By now, you’ve probably heard of Mix 3 for the song Nasan Ka Kaya. In case you’re still not familiar with it, this song was written by one of the BAMS students, Bem Favorito.
Now, Bem was kind enough to let us use his songs for what we’re currently dubbing as the UPOU Soundtrack Project. Nasan Ka Kaya was chosen as the first guinea pig, so to speak. I grew up in the 1990s and it was probably the time when I listened to music the most. When I first listened to Bam’s demo, I was immediately reminded of the sensibilities, as well as recording qualities of rock and indie bands of that era. It was imperative that we capture some of that vibe for this song.
Three people have directly contributed to the production of this song. Bem is based in Metro Manila and recorded the vocal track. JM Agbayani played and recorded her bass guitar from the other side of the world in Dubai. I provided a basic backing track for them to follow and record with. And then they sent their recorded track to me online. I live near UPOU Headquarters in Los Baños, Laguna and I recorded the electric and acoustic guitar parts of this mix.
So, above is the main window of REAPER 5, the DAW software I used, or rather, am using for my audio production work. I am going to break this mix down, which I hope can give you a better understanding of how we went from Bem’s old demo to this mix.
As you can already see, the whole thing looks complicated for a relatively simple song that can be played by a three- or four-piece rock band with relative ease. It is complicated in the sense that the closer you get to the sound that you like, the difficulty in finally making it there increases. But you really don’t have to work that hard or have an extremely high level of proficiency to get something to sound decent. I would also like to say that I do not consider myself an expert in this line of work, nor do I believe that my way is the only way to get this mix to sound good. But I will say that I am happy with this whole learning experience and that while I believe there will always be room for improvement here, I can live with what I have here now.
Recording drums is one of those things that intimidate me in this project because I’ve never done it before. But I do look forward to learning how to do it. Unfortunately, as of this video clip, we still haven’t had the opportunity to do so. That is why we had to make do with a virtual instrument, at least for now.
I used a software plugin called EZDrummer 2. As the name implies, it is an easy-to-use virtual drum software, with a large library of MIDI-based loops and actual drum recordings. Creating a drum track for the entire song was largely just a drag and drop affair. I used stock loops, except in parts of the chorus where the snare, kick and cymbals are hit in unison with the guitars and bass.
This is very much usable. But I would like to point out that I look at EZDrummer more as a songwriting tool than an all-around replacement for a real drummer. I would still very much rather have live acoustic drums in the mix. Hopefully we’ll still have the opportunity to record that.
Just like the drums, I had a MIDI Bass Track prepared for this song. I was already resigned to the proposition that it will be as far as we will go for this song. That is why I was so happy that JM came forward and volunteered to play bass for us. She had an actual bass guitar and a USB interface. She even elected to use Reaper for the first time. All these were fortunate on my part. I asked her to send me a dry or effects-free recording. This is important because it makes thing more convenient for me while mixing. Applying effects would be easier and more predictable. And cleaning up any noise or unwanted artifacts would be less complicated.
While it needed some more work, the dry track sounded surprisingly good. It would probably be ok if I just left it as is. But I eventually decided that I wanted it to sound like it was being played through a bass guitar amplifier. I also wanted to reduce the faint noise that was audible when the bass track played alone. But I didn’t need to be too aggressive with the editing, because any noise in the bass track was adequately masked by the other tracks.
This is where things start to get a little fancier.
In a previous mix, I used an electric guitar with a synth pickup to simulate an acoustic guitar sound. It’s fine for live work, but I wasn’t particularly happy with it here. So, I opted to just record this part again, but with a real acoustic guitar. This entailed a few matters that needed attending.
The reason why I first used a guitar synth was to not worry about acoustic considerations. Like everyone else in the project, I don’t have a professional grade audio studio at home. I can hear just about any noise outside or inside. I also don’t have a room with honest to goodness acoustic treatment. What I do have is some space in the middle of my house which I haven’t gotten to cleaning up. It worked out surprisingly well. In fact, I hadn’t noticed that it was lightly raining while I was recording until I took off my headphones. Luckily, the sound of the rain wasn’t picked up.
I had a cardioid condenser mic aimed at or near the 12th fret of my guitar at about 12 inches away. This was my intended main acoustic guitar sound. But since my guitar had a built-in pickup, I thought that I might as well, make use of it. So, I recorded the same performance with two sound sources. It turned out to be a good idea.
The sound from the microphone isn’t bad by itself, as you can hear. But to me, it sounded like it was a little short on bite.
As for the pickup sound, well… it sounds different. It’s also good, but is not as mellow as the mic’d sound.
I probably wouldn’t want to use it by itself for recording. But when you blend it with the microphone recording, you can get something different, and dare I say, better. They mutually make up for each other’s weaknesses.
These are probably the set of tracks which I put the most thought over. And yes, it does have something to do with these being my part. Most people will hear the electric guitars as if it were just one, or maybe two instruments. It’s not that simple, and I’ll show you why.
I plugged in my guitar directly through my interface and used the same software I used for the bass to simulate a guitar amplifier’s sound. I could have mic’ed a real guitar amplifier – I actually have a real version of the simulated amp that I used. But I decided against it. I didn’t want to deal with the acoustics of my work area. Of course, if it didn’t sound good to me, I would have opted to use a microphone like I did with the acoustic guitar. But BIAS FX, the software I used, made things so much easier for me. More importantly, given the circumstances, I doubt I could have gotten a better sound within the same time span.
The thing that helps keep the song together is the rhythm guitar track, which doubles the acoustic guitar, creating a thicker sound. But at the same time, I didn’t want it to dominate the mix, so it wasn’t really that much louder than the acoustic guitar here.
The lead guitar is also a straightforward affair. It’s nearly as loud as the vocals, and with a bit more distortion applied. The melodies themselves… well, they’re not what I would normally like to play, but they do work well for the sound and feel that Bem wanted for this song. He seemed to agree, so I kept them all.
I simply repeated the verse vocal melodies for the guitar solo spot, but to keep things from being too monotonous, I recorded a third guitar track to provide some harmonies. Then I added a fourth electric guitar track in the background to build up the song towards the climax at the final chorus. As far as keeping the 90s indie feel went, this was the part where I veered away from it the most. They didn’t do much ambient guitar stuff back then. But I still think it works well with the song. At the very least no one’s complaining about it, so it hasn’t been taken out.
Whenever there is singing, it will almost always be the main focus of a song. That goes for just about any music genre out there and it is difficult to find exceptions. And no, this song is no exception either.
That is the point of working on mixing in the vocal track last. With the accompanying tracks close to being set, Bem sent me his recording. My job was to lay it down front and center and adjust the rest.
The dry vocal track itself needed work. But at the same time, I didn’t want to completely lose its rawness. So, I employed a technique I learned called parallel processing. It’s where I leave the dry vocal track pretty much as is, and then I send the same signal to a new track where I apply all the effects I wanted. And then like with the acoustic guitars, I had the option to easily blend the two tracks together until I get a sound that I want.
As far as effects were concerned, I used a plugin called IzoTope Nectar Elements. It’s a stripped down version of IzoTope’s more professional, and yes, more expensive line of effects plugins. But it has all the basic things I needed for the vocals. I started off with Nectar Elements’ Indie Warm and Dry preset. It essentially adds a little bit of reverb and then sets the EQ as a high pass filter. I further tweaked it by amplifying the signal and adding a bit more high end.
I kept panning simple for this mix. Since the bass guitar and vocals work on different areas of the frequency spectrum, it’s ok to keep them both at center. Lead guitars were also at center. It should also be fine because even if it lies relatively close to the vocals in terms of frequencies, they almost never play at the same time, anyway. Acoustic guitars are slightly panned to the left, while the electric rhythm guitar is equally panned to the right. The guitar fill heard at the final chorus actually doesn’t stay in place. I’ll explain that next.
Automation in DAWs is something you might not know about. I don’t know if it will ever be talked about in MMS 172, but I certainly don’t remember touching on it last time. But it is possible to tweak just about any parameter in the mix while the song is playing. And you can set the DAW to do it for you and by how much.
For this song, my automations made subtle changes, but I do think they make a big enough difference. The most obvious one is with the guitar fill where I played a bunch of natural harmonics in the last chorus. I laid down this track to add just a bit of ambience to the chorus and make it sound bigger. I certainly didn’t want it to muddy up the mix. So, rather than let it sit in one place along the stereo spectrum, I thought it would be cool for the harmonics to pan from left to center and then right to center.
Another part, or rather, the other parts where I do it are during the choruses where I temporarily raise the volume of the rhythm electric guitar track just before the vocals go nasan ka kaya…. and anong ginagawa to emphasize the downstrokes of all the guitars with respect to the rhythm.
A great deal of my work here dealt with the faders to set the volumes for each track. It may have contributed to my seemingly endless series of tweaks, but I followed no definite rules for this. The important thing for me is that, in the end, all the tracks have to be audible in a manner that are good to my ears, and none of the volume meters should go red.
The 1990s indie vibe is definitely there. I started asking other people to listen to the song. Every time somebody mentions The Eraserheads, I know that the mix worked (though such a remark may have to do with Bem’s vocals more than anything else). Still, there are other influences and aspects that shine through the mix, which I’m particularly happy with, such as the 70s-ish guitar sound and harmonies, as well as a little bit of ambient effects – my personal little imprint on the song.
It is demanding part-time work. But I do enjoy doing creative projects with colleagues and students. I hope this song will only be the first of many to come.