How do you expect a similar sound as in this album

https://youtu.be/BwUAHuhX-Ls

you would want those musicians or the basic stuff they played on/thru and in that situation you would want to really hone your imitation of the style, so much of what comes out as a finished record is what went in. Its a recording. The gear doesn't make the music. People do.

and it would help to have some of the recording/mixing gear used. Or similar stuff. I just listened a little but it sounds like they put some time and effort into it. I feel like I'm hearing room mics so you need a nice space and extra microphones etc... its very compressed in places so you'll want good bus compression, master bus and maybe submixes or parallel busses... if you can find info on the record I can tell you more about how they probably did it. I'm an old soundman, this aint my first rodeo.

jimmarchi1 is the right person to listen to, as he is well-versed in this era of recording technology. I haven't listened to the whole thing, but I commend the artists and engineers involved for avoiding a lot of the common FX treatments of the era that would have made it sound more dated today. I mean, it still sounds like a product of the early 90s, but it does not have the kind of heavy-handed "LA Studio" dynamics one would hear on (for example) a Red Hot Chili Peppers or Jane's Addiction album of the same era.

In addition to studying the band, their gear, and their production philosophy (they self-produced this one), study up on the studio (as it was in 1992, not just what they have today) and read interviews with the Engineer.

This record was recorded here

It was engineered by this person

I would bet that SSL G series is the same one they had at the time, it was probably still in production at the time. its a great baord. It has the least shrieky high shelf of any SSL.... it also has overeasy type VCA compression per channel and the bus comp we all love.

So a nice clean console like an allen and heath live board like a 2400 would be good enough and you will want a pile of dbx160a comps or alesis 3632s, RNCs will do I guess. They don't treat kick the same though. A warm audio or chameleon labs bus comp will be needed too as I guarantee you they're tickling the VCA bus comp on this mix... that's just for mixdown assuming you have the sounds going in

that snare soudns like it has something whacky on it bringing up the ring and ping for the chili peppers sound.... 1176 or gain brain maybe. Some sort of fet detection dealie I would think

everything is hitting the board pretty hard giving that glassy 80s/90s console top (or is it harsh? depends who you ask LOL)

I would bet that SSL G series is the same one they had at the time, it was probably still in production at the time. its a great baord. It has the least shrieky high shelf of any SSL.... it also has overeasy type VCA compression per channel and the bus comp we all love.

So a nice clean console like an allen and heath live board like a 2400 would be good enough and you will want a pile of dbx160a comps or alesis 3631s, RNCs will do I guess. They don't treat kick the same though. A warm audio or chameleon labs bus comp will be needed too as I guarantee you they're tickling the VCA bus comp on this mix... that's just for mixdown assuming you have the sounds going in

that snare soudns like it has something whacky on it bringing up the ring and ping for the chili peppers sound.... 1176 or gain brain maybe. Some sort of fet detection dealie I would think

everything is hitting the board pretty hard giving that glassy 80s/90s console top (or is it harsh? depends who you ask LOL)

See what I mean? Jim is your God for this kind of insight. Listen hard!

we had an SSL 4000G at indre and once I learned it it was really good at this type of thing. It got me addicted to submixed groups.

I hear lexicon reverb too, plate setting on a PCM unit I think, top rolled off via damping freq and high passed or soemthing at the return

I hear lexicon reverb too, plate setting on a PCM unit I think, top rolled off via damping freq and high passed or soemthing at the return

If you're right, and I have no reason to doubt, that's downright preternatural. You're like a human bloodhound, but for mix forensics.

it could be eventide, but it sounds more like the lexicon plate from that time.... its defintiely not TC plate setting in 92... or for all I know its a very treated EMT actual plate, but I dunno

See what I mean? Jim is your God for this kind of insight. Listen hard!

The other guy on here to talk to is Xaqary. Hes even more experienced than I am.

See what I mean? Jim is your God for this kind of insight. Listen hard!

The other guy on here to talk to is Xaqary. Hes even more experienced than I am.

Good to know... but, with no offense to any other Wizards of EB, you're the one more likely to put in the time in this era.

I still like how ebebebeb here psoted the question "how do I expect a similar sound as in this album"

I know its a language barrier thing and I can't make fun on that level because all I know about Russian is da, nyet, pravda, dosvidanya and my personal favorite, nekulturny...

but how do I expect to get it? I don't expect to get it. I would mix this project differently. There's nothing wrong with it, but its not my personality at all and mixing is a bit of client satisfaction, a dollop of technical 'wizardry' (nots and bolts knowledge in my book) and a lot of your personality. All the creativity is you. It represents the non-tech aprt of your brain and your style is your style. If my personality fits the song then its going to be a good mix, but I'm not going to try to be chameleon. I think my final advice to ebebebeb is to be himself. Bring some of himself to every mix, cover it in his fingerprints. Hopefully someone will dig it. I think you can't help but be you so you might as well embrace the thigns your drawn to, not as a fan, but when you're physically engaged in the mix. I love the mix on Buckley's Grace but I would enver mix like that. I'm not drawn to that sort of sound when I'm working. Its clean, tis really open. Its spanky attack and long, dwelling reverb that's EQed but not controlled any other way and I can't do that, its not me. Its great. I lvoe Andy Wallace. But I can't BE Andy Wallace, right? There is an Andy Wallace. He's named Andy Wallace.

@ebebebeb

master the tools at your disposal by doing the best you can with whatever you have... I began with very little and worked my way into studios by having a good reel of material recorded with pawn shop gear and budget prosumer shit from sam ash and eventually those early waves VSTs too, okay? But I squeeeezed that shit. I had mastery of my gear and my old bosses gear when I got to an SSL. Most of all try to have fun the whole time and be true to yourself in every decision you make. Listen to the roughs and imagine it in your mind, then make a plan in print and execute it with plenty of roomfor happy accidents and creative experimenting where thigns need to be dramatic like transitions etc :-) Make it sound as good to YOUR EARS as you can HOWEVER YOU CAN.

have a good time and remember you'll never be happy with the last thing you finished, you know where all the warts are and they're all you hear. If you can get it to where you don't cringe its probaby good to go.... or you're tone deaf LOL years from now you'll return and forget all the bad times and remembver how fun that project was and you'll turn your brain off and hear it like a regular person and say "I like that, did I do that? but boy is that snare sound dated now!"

glad to see the OP's paying attention here.... lots of good info from Kenneth and educated guesses from myself above... and unsolicited advice too, the best kind

Thank You so Much

let me say that to make a good analog mix in your house you'll spend more time setting up the gear, biasing tape decks and wiring patchbays than actually mixing LOL

It took a whole staff to keep that Japanese studio running and when tis just you, it gets exhausting.... I decided tos et up a great hybrid post room in ym house and every time I think I'm done and I can just mix there's another thing.