I’m thrilled that people enjoyed my remix of NIN’s “In This Twilight“…those of you who were able to get your hands on it before I posted it officially today.
I like to experiment with music, and I feel like breaking the rules today. I’m going to not only give you an alternate, instrumental version…but I’m also going to let you hear the individual performances as they were recorded for this remix in the spring of 2009. The piano was performed by me, and the violin was hired out.
When I sat down to compose my latest track, I also set up the time lapse rig with the idea in mind of letting you see the way I work…in a condensed form.
Ableton Live 8
What you’re watching is four hours worth of composition, stemming, mixing, “bussing”, and mastering reduced to three minutes. You’re listening to the final result while you watch it being created! I thought that would be cool. It’s probably really stupid. (The video is at the bottom of this posting, or you can skip right to YouTube to watch it in your own domain.)
In the first few seconds of the time lapse, you will see me working in Ableton Live 8. I am “stemming” (bouncing/rendering) the parts to 32-bit WAV files. For example, I am separating the piano part from the guitar part and so on.
Adobe Audition 3
The rest of the video is spent in Adobe Audition 3, my baby. Some musicians and audiophiles are probably repulsed that I would use Audition for all my mixing and mastering. I have a few words to say about that, as it turns out. Most importantly, I think that there is no “best” multi-track suite or DAW software. Rather, I think how you use the tools are your disposal is what matters. I could never turn around the same quality product in Pro Tools, for example, because I have little to no experience using it. On the other hand, I do have an extensive background in radio, where Audition tends to dominate the landscape.
I’ve easily spent tens of thousands of hours of my life in front of Audition. It’s at that point that you get into an interesting zone where you’re able to “think” in Audition, almost as if it’s a language. Setting levels, EQ, mixing, etc…they all become second nature. I don’t know the psychology behind it or if it’s just muscle memory, but when you tear down the need to think about the menial details of production, you become a fluid producer. What’s more, I’ve stuck with Audition simply because it allows me to do 90% of what I require as a musician, remixer, and mastering engineer without needing third party plug-ins. That is to say…out of the box, Audition is up to the task of almost everything I need to do. (This is true of any competent DAW or multi-track editing software.)
As you read on about my work flow or process, you’ll realize that I have very little need on a day-to-day basis to supplement Audition with third party plug-ins. Even when I do require a plug-in, I’m pretty religious about the ones I will use, and it’s a short list. It’s a combination I’ve become so comfortable with. A comfort level to the point where I’m free to be artistic within Audition instead of procedural. It’s able to keep up with me, it’s flexible enough to let me change my mind all the time, and the details of its inner-workings don’t get in my way as a creator.
This is probably how YOU feel about your DAW, be it Pro Tools or whatever. My only point is that it’s not the tool, but how you use it. Finding that synergy is absolutely critical to being able to “create” rather than “screw around with settings”. Long story short, Audition is that tool for me. (Rant complete.)
You’ll see my process for setting up “first draft” masters of songs. First, I begin to tinker and arrange the stems and parts and samples to get a feel for how I want things laid out. You see me change my mind a few times near the beginning. Then, once the overall layout and flow of the song takes shape and is to my satisfaction, I begin to work on the sound of each specific track or instrument.
C4 Multiband Compressor
It’s at this point that you will see me using many different tools. I rely heavily on the built-in plug-ins provided in Audition (reverb, channel EQ, etc) and also the Waves plug-ins. Specifically, you will notice that I fall back on the C4 compressor on almost every track.
Once I’m happy with the sound of each instrument or track, I get a little more serious about the overall mix itself. I will create a bus for each logical group to simplify the mixing/mastering part. In audio terminology, a bus is just a group. For example, instead of having all the percussion and drum tracks go straight to the “Master” channel, I can route them to a bus called “Drums”. (These show up as yellow faders on screen.)
This lets me make changes to all the constituent tracks at once. This is handy for two reasons. First, if you’re going to apply the same effects to all your drum tracks, you can do it in one place (the bus) versus each individual track. This saves you a TON of processing power (and time). Second, it helps with the final stage of the process…mastering.
Towards the end, once the bus for each group has been set up and the mix is “okay”, you will see me open the automation lanes for each bus. This allows me to basically “draw” the volume and set keyframes over time. As an example, the loudness of the piano and guitar varies depending on the density of the mix and what else is going on at the time. In this case, I fade them down gradually whenever the cello and violin solos kick in. When your tracks are properly “bussed”, it makes mastering much faster and pleasant.
L2 UltraMaximizer
The audiophiles and other musicians out there are wondering what I’m using on the master channel for the “final mastering”. The answer is the L2 from Waves. About 99% of my tracks are mastered with the L2. The other 1% are usually the L3 MultiMaximizer. But, I usually prefer the “loud and proud” tendencies of the L2. (Waves products and plug-ins have a reputation of being “pricey”. While this is true to some extent, I’ve personally never lamented a purchase. The proof is in the sound for me. What’s more, an investment in the best tools can never be a mistake.)
When you combine Audition with each bus with the L2, it makes mastering almost magical and fun. You negate the need to worry about tedious details and allow yourself time to experiment with the mix of your track…the best favor you can do for yourself as a musician or engineer.
Enough jargon! On to the fun part…the video! Be sure to watch in HD if you’ve got broadband!
I’ve also included the audio on its own, in case you’d like listen without video or to keep a personal copy (which I’m fine with). Just remember the copyright warning about using it for anything else.
A unique look at some of the time lapse footage I’ve captured this month, along with a look at the raw reels. I narrate and explain the process used to convert the high resolution image sequences into HD footage, as well.
When you click play below, the embedded video will play back in HD. If you’d rather see a larger version, follow the link to YouTube’s native video page from within the video itself. Enjoy!
Huzzah! In the world of radio, this is what we call a “voiceover demo”. It’s a showcase reel of work you’ve done, as you try to pimp yourself out to more and more stations who will make more and more impossible demands of your vocal cords.
For $100 a month. Usually more, but I’m not very good, obviously.
Yes, each of the voices you hear in this demonstration (except for the one appearance of a female) is me. I do very little processing to my voice beyond basic compression…the styles and moods are all in how you speak and how you position your face. No, I’m not kidding. I have to hold my face a certain way to do the evil voice. This is why you haven’t seen a YouTube video of a voiceover session.
You’ll probably pick up on the fact that I work with a lot of Internet-only stations. I love those guys! They usually give me much more interesting things to say than terrestrial radio stations.
NIN - In This Twilight (Grim Trigger's Ambient Instrumental Re-Work) [5:08m]: Play Now | Play in Popup | Download
