I’ve just started a course in audio engineering and seeing this video shows me how far I have to go, but also how incredibly inspiring how your mix just perfectly encapsulated the song and different timbres in the band. When the video finished, I said out aloud “that was freaking amazing!” 😮
Only listened up to 16:35. I’m probably not as good as you but I think I heard it enough. Not sure what you had left to take out bc all additional effects to the mix were absolutely solid. Book it.
Carlo, i'm an absolute rookie on this, hope you don't mind of this question: ehat the Fabfilter Pro-Q does that the Neve onboard EQ doesn't? Thank you and congrats for the final sound of the mix.
Hey, why pay a bunch of money for speakers that simulate cheap small speakers when you can just buy actual cheap small speakers? I wouldn't run them through Bluetooth though, just because of the added latency, but that's just me....
Oh now that's cheating. I know. Because I have a 36 input 1970 custom-built for NBC-TV Neve. With 1073 equalizers and 1081 electronics. It's a basturd! No Class-A version, can touch it. I get the B with the A over the B. From the 1176 after the KEPEX-1. And that's analog mixing. Not this computer-controlled imitation. But it has an analog signal path. Yeah no. It's chock-full of digital gobbledygook. Called clocking. Now I never do any mixing or recording without being half clocked to begin with. I mean I got a degree from the University of Marijuana. And I passed with colors flying by me. I don't know where they were going? I just push mixes up. On real analog consoles. A lost art. You don't see many like this no more. One kind of in a movie by goofy Dave Grohl. And oh look there it is right now. Next to what I am dictating into my computer. My favorite movie of all time! I'm a bit biased of course. Because I was also the last Quality Control Manager for this company called, Scully. We made nice tape recorders. I was a manager. In charge of the factory floor. Though there was a factory floor manager. I was the quality control manager. Nothing went out the door without my rubberstamp. Tight. Real tight. The best since Larry had made them himself. With the help from the guys from Presto. Fecteau. And I was there aha ha ha he he. They're coming to take me away! But it's all true. Life is stranger than fiction. And Wendy Carlos ain't got nothing on me. Neither does Caitlin Jenner. If ya follow? Sylvia Massy has an off-the-shelf 8038. Mine kind of like hers. But more expensive. And she's got bigger boobs. So you want these for tracking, primarily. This is what Clearmountain uses before he mixes on the SSL 4000 E with the G computer. Just so you know. I used an 8000 and the Acxiom MT, analog and digital desks. I don't really have any time on 4000's. Or the 9000's. But they are all the same. You can do anything. And so you do everything. And lots of it. And you keep a tight. While keeping it fat. With what you tracked it on. The Neve. Or you just use ProTools with SSL plug-ins. And you're there, Man. Tight. You've got gates on every channel. And you use them. Along with the bodacious limiters. And sweep frequencies variable Q equalizers. To keep it tight. Like a virgin. For the very first time. Now in the end. Your mix sounded very nice and very perfect. But having owned one for 25 years. And working on them for over 45 years. I could tell. You really didn't work the preamps. You did not abuse them properly. To make them work their magic. You need to push into those more. You've got nearly unlimited headroom and no voltage sag. Like my old desk has. It's missing that sound. It's oh so perfect. But you know they bleed once a month. And you left that out. You don't trim the gain by the meter. You slam, the gain. And the meter goes click and pegs. That's what you do with an old fashioned Neve. Come on man. Get with the program. You got it for its rich harmonic structure. And you need to beat it to perform for you. I've been beating on mine since 1984. When George Orwell came out with his movie. Because I was too stoned to read the book. I was recording rock 'n' roll. For a living. And I'm still living. I lived through it! No need of any Thermionic Trans, conductance. I've been, Trans for over 35 years now. I now have my own tube. And I like to use transistors. Mostly. Though. I also have an old early original Motown control room also. With more tubes. All Telephunken. And some Neumann U-67's. Stuff like that. When you want that earlier tonality. I mean you have to have it all. And an excessive amount of inputs of it. You know racks loaded with vintage limiters. You can never have too many. I almost have too many. To keep it tight. For coast-to-coast live and around the world satellite broadcasts. Of music entertainment events by chart topping basturd's. And all I get to do is record and mix it for live broadcast. And so I have to also imitate the sound of other engineers. Like Clearmountain Massenburg and Swedien. Okay also Geoff Emerick. Because Sir George Martin offered me work. 30 some years ago. Almost 40. Oh well he's dead now. I never got back to him. Or Quincy Jones. But I have a recording to deliver to Dave Grohl he didn't pick up for me 27 years ago. He got too stoned and left. And I told him when I was putting the microphones on his drum set. That I would have the recording for him when he was done. But it was the Fourth of July on the Washington DC mall. And the performance was for the NORMAL organization. Which I guess later finally worked. And I covered those shows for about seven years running. Because the coproducer who built the stage. Was the carpenter for my recording studio. Which was in a gigantic 25,000 pound diesel box truck. Yes I'm one of those. One of the last of the greats. Just so you know. RemyRAD
@@dingbatjack1234 Ha! forgive me I just saw that the equalizer at home had the treble set fully to compensate for the blurry sound of a youtube video of great interest. I just re-listen a bit because I don't want to distort your judgment. To my taste, there is still too much presence on the percussions, but above all a compression effect, so there is certainly a compressor used, and that each time I see that it does not improve on the final mix. too much aggressiveness on the voice too, maybe too much compression and filtering. pretty much it could be perfect. The art of mixing is a complex art, much more than one would imagine when you don't know what it is. Obviously everything I say here only aims to give you the most exact and clearest possible light without which it would be of no use in addition to listening to the speakers I also used my beyerdynamic dt 770 pro headphones. correct headphones. text french by google traduction
![Chris Langan - The Interview THEY Didn't Want You To See - CTMU [Full Version; Timestamps]](/img/n.gif)
I’ve just started a course in audio engineering and seeing this video shows me how far I have to go, but also how incredibly inspiring how your mix just perfectly encapsulated the song and different timbres in the band. When the video finished, I said out aloud “that was freaking amazing!” 😮
Sounds great! Thanks for making the video I’ve wondered how they sounded in action
Thank you. Good song good mix.
what a great video I've enjoyed every second of it , thanks for sharing this.
Really Enjoyed this, thank you for posting a video of your session
Great video and great skills, thank you.
Sound is very good with analog mix ❤️❤️❤️❤️
Thanks Tom!
sounds great man!
Wow❤️ good sound. Thank you 😊
Beautifull song.
Nice punchy Drumms💙
Love it. Cheers.
Mixes a song on the Genesys then dials up an analog stereo mix bus like its nothing. Love your channel!
Only listened up to 16:35. I’m probably not as good as you but I think I heard it enough.
Not sure what you had left to take out bc all additional effects to the mix were absolutely solid. Book it.
Hey Carlo, can you explain the workflow and signal flow a bit? Thnx!
Why don't you use any of the EQ s or Dynamics of the Mixer?
Hi! Between this and the RND 5088, do you have any comments?
Such a great song! Do the faders in front of the screen are useable in any sense? Cheers!
Question:after a mix good like this, what do you make the mastering engineer do? Thanks and congrats
Carlo, i'm an absolute rookie on this, hope you don't mind of this question: ehat the Fabfilter Pro-Q does that the Neve onboard EQ doesn't?
Thank you and congrats for the final sound of the mix.
Hi friend!
I use it if you need sharp curve.
does bluethooh's jbl small speaker use it for monitoring too?
Hey, why pay a bunch of money for speakers that simulate cheap small speakers when you can just buy actual cheap small speakers? I wouldn't run them through Bluetooth though, just because of the added latency, but that's just me....
Oh now that's cheating. I know. Because I have a 36 input 1970 custom-built for NBC-TV Neve. With 1073 equalizers and 1081 electronics. It's a basturd! No Class-A version, can touch it. I get the B with the A over the B. From the 1176 after the KEPEX-1. And that's analog mixing. Not this computer-controlled imitation. But it has an analog signal path. Yeah no. It's chock-full of digital gobbledygook. Called clocking. Now I never do any mixing or recording without being half clocked to begin with. I mean I got a degree from the University of Marijuana. And I passed with colors flying by me. I don't know where they were going? I just push mixes up. On real analog consoles. A lost art. You don't see many like this no more. One kind of in a movie by goofy Dave Grohl. And oh look there it is right now. Next to what I am dictating into my computer. My favorite movie of all time! I'm a bit biased of course. Because I was also the last Quality Control Manager for this company called, Scully. We made nice tape recorders. I was a manager. In charge of the factory floor. Though there was a factory floor manager. I was the quality control manager. Nothing went out the door without my rubberstamp. Tight. Real tight. The best since Larry had made them himself. With the help from the guys from Presto. Fecteau. And I was there aha ha ha he he. They're coming to take me away! But it's all true. Life is stranger than fiction. And Wendy Carlos ain't got nothing on me. Neither does Caitlin Jenner. If ya follow? Sylvia Massy has an off-the-shelf 8038. Mine kind of like hers. But more expensive. And she's got bigger boobs. So you want these for tracking, primarily. This is what Clearmountain uses before he mixes on the SSL 4000 E with the G computer. Just so you know. I used an 8000 and the Acxiom MT, analog and digital desks. I don't really have any time on 4000's. Or the 9000's. But they are all the same. You can do anything. And so you do everything. And lots of it. And you keep a tight. While keeping it fat. With what you tracked it on. The Neve. Or you just use ProTools with SSL plug-ins. And you're there, Man. Tight. You've got gates on every channel. And you use them. Along with the bodacious limiters. And sweep frequencies variable Q equalizers. To keep it tight. Like a virgin. For the very first time.
Now in the end. Your mix sounded very nice and very perfect. But having owned one for 25 years. And working on them for over 45 years. I could tell. You really didn't work the preamps. You did not abuse them properly. To make them work their magic. You need to push into those more. You've got nearly unlimited headroom and no voltage sag. Like my old desk has. It's missing that sound. It's oh so perfect. But you know they bleed once a month. And you left that out. You don't trim the gain by the meter. You slam, the gain. And the meter goes click and pegs. That's what you do with an old fashioned Neve. Come on man. Get with the program. You got it for its rich harmonic structure. And you need to beat it to perform for you. I've been beating on mine since 1984. When George Orwell came out with his movie. Because I was too stoned to read the book. I was recording rock 'n' roll. For a living. And I'm still living. I lived through it! No need of any Thermionic Trans, conductance. I've been, Trans for over 35 years now. I now have my own tube. And I like to use transistors. Mostly. Though. I also have an old early original Motown control room also. With more tubes. All Telephunken. And some Neumann U-67's. Stuff like that. When you want that earlier tonality. I mean you have to have it all. And an excessive amount of inputs of it. You know racks loaded with vintage limiters. You can never have too many. I almost have too many. To keep it tight. For coast-to-coast live and around the world satellite broadcasts. Of music entertainment events by chart topping basturd's. And all I get to do is record and mix it for live broadcast. And so I have to also imitate the sound of other engineers. Like Clearmountain Massenburg and Swedien. Okay also Geoff Emerick. Because Sir George Martin offered me work. 30 some years ago. Almost 40. Oh well he's dead now. I never got back to him. Or Quincy Jones. But I have a recording to deliver to Dave Grohl he didn't pick up for me 27 years ago. He got too stoned and left. And I told him when I was putting the microphones on his drum set. That I would have the recording for him when he was done. But it was the Fourth of July on the Washington DC mall. And the performance was for the NORMAL organization. Which I guess later finally worked. And I covered those shows for about seven years running. Because the coproducer who built the stage. Was the carpenter for my recording studio. Which was in a gigantic 25,000 pound diesel box truck. Yes I'm one of those. One of the last of the greats. Just so you know.
RemyRAD
Hi, I know, but send me your mail.
Thanks
NORML. Don't care that you misspelled it, just wanted to prove that I read it all. Now that's a lost art. ;)
bad drums
Enlighten us on what’s bad?
@@dingbatjack1234 Ha! forgive me I just saw that the equalizer at home had the treble set fully to compensate for the blurry sound of a youtube video of great interest.
I just re-listen a bit because I don't want to distort your judgment. To my taste, there is still too much presence on the percussions, but above all a compression effect, so there is certainly a compressor used, and that each time I see that it does not improve on the final mix.
too much aggressiveness on the voice too, maybe too much compression and filtering. pretty much it could be perfect. The art of mixing is a complex art, much more than one would imagine when you don't know what it is.
Obviously everything I say here only aims to give you the most exact and clearest possible light without which it would be of no use
in addition to listening to the speakers I also used my beyerdynamic dt 770 pro headphones. correct headphones.
text french by google traduction