Eclectic Blah: Two Assiduous Days

Last Monday and Tuesday were two very productive days (or rather evenings) for the project.

With my flu attack nearly gone, it was time to return to work. Still, with the sickness gone, my output increased even though time was lost (in comparison to, say, last Friday) at work.

With the report from my Day Off (Sunday), you may remember the numer “19” for the non-completed action items to reach the magic “status 5” (which is mix signoff, and then it’s completely in the hands of the mastering engineer).

Monday saw me working on a small number of level- (and in one case EQ-) related topics. The snare click in the first portion of Spheres was too loud, the synth in the coda of The Porcupine needed more low end, those kinds of things for a total of eight items which were quickly dealt with. Driving Home Slowly, being a two-track source to begin with, didn’t have that many degrees of freedom. The background noise was disturbing in the ending (and was dealt with), and from a mastering perspective, the track should start “earlier” (it was taken from a long session with tracks progressing into each other) to allow for the mastering stage more freedom in doing that fade-in.

I furthermore had the overdub for the head out for Tiny Bugs on the list, but decided to close it – it sounds swell the way it is. This wasn’t true for the clipped organ in the coda of Horst’s New Condominium – here, I combined the undistorted Wavestation source on another track with VSTs (BUZ and Cubase’s Rotary) for a dirty organ without digital clipping.

A really small change in an edit in Harvey Wallbanger was accomplished, and then I edited the EQs for the OHs to make some tom fills more audible in Horst.

Tuesday I first went to fix a blunder with the edit I’d done the day before in Horst, to complete the tom EQs for Dreams of Hesse and Tiny Bugs. What then remained was a possible shortening of the head or head out in Tiny Bugs and again, I had reached the stage in that track where it sounded swell already.

This ended Thursday with only one optional task remaining: replacing the plastic latin percussion sound in Dreams of Hesse.


The Next Steps

That means that I can right now more or less declare status 5. Which means both mixing and mastering engineer agree that the mix is complete and can be signed off. Note that from the process description, the producer doesn’t have a say in this.

I’ll leave that until the weekend, where I’ll also have a look if I do that dreaded percussion AI (or simply close it). Until then, I won’t be doing much on the sound. Except for some listening. And I’ll be working the booklet.

I leave you with the BPMN notation of my fancy process – enjoy!

Production process for live albums
Production process for live albums

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