29
“Show Me” (rock ‘n’ roll)
Performed by The Raid.
Mark Morris: drums.
Paul Taylor: lead guitar.
Sam Street: bass.
Andy Maguire: rhythm guitar.
Adam Robinson: vocals.
Produced by The Raid and Jacques De Kooning.
Recorded at Orgone Studios, London.
Engineered by Jaime Gomez Arellano.
Edited by Ori Kadishay and Andrew Phillis.
Mixed (in Pro Tools) by Roey Izhaki.
Mastered by Jaime Gomez Arellano (www.orgonestudios.com) at Orgone Studios, London.
The Raid is a five-piece rock ‘n’ roll band from Hemel Hempstead, UK. An old number of theirs—”Show Me”—was rerecorded for this book at Orgone Studios in London over a period of approximately 6 hours.
“Show Me” called for a mix associated with the words “loud” and “aggressive.” A production that sprang to mind as a rough reference was “Search and Destroy” by Iggy and the Stooges, where a lot of sounds go “above red.” Yet the general plan for “Show Me” was to create a more contemporary sound and not to go to similar extremes.
One specific aim for the particular mix presented here was to have it done “the analog way.” This is less in the sense of how it sounds, but more in the sense of how many and which processors and effects are used. I’ve tried to limit these to what one might find in a typical analog studio—a dynamic section and four-band EQ per channel, and a few reverb units. The line-trims allowing the generation of distortion on an analog console were simulated by various distortion plugins. Also, to keep the mix “real,” no drum triggers were used, nor was there any re-amping of the DIs. My only sin in that respect was the usage of some tom-runs.
Track 29.1 is the mix-ready of the multitrack, involving rough levels and panning only. Track 29.2 is the mixed version, and Track 29.3 is the mastered version.
Drums
Overheads
Inserts: Digirack Expander/Gate, Bomb Factory 76, Digirack EQ III.
The drums were recorded with two sets of overheads: a pair of U87s above the drum kit in Blumlein configuration (Track 29.4) and a pair of Cole 4038s as a spaced pair about 4 m from the drum kit (Track 29.5); there was also a single NT5 in the corridor leading to the studio (Track 29.6). The main studio, where the drums were recorded, is evidently quite big and reverberant, and virtually all the overheads had too much room for a mix that called for a rather tight space. From all the options, the U87s were picked for having least space and for their tonality; but these still needed an expander to reduce the amount of ambiance, while also adding some punch (Tracks 29.7 and 29.8).
As the production starts with a drumbeat only, it made sense to make it sound exciting, a task for which a pumping compression or distortion usually work when applied on overheads or a drum mix. The Bomb Factory 76, set to fairly drastic settings (fastest release and attack and limiting ratio), did a pretty good job of adding both pumping compression and distortion, and gave listeners a reason to get excited (Track 29.9). It is worth mentioning that, due to the nature of the intro beat, this is where this production started being mixed; so, in a way, everything that followed was somewhat referenced to this intro beat.
One problem with these distorted-pumping overheads was that, while they were more than appropriate in the intro, as the song progressed, the effect made the drum sound spin out of control. So these overheads were automated to dive 3 dB when the bass is introduced and another 7.6 dB when the guitars explode; they do come up again in the first part of the second verse to compensate for the sparser mix.
Following the compressor, an EQ was inserted, mainly in order to reduce some low-end boominess and add some clarity (Track 29.10).
Overheads (duplicate)
Inserts: Digirack Expander/Gate.
As the pumping overheads had to dive in level, it was necessary to introduce another set of overheads of a more relaxed and solid nature. Effectively, the previous track was duplicated, but the compressor and EQ were removed from it (Track 29.11). This duplicate track is consistent in level, and together with the previous overheads it constitutes a parallel-compression/parallel-distortion arrangement. Tracks 29.12 and 29.13 present the intro with and without the duplicate.
Kick
Inserts: Digirack Expander/Gate, Digitrack Compressor/Limiter, SoundHack +Chebyshev, Digirack EQ III.
The original kick (Track 29.14) was first gated in order to eliminate spill and to add a bit of “click” (Track 29.15); the gate was automated to be bypassed during crescendo, where it gates the soft hits. A compressor follows to add more attack (Track 29.16).
Although both the expander and compressor add click by shaping the dynamic envelope of the kick, after mastering there is a chance these will be greatly softened. So the +Chebyshev follows to add a click through frequencies, which is more likely to be retained after mastering. The fifth harmonic on the +Chebyshev was set all the way up, and, although often too extreme, in this case it “burns” the attack and gives it a somewhat analog feel (Track 29.17).
Finally, an EQ shaped the final tone of the kick, with a boost of 6.6 dB at 81 Hz to add oomph, –5 dB at 377 Hz to remove plastic, and a 3.4 dB boost at 7.3 kHz to fine-tune the attack (Track 29.18).
Snare
Inserts: McDSP G Dynamics, Soundtoys Decapitator, Digirack EQ III.
Sends: 112 dB redline reverb.
The original snare (Track 29.19) first goes through the McDSP G Dynamics, where the compressors have two roles: to balance out the hits and to add some attack (Track 29.20). Originally, the gate was also engaged to remove spill, but later in the mixing process it was determined that the snare sounds all the more healthy without the gate.
Following the compressors, the Decapitator was employed to add a few harmonics while also shaping what was a slightly wimpy tonality (Track 29.21). This was followed by an EQ with –2.9 dB at 1.2 kHz that eases a frequency range that, despite making the snare stick out a bit more, was annoying (Track 29.22).
All the reverbs used in this mix are the 112 redline reverb and all were loaded as “stubs”— temporary plugins that are there to give an idea but their effect is not fine-tuned. Somehow, though, these reverbs held well throughout the mix. The redline reverb, in my opinion at least, seems to do an excellent job of adding shine, which is very much what is needed from a reverb in a dense track such as “Show Me.” In the case of the snare, the reverb was added to push the snare backwards as it was standing out a touch too much (Track 29.23). But the reverb didn’t complement the drumbeat at the intro, and so the send is only enabled as the guitars explode.
Hi-hats
Inserts: Soundtoys Decapitator.
I rarely find hi-hat microphones useful (many times I wish hi-hats had never been invented), but this is a good example of where they can be. The hi-hats are only mixed during the intro up until the explosion. During the first 12 bars, the hi-hat microphone (Track 29.24) was panned opposite the overheads’ hi-hat to widen the stereo image and for the effect caused by the short delay between the hi-hat microphone and the overheads. Then, the hats were utterly distorted using the Soundtoys Decapitator (Track 29.25); this is part of the heavily processed strategy used during the intro, and there’s not much harm in doing so in this section, as the distortion has little to mask.
Tom 1
Inserts: Digirack EQ III.
Both the (real) toms are only heard during the pre-chorus bridges. Tom 1 (Track 29.26) was only equalized with an HPF that rolls off low frequencies that added unwanted boominess; a 2.5 dB boost at 107 Hz compensates for the removed lows and –10 dB at 249 Hz improves the tom timbre (Track 29.27).
Tom 2
Inserts: Bomb Factory 76, Digirack EQ III.
Tom 2 (Track 29.28) is being compressed by the Bomb Factory 76 in order to balance out the hits and also add some attack (Track 29.29). The following EQ is very similar to the treatment of Tom 1 (Track 29.30).
Toms 1 and 2 (tom runs)
Inserts: Bomb Factory 76, Digirack EQ III, Soundhack +Chebyshev.
Both toms (Track 29.31) are treated in a very similar fashion. First, the Bomb Factory 76 adds some attack (Track 29.32). Then an EQ boosts the tone in lows and attenuates the low-mids (Track 29.33); in the case of tom 2, there is also a boost on the 2 kHz. Then the +Chebyshev adds some harmonic complexity and definition (Track 29.34).
Bass
Inserts: PSP Vintage Warmer 2, Digirack EQ III, Soundtoys PhaseMistress.
The bass (Track 29.35) first goes through the Vintage Warmer, which largely balances out the level of different notes.
Then the EQ III shapes the sound of the bass, but, more importantly, blends the bass into the mix. There is a 3.5 dB boost on 71 Hz to add some fatness (Track 29.36); a –5.6 dB dip at 194.2 Hz that removes some honkiness (Track 29.37); and a 3.4 dB boost at 2.7 kHz to add some metal and definition (Track 29.38). Although the settings ended up with what seems to be a rather typical treatment for a bass guitar, it did take some effort to reach the final frequency, gain, and Q settings.
Following the EQ, the PhaseMistress added a touch of fluidity and life to the bass (Track 29.39). Also, the bass was automated in level to drop with the intro explosion, and then was brought up again for the first part of the second verse.
Rhythm guitar
Inserts: Soundtoys Decapitator, Skonalsis SV-719.
There are two mono overdubs of the rhythm guitar and these were panned hard-left andright (Track 29.40). During the bridges, both parts were “manually gated” by cutting the regions and then adjusting fades; this was done to achieve a sharper and tighter effect (Tracks 29.41 and 29.42). Both mono recordings were routed to the rhythm guitar bus, where processing took place.
Although the rhythm was powerful all right, I felt that its sound was a bit too washy and needed more dirt. So what was already distorted got distorted again using the Decapitator (Track 29.43). The following SV-719 is in ducker mode with the vocal ducking the rhythm guitar. The idea was to clear some space for the vocal but also add some variations on the otherwise flat level of the rhythm. After setting it all up, the ducking of the rhythm seemed to hamper the mix, but if compensated the rhythm seemed to be too loud when there were no vocals. So the final settings involve a tiny 1 dB of ducking, which, admittedly, is very subtle (Track 29.44).
Lead guitar
Normal lead
Insert: Digirack EQ III.
Sends: 112 dB redline reverb.
Two lead guitar overdubs were panned roughly halfway to the extremes (Track 29.54). Both are equalized very similarly with an HPF (around 280 Hz) to remove rumble (Track 29.55), a 2.5 dB boost around 450 Hz to add some “meat” (Track 29.56), and a 3.4 dB dip at 3.7 kHz to reduce masking and excess of edge (Track 29.57).
The dry lead felt a bit frontal so it was sent to the ambiance reverb, which panned it back a bit (Track 29.58).
Lead slides
Insert: Digirack EQ III.
During the bridges, the lead parts were copied to new tracks, where both overdubs (Track 29.59) were treated with only an HPF at 261 Hz (Track 29.60). In these sections, the lead is not sent to a reverb. The idea was to create some interest by briefly modifying the tonality and spatial location of the lead.
Lead solo
Insert: Soundtoys Echoboy.
Sends: 112 dB redline reverb, Soundtoys Echoboy.
Although the solo was indeed powerful (Track 29.61), I was after a slightly more aggressive type of sound. The delay part of the Echoboy was disabled (0 delay time), and the extra aggressiveness is the result of a high input and saturation setting going into the “master tape” simulation, which is part of the plugin (Track 29.62).
During the solo, the lead is sent to the same reverb as the vocal; this was just an experiment, and I liked the result (Track 29.63). Then, during the second part of the solo, the lead is also sent to another Echoboy, but this time one that is configured as a delay. This was done to add a bit more chaos and to fill some space shortly after the solo ends (Track 29.64).
Lead accents
Insert: Soundtoys Echoboy.
Sends: 112 dB redline reverb.
In three instances, I wanted to emphasize the part played on only one of the lead overdubs, so the selected part was moved to a new track and treated with the same effect as the solo guitar while being panned center (Track 29.65). The lead in these parts was sent to the ambiance reverb for depth purposes (Track 29.66).
Feedbacks
Sends: 112 dB redline reverb.
There are two feedback tracks during the intro and three during the second verse (Track 29.67). All these had a generous send to the ambiance reverb (Track 29.68).
Vocal
Having listened to the song before, it seemed obvious to me that it demanded a different vocal sound in the second verse. I also thought the voice on the choruses should be more aggressive than that of the verses. Perhaps having yet another effect on the vocal in the bridges was overdoing it slightly, while for some it might seem nothing of the sort.
So the vocal ended up having four different effects. Each was achieved on a different track: there’s the effect only heard on verse one; there’s the effect heard on the first and third bridges; there’s the effect on the choruses; and there’s an effect on verse two, which carries on to bridge two (so as not to have all three bridges containing the same effect).
Verse one vocal
Inserts: Sonnox Oxford Dynamics, Soundtoys Decapitator, Soundhack +Chebyshev.
Sends: 112 dB redline reverb.
The vocal on verse one (Track 29.69) is first balanced out using the Oxford Dynamics, in which the side-chain is equalized to reduce low-frequency content (Track 29.70). It is then distorted using the Decapitator (Track 29.71), and then the +Chebyshev adds additional dirt and harmonics (Track 29.72). Finally, the vocal is sent to the vocal reverb, which places it in space (Track 29.73).
Bridge vocal
Inserts: Sonnox Oxford Dynamics, Soundtoys Echoboy, Digirack EQ III.
Sends: 112 dB redline reverb.
The same Oxford Dynamics compression is applied on the bridge vocal (Track 29.74). This is followed by the Echoboy with its delay set to 0, but the saturation module set to high input and saturation into a telephone simulation (Track 29.75). The EQ III attenuates a 4 dB excess of 2 kHz (Track 29.76). There is more reverb on this vocal, which sends it backwards and gives it an announcer-type effect (Track 29.77).
Chorus vocal
Inserts: Sonnox Oxford Dynamics, Soundtoys Decapitator, Digirack EQ III.
Sends: 112 dB redline reverb.
The same compressed version of the vocal (Track 29.78) feeds the Decapitator in highdrive mode and results in a very obvious distortion, suitable for this part of the song (Track 29.79). Then the EQ attenuates a 4 dB excess at 2.6 kHz (Track 29.80). There is then some reverb (Track 29.81).
Verse two vocal
Inserts: Sonnox Oxford Dynamics, Soundtoys Decapitator, Digirack EQ III.
Sends: 112 dB redline reverb.
The same compressed vocal (Track 29.82) feeds the Decapitator, but this time I was after a crisp effect (Track 29.83). The EQ was added in order to give it a unique resonance. A 14 dB boost at 852 Hz is balanced by a –10 dB attenuation at 1 kHz. As the two bands overlap, the boost on 852 Hz is pulled down to 7 dB (and the –10 dB is pulled up to 3 dB); the effect can be heard on Track 29.84, and with reverb on Track 29.85.