Fun vintage mixing challenge

[bmanic]

I had some fun today mixing with The Analogue Molecule system for Reaper. I decided to try to create an authentic vintage mix, using all the tools I might have had available to me back in the late 70's. Okay, I did cheat a little.. had a few FabFilter Pro-Q4 instances too but all the big moves are done with Pultecs, 1176, LA-2A, Helios EQ etc. and going through The Analogue Molecule plugins and then through The Hot Summer for summing.

For reverb I used a Lexicon 224 on the vocals and the Capitol Chambers on drums. Nothing else. I kept it dry as was quite usual for 1970's mixes.

All tracks also had a tape emulation (UAD Ampex ATR-102) on each track at 15 ips.. which was kind of unnecessary considering the tracks are original tape transfers from 1975. But I just wanted to double it all up. More is more!

I then mastered the mix, also trying to keep to the vintage ethos, and "printed the track" to Vinyl using TDR Simulathe, which was being fed by IK Multimedia TEAC A-6100 mk2, which is of course not from the 70's but I like it's wonky wobbly vibe and strange frequency response. In TDR Simulathe I had all the defects turned on so all the crackles, clicks and noise hum you hear is from the Vinyl and all the tape instances.. and of course form the original tape transfer too. So yeah, this one is rather noisy but I think it turned out surprisingly authentic in it's vibe.

The original multi-tracks are from https://cambridge-mt.com/ms3/mtk/

Band: Street Noise
Song: Revelations

Reference: Original tracks summed, some volume adjustments and panning.
(Google Drive, mp3, 10.6mb)

Vintage mix + master: Street Noise, Revelations (Google Drive, mp3, 10.6mb)

[Benedict]

Deffo feels good. And that is all that matters. So well done.

For that vintage, you are a bit too low-low oriented, and probably too wide. Those mixes focused on punch over low-lows. So think 120Hz rather than 60Hz. Using the first harmonic lets you pull back the low bass and the listener will perceive it. Similarly, the width we take as standard today was not done back then as gear didn't respond so well to it. While hard panning did happen (eg AC/DC, which was considered a shock), things overall were more central - avoiding "aural tennis".

Lots of that came from mono listening on 2" paper cones over AM Radio as well as what would safely go on vinyl for the average user. As well as the overpanning we tend to these days, creates fatigue. Just listening to Devo "Freedom Of Choice" and while there is indeed stereo, it is more 'behind' than in-yer-face. That makes the real message very present.

Still seeing there is a bit of a Chicago vibe in the source, it comes out nicely and that is all that matters. If you learned that you don't need fancy (read silly, damaging) sprongles to feel like you can do it, that is the real win from these things.

Have a go with another set (this one is not bad to do) and use nothing but what would come on an SSL Console (easy to do in Reason). Once you let go of the perceived (junkie) need-need for Kerspongulaor Pro XVIII you realize mixing is a very different form and much nicer overall.

This is one I did for a training course in a forum. I kept the mindset on as if it were: On TV and she is the hero of the thing (the Whitney Woo of the moment). I believe the tracks are still there - along with many others. Being Telefunken, the track sets are good. Similarly, the Lewitt ones tended to be good too - assuming they are still up.

[bmanic]

Thanks for the comments! Yes, you are absolutely 100% correct about the bass response. It's way too low down and a bit too much of it (quite a bit is actually the rumble from the vinyl simulation). However I do not agree with width/panning. I have tons of LPs from that time period which are super wide.. my Vanhalen 1978 record for instance. That thing ain't no mono. It's wiiiiiiiiiide. Same thing with the Yes albums of that time.. or almost any of the prog rock things.

But yeah, the mix is definitely way too beefy and condensed. I should have carved a lot more frequencies and actually use filters on everything. I also should have volume automated things but I was too lazy.. so it's a pretty static mix.

Anyhow, it's a fun thing to mix as it's just a few tracks and some of them in quite poor condition so it's enough of a challenge when avoiding modern tools.

Cheers!
bManic

[Karakhi]

This looks like a fantastic exercise. Working with strict constraints always forces you to focus on raw volume leveling and fundamental EQ moves rather than hiding behind modern production tricks.

[jamcat]

How much of the “vibe” would you say is from Analogue Molecule and Hot Summer? It would be interesting to hear the same mix without them, to gauge how much they’re adding.