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About Sundown

  • Birthday 11/30/1999


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  1. Hi Craig, I’m in between. I typically mix with a bus compressor set to a very light setting (2:1 with maybe a dB or two on peaks), because it fundamentally shapes the tone of the song. If I use an SSL recreation or a Vari Mu, the choices I make with channel EQ and levels will change depending on which bus compressor is present. Most often I use the SSL G (UAD or Waves) and I use it primarily to glue a mix together. The only time I’ll use a bus EQ is for momentary checking (and it’s always the Manley Massive Passive from UAD). I won’t render with it, but it gives me an approximation of what the mix will sound like later. It really glues a mix together, but i prefer to make overall EQ adjustments during mastering. My general adage is, if I have to use an EQ on the master bus to fix a mix, there’s probably something wrong at the channel level I need to address. Occasionally I will check the mix with a limiter as well, as it sometimes influences my level setting. But it’s a momentary check, never rendered. Todd
  2. I feel like I need to suck some low end out of the Electric Piano chord part as well. There might be some build-up that isn’t helping. Todd
  3. Great observation, Josh. And particularly relevant/important as Tina’s track has a rhythmic drone on G#. I agree with you that I probably need to change the sound. When I find that I’m EQ’ing the hell out of something, generally the arrangement is wrong or the sound is wrong. I’ve struggled to find something simple and thin enough. The D-20 sound is literally one partial/oscillator. When I listen to Tina’s track, I hear a real electric bass, almost certainly played with fingers (as opposed to a pick). Her track has an advantage with a kick drum, in that it helps define the notes. With Fletcher-Munson, bass really disappears on my track on small devices or at low volume and there’s no drum to keep it present. But I’ll keep trying. Thanks for the input. Todd
  4. Hey all, I’m trying to finish an instrumental track and the synthetic/sampled bass is still just too thick. I’ve used everything from sampled HALion basses to my Roland D-20, which has some simple but effective bass sounds I’ve created over the years (and it’ s one of the reasons I keep that instrument). My current approach is a layer of the two with some drastic LPF/HPF to eliminate clash. The closest sonic match I’m shooting for bass-wise is Tina Turner’s “What’s Love Got To Do With It”. Her track has a kick drum and mine doesn’t, but her song has this very steady, non-intrusive bass. Her song is in G# minor and I’m in C minor so my fundamentals are a bit different, but there are shared notes as my bass line has C, Bb, Ab, and F in it. I’ve looked at Tina’s track in Pro Q3 to see what’s peaking and what’s absent, and it seems like 100 Hz is strong, 60 Hz has some presence, and 80 Hz is low/non-existent. I’ve tried cutting in the mud range (250 to 800) but I’m still missing the target. I don’t believe this is a problem of not hearing the bass accurately. My room is purpose-built and treated and I can hear the problem. I’m just not sure how to fix it and I’ve tried a lot of parametric and dynamic EQ and even a bit of very modest transparent compression (Waves C1). I’ve included Tina’s track below along with an MP3 snippet of mine. Any suggestions on how I can tighten up this bottom end? Is it a level problem, or an EQ problem? Thanks in advance. Todd JB Bass.mp3
  5. Talk about songwriting pressure … I don’t want to spoil it for anyone, but that whole thing came together *quickly*.
  6. We watched it a few days ago and loved it. My wife isn’t a musician, so it appeals to everyone. She loved it too. I hadn’t seen your post and I posted something in Craig’s forum. It’s definitely worth watching. Todd
  7. I bought one new in the early 2000’s and it’s still a part of my studio rig. I don’t think there is an instrumental or track I’ve written that doesn’t have at least one patch on it. I find it quite easy to edit and navigate and often I can get what I’m looking for by just turning off a partial or two, or changing the cutoff and envelope values. It also has a pretty deep modulation matrix that is easy to use. I typically use the XV for analog synth pads, synth comp sounds, and a few synthetic EPs. I will say that you have to watch out for pitch instability (some of those presets have a lot of “Analog Feel” on them), and I always turn off the onboard effects when I record the audio. I also find that I have to use a lot of EQ and dynamic EQ to tame resonances. Tape in the 90’s helped smear some of that off, but with digital, those nasty resonances get captured and require some surgery. Todd
  8. Hey all, If you have Netflix, I highly recommend watching “The Greatest Night in Pop” which is a documentary about the making of “We are the World”. It appeals to non-musicians as well (my wife loved it). Todd
  9. I won’t kid you, for having a 12-year-old PC, it’s a sweet setup … I can run a lot of CPU-hungry plugins without consequence. And with ASIO-Guard and the native conversions, even an old Core i7 does very well. I plan to get a new PC in 2025 (Audio PC Labs Rok Box MCx), but this small investment has allowed me to use some CPU-intensive reverbs for very little cash. Todd
  10. Pretty maids, all in a row … I installed it today along with my Duo, and all ten chips are singing now. I had ten instances of the Lexicon 480L going without issue. Not that I would run ten instances, but that’s as hungry a plugin as they come and this will give me tremendous flexibility. I could see running four or five instances of the AMS RMX, as that unit does some amazing things. UA also includes this awesome, bound, printed catalog of all their hardware and software. They know how to cater to GAS. Todd
  11. I said to myself, if one went on sale, I’d add it to my PC (I presently have a Duo). Well, select sites are selling them for $699 and I took the leap. I install it tomorrow. I’m going to keep my Duo to have ten active chips. Good times … Todd
  12. Hi Guys - I’m still struggling to find the person who has the reels. Once I can locate them (the odds are diminishing), then I’ll be in a position to do something. Todd
  13. Hey all, I’ve sidechained compressors before to create some space around dialog or vocals, but I’m liking Dynamic EQ better for this purpose. I recently set-up a “valley” or band-stop filter and made both shelves dynamic, and it creates a lovely space in the guitar part around the dialog. I also manually pull down the fader a bit to create some more space. I couldn’t do a screen grab of the ducking in action, so I just grabbed a static screenshot and drew-in a dotted line to show the effect it has when the side-chain is active. The frequency spread might seem a bit broad for ducking the human voice (and I used a whopping -9 dB of range), but in action it works great. Since it’s side-chained and fluctuates based on input signal, it never really hits -9 dB. I can’t take credit for any of this technique … I learned it from Craig’s latest book on EQ. Todd P.S. The screen grab was taken when I had it set to -6 dB. I got better results with -9 dB with this particular piece.
  14. Yep - I don’t recall exactly when that happened, but it was before I bought it in November/December. The Vari-Mu is still DSP-based, but Massive Passive is now native. I bought the AMS RMX16 reverb in December, and holy cow, that’s another one I’m eagerly awaiting a native version of. On my UAD-2 Duo, I can get maybe 2 or 3 instances but that’s it. It’s not as hungry as the 480 XL, but it’s hungry. The RMX16 isn’t a do-all reverb, but the sounds it does do are amazing. The Hall, Non-Lin, Ambience, and Reverse programs are wonderful. And the Chorus and Delay programs are quite good too. I’m working on a track right now and I could happily use four instances for variety, along with using a short/modest hall for the mix reverb. I bought it on a whim for $49 and it’s been a stunner. Todd
  15. There’s a lot of good stuff in there … The huge Jupiter brass at the beginning, the synth bass, and the “frog” sound from an old Casio. There are quite a few YouTube videos about how those sounds were made (from the people who made them). Todd
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