Aeropitune’s Fortune: Mixed, Mastered, and Powered by Access Analog
Listen to the track “Sunscape” on Spotify.
Listen to the full album on Bandcamp or Apple Music.
Access Analog congratulates Aeropitune, on the release of their latest album, Fortune. The album was mixed and mastered using Access Analog gear. The lead on this project is Petr Petrosyan. With over 27 years of experience as a sound producer, composer, and arranger, Petr is a long-time user of Access Analog, and we are excited to share his and Aeropitune’s journey in creating this album.
If you’re seeking cerebral music to enhance your brain’s performance while working, you should certainly explore this album. Layered and multidimensional, both anxious and hopeful, this album creates a unique sound based on field recordings and analog gear.
Written, produced and mixed by Petr Petrosyan and dim
Mastered by Petr Petrosyan
Artwork by Yulia Drobova
The Tracks
Aeropitune shares the process, gear utilized, tips, and more for mixing and mastering each song on the album. It starts with an in-depth look at how “Sunscape” was created.
Sunscape
This track is divided into two parts. The first part consists entirely of classic ambient. The basis of this ambient was recorded on the streets of Berlin.
The second part of the track blends musical styles of funk and disco. We refer to it as “Organic House” among ourselves.
It features a drum section made up of recorded sounds, samples, and percussion, including vocal percussion (beatboxing). This was minimally processed digitally, primarily focusing on volume balancing. The drum part was re-recorded through the SSL BUS+ using the “Dynamic Control” preset. This preset smoothed out any excessive peaks and added the punch and distinctive color of the SSL console.
The bass consists of two tracks. One track is in stereo and it was processed with a digital chorus effect. It was then re-recorded through the Culture Vulture Super 15, which added tube saturation to the bass guitar.
The second bass track was recorded in mono, utilizing the UA LA-2A. The settings were as follows: toggle switch set to limiter position, gain adjusted to 60-70 units, peak reduction set to 40-50 units, and the Access Analog plug-in volume decreased by three or more dB. This configuration produced a super fat bass sound without introducing distortion.
The entire musical section, which we can refer to as the “Passage,” was sent by the band through the Rupert Neve Design Portico II using the “Sweet Highs” preset. This action transformed the musical “Passage” into a vibrant and convincing element of the composition.
Finally, the mastering was completed with the Infrasonic Mastering Rig using the preset “Big Smile!” No manipulation was done inside the mastering chain; only the input signal was raised in the Analog Matrix plug-in, and the volume of the Maag-K was increased via the “make-up gain” potentiometer. Tip: Remember to set the output volume of the Access Analog plug-in to -0.2 or -0.3 dB.
Golden Fields
The entire music part was combined into one track and processed. using the RND Portico II preset “Sweet Highs.” Initially, the entire drum part was altered (but messed up) with some digital processing. So, we applied iZotope Trash2 for the effect. Next, we ran it through the SSL XLogic G Comp, setting attack to 30, the ratio to 4, and the release to auto.
For the mastering, we used the Infrasonic Mastering Chain preset “Big Smile!”
Mountain Honey
For the music, we used the RND Portico II and my own settings. For the Bass, we again used the Culture Vulture unit for processing.
The drums were assembled from paper sounds and, in total, they resembled cardboard boxes. So, we ran the band through the EL Distressor, setting the ratio to 6:1, with a slow attack and fast release. The result was a punchy, collected sound. We mixed it with the main unprocessed sound, creating a parallel compression effect.
For the mastering, we used the Infrasonic Mastering Chain preset “Big Smile!”
Rich in Mercy
The entire music mix was processed with the RND Portico II. For mastering, we used the Infrasonic Mastering Chain preset “Big Smile!”
Casale
There was no processing for this song. For the mastering, we used the Infrasonic Mastering Chain preset “Big Smile!”
Lost Forest
There was no processing for this song. For the mastering, we used the Infrasonic Mastering Chain preset “Big Smile!”
Caramel
The drums were processed using the Manley Variable Mu v4 (user settings). Different musical elements employed the RND Portico II and the SSL Bus Plus. As for the bass, it’s hard to recall the specifics since there were multiple versions. Nonetheless, the API 5500, Culture Vulture, and BG 2 were used.
For the mastering, we used the Infrasonic Mastering Chain preset “Big Smile!”
Vitrage
For this song, we utilized the SSL Xlogic G on both the drum and bass groups, and the RND Portico II for the music sections.
For the mastering, we used the Infrasonic Mastering Chain preset “Big Smile!”
Fortune was Mastered with the Infrasonic Rig
Gear Used for Tracks
Memory Fragments
For this track, the drums were rendered through the Culture Vulture. The musical part used the RND Portico II. The vocals were chopped and sliced using the UA 1176 or the EL Distressor.
For the mastering, we used the Infrasonic Mastering Chain preset “Big Smile!”
A Few Tips From Aeropitune on Using the Analog Matrix
Here’s a bit of advice and some tips for those who, like me, are composers, sound producers, and arrangers.
If you are just starting to get acquainted with Access Analog, you should know that the plugin’s undeniable superiority is its preset system.
All presets have been customized by real professionals. So don’t be afraid to use presets to find the right setting and the right gear for your workflow faster.
The Analog Matrix Plugin showing the Infrasonic Rig with the preset “Big Smile!” highlighted.
Dial Into Versatility: Empirical Labs Distressor
This Distressor is known for its multifunctionality. Let’s examine a setting from a highly regarded mix engineer. He applied it to guitars: Ratio 3:1, Detector HP on, Input 7, Attack 3, Release 3, and Output 5. In addition to guitars, this setting works exceptionally well with synthesizers and virtual players of classical instruments. For instance, in a pop or rock song, if you want to incorporate something recorded for a movie, the Distressor will eliminate phase muddiness and unify the sound with clear focus. In short, it will sound fantastic.
Breath Life Into Your Strings: RND Portico II
If you’re working with a group of string instruments (like guitars and harps), the Rupert Neve Design Portico II is an indispensable assistant on bus channels. Select a preset to revitalize your string instruments.
Punch Up Your Drums: AMS Neve 33609N
If your drum group lacks punch and sounds sluggish and hazy, try this technique: Convert the overall drum mix into a mono track, then select a suitable preset in AMS Neve 33609N. The preset should squeeze punch out of the drums without sounding awkward. Finally, carefully blend the mono track with the original stereo mix.
Tame Your Drums: Infrasonic Mastering Rig
If there’s excessive sound in your drum groups and you’re unsure how to proceed, open the door to Infrasonic and choose the “Dressed To Compress” preset. For the best results, adjust the incoming or outgoing signal on the Maag Magnum-K.
Instant Warmth For Your Synths: Highland Dynamics BG2
The Highland Dynamics BG2 can be your best friend for warming virtual instruments, particularly synthesizers. Just use the default state.
A Secret Weapon For Hand Claps: Chandler LTD-2
Everyone knows that the best way to get a group of hand claps is to throw something from SSL. However, try using Chandler LTD-2 with a threshold of -10, an attack of 50(super fast), a release of 50ms, and gain adjustments made by ear.
Maximize 303 Bass: Black Box HG-2
If you enjoy 303 bass and want to get the most out of this sound, use the Black Box HG-2 with a Medium or Strong Saturation preset.
Explore Hardware Chains for Vintage Vibes: Recreate Iconic 90s Tones
- Radio Vibe 90s
First, set the Manley Variable Mu (v9) with the toggle switch on compress. Adjust the recovery second scale to Fast (at 1 o’clock), with the threshold at 9 o’clock or half past nine, attack at 9 o’clock, output at 2 o’clock, and dual input at +2 dB. Turn on the toggle switch labeled ‘hp sc,’ and set the toggle switch for sep/link to sep. After the Manley, configure the SSL Xlogic G comp with the threshold at half past ten on the clock, attack at 30, ratio at 4, release on auto, and make up at 1 hour. Finally, adjust the input and output volume levels within the Analog Matrix plug-in. The compression level should be barely noticeable. - Console Sound from the 90s
To achieve the sound of SSL consoles from the ’90s, load two SSL Fusion consoles in a chain. On the first, choose the “Vintage Grit” preset, and on the second, select the “Tame Transients” preset (or any preset you prefer). Conclude this chain with the Rupert Neve Design Master Bus Converter. Adjust the incoming signal using the Analog Matrix plug-in.
Tip for the Subtleties of Mastering
If you want to learn the subtleties of analog mastering, or rather mastering on equipment, then be sure to check out Brian Lucey’s explanations on the Access Analog YouTube Channel. We also recommend listening to his interviews on other YouTube channels. The best one is titled “Step by Step Guide to Mastering like a PRO with Brian Lucey.” His philosophy works equally well for both Magic Garden and Infrasonic mastering rooms.
Thank you for taking the time to read. We hope this exploration has inspired your creativity. We invite you to listen to this album on your favorite platform, dive into the technical insights shared, and harness the power of analog for your own musical projects.