I watched 100 mixing tip videos in a day
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- Опубліковано 9 лип 2024
- Get the free Mastering Compression Cheatsheet if you want your tracks to sound loud & dynamic at the same time: go.mastering.com/mastering-co...
I watched 100 mixing tip videos in a single day. SPOILER ALERT... there is one vital thing that NOBODY spoke about.
Chapters:
00:00 Introduction
00:11 First Video
00:57 Next Video
02:08 Old video
04:13 Production
05:27 Bob Power
06:46 Dave Pensado
09:00 Filtering
09:43 Jack Joseph Puig
11:11 CLA
12:06 Video 100
12:57 Recap
14:07 Filtering Comments
15:00 Additional Comments
17:41 Mastering - Навчання та стиль
Get the free Mastering Compression Cheatsheet if you want your tracks to sound loud & dynamic at the same time: go.mastering.com/mastering-compression
I've really noticed the high pass filtering mania. haha. Great breakdown on all of this. You engineers need to learn how to mix with no plugins and just learn getting great static mixes and figure out automation. Then start with really knowing eq and compression. Get that solid and you are light years ahead of most.
@@mrelmoresmusiclab 😊😊😊😊
@@mrelmoresmusiclab 😊😊😊😊😊opoooooooopoooooooooooooppooppppppp😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😊😊😊😊😅😊😅😊😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😊😊😊😊😊😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😊😅😅😅😊😊😊😊😅😊😅😊😅😊😊😊😅😊😊
What I have learned after years of mixing on a budget - is getting your room to tell the truth and not lie. All the high pass and eq is in vein if you can’t hear it correctly. I do now FINALLY. No more back and forth to the vehicle and other speakers outside the studio.
Vain*
Please I don't understand your comment but it seems very interesting can you explain and make it clearer to me?
How’d u solve this?
@@Ifelovv $1500 headphones
Amen to that
Interesting video - Thanks for not taking my video out of context - as unfortunately, many do. That video you showed is also an older video that if I were to remake, I would articulate those points more clearly and also provide more insight as to when focusing on learning mixing is appropriate. As with many things - over time we adjust of views and how we'd articulate them to be more well rounded. My thoughts on mixing today are different than they were a couple years ago even.
Your point about the conflict on the high pass filter is something I've mentioned as well as being a wildly overblown issue.
Good to hear from you man. Curious to hear more about how your thoughts have changed! I think your original video was pretty on point.
My tip to me from me is not just have a reference track of whole songs, but single instruments. If you want a good solid beefy kick drum, have a track with a good soli kick drum Etc. Because knowing what you want something to sound like is more than half the battle.
I do this and it works for me. I have certain references for certain things and I sometimes cheat and eq match guitar, bass, cymbals, snare and kick tones and sometimes entire mixes
Someone tried to convince me that you should use only one reference track because that's your guide and it has a certain balance you aim for. Not me, I pick reference tracks for things I like about it. One track might have the guitars mixed in a way I like and the other is closer in terms of instrumentation. Or as the Kush guy goes about it: using "good" sounding tracks to refresh/reset your ears.
I feel like I've reached the point where I get more out of perspectives, mindsets and philosophy than the more technical tips. One of my biggest discoveries was Jack Joseph Puig's explanation of compression. I know how compression works on a technical level, but I've struggled to understand how to really use it musically. His idea of using it to move time and feel within the existing performance is mindblowing to me.
Do you have a link to that explanation by Joseph Puig? Would love to hear it
@@Barncore Look for Pensado's Place Episode 22 and "The Art of Compression with Jack Joseph Puig". I hope you get as much from it as I did.
@@EzyoMusic Thanks!!!
Heads up guys, we're renaming the UA-cam channel to Mastering.com this month!
Videos aren't going anywhere, in fact we're going to be doubling down on UA-cam in 2023 💪
Sicknesss
Congrats on finding a great team of people Rob! Your videos helped me immensely when I started learning 4 years ago, and the Fix the Mix Challenges have elevated me to a higher plateau. Thank you for putting out quality instruction!
That’s awesome to hear, thank you!
Thanks for watching those 100 vids. After years of watching videos I find this one the most informative and compelling.
This was such a great video, thank you man
The reason why you might want to high pass everything is for loudness. When you clean everything surgically you gain some extra loudness without too much of a distortion, if your target is not loudness than you can high pass only what annoys your ears. I usually leave just the bass and kick between 30-125hz and I sidechain the kick and bass with a low pass filter. That way you can still hear the bass playing but the low ends take turns which creates some rythmic movement for your sub to do especially if you set the release and hold time to fit your bpm.
Ayo that’s serious sauce!
You guys are ahead of time. Thanks for that! ♥
You bet!
Thanks for this video I really appreciated your balanced overview on what can be a confusing realm, and youve brought it all into a cohesive whole...this is a great video I think everyone would benefit from watching!
I met yesterday with your channel. One of the best educational channels
Thanks and welcome!
This video is an absolute resource. 💯
Very good summary of so much I’ve absorbed in the last year
Nice to see you again Rob!
Solid video. Well done
OK. Outside perspective because it reminds me of something that Jack Joseph Puig said. I'm doing the at home one man band thing as a dyed in the wool bassist with a day job.
One of the most memorable bass lines in the history of recording is Anthony Jackson's line on "For the Love of Money" by the O'Jays (You are humming that line right now). Jackson essentially took the track home and played along with it for a week before recording that line.
Puig talks about listening to a track for about 45 minutes before working on it. This shows you the flow of the track you get to know it intimately (Right now I'm working on a track where I programmed the drums, and congas played shakers then programmed in a Clavinet, Rhodes and pads) I've listened to it daily to get the vibe and flow of the track before laying down the bass since I already know my options. I will do the same thing when it's time to mix and master.
The fantastic thing is that no-one hears music like you do.
Great vid. High pass the mix tips and get the stereo balance of your creative and objective brain working together and in the right order. Learn rules and then break them without forgetting about the dark arts. Low pass anything that you want nobody else to see. Mixing is like baking a different cake everyday with a new set of ingriedients and a new idea about how you want it to taste. Practice, get in the flow, add a cherry on the top and don't overcook it.
Enjoying your mix tips and yea also agree totally on Dave Pesano’s analogies Great Videos Thanks
Of course there's certain technical aspects of Production that we should learn to get as clean of a track as possible but ultimately it all comes down to personal preference especially if you're self producing.
True to a certain extent but you do need to make sure your music fits alongside other producers music otherwise it's going to be irritating for the listener if your music comes on with alot more bass then the previous track that played.
Good Advices! BRAVO!
This hit home!
I'm amazed by the high pass filter too. How did that become the most mis understood tool. I mostly do live sound, so I have to high pass everything cuz of stage/pa/ambient noise. but working on a console is a bit quicker then having to load a plugin. When i mix tracks recorded from a show I tend to use the high pass filters to get rid of that noise. but stuff recorded in isolation in a studio, i generally don't use them unless there is a glaring problem and it needs it. But, i've been watching the old guys for years now, and it's funny how they all say throw up the faders, get a balance, first impressions with the song and go. Live sound it's all about that. I even teach guys to balance the mix, hands on faders, eyes up. and if they can't tell me why they are reaching for the eq, then dont' do it. but live sound is tricky cuz you have to stay in the moment. the second you go chasing something you miss things. anyway, thanks for sharing.
Some great lessons to take from live sound
Hey man. Good to have you back
Good to be back
Incredible!! Thank you so much for your time. I wonder, is there a particular Video you watched and found the most useful? Lots of love, Thank you!
That Dave Pensado video and the old Jack Joseph Puig vid were probably my favs. It’s all quite philosophical though.
There are industry standards and professional bars to meet for sure, but I think saying the problem with modern day mixing is that the only limit is your creativity is such a great way of putting it. The thing is, with so many options and control over the smallest details, it becomes so overwhelming that creativity succumbs to the technical side of things, but to a point where I find myself spending tons of time making small changes that hardly make a difference.
I have found my best work is almost always when I'm simply following my ear and gut, and then making the final product conform to the standards as best I can.
I agree automation is key and we had it before automation was a thing where you had several ppls listening and adjusting things live - and yes we have a tendency of over thinking and we create Frankenstein mixes because we need to cut low or add highs as everyone is doing it. Ultimately is to remember - if it sounds good than don’t change it or fix it.
Intuition - definately! Pulling up mixes fast with as little playback repetition as possible is so important. Listening over and over and over is a bad idea. I need to get the basics right quickly or risk losing the character by getting bogged down. I print a few of those and I correct the best mix after it peaks. All great tips - thanks.
To change things up in a DnB tune I put the kick a bit lower then the Bassline, it's an interesting effect often used in EDM or Techno.
Love these breaking the third wall videos yo
Thanks for your great mixing recommendations. The main wisdom I received and I use is the Zen philosophy reminder of Learn how to do everything - Technical - Left brain. Then forget everything you've learned - Right brain Creative.This is embedding cellular memory of your technical knowledge. The YIN & YANG .Feel, Energy, Breath, Dynamics in your mixes. Mastering - hearing the finished track in your mind beforehand - GOLD!
Mixing in alignment with the Tao!
What next to nobody is talking about is mix focusing on the midrange, given that a well mixed midrange is guaranteed to sound great on most devices.
Splitting the 808 around 200-300 Hz into a sub one and a high one... I never heard about that but it helped me a lot
Only advice I got and the only advice needed is stop watching and start listening when you close your eyes the magic begins
Word!
I've had that happen to me before yes. Just recently too. The rough mix is better than the "professional." I followed all the steps in order to mix symphonic metal and the guitars were slightly muffled and just sounded bad. Everything else was good though. Bass and drums, strings, and brass were good. But then the synths, I thought of the idea of turning off all the built in effects in the synths and just used a buss track for reverb cause I thought it would help make things more clear yet it didn't sound right. May go good with real instruments but the synths, I took away frequencies and if your not careful that can ruin layering. Chords won't guide melodies right if their sounds are too far apart on the hertz grid for example.
I went back and listened to My older music production from 10 years ago when I knew very little about mixing and alot of those sound louder and more clear then My most recent work which was surprising so I opened up those old projects and on every instrument was a basic 2 band EQ no visualisation no fancy plugins. Sometimes less is more.
Here's a tip that has helped me recently, and I think it relates to some of what you've talked about here, so I'll share it: get some different analog console style EQs like SSL, Neve, API, ect. and try each of them out by putting one on every channel of your mix, and pretend your mixing on a console. After a few tries with each of them, I think eventually you'll find that you have a preference, both terms of the sound you get and the way it controls, and when you do, make that your go-to EQ. This has a few advantages, one is that you won't have to think about which of the 10,000 EQ plugins out there are right for each track, secondly analog EQs don't have graphs and frequency analyzers, so you have train yourself to use your ears, also because they're more limited in their design, you can't make a lot of the amateurish mistakes you can with digital parametric EQs, and the ergonomics will guide you to better decisions.
This is why I love using analog EQs - you’re less thrown off by the visible curve you get with digital EQs so it’s easier to use your ears more. Then I use digital EQs for anything more surgical or if I want transparency.
@@masteringcom That's the way l work now, too, and I barely use surgical EQ anymore because it's only really necessary when there was problem at the tracking phase. Most classic records weren't mixed like that, anyway, not only in the 70s, but also in the 80s and 90s, while a lot of studios moved to SSL, many of them didn't, and still made great sounding music without fully parametric EQ.
Are we talking about digital plugins which are emulations of analog eqs or hardware?
@@sirkayda7205 Well, if you have an analog console, good for you, but realistically we're talking about plugins
Some real gold around the 7:50 point of the clip🏆
I think for certain styles high passing everything but the kick and low end is beneficial but it doesn’t work for every genre. Things sound too separated and unnatural for genres where you WANT to sound glued and natural
Depends how many elements are in the song or music, if it's got 20 plus stems then there is going to be the need for low cut on most of them or it's going sounds like mud.
Interesting. Psychoacoustics say that high passing won’t just remove bass frequencies but will also make the sound more shiny / HF.
So instead of boosting HF you can start by adding a high pass.
Lots of reasons and opinions for everything really. Btw I find the background music a bit distracting. Great video !
I agree with the HPF to a degree. I mostly mix through my studio monitors and then listen again through headphones. I also have a PA system with 15” speakers and I check the mix through that. A couple of years ago I added a subwoofer. It really shows if you have a muddy low end especially with VST synths AND I listen to different sources through the PA. Pandora, UA-cam, Spotify, CDs and of course live music when people show up. Listening to some classic rock that was produced before subwoofers were common in vehicles and homes I have to cut the sub because of a horrible low end rumble that the engineers at the time had no idea was there. My advice is if you believe the instrument can produce those frequencies then cut them or get a subwoofer. Doesn’t have to be an expensive one either. 😃
Do you have a good video that runs through the best volume mixing process? I use FL Studio and there are so many volume knobs, so I get lost in it all.
The tip I found most useful is “fix problem when there is really a problem”. Most of the time we don’t rely on our ears but theories and experiences, which is totally ridiculous. Different musics has different properties, you need to first hear it then alter it.
Your philosophy about how to handle the subjective vs the objective parts of an art form is quite similar to the way I was taught Chinese calligraphy and from what I understand this is the Chinese' approach to art, alongside a few other concepts. Basically, there are a handful of standardized "scripts" when it comes to Chinese Calligraphy and students of this art form are encouraged to copy the works of the ancient masters, by tracing even, if they have to. After years of dedicated study of these ancient masters and their individual representations of these standardized scripts, when they can mimic these characters and styles perfectly, then they branch out into creating their own style or script. So the approach of the Chinese(again, this is my own understanding, I only took 1 Chinese calligraphy course) is basically like your approach to learning objective skills first and then later working on your own subject quirks or creating your own styles. I think this is a fantastic approach, personally, and I've used it to achieve great results myself, however, another philosophy can be found when considering some words attributed to Albert Einstein and combining both approaches into a more, well balanced learning/skill acquisition process. Albert Einstein is said to have made a comment about education, with regards to the idea that the more formally educated in a given field of study you are, the less easy it is to be innovative. Having no formal training or not having learned from someone else about how to do something, leaves the intelligent man/woman a great amount of research, work and thinking to do, in order to master a skill, yet it leaves the most room and creates the highest probability that the person will develop a "revolutionary" concept or technique in relationship to the approaches of the people who came before them. On the other hand, becoming a master of something in the shortest amount of time, requires(usually) a world-class instructor/institution. Personally, my style/approach concerning the trade off between these two things is, 1. Even if it takes longer to learn, being more innovative is better(usually) than being more technical, 2. More often than not, I find that I think differently than other people and when offered choices(like the choice presented in this topic) I choose a different path/approach than others, the "path less traveled" to quote Robert Frost. So, what I think is best is acquiring the "fundamental" knowledge about a skill and developing your own advanced techniques or learning the advanced techniques of others, only when you've grasped the fundamental knowledge completely. Not knowing the reasons other people think something is "impossible" "non-traditional" is one of the most valuable things in the world, especially to scientists and artists.
You’re teaching like a musician
You should do a video on balancing I wanna try that but don't understand what it is yet
I have been watching many many many videos and streams during the last years and there are some things I learned for myself. First of all: when you start a song in EDM for example, your kick shouldn't be longer than an 8th note, kicks do kicks and bass do bass, don't mess them up and most important tip: LOWCUT the bass at 30Hz to avoid rumbling. But my workflow is very different, when I conceptionize a song, I try to balance, gate, compress, eq the stuff, as soon as I inserted and wrote that piece of melody.
100% agree on the kick. Also, look for impact kicks with a strong attack and a quick release.
Gareth Emery had a great video in a "masterclass" explaining his journey in the Objective vs Subjective dichotomy
How are you monitoring your vocals for this video’s voiceover with Airpods without the latency Bluetooth usually causes?
What if you mix in quiet open space like a garden or park, instead of your room ?
About number 6, creating front to back depth... Have I missed something? What is said about this particular thing? Or is it something that's not actually mentioned in this video, but it's something to look into?
sound selection and using the root note of the scale on drums or the fifth note so its sound automaticly better in the mix and analyze the peaks with pro q 3 when freezing so you can see the notes of the drums edison from flsatudio isnt always right with the detection. hih hats are easy to see with it the notes on snares sometimes is the lowest peak in the eq
Dude this is the first time I hear a producer referring to the hemisphere lateralisation. Are you a fan of Iain Mcgilchrist by any chance?
ps: Subscribed!
🔥🔥🔥🔥🔥🔥🔥🔥
Here's a video tip for you.. Use a faster shutter speed on your camera to reduce the motion blur, this will result in a cleaner green-screen key. Appreciate the audio tips!
Nice, thanks!
My tip (and I've been mixing for a year now) is that you don't need fancy equipment at least to mix. What do I mean by that? I invested in HS8 and I literally use them to reference my mix I literally just mix on headphones which are the Sony MDR7506. As stated before "practice, practice, practice" because without practice you'll literally be in the same spot and the reason I got wayyy closer to industry "standard" is because mixing is my passion.
Fancy equipment just makes the job easier, but only if you have the skills to take advantage of that. I'm glad I invested in a pair of MixCubes because they hyper focus on what my main speakers don't do as well.
0:09 my guess is managing dynamics and trimming inaudible transients is the tip that the videos won't mention. I'll continue watching to see what the answer actually is
Most of the high pass filtering solves the problem when reverb blooms the low end and muddies the mids
Never been this early. 🎵
The trick is not to be early
I noticed that a steep highpass makes a vocal sound unnatural, even if it only kicks in below the fundamental frequency of the vocal. While a highpass appears to be usually helpful to make bass frequencies come through more clearly, just highpassing everything can easily becomes a problem, if it's done too mindlessly, even if it doesn't reduce the fundamental frequency of the track.
I'm really starting to think, don't use the same tool to achieve several goals. Use a very gentle highpass to round off the low end and make the instruments blend naturally into the frequencies of the bass and use another EQ with a higher slope below the low frequency tail of the track to effectively cut possible undesired low frequency rumbling.
In my opinion even 6 dB/octave high-pass filtering can be brutal to the sound and suck the life out of it. If the low end causes issues, I tend to use a low-shelf-filter to reduce the level of the low end just a few decibels and this often solves muddiness-problems without making the filtered sound unnaturally thin. I may add an infrasound filter at 10-20 Hz if there is a lot of garbage down there. High-pass-filtering in the frequency range of about 50--500 Hz in my opinion often leads to unnaturally thin sound while low-shelf-filtering seems to work nicely. It is just unnatural to our ears that the spectrum of a sound drops so dramatically and consistently toward the low frequencies. Spectrums tend to drop (consistently) toward high frequencies and low-pass-filters sound "natural" to me.
Yep this is for sure another risk to high passing everything
There are so many mixing videos but seems like very few on tracking
"Learn the rules so you can properly break them" or as my personal saying: "You have to know the inside before you move outside the box"
📦
@@masteringcom If you think about it, most new innovative music exists right outside the box. They break some rules, but stay mostly inside. It sill sounds familiar, but different. If you go too far, it will sound strange. What is too far? Well you have to know the inside to know. You will have to know the inside to know which rules you can break. This goes for mixing as well as songwriting/production.
Who had the best video that stuck out from the rest of them
the idea behind high passing everything is to gain headroom. not to "solve problems where you cant hear them". also all the tiny flaws you may not hear individually may add up and cause problems further down the road.
But in practice they don't really take up headroom because those ancillary elements have very little actual sub-frequencies. If it's not interfering with the bass then more likely than not you're actually cutting out part of the character of your sounds while gaining very little. This is probably one of the worst tips you can give people because balancing elements such that a highpass isn't necessary is a far more useful skill that'll lead to much better, and therefore louder, productions. Pretty much everything that is commonly highpassed in UA-cam tutorials leads to weird-sounding, pseudo-clinical mixes. A low shelf dipping the sub frequencies if absolutely necessary would work way better.
@@Arcessitor it depends
Both. On a live stage, all of the low end that gets picked up and reproduced due to the omnidirectional nature of the lows from the subs. Yes it does matter.
Exactly this! Many people don’t understand why they can’t get their songs to be competitively loud without distorting and this is the main reason. Too much sub frequencies eating up the headroom!
@@Arcessitor I've started going too far with my high and low passes, then adding back until the sound is full, Pensado tip - in melodic tech house it's needed
What do you think of stuff like the Sonible Metering Bundle? I only have headphones to mix from, so no room treatment or so.... Do you think that's a usefull investment (since, you know, as a student i can't really afford all the plugins) or would i be better off spending money on stuff like a great limiter?
Depends what you're doing.
Hey, if your headphones are good enough, I would recommend Dsoniq Realphones plugin. I mix on headphones too and its been wonderful for me. It imitates real control room environment in headphones and comes with a bunch of presets for different headphones
9:43 The GOAT
thanks for saving me time hah. the technical work is absolutely necessary. as it is with any craft .I was a carpenter in my working days if you didnt have proper training you could lose a finger.As a musician ive been playing guitar and teaching guitar for over forty years (never lost a finger)eek and I keep learning more. The recording world is like that as ive gone from having others do my mixes to doing my own four track to 8 track to Logic Pro mixes. All this to get a few listens on Soundcloud but I have fun. Thanks again helping us all out . Im spending this winter in learning how to get myself confidently working Logic Pro so I can work with others in my studio. And make a good home recording I can be proud of.
I hated the fact that you stopped MoM, so much that I unsubscribed to you. This was likely one of the best channels I'd find about mixing. And this new video is again proof of that.
Glad to have you back!
And Btw, there is not clickable video at the end ;) Thank you again!
If all elements are frequency dependents on what they sounds like them hp is very necessary
BOB POWER IS THE MAN.
Tribe called quest and J Dilla. Nuff said.
Has anyone mentioned the mixing tip that's the opposite to the other mixing tip that the other person says is the best but it's actually completely different to the best mixing tip in the world and then when you've used it your song still sounds the same
Couldn't help but wonder how did the green tshirt key out without looking odd.
Different shade of green
Also what nobody is talking about and i just learned is before i do any mixing. Even before i level my tracks, i check de waveforms to see if there are any phasing problems. First i fix that by flipping the phases that are upside down. It makes the biggest difference.
You should’ve left the great, funny, original thumbnail with your eyes taped open. LOL!
Haha I loved that thumbnail too but this one beat it!
Why this video sound quite compare with the others?
Bruce Lee on objective vs subjective:
“Enter through Form,
Exit from Form”.
Learn forms until they are muscle memory and integrated and then let them go and trust they’ll be there when needed.
I just did your “Fix-the-Mix” 3 day challenge which used these summary principles. A great experience.
Being a humble homerecorder I missed one vital thing: Mix preparation. I learned that the hard way. With mix prep done I agree to everything you said.
Yeah I sometimes spend more time prepping a track than I do mixing.
can anyone briefly write what is the conclusion? I don't want to watch the whole video, thanks
Skip to 12:57 for main takeaways
Shout out Coffeezilla 💜
never heard my tips tho :D
nobody is using waves l1?>
bro I got scared a little bit I was just watching a Cofezilla video 😂😂
😆 love some Coffeezilla
Reference tracks should be on nr1, nothing helped me more than learning how to use ref tracks. Further, learn about fresh ears / ear fatigue. I only master early in the morning, for example.
NO!!
Start with what makes you and keeps you inspired. No matter what side it is!! Cause if u ain't inspired, you are not going to last. Then expand from there.
Inspiration is one of the purest form of joy, and i would suggest you let it lead you.
Rookie Numbers
😆
I want logic x pro in my case to be smart enough to mix all the channels for me and apply compression eq etc…. And I will tweak it to my liking- I think it’s coming, it’s just a matter of time -
I’ve recently gotten into Izotope’s mix and master everything bundle, after a decade of using Logic’s stock plug-ins and default UAD plugs. The mix assistant is SUPER close to doing exactly what you described. It can do, in one pass of the song, what would take hours to to accomplish manually. It can auto-level match tracks, give rough EQ’s, comps, exciters, pitch tuning, etc and It almost always gives a “usable” result… but even izotope says it’s intended to be used as a starting point, which is exactly what it does. It is so useful. It changed the game for me, just figured I’d share ;)
@@chrisricetopher21 hey, yes I have iztope and many others. Yes the iztope does give you that - what I was going for is that logic x gives you enough so that you don’t have to buy extra - as an example if I m doing a dance track, it will duck the base automatically and than it will create a pad that will lower automatically when the vox comes in and it will layer a second sound for base as it will sound good on a phone . In other words, I want to create and do the least possible in terms of technical.
AI is coming and will be able to do just that
Short filmmaker advice, you´re sitting to close to the green wall/screen. Good advices
Yeah didn’t notice that till after 🤦♂️
The problem ofently is that you need to be good in mix to fix problems…
So first try to anderstand where coms the problems…
Then learn how to fix each…
And sorry to annonce this but you need in général :
10 000 jours of practice …
Si Take your Time and think that today it’s really more easy than ever …
Thank you UA-cam …
Finaly find someone that you can anderstand and follow this Guy …
Or more than one …
But try to know Who is this Guy and if it’s not a beginner …
And then your on the game …
Coffezilla 4 the win haha
And the other thing no one is talking about is - TRAIN YOUR EARS. 99% of people mixing music don't hear well. Training your ears and knowing the frequencies from just listening to a song for every element is crucial. Try to use your plugins without looking at them (at least look away when turning the knobs and faders). Find balance in a mix without looking at the faders, just by ear. Same for EQing. Switch off your screen and just listen to a raw mix. There is a lot to explore using a non-visual approach to mixing music. Oh and the other thing is - USE HIGH QUALITY SOUNDING material. Think about cooking. You just can't create an amazing mix with cheap ingredients. That's it. I mixed over a thousand songs over the last 20 years. Cheers!
Open every project as a template that has a eq in every channel with, sa HPF already applied. Bang, problem solved, NEXT!
If you don't know what you want it to sound like, you don't have a start point. Sometimes knowing what you DONT want in thew mix can be helpful.
6:45 case in point*
I feel like I have ADHD after watching this video way too much going on
As far as the high passing advice goes, If your RTA isn't showing anything down there why bother filtering it out? The other aspect is Bass can be blended with any other instrument to create a new sound. Bass + guitar playing the same riff is so common in music. Smoke on the water uses a distorted Organ together with guitar and bass to make this massive sound like nothing else. Doubling the bass part with a synth can take a part from ok to incredible. If your first move is to cut out everything that isn't kick and bass you are missing out on some great sounds.
🤣 oh my video again 🤣 my mixing ego with emotions tip - don't waste your day watching your own videos
1:44, i subbed. haha
Well don't highpass indiscriminately. Check an analyzer if you think there might be some weird mic stand noise and the analyzer finds it then yeah high pass it. Otherwise don't.
Hahahaahha that is Me
I thought you were a juggalo in the thumbnail 🤡 🗡