This week we had our first critical feedback session which we will be having collaboratively with another class from here on in. The idea is to not only receive constructive criticism and feedback on projects that we are working on but to encourage discussion around our work.
For this week we covered our Cake – The Distance mixes (both analog and in the box mixes). Of course, now I realise the value of writing down feedback…
– Bass too high in the mix
– Lack of high end due to various things such as summing all guitars and keeping them clean/dry/pocketed
– Distortion on double track vocals bites through too hard in certain points creating phasing and disillusion
– Summed chorus vocals has a similar problem although there is no distortion
– Tried to fix high end problem that we ran into with drum kit (didn’t work).
– Needs a shelf on the overheads
I will be back mixing in the TLA soon with Shit Narnia and so it will become important to avoid the things that led to these problems, such as more referencing and time spent before cutting/summing tracks in the session. The method that we used was also highly risky as we were essentially bouncing multiple tracks through an output (summing) and then reimporting the new version back into the session. If we’d have used sub mixes more efficiently and had our session layout/workflow down we would have been able to adjust the submix properties in the box while still only taking a single track on the desk.
Due to reasons beyond my control the session for this week was cancelled for The Clean – Anything Could Happen. As a result of this I’ve taken a number of precautions including two sessions next week, speaking with my lecturer about the leniency of genre direction of the track, ensuring that it would be possible to record a more relaxed psychedelic version (which the direction of our jam showed signs of leaning towards). Trevor and I also met on the aforementioned session day anyway, and notated the drum parts of the song as well as adapted the deconstruction that I wrote earlier in my blog – noting each section, possible bpm changes, the style that it was recorded in etc.
I’ve started doing some research on leading bands/rehearsals as I’ve come to realise there’s much that I must not know..
There seems to be heavy on the difference between jamming and creating a version of a song (obviously). I think after this week Trevor and I will have to structure sessions more rigidly, with specific parts of the song in focus each time. The chorus seems to be a good start point and so in the following two sessions I will aim to direct our group to covering and deciding on/being more familiar with the chorus.
We now have to build the audio session up in Pro Tools using the raw sound files we have been provided with. From there we can begin balancing the dialog mix which we can then augment (mix) with on set ambiance to create an even balance/mix that compliments the film and what’s happening on screen. From there we will augment foley and replace any dialog that absolutely cannot stay.
L O A D I N G . . .