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Rehab – Amy Winehouse Mixed by Tom Elmhirst
Original Multi-track <ul><li>Recorded by Mark Ronson in Brooklyn, New York in the studio of a band called the Dap Kings. <...
Main Ideas for the Mix <ul><li>Bounced a lot of tracks down, e.g. backing vocals from 12 to 3. </li></ul><ul><li>60’s wall...
Lead Vocals <ul><li>Used: Urei 1176 blackface compressor, pultec EQ, fairchild compressor/limiter, McDSP F2 filterbank, Wa...
Drums <ul><li>Neve 33609 compressor, Waves Q4 paragraphic EQ, Empirical Labs distressor, fairchild compressor, spring reve...
Piano <ul><li>Sony Oxford EQ, TLL TL space, Waves LI ultramaximiser, McDSP F2 filterbank. </li></ul><ul><li>Lots of spill ...
 
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Rehab – Amy Winehouse

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Rehab – Amy Winehouse

  1. 1. Rehab – Amy Winehouse Mixed by Tom Elmhirst
  2. 2. Original Multi-track <ul><li>Recorded by Mark Ronson in Brooklyn, New York in the studio of a band called the Dap Kings. </li></ul><ul><li>Old style, Beatles-esque with the drums panned to one side. </li></ul><ul><li>Recorded drums, piano, guitar and bass all in one room so lots of spill. </li></ul><ul><li>Drums recorded using one microphone to give a live sound. </li></ul><ul><li>Original multi-track only had 20 tracks, but then Mark came to London and recorded strings, brass and percussion. </li></ul>
  3. 3. Main Ideas for the Mix <ul><li>Bounced a lot of tracks down, e.g. backing vocals from 12 to 3. </li></ul><ul><li>60’s wall of sound feel to the production of the track, however also wanted to add more contemporary elements making it more accessible to a modern audience. </li></ul><ul><li>Jumped about a lot, not focusing on one track at a time instead moving to whatever caught his attention. </li></ul><ul><li>Came together quite quickly as Tom knew what he wanted to do already. </li></ul>
  4. 4. Lead Vocals <ul><li>Used: Urei 1176 blackface compressor, pultec EQ, fairchild compressor/limiter, McDSP F2 filterbank, Waves Q10 paragraphic EQ, Waves De-esser, Great British Spring Reverb, EMT plate Reverb. </li></ul><ul><li>Used EQ to cut a lot of frequencies drastically to reduce bite in her voice and give it a warmer quality. </li></ul><ul><li>Urei 1176 catches anything that jumps out, fairchild keeps constant hold of vocals to smooth it out. </li></ul>
  5. 5. Drums <ul><li>Neve 33609 compressor, Waves Q4 paragraphic EQ, Empirical Labs distressor, fairchild compressor, spring reverb. </li></ul><ul><li>Drums on one mono track so no need to worry about balance. </li></ul><ul><li>Used samples for bass drum (B11) and snare. </li></ul><ul><li>EQ’ed original drum track to get as much snare as possible. </li></ul><ul><li>Didn’t worry about low end of drum track as samples would cover this. </li></ul><ul><li>Used EQ on drums to create space for very rhythmic brass parts. </li></ul><ul><li>Compressed recorded bass drum heavily but sent the sample straight to the mix and formed the final sound as a balance between the two. </li></ul><ul><li>Used Brit setting on distressor to give the drums more bite. </li></ul><ul><li>Quite dry in verse with more reverb in the chorus and bridge sections. </li></ul>
  6. 6. Piano <ul><li>Sony Oxford EQ, TLL TL space, Waves LI ultramaximiser, McDSP F2 filterbank. </li></ul><ul><li>Lots of spill from drums and bass so shelved everything from 500hz using EQ. </li></ul><ul><li>Boosted mid to high frequencies to bring out rhythm in high end. </li></ul><ul><li>Added reverb insert adjusting the wet volume to create the desired sound, leaving the dry at 0. </li></ul>

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