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Serban Ghenea Mixes - all ITB?
Old 15th May 2020 | Show parent
  #1741
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2 Reviews written
🎧 5 years
Quote:
Originally Posted by Ol' Betsey ➡️
Try this (not sure how to post YT videos here) : https://www.youtube.com/watch?v=LNQ2...ature=youtu.be

R.
Great talent, and evidently a nice fella too :¬)

Thanks for the link.
Old 16th May 2020 | Show parent
  #1742
Here for the gear
Quote:
Originally Posted by b0se ➡️
Great talent, and evidently a nice fella too :¬)

Thanks for the link.
This is a fascinating thread. Thanks for everyone's insightful contributions.

I've worked with a number of top tier mixers over the past 2 years and I'd rate Phil Tan at the very top of that group. He mixes like a surgeon: everything is just so precise in terms of balance and EQ.

Like all of them, he inputted very little in terms of adding creatively to the reference mix. But he made everything sound huge, bright and punchy. He doesn't have any magic wand. I know that he uses UAD, Soundtoys, McDSP, Soundtoys, Metric Halo, URS, FabFilter and Waves, like the rest of us.

So for him, the magic is in the ears.

Incidentally, Phil was the only mixer of that calibre that I had no direct contact with. Everything was done via his assistant Bill.
Old 18th May 2020
  #1743
When you listen to Serban's mixes back to back, there is a common "sound signature" to his work. I studied this extensively in hopes to figure out his winning recipe, and applied my learnings to a mini-album project I recently completed with a Swedish cover band. Here is a link to the songs (I think I'm allowed to post links like this?) https://www.dropbox.com/sh/00u61y9yw...6ytElyjCa?dl=0. Note the songs are copyrighted so this is for listening and learning only...

Of course I'm biased, but I think the songs' sonic signature is not too dissimilar to Serban's, but who knows eh. I'd like to hear some comments from others following this thread, so feel free to have a listen on the above link. If y'all think the sound is reasonably close to Serban's sound, I'll post how I achieved it all as yes, that was all mixed and mastered here in our studios (but recorded in Sweden). Fire away!
Old 18th May 2020
  #1744
Registered User
 
🎧 10 years
Ive had a listen to all 5 tracks.

Yes they are very clean and clear.

Would have liked to hear something pop and then I can judge.

Cheers
Old 18th May 2020 | Show parent
  #1745
Registered User
 
🎧 15 years
Quote:
Originally Posted by CanadaSC1 ➡️
When you listen to Serban's mixes back to back, there is a common "sound signature" to his work. I studied this extensively in hopes to figure out his winning recipe, and applied my learnings to a mini-album project I recently completed with a Swedish cover band. Here is a link to the songs (I think I'm allowed to post links like this?) https://www.dropbox.com/sh/00u61y9yw...6ytElyjCa?dl=0. Note the songs are copyrighted so this is for listening and learning only...

Of course I'm biased, but I think the songs' sonic signature is not too dissimilar to Serban's, but who knows eh. I'd like to hear some comments from others following this thread, so feel free to have a listen on the above link. If y'all think the sound is reasonably close to Serban's sound, I'll post how I achieved it all as yes, that was all mixed and mastered here in our studios (but recorded in Sweden). Fire away!
Curious to know what your learnings was in studying the "sound signature"?
Old 18th May 2020 | Show parent
  #1746
Registered User
 
🎧 15 years
Quote:
Originally Posted by CanadaSC1 ➡️
When you listen to Serban's mixes back to back, there is a common "sound signature" to his work. I studied this extensively in hopes to figure out his winning recipe, and applied my learnings to a mini-album project I recently completed with a Swedish cover band. Here is a link to the songs (I think I'm allowed to post links like this?) https://www.dropbox.com/sh/00u61y9yw...6ytElyjCa?dl=0. Note the songs are copyrighted so this is for listening and learning only...

Of course I'm biased, but I think the songs' sonic signature is not too dissimilar to Serban's, but who knows eh. I'd like to hear some comments from others following this thread, so feel free to have a listen on the above link. If y'all think the sound is reasonably close to Serban's sound, I'll post how I achieved it all as yes, that was all mixed and mastered here in our studios (but recorded in Sweden). Fire away!

To me the production it's not up to what Serban mix, so the mix itselft can't cure it at least.

It's a good work. But it's not near the top where serban put his flag. You are on the right way anyway. The trip is longer than what you've planned.
Old 19th May 2020 | Show parent
  #1747
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GreenNeedle's Avatar
 
🎧 10 years
Quote:
Originally Posted by CanadaSC1 ➡️
When you listen to Serban's mixes back to back, there is a common "sound signature" to his work. I studied this extensively in hopes to figure out his winning recipe, and applied my learnings to a mini-album project I recently completed with a Swedish cover band. Here is a link to the songs (I think I'm allowed to post links like this?) https://www.dropbox.com/sh/00u61y9yw...6ytElyjCa?dl=0. Note the songs are copyrighted so this is for listening and learning only...

Of course I'm biased, but I think the songs' sonic signature is not too dissimilar to Serban's, but who knows eh. I'd like to hear some comments from others following this thread, so feel free to have a listen on the above link. If y'all think the sound is reasonably close to Serban's sound, I'll post how I achieved it all as yes, that was all mixed and mastered here in our studios (but recorded in Sweden). Fire away!
There are lots of good things in these mixes. The vocals are pretty pop sounding.

The drums need to be brought to the right planet though.
The first thing you need to get right is the drums or it sounds like they live in the wrong genre.
Old 19th May 2020 | Show parent
  #1748
Quote:
Originally Posted by andrea19837 ➡️
To me the production it's not up to what Serban mix, so the mix itselft can't cure it at least.

It's a good work. But it's not near the top where serban put his flag. You are on the right way anyway. The trip is longer than what you've planned.
.
Those songs certainly are not the production level that Serban gets, but I'm not sure that's the point of the exercise... When you listen to Serban's mixes back to back, you get an idea of his "sonic signature". And when you listen to the mixes on that link, do they jump out at you as sounding totally different to Serban's work tone-wise? Or are they reasonably within the ballpark? My ears are biased so I can't really say

And yes, the project mission was to deliver 5 songs, but the band gave me scope to mix completely void of typical genre-rules and tones, and thus it fit the bill perfectly to see if I could recreate the "sonic signature" of Serban (at least somewhat, albeit lacking the pop production!). I understand the road is a long one, but this project called for a short deadline so I did not end up completing everything I wanted to do to the songs "Serban-wise" .

One day I'll get more time to open the files and keep pushing the limit if the band gives me permission. 'Till then, please everyone listen and comment what you think the difference is between the files on that link, and Serban's typical "sonic signature"... but from a general perspective (i.e. vocal tones, vocal placement, ambiance tones, low-end thickness, transient impact, instrument separation, etc.) That's what I am looking for and I think others could benefit from too, a 30,000 foot view of how the files sound overall compared to the "Serban Sound" (great business name BTW!). If its miles apart, I don't mind, just means I have to go back to work before I can share settings from achieving similar sounds ITB. Yes, all mixed ITB...
.
Old 19th May 2020 | Show parent
  #1749
Quote:
Originally Posted by GreenNeedle ➡️
There are lots of good things in these mixes. The vocals are pretty pop sounding.

The drums need to be brought to the right planet though.
The first thing you need to get right is the drums or it sounds like they live in the wrong genre.
.
Certainly is a cross-genre sound to those songs , but hey that's how the band wanted it! It's tough to get acoustic drums to not sound too traditionally acoustic... The band wanted a modern sound, so that's why I thought the concept of trying to achieve the "Serban Sound" would be a perfect fit for the mini-album.

Looking forward to the comments on the mini-albums' sonic signature (the differences you notice when switching between the mini-album songs and a bunch of songs mixed by Serban) even if they are different genres to Serban's most common work. If it's way off, I don't mind... but please be specific. If there are some similarities, then please be specific too as it helps the learning process of everyone following the thread. Happy to share how I achieved it if y'all think anything is close.
.
Old 19th May 2020
  #1750
Gear Addict
 
Classic's Avatar
 
🎧 15 years
Serban has done a good bit of Country Pop mixes that I really love, which still has his sound. For example: Thomas Rhett’s “Look What God Gave Her

I produced/mixed this track, doing my best to get close to his approach. The main thing I notice for both his country and pop mixes is the snare is always crisp and on top of the vocal, and the vocal sits effortlessly behind it, always perfect. It’s such an attitude, instant stankface.
Old 19th May 2020 | Show parent
  #1751
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by Classic ➡️
I produced/mixed this track, doing my best to get close to his approach. The main thing I notice for both his country and pop mixes is the snare is always crisp and on top of the vocal, and the vocal sits effortlessly behind it, always perfect. It’s such an attitude, instant stankface.
You did good work, especially in the verses.

Yes, Serban always manage to move the kick, snare and bass in front of the lead vocals without clouding them - magic ears, magic hands.
The toms are way back in the mix without sounding wimpy.

And listen to the control he has over the low-end - in the pocket.

And his choruses never collapse, it's an arrangement thing as well of course, but you can hear how he has sorted everything to fit like a glove.

Even though is sounds like he low-cuts the lead vocals quite a bit, I'm not so sure he does. Crank the volume and listen to the Thomas Rhett track and you get the feeling of a low-end component in the vocals, especially in the choruses.

It's a nice track but not one of his best work. I think the guitars could have sounded a little bit more fresh and open, without poking the mix. On the other hand, they sound good as they are. :-D
He manage to control the electric guitars very well, taking away most of the "I'm the guitarist"-twang and making them into pop-elements - definitely his signature sound.

The upper mid-range and treble boost, my guess that's been added in the mastering, because it doesn't quite sound like Serban would mix like that.

Listen to the three choruses back to back, much to be learnt in terms of arrangement and mixing. And listen to the drum fill into the third chorus, it's way back in the mix, enhancing the groove and feeling of getting into the third chorus without raising the volume. Then bam, third chorus!


Just my two cents
Fred
Old 19th May 2020 | Show parent
  #1752
Quote:
Originally Posted by Classic ➡️
Serban has done a good bit of Country Pop mixes that I really love, which still has his sound. For example: Thomas Rhett’s “Look What God Gave Her

I produced/mixed this track, doing my best to get close to his approach. The main thing I notice for both his country and pop mixes is the snare is always crisp and on top of the vocal, and the vocal sits effortlessly behind it, always perfect. It’s such an attitude, instant stankface.
Awesome findings! And thanks for sharing... Now that you say it about the snare, I'm going to have to go back and re-listen for it and figure out how he does it.
Old 19th May 2020
  #1753
One of the things about Serban mixes in particular (though it is possible that it is more in the production) is there always seems to be a really present, dry, super high frequency rhythmic "click" or hit. It adds quite a bit of sonic interest if you really pay attention to how its placed. Check out "Into You" by Ariana Grande, its especially noticeable if you are looking for it as an example.
.
Old 19th May 2020 | Show parent
  #1754
Gear Guru
 
🎧 15 years
Quote:
Originally Posted by CanadaSC1 ➡️
Awesome findings! And thanks for sharing... Now that you say it about the snare, I'm going to have to go back and re-listen for it and figure out how he does it.
Quote:
Originally Posted by CanadaSC1 ➡️
One of the things about Serban mixes in particular (though it is possible that it is more in the production) is there always seems to be a really present, dry, super high frequency rhythmic "click" or hit. It adds quite a bit of sonic interest if you really pay attention to how its placed. Check out "Into You" by Ariana Grande, its especially noticeable if you are looking for it as an example.
.
Your second post kind of answers your first post. The snare in that track is short and tight. As a result, it doesn't cover up the vocals.

Alistair
Old 19th May 2020 | Show parent
  #1755
Quote:
Originally Posted by UnderTow ➡️
Your second post kind of answers your first post. The snare in that track is short and tight. As a result, it doesn't cover up the vocals.

Alistair
I was meaning there is a distinct, purposeful, separate staccato high-frequency sound, as in not associated with the snare or shaker or anything else. It happens rhythmically, not quite randomly, but it really excites my eardrum in ways that few high-frequency sounds could.

I first noticed this high-frequency sound when I was at the Barefoot Sound factory in Portland Oregon listening to a set of their MiniMain12's. Once you hear it, it is difficult to unhear it. I found the stems to "Into You" online, will analyze them next week once the studio reopens.
.
Old 19th May 2020 | Show parent
  #1756
Gear Guru
 
🎧 15 years
Quote:
Originally Posted by CanadaSC1 ➡️
I was meaning there is a distinct, purposeful, separate staccato high-frequency sound, as in not associated with the snare or shaker or anything else. It happens rhythmically, not quite randomly, but it really excites my eardrum in ways that few high-frequency sounds could.

I first noticed this high-frequency sound when I was at the Barefoot Sound factory in Portland Oregon listening to a set of their MiniMain12's. Once you hear it, it is difficult to unhear it. I found the stems to "Into You" online, will analyze them next week once the studio reopens.
.
Yes I realise you were talking about something else, and I agree. I was just using it as a jumping point to answer your other post as it is somewhat related. Short tight sounds add energy but don't take up much place in the mix. So the principle can be used for extra percussive elements but it is also useful to choose short tight sounds for the main percussion, like the snare, so that it can be mixed quite loud without stepping too much on other elements.

Alistair
Old 20th May 2020 | Show parent
  #1757
Registered User
 
🎧 10 years
What is this ?
Attached Images
Serban Ghenea Mixes - all ITB?-150d7633-ab1a-40d6-9953-8d6e5f5cd2af.jpeg 
Old 20th May 2020 | Show parent
  #1758
XDX
Gear Nut
 
XDX's Avatar
 
Quote:
Originally Posted by jordanbarnett ➡️
What is this ?
Goniometer from DK-Technologies. Can't really see the model.
Old 20th May 2020 | Show parent
  #1759
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by CanadaSC1 ➡️
When you listen to Serban's mixes back to back, there is a common "sound signature" to his work. I studied this extensively in hopes to figure out his winning recipe, and applied my learnings to a mini-album project I recently completed with a Swedish cover band. Here is a link to the songs (I think I'm allowed to post links like this?) https://www.dropbox.com/sh/00u61y9yw...6ytElyjCa?dl=0. Note the songs are copyrighted so this is for listening and learning only...

Of course I'm biased, but I think the songs' sonic signature is not too dissimilar to Serban's, but who knows eh. I'd like to hear some comments from others following this thread, so feel free to have a listen on the above link. If y'all think the sound is reasonably close to Serban's sound, I'll post how I achieved it all as yes, that was all mixed and mastered here in our studios (but recorded in Sweden). Fire away!
I think you have done a good job here. I’m not really hearing Serban jump out at me though after a quick listen. There is a smoothness that u have nailed which is Serban like. I think though that there is something more dynamic about the way Serban uses delays and reverbs for a start. This mix sounds more traditional. His come and go and do strange things. Speaking of, I feel more ear candy moments swirl in and out of Serban’s mixes in terms of ambience. Also, the drums sound a bit old school to me. Not in a cool retro way but in a more vanilla way. They feel like they could have more processing/saturation/messing. More a stylistic statement. Having said that, Lots of good stuff in the mixes. Totally decent job for sure. Thanks for sharing.
Old 21st May 2020
  #1760
Old 22nd May 2020
  #1761
Now that's a better view...
Attached Thumbnails
Serban Ghenea Mixes - all ITB?-serban-ghenea-mix-room.jpg  
Old 22nd May 2020 | Show parent
  #1762
Moderator
 
psycho_monkey's Avatar
 
🎧 15 years
That's really interesting (and a great studio shot with all the Gene Atmos speakers!).

I'd love to ask @ TheHanes - this article mentions yourself and Serban sharing the studio - how does that work? you both sound unfeasibly busy, I'm assuming there's a 2nd room? Similar setups, or do you both have different preferences?

Thanks for participating!
Old 22nd May 2020 | Show parent
  #1763
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by psycho_monkey ➡️
I'd love to ask @ TheHanes - this article mentions yourself and Serban sharing the studio - how does that work? you both sound unfeasibly busy, I'm assuming there's a 2nd room? Similar setups, or do you both have different preferences?
A great read, thanks!

They must have tremendous fun up-mixing their work to Dolby Atmos.

Comparing the two pictures available, they have two different rooms, right?

Serban's room looks like a stereo setup, and John's seem to be a stereo and 7.1.4 - both rooms having the same stereo speaker setups - Quested and ProAc.


Cheers
Fred
Old 22nd May 2020 | Show parent
  #1764
Moderator
 
psycho_monkey's Avatar
 
🎧 15 years
Quote:
Originally Posted by frenzy ➡️
A great read, thanks!

They must have tremendous fun up-mixing their work to Dolby Atmos.

Comparing the two pictures available, they have two different rooms, right?

Serban's room looks like a stereo setup, and John's seem to be a stereo and 7.1.4 - both rooms having the same stereo speaker setups - Quested and ProAc.


Cheers
Fred
Yeah you may be right - I didn't compare side by side, just noticed things like the phone in a similar place
Old 22nd May 2020 | Show parent
  #1765
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H-Rezz's Avatar
 
🎧 15 years
Quote:
Originally Posted by psycho_monkey ➡️
That's really interesting (and a great studio shot with all the Gene Atmos speakers!).

I'd love to ask @ TheHanes - this article mentions yourself and Serban sharing the studio - how does that work? you both sound unfeasibly busy, I'm assuming there's a 2nd room? Similar setups, or do you both have different preferences?

Thanks for participating!
I think the setups must mirror each other to a great degree because in the article it does say..

'Recognizing the immersive format’s potential, the pair decided to start playing with the technology, adding Genelec 8320 speakers to the existing monitor setup in Hanes’ room to ultimately create a 7.1.4 setup'.
Old 22nd May 2020 | Show parent
  #1766
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by psycho_monkey ➡️
Yeah you may be right - I didn't compare side by side, just noticed things like the phone in a similar place
It's like those detective games on the iPad. LOL!

One thing that strikes me is how little their choice of speakers is being discussed.

The speakers are obviously an important part of their workflow, and they have used the same speakers for stereo playback and have for a very long time, I guess.

Passive speakers, in this day and age when most producers having active speakers?

And the old studio standard, Yamaha NS10, passive speaker.

Maybe we should ask yourselves if we are moving forward or backwards using active speakers?

John's surround system is active, but reading the article, I get the feeling that it's a compliment to the stereo speakers and that the serious creative work is being done of the main speakers.

Or maybe the design of the speakers doesn't matter as long as they sound good? ;-)



Cheers
Fred
Old 22nd May 2020 | Show parent
  #1767
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TheHanes's Avatar
Quote:
Originally Posted by psycho_monkey ➡️
That's really interesting (and a great studio shot with all the Gene Atmos speakers!).

I'd love to ask @ TheHanes - this article mentions yourself and Serban sharing the studio - how does that work? you both sound unfeasibly busy, I'm assuming there's a 2nd room? Similar setups, or do you both have different preferences?

Thanks for participating!
So first let me say I've been following YOUR posts here for quite a while and have a lot of respect for your knowledge and wisdom.

Next, thanks for complimenting my messy, low-budget studio with our quarantine haircuts. We kind of resisted sending a photo, but in the end sucked it up.

If it said that we share a studio, we meant the building. We actually have several studios set up here. Serban has a dedicated room and I have a dedicated room. We've been in these rooms since 2003. And yes, the amount of work passing through here astounds even myself sometimes. We have to be super efficient, streamlined, and distraction free. Which is not so difficult when all clients are remote and no-one ever visits us! Basically we've been self-isolating for 20 years!

You might make out from the photo that we are working out of a house environment and not a commercial space. We designed and built out these rooms ourselves. Keep in mind the because we don't do recording, the need for good isolation is minimized.

We do have to maintain pretty much identical setups as far as hardware, operating system, protools version, plugins, and plugin versions; so we are very careful about making sure we don't do an upgrade or add a plugin without the other system matching.

I've added the Atmos hardware on top of the existing system, so I could streamline it a bit more if I didn't need to maintain perfect session interchange compatibility.

Happy to participate and share more now; you can imagine the reasons to stay quiet in the past. I'm sure as more forum members figure out exactly who you are talking to I'll get a lot more questions, so just let me say I'm not going the be the Serban Whisperer! I'm happy to talk about my experiences but won't be sharing his "secrets" (of which we all know there are none except excellent skills and a super work ethic).
Old 22nd May 2020 | Show parent
  #1768
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TheHanes's Avatar
Quote:
Originally Posted by frenzy ➡️
It's like those detective games on the iPad. LOL!

One thing that strikes me is how little their choice of speakers is being discussed.

The speakers are obviously an important part of their workflow, and they have used the same speakers for stereo playback and have for a very long time, I guess.

Passive speakers, in this day and age when most producers having active speakers?

And the old studio standard, Yamaha NS10, passive speaker.

Maybe we should ask yourselves if we are moving forward or backwards using active speakers?

John's surround system is active, but reading the article, I get the feeling that it's a compliment to the stereo speakers and that the serious creative work is being done of the main speakers.

Or maybe the design of the speakers doesn't matter as long as they sound good? ;-)



Cheers
Fred
I'll give my opinion about speakers because it is one of the things that all engineers should be thoughtful about.

Passive speakers vs. active. I don't want anything to change, limit, protect the speaker from the amplifier. If I make a sound that is going to blow a speaker, I better be able to hear it without protection kicking in otherwise how can I get rid of it? That being said, it is easy to replace the woofer on the Pro-Ac as necessary.

Producers would have more reasons to use active speakers; speaker protection is very important in that scenario.

I hated the NS-10's! Mainly because the thin paper cone and thin fabric surround on the woofers is so prone to failure. Also didn't like the sound.

Speaker Selection. I don't want anything TOO good! If I can make a mix sound really good on mid-level speakers (yes, i'm calling Pro-AC Studio 100 mid level), it will sound good on a larger variety of playback systems than if I only make it sound good on a top-shelf system. Hearing these mixes on an absolute top of the line mastering playback is amazing! But I don't necessarily think that mixing on that same mastering system would be as easy for me.

Speaker Familiarity. We've been using the same Pro-Ac with Bryston 4BSST setup for about 25 years I guess, and in these same rooms for 17 years. I know what these speakers sound like on everything, so I know how to mix on them. I know what this room sounds like on everything with these speakers. That is so important to consistent quality.

The active surround system is ideal for what it is intended for. The Genelecs are really accurate and have really good imaging. I need to get familiar with them more, but as I said in the article; I'm not using them for EQ'ing sounds, just for imaging in surround. The ability to tune them to each other using GLM, the ability to turn all on and off with the control software is really important when you've got 12 speakers.

To sum up I guess I would say that specialization is OK! Each scenario has different needs. There is not any one speaker that fits every requirement no matter how "good" it is.
Old 22nd May 2020 | Show parent
  #1769
Lives for gear
 
H-Rezz's Avatar
 
🎧 15 years
Quote:
Originally Posted by TheHanes ➡️
So first let me say I've been following YOUR posts here for quite a while and have a lot of respect for your knowledge and wisdom.

Next, thanks for complimenting my messy, low-budget studio with our quarantine haircuts. We kind of resisted sending a photo, but in the end sucked it up.

If it said that we share a studio, we meant the building. We actually have several studios set up here. Serban has a dedicated room and I have a dedicated room. We've been in these rooms since 2003. And yes, the amount of work passing through here astounds even myself sometimes. We have to be super efficient, streamlined, and distraction free. Which is not so difficult when all clients are remote and no-one ever visits us! Basically we've been self-isolating for 20 years!

You might make out from the photo that we are working out of a house environment and not a commercial space. We designed and built out these rooms ourselves. Keep in mind the because we don't do recording, the need for good isolation is minimized.

We do have to maintain pretty much identical setups as far as hardware, operating system, protools version, plugins, and plugin versions; so we are very careful about making sure we don't do an upgrade or add a plugin without the other system matching.

I've added the Atmos hardware on top of the existing system, so I could streamline it a bit more if I didn't need to maintain perfect session interchange compatibility.

Happy to participate and share more now; you can imagine the reasons to stay quiet in the past. I'm sure as more forum members figure out exactly who you are talking to I'll get a lot more questions, so just let me say I'm not going the be the Serban Whisperer! I'm happy to talk about my experiences but won't be sharing his "secrets" (of which we all know there are none except excellent skills and a super work ethic).
Hi John great to have you on here with your vast experience as an engineer and mix engineer!

I'll start with a question, I'm sure you'll have your hands full soon! do you find you gravitate to various mix bus chains depending in the style of music, example mixes for Lana Del Rey or Camila Cabello, or do you have one general chain you know just works? Feel free to share! Btw How many db's do you normally leave for the mastering engineer to do their thing?

Best
Tony

Last edited by H-Rezz; 22nd May 2020 at 03:51 PM..
Old 22nd May 2020 | Show parent
  #1770
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TheHanes's Avatar
Quote:
Originally Posted by H-Rezz ➡️
Hi John great to have you on here with your vast experience as an engineer and mix engineer!

I'll start with a question, I'm sure you'll have your hands full soon! do you find you gravitate to various mix bus chains depending in the style of music, example mixes for Lana Del Rey or Camila Cabello, or do you have one general chain you know just works? Feel free to share! Btw How many db's do you normally leave for the mastering engineer to do their thing?
If it's going to turn into that; let's move it out of this thread and maybe we can get an Ask Me Anything or Q & A kind of thing going? Not exactly sure how to go about that;

Can we ask a moderator like @ Lindell or @ psycho_monkey to look into it?

Last edited by TheHanes; 22nd May 2020 at 04:20 PM.. Reason: adding tags
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