Andrew Scheps: Balancing Kick and Bass in the Mix
Вставка
- Опубліковано 18 лип 2020
- Grammy-winning mix engineer Andrew Scheps (Adele, Jay Z) shows how he balances his bass and kick drum by defining distinct roles for each instrument and adding low end to the mixbus. Watch Scheps’ full masterclass FREE: www.waves.com/scheps2020
Plugins used in this video:
Scheps Omni Channel: www.waves.com/plugins/scheps-...
Kramer HLS Channel: www.waves.com/plugins/kramer-...
PuigTec EQs: www.waves.com/plugins/puigtec...
Music:
"Sound the Alarm"
by Halloway
Scheps seems to have the ability to talk about mixing but make it seem simple and logical. He makes me feel more confident with a clearer view of what needs to be done in a mix.
"That's the very first thing is to define the jobs that the instruments are gonna do.." I think he's saying The song arrangement is a big factor for mix decisions..
Love how ‘matter of fact’ this is. Small tweaks and trusting ears.
Andrew: "Define the jobs the instruments are going to do". It's why I listen to his technique, along with the philosophy. The two go hand in hand. Love the Scheoos Omni. It's my go to channel strip. How simply he states things. No long drawn out "Well you know, it reminds me when I was a boy on a farm......" ; )
This is next level. Love it.
Big thumps up for not showing only "own" plugins like self-marketing talent Chris Lord-Alge.
Define the jobs of the kick and bass. Love that
I love this guy, easily becoming one of my favorite mix engineers
Yeah, he already is mine. Everything he explains is so down-to-earth and accessible. A lot of engineers act like they don't like giving advice so they talk at a level of arrogance that feels like being talked down to, as if you should already know what they know. Scheps seems like a guy you'd want to chill and have a beer or two with.
I love how often these masters of the craft say things like "I have no idea it just sounds good"
Very true. Listening and playing around.
I guess people overthink things sometimes, just doing what feels right is the way.
yeah, cause they go by the ear and not theory. not saying that it is easy though. lot of hours in the studio.
Me too bro it’s ambiguous how did you become a legend 😩😩😩
I’d be 99 per cent positive that in their very early days they obsessed just as much about theory, ear training, understanding frequency relationships and how the analog machines worked just as much as we do, and loved deep breathing it, just as much as we do.
:Andrew scheps , “the sky’s blue”
:Me, wow this guy’s a genius
Lol, love this man ‼️
wow exelente gracias
"I don't do much" means the effect chain only consists of 23 waves plugins.
"The low end is on the mix bus, not the individual instruments."
Man that's an eye opener.
Can you explain what a mix bus is? Thank you
It's an eye opener for me too!
@@larrywerther9454 : Larry, the mix bus is where all your tracks get routed to so you can take collective action on them. You can think of the master channel on your mixer as the mix bus.
I. C. All so you’d apply it to the master channel, then create your bounce down and master? You wouldn’t add it in the mastering session?
@@elderchildren : That's what I would do, but I think you could do it either way.
scheps tutorials are the best
The kick low end is amazing on Kaleo’s “Break My Baby.” How is that achieved?? Sample or some good mic’ing
Recording right and setting up instruments to sound great makes the difference between night and day. No compressor or any hardware can replace new set of strings on a guitar.
what I've tended to do is a bit of side-chainy stuff on the kick & the bass so that they 'pop' together, & try to find a musical peak frequency that they agree on. some things like the tuning of the kick drum & the timing of the bass playing are best addressed at the time of tracking, but there are some things you can get away with 'in post'- microtiming one onto the other (& not necessarily the grid!), tuning the kick into a sweet-spot....
but addressing the overall eq, the first thing I do is buss up *everything else*, including keys & whatnot that might legitimately extend into the same frequency range, & high-pass the whole lot at around 200Hz. that gets them out of the way while you still have them there for reference, level-wise, & you can concentrate on finding a harmonious relationship between the bass & the kick. you can then relax your high-pass to taste, & if there is something in there that needs to extend lower (piano, rhodes, synth, maybe a detuned guitar) it's easier to address once the kick & bass are happy. also saves you from having to compress too much.
"Pulltec is weird"🤣🤣
Facts 🔥
@Authentic Sound Bites great intel…it’s the little things that matter most..
O my Goodnesses man
Hello there
My question ❓ is how to separate kick & vocal frequency...I can see that sometimes kick hi fruqency clasing with vocal frequency...we need low from kick Right but what about kick hi registered frequency m I cut this frequency for vocal room...I m confused...if I cut it was rambling the kick
I wouldn't worry too much about that, the majority of the information is below 100 hz for the kick, and the click sound is most likely not exactly where the vocal is. Some bleeding in of frequencies u can allow, and another option is to also use side chain compression where vocal gets ducked out of the way when the kick hits.
@@emf2482 lol, I've never thought of ducking the vocal for anything. Vocals are the main character. In fact, I have tried side chaining the entire instrumental arrangement to duck the vocal buss
I havent ran into that before..usually other instruments mask vocals...assuming this is metal or rock if your kick is masking vocals. Might be a compression issue. Either Refine your attack/release on your kick compressor or you're not compressing your vocals enough to fit into the mix. For the first option, remember bass follows treble...so faster attack and faster release will treat mostly the high end. Hard to tell without hearing it. If you don't trust your eq skills there's always collision detection metering in pro q3 you could use as well
Never duck your vocal! That’s ridiculous
It helps to get well recorded material...
THE PROs
👍🏾
PAY ATTENTION TO 1:10
Hold on. He mixes with a Pultec on the master? Or what does he mean by "mix bus" ??
The mix bus is the bus that all the other busses are being summed to. It may say “Stereo Out” or “Output 1-2” or something like that
If I wasnt looking, I might confuse Scheps' voice for Howard Stern lol
HE uses headphones while mixing low end lol?
Feather EQ the bass & kick - if anything more is needed, sidechain compress the bass so when the kick comes in, the bass slightly ducks. Point blank period
The bass us already pretty decently recorded so he doesn’t need to do much to it. That’s the problem with mixes is you’re getting a bunch of tracks that may or may not have been ideal for this song. Then you might need to do something drastic to some instrument or track to get it to stick out. This song is not a good example of that.
Who else thought he was gonna talk about some 808s? 😅
@Authentic Sound Bites ha nice
Secret of a great mixing is that You should have great recording equipment.If your records are perfect mix will be perfect.Arrangement is serious too but Firstly You should have million dollars equipment to achieve analog warm sound.
Lol is this a joke? You don’t need million dollar equipment. Analog equipment helps but it doesn’t need to be a million dollars
Queen Purple You say that $100 compressor plugin is the same with $20000 hardware ??? Professional studios use lots of equipments and You dont fight in the box mixing with them .Is not it ?
rcxmanking im
Not saying that, I’m saying you don’t need 1 millions dollars to make a good mix. I like nice equipment as much as the next guy and would always pick analog over digital, but if someone doesn’t know how to record, the equipment is of no use. This should be perfectly obvious. You said you should have millions of dollars of equipment.
@@Mixingmachine774 Actually Scheps says it himself in a video "all I need is an iMac" - take a listen ua-cam.com/video/_M5aEC3-ACQ/v-deo.html
People are recording grammy winning records on laptops in hotel rooms now. You don't need a million dollar studio. Of course it depends on the genre, and how much is done with live instruments vs samples and virtual instruments
Don't treat electronically what you can fix acoustically.
Bruh
CAN YOU PUT THE SUBTITLES IN SPANISH? THERE ARE MANY HISPANICS FOLLOWING YOUR CHANNEL, THANK YOU VERY MUCH
Scheps is genius. However this not abrasive enough for that modern Hip Hop/Pop sound. Throw that LO AIR on a bus and now we're talking.
What do you like about LoAir?
@@elderchildren as a send track it instantly gives any kick or bass that you need more sub, more sub. Instant. Perfectly. Doesn't muddy up mix. I use on major records.
still important to choose which will go on top or bottom. Kick? Or Sub? depends on the track. Also side chain on the lo air send is essential sometimes. The "Solid Bass" preset is a good starting point for adding huge low end to a kick or bass/808.
hop3 that helps Elder Children :)
nah Saturn 2
super unorthodox, just goes to show that when you know the trends and can hear what's happening you can break them.
There is no sure-fire way to develop a mix engineer as over 1/2 of that job's skill set requires switching OFF the engineer portions of your brain to just think as a music consumer while avoiding any aspects of your inner musician which just gets in the way of figuring out what you WANT to hear overall. The larger aspect of mixing is totally subjective, a psychological floating point algorithm. If you get stuck in the rut of chasing numbers and superstitious combinations of engineering tricks you are lost. Scheps' genius isn't really genius at all, it's built into his personality, it's the ability to totally switch OFF his inner geekness on the fly so that he is then free to listen without assumptions based upon his skills. In a questionnaire that includes 1,000 rudimentary audio engineering tasks and reference level facts Andrew might get 750 of them correct but he will then go on to produce a better mix than 90% of those who answer 1,000 of 1,000 correctly because of his ability to switch that sh t OFF when it conflicts with reality that is OFF of the chalkboard. Classical IQ is NOT Fluid IQ, there is a massive difference between a parrot of information and one who can spontaneously react to incoming information. This explains why 99% of the people on this planet with PhDs are worthless in anything outside of their individual, specific, pigeon holed bubble of expertise. Yeah, we need those persons to advance at a purely scientific level but if we had to rely on them to get through the business of the day society would collapse. Pay attention to the musicality, the listen-ability, of the work at hand and slap that inner parrot away from the desk until it is REQUIRED, ie put the dictionary DOWN and just talk with me, listen, comprehend and speak, don't just assume you already understand because, likely, no one will ever really truly understand anything at all - so stop chasing that un-fun bullsh t.
Rick Rubins lost brother
Is it like some kind of rule that all mix engineers are either ugly or goofy looking or both?
I would never buy a masterclass with this absolutely horrible screen capture. Get it together.