A Cover of Fun, Fun, Fun Started Several Years Ago

[Mark Richards]

I began "Fun, Fun, Fun" several years back to develop an SOP for integrating my DP-24 with Harrison Consoles' Mixbus D.A.W. Life got in the way, and I only recently got around to finishing it.

I'm finding this hybrid production process works well for me:
* Tracking on the DP-24, maximizes all of its versatility and eliminates any latency concerns.
* Mixing using the D.A.W. opens all the versatility available in the software and plug-ins.
* I have the option to bring the stereo mix back into the DP-24 for mastering, or stay on the computer for mastering with a stand-a-lone program (either Finalizer or Lurssen Mastering Console).

EDIT
I removed the original link in favor of making a demo comparing how mastering the mix using my DP-24 compared with mastering the mix using a $150US stand-a-lone software mastering program.

You'll find the link in post #5 following.

 

[-mjk-]

Mark, how did you process the vocals?

 

[Mark Richards]

mj here's the vocal treatment I used:

Tracking (DP-24)
All the vocals were doubled-tracked dry on the DP-24 with an RE-20 set to flat response. Each vox had its own track: so 2 tracks for lead vocal and 6 backing tracks for three parts.

Mixdown (D.A.W.)
Lead Vox (Tracks 1 &2)
Panned hard left/hard right respectively. No EQ. 1.5:1 compression.
Sent to a stereo sub-mix bus. The sub-mix bus was de-essed and then EQ'd, and a delay/reverb was applied.

Backing Vox (Tracks 3/4; 5/6; 7/8)
("Fun, Fun/Ace") Track 3 panned 5% Left; Track 4 panned 5% right; Mild offsetting EQ; phase reversed; compression 2:1 and 3:1 respectively; and a short reverb was applied.

(Low "oooo") Track 5 panned 15% Left; Track 6 panned 15% Right. Mild offsetting EQ; 1.5:1 compression.

(High "oooo") Track 7 panned 10% Left; Track 8 panned 10% Right. Rolled off Below 400 Hz; 4.2:1 compression.

Altering the individual backing track EQ and phase introduces subtle random changes as various frequencies overlap.

Backing vox tracks were sent to a stereo sub-mix bus. The sub-mix bus had a doubler plug-in set to about 45% variation (which in retrospect was too much: when the bus is soloed a warble is audible due to the way I processed the individual tracks).

FX processing on the Master Bus: several delays and reverbs, master EQ, master compression help blend the lead and backing vocals across the sound stage.

 

[-mjk-]

Thank you for your usual thorough answer, Mark. I do like the sound of the vocal tracks. Nice work.

 

[Mark Richards]

I thought it might be interesting/informative to compare the DP-24 portastudio mastering with a stand-a-lone computer mastering program (Lurssen Mastering Console, cost at Sweetwater $150US).

So I created this version, (tracked on the DP-24; mixed using Harrison Console's Mixbus D.A.W.).
To keep it simple, I used the mastering software's default "Pop Rock" setting and the DP-24's default "Basic CD" setting. Both have been level matched at -14LUFS.

The switch over takes place at 1:26. A good reference system or reference headphones will highlight the differences.