P2P | 2021年1月24日| 7.65 GB
丹尼尔·布劳恩斯坦（Daniel Braunstein）是美国加利福尼亚州洛杉矶市的一名词曲作者，制作人和混音师。丹尼尔（Daniel）的内心深处是金属头，以与Metalcore和Hard Rock类型的作品而闻名。但是，他在Pop / R＆B等多种流派中工作的热情和经验帮助他发展了创作和混音的方法，融合了来自各个音乐界的意外元素，从而创造了他独特而可识别的声音。
丹尼尔（Daniel）是位于加利福尼亚伍德兰希尔斯（Woodland Hills）的“走廊工作室”（The Hallway Studios）的共同所有人，他有幸与许多崭露头角的表演并肩作战。
“我很荣幸能进行NTM！我希望我能对我的工作流程提供一些见解，并帮助有抱负的制作人和混音师发展自己的风格，创造出具有影响力和个性的声音。” 丹尼尔·布劳恩斯坦（Daniel Braunstein）
声波目标：
我的目标是使这种混合音调尽可能充满活力和重击。因为我是从乐队的头开始制作这首歌的，所以我对使用的声音有很多控制权，因此从一开始我就可以选择可以一起使用的声部。是时候将歌曲带入最终的混音阶段了，当时我已经80％了，所以实际上只是进行了一些小调整，以带来更多的耐性和个性，以及清理我的不良编辑一直在忽略！
注意事项：
–鼓是使用Superior Drummer 3创建的，该鼓已打印到Kick，Snare，Toms，Hat，Overhead和Room中。
–踢音轨将我的触发器打印到一个文件中，无需进行任何处理。
–军鼓分为两个音轨–一个是未经处理的原始高级鼓手军鼓顶部，另一个是没有处理的我的触发器印刷件。
–汤姆斯，帽子，头顶上的东西和房间都没有任何处理，直接超出了上级。
–低音和吉他是DI，但我也加入了放大器声音。这些是用视差和原型制作的，但不包括我的任何后期处理。
–标有“ Low”（低）的吉他与主要节奏吉他具有相同的音调，但音调降低了八度。
–潜在客户包括我所有的处理。
–打击乐包括所有其他节奏元素和效果，808s等。并包括我的处理。
–合成器是歌曲中的印刷键盘/合成器元素，包括我的处理。
–人声如果您想尝试从零开始的任何部分，则我提供了不同的干湿选项。如果不是这样，则湿音轨将反映我的人声混音，但不会处理我的人声主控总线。有趣的是，我介绍了干湿两用的声码器介绍部分，因此，如果您想重新创建或尝试使用它，我可以回顾一下如何在实时流中制作声音！
挑战：
-我认为让它听起来粗糙和失真，同时又要清晰一些学生可能会遇到一些挑战，因为我在混音中所做的某些事情可能与他们所教或所读的内容相悖。做事的方式–但是，为了清理赛道中的空间，我们采取了一些非常谨慎的措施。
-处理人声与混音中处于相同频率范围内的某些失真元素的竞争
-控制低音，随着歌曲的进行进行多次低调，并在普通声音系统上可以听到这些低音。
-可以不提供af * ck而可以。
生产琐事
–去年冬天，当我来访Spiritbox时，我们大约花了2个小时共同创作了这首歌。我们想制作一首笨拙的沉重歌曲，与我们以前写的“ Hard Rock”风格的歌曲脱颖而出。我们创作它的过程非常有趣，并且基本上一直都在笑着它的沉重程度，而在Covid流行之后，我们再也见面也无法完成他们的专辑，所以我们决定远程完成这首歌……我们做到了在几次远程会议上，我感到很愚蠢，并试图使这首歌更加流行，而乐队并没有因此失望。我们最终都同意保持它的简单和繁重！我们在开头和Breakbeat部分的声码器部分中添加了一些独特的优势和特色，就是这样。Courtney基本上只用1拍就在Zoom上和我一起削减了人声，我们完成了。
–在打开会议以输出多音轨词干时，我意识到我的增益分级非常糟糕。哎呀。曲目到处都是剪辑，当我进行本次会议时，您会看到各种各样的奇怪混音选择。我会对此做更深入的探讨，但是我相信，我粗心的混音选择为这首歌和混音带来了很多生命，而更为“谨慎”的混音可能没有。我们对这首歌和混音的任务是使它变得粗糙，所以我扮演的角色是不思索任何东西，不要让东西变形并让自己变得讨厌！
-这是一个混音的例子，我认为我从来没有独奏过。可能需要一秒钟，但大部分时间是混音，听完整首歌，同时演奏所有乐器，并进行整体调整。音轨是关于完整体验的，我想在混音的同时成为其中的一部分。
P2P | 24 January 2021 | 7.65 GB
Daniel Braunstein is a songwriter, producer and mixer based out of Los Angeles, CA. A metalhead at heart, Daniel is most known for his work with Metalcore and Hard Rock genres. However, his passion and experience working in diverse genres such as Pop/R&B, has helped him develop his approach to creating and mixing, that blends unexpected elements from various musical worlds in order to create his unique and identifiable sound.
Daniel is Co-Owner of “The Hallway Studios” in Woodland Hills, CA, where he has had the privilege of working alongside a number of rising and established acts.
“I’m honored to be doing a NTM! I hope I can provide some insight into my workflow and help aspiring producers and mixers to develop their own style and create sounds that are impactful and full of personality.” – Daniel Braunstein
Sonic Goals:
My goals were to make this mix as energetic and hard hitting as possible. Because I produced the song from scratch with the band, I had a lot of control over the sounds we used, so from the very beginning I was able to choose parts that worked together. When it came time to bring the song into the final mixing stage, I was already 80% there, so it really came down to just some small tweaks to bring more grittiness and character in, as well as cleaning up my bad edits that I had been neglecting!
Things To Keep In Mind:
– Drums were created using Superior Drummer 3, which has been printed out into Kick, Snare, Toms, Hat, Overhead and Room.
– The kick track has my triggers printed into a single file, with none of my processing.
– The snare is split into two tracks – one is the original superior drummer snare top with no processing, the other has my triggers printed, with no processing.
– Toms, hat, overhead and room are all straight out of superior with no processing.
– Bass and Guitars are DI, but I included amp sounds as well. These were made with parallax and archetype but do not include any of my post processing.
– The guitars labeled “Low” are the same take as the main rhythm guitars, but are pitch shifted an octave down.
– The Leads include all my processing.
– Percussion includes all the additional rhythmic elements and impacts, 808s, etc.. and include my processing.
– Synths are printed keyboard / synth elements from the song and include my processing.
– Vocals I included different options for wet and dry, if you wanted to try to go from scratch on any parts. If not, the Wet tracks will mirror my vocal mix, but without my vocal master buss processing. For fun I included the intro vocoder part wet and dry, so if you wanted to re-create that or experiment with it, I can go over how I made the sound on the livestream!
Challenges:
-I think getting it to sound gross and distorted, while also being clear may be a little bit challenging for some students, because some of the things I did in the mix may go against what they have been taught or have read are the “proper” way to do things – however, there are some very careful moves made in order to clear out space for things in the track.
-Dealing with the vocal competing with some of the distorted elements in the mix that live in the same frequency range
-Controlling the bass, which goes into multiple low tunings as the song progresses, and enabling those low notes to be audible on normal sound systems.
-Being Okay with not giving a f*ck and just going for it.
Production Trivia
– We wrote this song in about 2 hours together when I came and visited Spiritbox last winter. We wanted to make a stupid heavy song that would stand out from the more ‘Hard Rock’ oriented stuff that we had written. We had a lot of fun creating it and were basically just laughing the whole time about how heavy it was, and after Covid hit, and we couldn’t meet up again to finish their album, we decided to finish the song remotely… We did a couple remote sessions where I was being stupid and trying to make the song more pop and the band was NOT down with it. We ultimately all agreed to keep it simple and heavy! We added in the vocoder part in the beginning and the breakbeat section to give it some unique edge and boom, that was it. Courtney cut her vocals with me on Zoom basically in 1 take and we were done.
– Upon opening my session to output the multitrack stems, I realized that my gain staging was horrible. Oops. Tracks are clipping all over the place and I had all sorts of weird mix choices that you will see when I go through the session. I will go more into depth about this, but I believe that the careless mix choices I made brought a lot of life to the song and mix that a more “cautious” mix may have not. Our mission with the song and mix was to make it gross, so I played the part by not overthinking anything and letting stuff distort and get nasty on its own!
-This is an example of a mix that I don’t think I ever solo’d anything on. Maybe for a quick second, but for the most part the mixing was done listening to the entire song together with all the instruments playing at once, and making adjustments as a WHOLE. The sound of the track is about the full experience and I wanted to be a part of that while mixing.
home page:https://offers.nailthemix.com/spiritbox-on-ntm
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