Singer songwriting from Nijmegen with a dark twist.
Mixed and mastered : September 2017
released date : 16 September 2017
Kees Peerdeman Sheep:
by Marlon wolterink
Kees Peerdeman is an artist from Nijmegen, The Netherlands, who has done a couple releases with himself doing everything – writing, recording, mixing. For this single he wanted me to the mix and master.
Kees sent me a few tracks to work with. Amongst the tracks were a kickbass track, some vocal tracks, guitar tracks and clarinet and epiano tracks.
The entire track should sound somewhat claustrophobic and small, it wasn’t intented to achieve a very large wall of sound.[/vc_column_text][/vc_column][vc_column width=”1/4″]
That said, some of the sounds Kees used where a bit bland and in need of adding a life and excitement.
The first thing I started to work with was the e-piano. It had a sort of dx7 rhodes sound. I wanted it to sound smaller so I reduced the sides content of the sound to become more mono. To add life to the sound I opted for a bitcrusher, the D16 groups’s decimort 2. I automated the resampler setting to have a change in the amount of grit added. Elysia’s nvelope added some attack at the beginning of the notes and a reverb and distorted delay ( by d16 groups’ excellent repeater) added some rhythmical excitement.
The kickbass track, a kickdrum with extended bassnote, was duplicated so I could treat the bassnote and kickdrum seperately.
The bassnote was slightly distorted with Unfiltered Audio’s Indent to have more of a square wave sound than a sinus wave.
I felt something else was needed to create a bit of attitude on the kick.
I took a sewer tube of 2,5 meters which was laying around, placed a Auratone speaker at one end and a Sennheiser md421 at the other end.
This gave a very tubey sound which was blended in with the original recording. See the instagram video on the page.
The pitch was slightly too high so Cubase’s vari audio was used to lower the pitch a bit. Further more, the tuning of the tube sound was adjusted to follow the bassnotes. This added a cool tube / drum type of vibe to the existing recording.
The same technique was used for the acoustic guitar on the left.
This, with added hi and lo pass filtering gave the guitar a more distinct sound to pop out.
The rest of the Kees Peerdeman – Sheep mix:
The clarinet sound in the beginning consist largely of 2 parts. A longer note and a shorter higher one.
On the longer note increased the volume envelope to start softer and end louder. The shorter higher note was cut shorter to make it a bit more electronic and unsettling to fit the kick.
The vocals are mixed pretty normal with compression, de-essing and volume automation.
The reverb used on the vocal increases in volume in the track to have a buildup before being almost dry again at the end.
The strummed guitar in the center had a springreverb added for twang and attitude.
Volume automation was used to have a bit of buildup and flow in the entire project. You can see the entire mix session in Cubase 9 in the screenshot on this page.
Overall, a very nice project to do!