Official video: http://www.youtube.com/watch?v=hwHblwzjJrI



What's Up (by GP, Gorilla Zoe, and Sonny Digital)

Inbox by Random, Dn3, and 88-Keys. Mixed and mastered by Weiss-Sound.

Inbox (88-Keys, Dn3, and Random)

Splash Woman (by Random). Mixed and mastered by Weiss-Sound.

Splash Woman (by Random)

Died In Your Arms (by Royce Da 5'9", SunMoon Bey), mixed and mastered by Weiss-Sound.

Died In Your Arms (by Royce Da 5'9", SunMoon Bey)

These are select Hip Hop tracks, either tracked, mixed, or mastered by Weiss-Sound.

More details can be found at WWW.WEISS-SOUND.COM.

Everything Must Go (by Philadelphia Slick)

Daylight by Zach Crowell. Mixed and mastered by Weiss-Sound.

Daylight (by Zach Crowell)

Believe (weiss Mix - Master Rev) #bdl2015mix

Panda - Weiss Master

I'll begin with artistic intentions as that influenced the gear I used. I felt the record had a great live energy, so I wanted things to stay open and moving. I wanted it to feel like a live show with extremely good sound quality. I also felt that while the bass drove the track, the real spirit of it is the lead vocalist's quirks.

Vocals: I used just a hint of compression from a Drawmer 1968, and some top end sparkle and low end weight from my Tube-Tech Pe-1C. Back in the box I used Waves C1-sc to ease off some peaks when she pushed to higher notes, and a little Waves H-EQ later on in the mix mainly to match the guitar tone. I created a mult and blended in some heavier compression with Waves CLA-76. Despite the use of three compressors, I did the majority of dynamic control with vocal rides.

Bass: The main thing for me was finding the right blend of the amp and DI. I preferred the amp sound overall, but found a little reinforcement from the DI gave the bass a bit more mid-range body. Treatment was Waves CLA-76, with a slower attack to keep the attack poking out. Waves H-EQ I took out a little upper bass to make room for the kick, boosted 400 for that "woody" color, and rolled off the subs under 45hz. I could have left the bass as is, but I found RBass set at 256, even with the intensity down at -15 gave the bass a little more firmness.

Drums: The drums were a little tricky. The drums already had great attack and sustain - a certain splatiness that makes me think "Empirical Labs Distressor". Normally I'd do the same and get extremely nuanced with the settings. That was already done so I just fine tuned the close mics with Waves Trans-X. Waves RBass on the kick and a touch of digi distortion and the close mics had tons of punch. I ended up turning them down as a couple of db really changed the sound from "rock" to "hip hop", and I definitely wanted Rock. The overheads dynamically sounded perfect, no compression needed. There was a bit of extra bite in the high end, particularly when the chorus kicked in. To get it out cleanly I boosted the high end, hit the Slate Virtual Tape Machine plugin, and then attenuated high end. Other than that, a bit of peak catching limiting, and Waves S1 automated for the choruses to give it a little extra breadth and energy.

Guitar: Very little processing. I used the stock digi EQ to pull up some low mids and a bit of 1.5k. I automated a 3k boost to come in on the solo. I multed the guitar and sent it through a spring reverb with a bit a Echoboy on there and panned that opposite the dry guitar. Just for a bit of stereo-ness. Didn't feel the need to do anything else.

Mixbuss: I hit my Drawmer 1968 again, pushed it into the red, but barely did any compression. 2.5khz boost on my Filtek Mk3a, and a slight "Open & Diffuse" boost from my Clariphonic.

75% of the mix was spent on fader rides.

Weiss-Sound_No_Kazoo_Solo_GearfestPuremixContest

Weiss-Sound.com offers mixing and mastering services. This is not a you-send-it-in, we send-it-back service. We work with you to create the sound you want - whether it be cleaned and polished, or down and dirty, or anywhere in between.

Matthew Weiss began as an in-house post production audio specialist at Shooters Post&Transfer. He left to become an assistant for renown Singer-Songwriter/Indie Rock Producer Mark Marshall. From there he became assistant to recording engineer Denise Barbarita (Mary J. Blige, Angie Stone, SWV). He later went on to become head engineer for The GrooveYard - owned and operated by Grammy nominated, multi-platinum producer Bobby Eli (Love Won't Let Me Wait, Blue Magic). In 2009, Matt went on to create "Weiss-Sound" with Larry Mettham (management). Weiss-Sound has recently partnered with engineer C. Athens.

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