowed the Q and entered at 245 hz . Also on the snare bottom i Lp shelved and boosted with wide Q 300ish to 1K
I also replaced the kotelnikov slow attack (master buss )for the goodhertz faraday limiter and a couple of times it gain reduced 5 db.
The ktelnikov first on master buss with fast attack is also working more 3 db max .
I think I overcooked the snare changes , do another take lol
I went to edit and the link stuffed up , but I put the better version of snare IMHO up there now
Thanks again Donny . The snare sits better for me and Im starting to realise how much importance
the snare sound has. I mean i knew it was a focal point but it carries so much more weight of the overall
sonic picture . Im actually listening to the track now and I want to hear a longer tail big verb on the snare.