Mic'ed up my kit and just a quick jam with the new mics

Drum Jam

Added a few new items and tweaked the mix a bit more

Doin It Right (Remixed)

Had the pleasure to also do Sound Design on yet another awesome CIA Senior project for Jonathan Tyler Amore. 

Level Data Stream

Main Theme- Byte Me

Spyware Shoot

Spyware Move

Spyware Hurt

Spyware Die

Toss your sharks to eat all the fish and avoid the obstacles 

Treasure Chest

Locking Sound 2

Diver Death

A selection of deep house and drum & bass tracks used as the score for Domain Defense, available on Steam. 

Winter

Underground

Summer

Iron Sheik practice session mixed 10/24/2016

Dry Clean Only- Iron Sheik

Sascha- Dunning Kruger

Japan Song- Dunning Kruger

Part of a vocal demo for an yup and coming local female artist 

Cant Help Falling (In Love With You)

By DPM
Tracked and Mixed by Joshua Suhy 
Nexus Sound Studio
Warren Ohio

Still Sellin' Dope

I approached the track by first regrouping all the stems as I loaded them in my session as well as labeled them accordingly. Once everything was organized, I did a listen though 2 or 3 times to get a rough mix of volume levels so I could really hear the essence of the track and to find a direction to go.

I first attacked the drums, starting with the kick drum. I use the REQ6 as my primary EQ for all tracks int he session, used primary to seek and destroy EQ the sources. I used a high pass filter around 58hz and did a fairly gentle roll off to rid access low wend. I pulled out 3.5 dB at 201hz and 5.4 dB at 687, just to open the kick up and reduce the boxy quality. I did a fairly hefty boost at 1.7kHz (8.4 dB) to really bring the attack of the kick out and get it to punch through the mix a bit more. I also did allow pass filter around 12.8kHz to reduce a bit high end bleed and save a bit more room for the OH's. I then used the SSL Channel for a bit more boosting EQ and added 4 dB at 150hz for some oomph int he kicks thump. I pulled out a bit more lower mids with a fairly wide bell verve around 7K to open the kick a bit more and boosted all 15 db at 5k to really push the attack out. Finally I added 3 or so dB around 10K to add just a hint of air. I used the Expander as well to soften the bleed a bit, range set around 25, setting my threshold around -4dB and the release at about 1.5ms. Finally, since I still didn't get the kick to pop as well, I added an API 550B, pushed 4db at 50 and 180hz for some balls and at 2db at 5 and 7K and got the attack to really stick.

For the snare, I started again with a high pass on the REQ6 at 160hz to pull excess low end out and then at 286hz at -4db and at 423 at -3.5 db, to pull the muck and ring down. I boosted using the SSL G Channel, only using the high frequency curves, I added in 3.5 db or so of 5K to get a bit more snap out of the snare. Again, using the expander to push out the bleed, .15ms release with a range at around 18 and a -15 db threshold. Lastly, adding another API 550B, I boosted 2 db at 400,4 db at 180 and 8K and 2 at 10, just to add the air and body to the snare.

The over heads I used the REQ6 again with a high pass at 30hz and added a 4db boost around 50 hz, just for some push in the low end. I pulled a db out at 3K to just get a biota ring an sizzle out of the cymbals ot get them to sit a bit more. Cut 5db at 7K to soften the over all attack of the kit, to let the close micas handle the duty. Also, added a low pass around 13K to let the symbols darken a bit more, so they were present but not cutting too much out of the guitars and vocal.

The kit was bussed into an Aux containing a REQ6, high passing at 66db and a RComp to glue the kit together. Using a 1.34 ratio and a-16 threshold. Boosted back up around 5 db. Also added in a Crush Buss, using the API 2500 with -20 threshold, infinite ratio and fastest attack and release times to smash the crap out of the kit.

The bass I grouped together and I liked the darker character of the cabinet and felt the attack and definition of the he DI would provide the best combo of articulation, attack and tone. I felt both were lacking a bit of gusto, so I added a SansAmp to both. The cabinet I treated more for lower mids and low end. I added in a bit more buzz and crunch not he controls, boosting up the drive and low end values to add more girth and chunk to the tone. I added in a REQ6 to pull excess low end out, pulled out 3db at 215hz to get a bit of mud out and rolled off the high end to 1.7K. I opted for the VEQ4 to boost, just because I don't use them much and needed to try out something different. I High passed at 47hz and low passed at 12K. I added in 3.3 dB at 50 hz, 3.2db at 680 for more chuck on the bottom end and added in 3db at both 4.7 and 6.8KHz, to add a bit more definition. Glued it all together with a CLA-3A on Comp mode, setting the gain at 5.11db and the peak reduction at 6 gave the desired results.

The DI i opted to keep clean, but roll off low end with the REQ6 ar 120 hZ. I pulled out some overtones at 400 and 1K, to open the bass up a hair and take off a bit that got int he way. Processed with a low pass at at 6K, but very very gentle curve. For boosting, I added in the API 550B, boosted 2 db at 400 and 500 hz, added a bit more body and made the tone a little less thin. Added in 4db at 5K and 12.5K, which really brought he attack and definition out of the DI. FInally, added in a CLA-2A with the gain at 40db and the peak reduction at 56db, maintaining comp mode.

I bussed the basses to an aux as well and added in the API 2500 and side chained to the kick drum to push them apart a bit more and add a bit more separation. Threshold was set at 5.5db with a .03ms attack and a.05 release. I kept the ratio at 4:1. peaked out around 3dB of reduction to just kiss the bass a bit.

I approached the guitars with separating them at first between verse and chorus. After messing with sounds I realized I liked the layered sound a lot more. I copied the guitars twice and added some amp modeling to add more grit to one as well s the DB-33 organ plug in to the other, just to add a bit of counterpoint to the track. I started the main guitar track with a REQ6, rolling off low end at 68 hz. I seek and destroyed around, pulling between 3-5db at 164, 369 and 1044kHz, to pull some annoying overtones down. I decided on using Eleven, using the DC Vintage head and 4x12 Greenback cab and adding in a good taste of tremolo, to add movement and to me, the guitars screamed add tremolo. I pushed up the bass and mid to around the 2 o clock position and the redouble and persons up around 1 o'clock. To finally dress the main guitar track, I added the 550B once again and added 2 db at 240 and 1.5 to add more body and heft to the track as well as added 4db at 10K, to add more presence and bring out a bit more crunch. I pretty much used this set up as the template if you will, for the other guitar components. I duplicated the guitar, took out Eleven and added the DB-33 organ to the track. I also pulled all the guitar progressions out of the verses and added in a reverse reverb, using the Trueverb settings of Millenniumverb and Medium Plate, but i rolled off a bit more low end, to keep them cleaner and get them to pop in the mix a bit. I pulled them down a bit mopper int he mix so you can just hear them wash and sweep intuit he chord progressions. Also, as the intro and coming out of the choruses, I boosted the volume to add a bit more flair. I also duplicated the final chorus guitar, and added (as well as on the main guitars) a flanger, to add a but of a change and movement nut he track and to address it begin the final component to the track.

Vocals I processed again with REQ6 and seek and destroyed out at 330. 958, 2165, 4555 and 8476hz to clean the tone up as well as high passing at 225hz. Using the SSL Channel, I added 3 dB at 150, to give a bit more body to the vocal. I pulled out 2 db at 8khz, just to soften the mids a bit. I added in 6db at 3K and added air in around 11K at 6db. THis way, she popped through the mix quite better and she sounded as natural as I could muster. I poked around using RVox on the track and found at -10.6 on the comp helped to add more body and thickness to the vocal as well as add a bit more volume to pop through the din of the mix a bit more. I still felt the vocals needed a touch more compression with her swells in volume so i added the ole CLA-76 Blue Stripe, running a medium attack and medium fast release and she sat right in the mix well. I added a bit of a lofi tone to the last bar of the bridge to the chorus as well, including a pan automation.

In terms of overall effects, I used RVerb's dark plate setting as my main reverb tone with a bit more roll off not he low end to reduce the mud a bit more. I also used the huge Millennium Verb with a substation high pass, just to have a nice long, crispy tail o added in just under the vocal to add int he length. I used H Delay for the main vocal throws (coupled with a bit of Air Distortion and Izotope Vinyl) as well as an 1/8th note running under the vocals the entire track, to add a bit more diminution and depth and the verb alone. I also used the onboard EQ to soften the delay a bit. Pretty much panned everything in the context of watching the band live, leaving the main vocal dead center and filling in a round as needed. I panned the verbs int he neighborhood of the main panning portion of the individual tracks and added in a few pan automations with the reverb soaked tambourine track. I also added a send level on the transition from the second chorus to the second verse to the chorus as well as cut the beat out and added in the kick drum over the transition the bridge to the last chorus. I copied out the tambourine track to add in over the transitions intuit he chorus as well as layer through the track.

"Oh Baby" GearfestPuremixContest 2013 by Joshua Suhy

Sound Designer, Audio Restoration, Audio Post Production & Audio Engineer

Joshua Suhy

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