BooBass Riff Final Breakdown
I was not going to do a Post on this Track initially, just 2 mp3 versions – a before and after mixing – to highlight the massive difference between a treated and untreated mix, and how much a “Professional” treatment of a track really improves it.
Also, it was important to me to finish this, to prove that I can do a track in FLS that does not descend into a purely “electronic” piece, and keep to the idea of a real, live band with real musicians playing this, in my imagination. (They have some expensive effects and a good sound engineer though eh? Haha…)
Only when looking back, I realised I did more experimental work than I thought on this track – it covered the first Strum technique usage on rhythm guitars (see the NFXBeats videos), and contains my first “solos” on Piano and “Lead Guitar” that were entirely step edited in line with what I could hear in my head (time consuming!).
It also highlighted a possible FLS (bug?) problem I encountered a while back with deleting Automation Clips in the Playlist and the sequencer windows, as it seems initial control data doesn’t go away on deletion.
I lost control of the volume mixing because of this, but fortunately I had mixed it well enough first before I added the Auto Clips, to live with it for the finished mix, as the faders just kept going to auto position at each Playlist start! I compensated on one track by raising the volume in the Fruity EQ2 to get round the problem.
I hesitate to use the word ‘bug’, as I know the FLS programmers are super talented technical wizards, and it may just be me not knowing enough at this stage, but its a problem I need to research for sure.
The mixing involved the usual culprits so far, to my knowledge level;
Fruity Parametric EQ2 on almost everything except drums this time, as they were FPC midi templates (Funk, Reggae and Hard Rock) all in one Channel:
Fruity Parametric EQ2 on BooBass, Lead Beast (Direct Wave plugin) and PWM (Sytrus).
Fruity Delay2 on Organ (Sytrus), Strat Pos2 Mute (Direct Wave plugin), Heavy Mute (Direct Wave plugin), Cheap Brass (Sytrus) and Trumpet (Sytrus).
Fruity Reeverb on FL Keys.
Note that the Sytrus presets have plugin FX (Delay) on them already.
This was also the first time I used Panning in a mix – such a simple thing but really helps a mix:
I used an Auto Panning Clip also for the first solo, to bring it back to stereo centre from slight left side (Lead Beast). It needed a slight volume increase here (hey! I’m an ex lead guitarist – what do you expect for a solo?! Turn it up to 11…), but the Auto Clip problem I mentioned prevented that.
Also notice the use of the End Time Marker to allow the end delay/reverb to decay from the last notes when rendering to MP3. It also gives you a handy Track duration at 2 mins 57 secs.
So, what’s the difference all this makes?
You need headphones to hear really, but this is the final mix.
Here is the pre full mix, with all effects and panning switched off, just volumes set:
Mixing can be time consuming, but it is fun and rewarding, so worth continued study.
It will also help your appreciation of the work put into the FLS Demos by the Pro’s, and your demos may even get you a gig as a Sound Engineer – you can’t be any worse than the last gig I went to locally.
I swear the geezer was deaf! He ruined the gig single-handedly for the band and audience, for what was a competent group of interesting semi-ambient style musos – viola, sax, violin, bass, harmonica, and keys/samples. Shame.