Working on the O-Zi mixes
22 Jan 11
I spent most of today waiting for people to show up at the studio, and after 2 people cancelled (calling, or waiting for me to call them after our scheduled meeting time -what’s up with these people) I decided to take out my frustrations on my new mix project with o-zi. I LOve working on mixes that are already 80% there rough or brought in by the clientthe artist has already worked out the song and made the mix as best as they can by themselves. The ideas are there and I just have to come in and work on things like CLARITY and fidelity. You know, like actual engineering stuff. This is very pleasurable for me because 90% I’m just find myself fixing problems that the artist should of figured out themselves. Its about working with what you’ve got, again and again, getting it the best YOU can and then bringing it into the studio.
O-zi is typical hip-hop with a nice underground sampled stoner aesthetic. I really like working on this type of hip-hop because its all about fidelity. Taking the original files from logic I upsampled to 88.2k and did some basic compression / shaping techniques in the box before breaking out everything across the console. Because I was going for a very “analog” sound I was resolved to do as much out of the box as I could. I played around with the 20 or so tracks through the board shaping with the consoles eq and a couple outboard compressors on the vocals. Because I still wanted to do some serious sidechaing and digital subroutine and maximizing of which I only know how to do in the box I then re-tracked everything back into Cubase using the direct outs of the board. This froze all of my levels, and eq at 88k in the session so when I moved back it the box I could generally keep my fades at unity gain. I don’t have any technical reasoning for this, but I believe the less you manipulate a digital audio track in a DAW through gain eq and plugins, the better.
I did my subgrouping, bus compression and grouping in Cubase and the re-sent the groups back through the console where I mixed the 4 stems and printed the master back into the program, and viola! Hybrid 88.2k digital and anolog mixing! I’ll post the mix up here in a few days, listening back on the bus to New Paltz NY through Barbuds and I am VERY pleased.