Paul Antonell on Mixing Strings

We recently caught up with Grammy-nominated studio owner and engineer Paul Antonell at Clubhouse Studios in Rhinebeck, NY, where he collaborated with Rich Tozzoli on a project featuring cellist and composer Akua Dixon’s string quartet. In this session, Paul shared how he effectively used the Oxford SuprEsser on various string parts to enhance the overall sound.

Enhancing the Pizzicato Viola with SuprEsser

One of the first applications of the SuprEsser was on a pizzicato viola part that Akua wanted to enhance for more bass presence, as it was sounding thin and brittle compared to the rest of the quartet. To address this, they used the Sub Bass Makeup preset from the Bass Treatment folder in the SuprEsser.

Here's how they approached it:

• They adjusted the upper cut-off handle to around 250Hz to better focus on the desired frequencies.
• The Threshold was set, and the Access button was used to open additional dynamic controls.
• A soft knee was set to 20dB, and the Ratio was adjusted to a gentle compression.
• The Trim was brought down by about 2dB, and the Wet/Dry mix was adjusted to around 90%.
• Using the Inside button, they were able to listen specifically to the frequencies within the bands to fine-tune their settings.

These adjustments helped them create a big, wide sound, transforming the viola part to have a much fuller, almost bass-like quality. "The before and after amazed all of us," Paul noted. "It actually sounded like we recorded the track with a different microphone."

Taming Harsh Frequencies in the Violin

They also used the SuprEsser on a violin part that was too brittle in certain registers. In this case:

• They immediately used the Inside button to isolate the offending frequencies.
• By fine-tuning the frequency handles and threshold, they were able to minimize the harshness quickly, with no need for additional adjustments.

Akua Dixon, who was present during the mixing, immediately noticed the improvement. "SuprEsser eliminated the nasal sound on the violin when they were playing with their bow," she remarked. "It definitely helped enhance the tone. It also made the viola pizzicato part much more robust, sounding larger and more beautifully open than before.”

Versatility of SuprEsser on String Parts

Paul highlighted the versatility of the SuprEsser, noting that while he wouldn’t have initially thought to use it on string parts, its flexibility allowed it to handle multiple tasks effectively. "We were able to musically tame harsh frequencies on a violin and enhance the bass frequencies on a viola part. It’s really a great plug-in to have," Paul concluded.

The SuprEsser’s ability to adjust dynamically and shape frequencies with precision made it an invaluable tool in this project, proving that even unconventional applications can lead to exceptional results. Let me know if there’s anything else you’d like to explore about this session or if any adjustments are needed!