I was hoping you had uploaded a new video as that's how I wanted to start my evening. I was not disappointed. Thank you for your great tutorials and your very helpful explanations. I'm glad I discovered your channel. All the best and best wishes!
likely "float" came from a function on the old ssl desks. float essentially removes a channel from going to the main stereo buss. you could then assign that particular channel to a buss or pair of busses and process that with a compressor, eq, etc, then patch that to a new set of channels. the aux sends will still work from the original channels even if they are pre or post fader...but the main content will not go to the stereo buss.
I remember I did something similar by accident once and didn't understand why my kick sounded so good, and it was outside of the drum bus, right to the master.
Brilliant! I'm already starting to get option anxiety! Could you do a video about how to mix-and-match some of the different approaches? I'm thinking that some things will work in combination while others might not. Cheers!
After reading about how it was used on the Super Unknown drum buss and how Brendan O'Brien liked them and used them for overheads (as well as some people on forums saying they liked them on vocals and especially background vocals) I purchased a Summit DCL200 that was priced well and I had hoped I'd like it (really haven't met many compressors I _don't_ like or can't find a use for). Unfortunately I was massively underwhelmed and ended up returning it and ultimately exchanging it (I bought it from Guitar Center) for a Handsome Audio Zulu and an electric 12 string. I don't know if perhaps it was just the particular unit I got but everything/all the components were testing within spec but I found it to have absolutely no color whatsoever. It was so transparent - even at extreme settings - and the compression _SO_ subtle that I kept wondering if something was wrong or if it was stuck in bypass. Ultimately I knew it was working and could identify what it was doing but it certainly didn't add much, if anything in the way or "glue" or "cohesion" on drum buss or stereo overheads and at best was "meh" in mono on a lead vocal or compressing a vocal buss. I don't want my gear to be _SO_ transparent that its as though it isn't there! I _want_ my gear to impart a "sound" or "color." Or else, why have it?? Its why I've never really understood the gear communities lauding or "transparency" in the gear. Before this, I had used other units from Summit - EQ, preamps - and thought they were good so I was really surprised and disappointed with the DCL200. For me, it suddenly made sense as to why their resale value is so low compared to their retail cost. Of course, your milage may vary and it might be _the_ perfect compressor for you. So certainly don't let my opinion dissuade you if you want to try/buy one. If you're the type of person who appreciates transparency and want something that compresses _super_ gently, say for instance when tracking - this might be _the_ compressor for you. "Horses for courses" as some say.
Interesting experience! I'd never call the DCL transparent, in fact I still have an MPC-200A mic pre/comp channel with half of the DCL in it, and it sounds great for vocal tracking. I know their overall quality declined after Dave Hill left, so maybe that's part of it... not sure exactly which era my experiences were with.
I've been doing a similar thing with OH/ cymbals instead of kick. They get too washy when hitting the drum buss comp at full volume. Also, I really like your channel, much more interesting content than a lot of the other production channels.
Great video, gonna try some of these tricks for sure. Thanks for doing it! I do believe Acustica's "Sunray" samples the Summit DCL 200, but I get that a lot of people hate working with their stuff these days...
Another great video, thanks! Would you end up with more or less the same result using a drum buss compressor with a hi-pass filter on the sidechain input?
That would depend how much bottom is in the kick compared to it's attack/punch, which would be much higher. The transient of the kick would still be shaped by the drum buss comp that way, too, which is avoided here.
Hey, speaking of Summit gear....do you know, what exactly did Dave Hill design? Have only heard about the TLA for sure, but always figured he must have done more than just that one thing. Someone even told me that Dave only did the early versions of the TLA and the later ones were different.
Sorry, am I to understand you’re bypassing the drum buss entirely with the kick? I’m not a PT guy, but it looks like the kick bus is still routed to the drum buss. Do you send the kick, or do you route the output to the Mix buss?
Thanks for the sub! Aux 1 is the reverb send (Valhalla on EMT 250 preset), and aux 4 is something secret for another video, the return is muted for now.
.3 attack time on ssl buss is wild. You sure about that? Especially Andy Wallace. I always thought 10ms was wild for attack let alone 0.3! I also always thought Andy was at 30ms
Yep, Andy said it himself in one of his Mix with the Masters videos... as fast as 1ms sometimes, or 10ms on slower songs, but usually 3ms. Brendan's old assistant confirmed these settings for him as well.
@@JPHenryAudio is this how he was doing it back in the early 2000s? The nu metal stuff. Linkin park limp bizkit etc. ?? Or was this a more recent thing ?
@@JPHenryAudio FYI I don't know if I can post links but in the comments section of another video about Andy ssl buss comp someone said the following: "Incorrect. He used 10ms, auto rel and 4 ratio. This is stated in the Mix With the Masters videos. In the videos he says 1ms, but the hardware is faded out and he just reads it incorrectly. If you look at the unit, it's set to 10ms." The video, if it loads via link, is this ua-cam.com/video/6aIdYp2DpcM/v-deo.html
I believe it, for two reasons: Jason Corsaro's entire tracking philosophy is to make things sound great with all faders at zero, and Brendan works FAST according to his old assistant.
@@edbuller4435 yep! That was really the goal of tracking back then, especially with only one tape machine. Make decisions, and make it sound great on the way in!
@@JPHenryAudio I remember years ago, working with Chris Kimsey and he waxed lyrical about straight line mixing. I guess i'm confused. A HI hat or a tamborine isn't ever going to have a fader sit a zero right? So is there a stage between tracking and mixing where these levels are re-set? I am genuinely curious
@@edbuller4435 so the concept when tracking to tape was to set your levels going TO tape so that everything sounded great with the tape return faders at zero. That way, the mix engineer could start from zero and tweak accordingly. As track counts got higher and higher with 3348s and then PT, the art became lost.
Damn, you're making me go broke with all these cool plugins and tricks you keep showing us!!
Just jokes 🤣 Loving your lessons J.P. 🤘
really insteresting content, new sub
I love your vids man, you’re saving my mixes one video at a time 🫶
glad i could help!!
I was hoping you had uploaded a new video as that's how I wanted to start my evening. I was not disappointed. Thank you for your great tutorials and your very helpful explanations. I'm glad I discovered your channel. All the best and best wishes!
thanks so much!
One more excellent video. Brendan is such a legend!
yes he is!!
Wow!! Each video a new aproach!!Thank you!
Your welcome!
Plus 10 db has become my fav comp! Pumped for this
Ooooh the eq ok ok ok
Compex coming in the room mic video!! Thunderous
I tried this just now and my mix sounds awesome.. used an neve 73 with a little pre and some EQ! Thanks JP, you're saving a lot of people mixes!
That's great to hear! Glad it worked for you.
likely "float" came from a function on the old ssl desks. float essentially removes a channel from going to the main stereo buss. you could then assign that particular channel to a buss or pair of busses and process that with a compressor, eq, etc, then patch that to a new set of channels. the aux sends will still work from the original channels even if they are pre or post fader...but the main content will not go to the stereo buss.
You're absolutely right, i forgot all about that!
This is great! Thank you so much!
You're so welcome!
"Hop on the buss, Gus" - John Paul Simon
the Magic Buss?? haha
This is probably one of the very first Brendan O' Brien mixing technique tutorials on UA-cam.
I'm just trying to corner the market like the Duke brothers.
please sir anything brendan o'brien especially drums. this video got you a subscriber btw
@@wyrlismike he got some of the best drum sounds of all time
More BO’B videos coming soon! Thanks for watching.
Awesome!
thanks!
I remember I did something similar by accident once and didn't understand why my kick sounded so good, and it was outside of the drum bus, right to the master.
Nice!! So many great techniques are just happy accidents
"Float" was a function on the SSL consoles, so that's probably what he was referring to.
Curious, what is float in ssl consoles for?
You know what. That actually makes a little sense
@@edwardkenemorales I believe it re-routes whatever is routed to the main mix to the routing matrix.
yep, absolutely... i forgot all about that!
That is 100% that. Great point!
Brilliant! I'm already starting to get option anxiety! Could you do a video about how to mix-and-match some of the different approaches? I'm thinking that some things will work in combination while others might not. Cheers!
Sure! great idea
After reading about how it was used on the Super Unknown drum buss and how Brendan O'Brien liked them and used them for overheads (as well as some people on forums saying they liked them on vocals and especially background vocals) I purchased a Summit DCL200 that was priced well and I had hoped I'd like it (really haven't met many compressors I _don't_ like or can't find a use for). Unfortunately I was massively underwhelmed and ended up returning it and ultimately exchanging it (I bought it from Guitar Center) for a Handsome Audio Zulu and an electric 12 string. I don't know if perhaps it was just the particular unit I got but everything/all the components were testing within spec but I found it to have absolutely no color whatsoever. It was so transparent - even at extreme settings - and the compression _SO_ subtle that I kept wondering if something was wrong or if it was stuck in bypass. Ultimately I knew it was working and could identify what it was doing but it certainly didn't add much, if anything in the way or "glue" or "cohesion" on drum buss or stereo overheads and at best was "meh" in mono on a lead vocal or compressing a vocal buss. I don't want my gear to be _SO_ transparent that its as though it isn't there! I _want_ my gear to impart a "sound" or "color." Or else, why have it?? Its why I've never really understood the gear communities lauding or "transparency" in the gear. Before this, I had used other units from Summit - EQ, preamps - and thought they were good so I was really surprised and disappointed with the DCL200. For me, it suddenly made sense as to why their resale value is so low compared to their retail cost. Of course, your milage may vary and it might be _the_ perfect compressor for you. So certainly don't let my opinion dissuade you if you want to try/buy one. If you're the type of person who appreciates transparency and want something that compresses _super_ gently, say for instance when tracking - this might be _the_ compressor for you. "Horses for courses" as some say.
Interesting experience! I'd never call the DCL transparent, in fact I still have an MPC-200A mic pre/comp channel with half of the DCL in it, and it sounds great for vocal tracking. I know their overall quality declined after Dave Hill left, so maybe that's part of it... not sure exactly which era my experiences were with.
I've been doing a similar thing with OH/ cymbals instead of kick. They get too washy when hitting the drum buss comp at full volume.
Also, I really like your channel, much more interesting content than a lot of the other production channels.
Nice! Thanks for the kind words!!
Great video, gonna try some of these tricks for sure. Thanks for doing it! I do believe Acustica's "Sunray" samples the Summit DCL 200, but I get that a lot of people hate working with their stuff these days...
i'm not familiar with that, but yeah i see it's not so popular. Thanks for the tip anyhow!
Btw, that snare sounds amazing
100% a trigger
@ if someone paid for what it sounded like BEFORE everything I did to it, they got ripped off.
Another great video, thanks! Would you end up with more or less the same result using a drum buss compressor with a hi-pass filter on the sidechain input?
That would depend how much bottom is in the kick compared to it's attack/punch, which would be much higher. The transient of the kick would still be shaped by the drum buss comp that way, too, which is avoided here.
Good point! I need to try floating it next time! You make some of the most useful mixing videos out there, thanks again!
Love your videos! The pultec hi eq on a EQP-1A is a bell not a shelf. This isn’t the first video with that faux pas.
ah, you're so right! Kinda forgot about that... wide enough Q and it almost feels like a shelf
@@JPHenryAudio very true! Keep up the great posts!
Great video. Where do you get multitracks?
Cambridge library, mostly. Might use some of my own work if artists give the ok.
GOAT 🤗🤗🤗
Baaaaaaahhhhhh!! 🐐 🐐 🐐
Hi J.P. It's a nice alternative to EMT 250 in software. PSP audioware PSP 2445. Try if you will. Thx for the great info! Cheers!
@@tommysdmf2737 I def will, thanks!
Another one is Wave Alchemy Dawn. Pretty amazing as other their plugins.
sweet...! can def hear the Rage drum tone in this technique!
Yeah, as soon as I tried a few things, I A/B'd to that album and was pretty floored!
@@JPHenryAudio You got a hell of an ear too bro! I didnt notice it until you pointed it out & then it was obvious.
Hey, speaking of Summit gear....do you know, what exactly did Dave Hill design?
Have only heard about the TLA for sure, but always figured he must have done more than just that one thing. Someone even told me that Dave only did the early versions of the TLA and the later ones were different.
Good question! I'm not sure, but they all share some similarities from that early lineup. Overall quality took a hit when Dave left, that's for sure.
@@JPHenryAudio thanks man! Hopefully I'll get to the bottom of this someday. Been wondering this for ages.
Sorry, am I to understand you’re bypassing the drum buss entirely with the kick? I’m not a PT guy, but it looks like the kick bus is still routed to the drum buss. Do you send the kick, or do you route the output to the Mix buss?
The kick goes to both the drum buss & mix buss, in parallel. Mix buss is on the aux send.
which DAW do you use? I also am not a PT guy so I'm curious if the setup is different in say, Cubase?
I use Logic and every now and again S1
@@JPHenryAudiook, interesting.
Great tutorial thx! What are you using on the kick and snr sends 1 and 4? Subscribed!!
Thanks for the sub! Aux 1 is the reverb send (Valhalla on EMT 250 preset), and aux 4 is something secret for another video, the return is muted for now.
@ thx! Looking forward to checking out your previous videos and the what lies ahead. Your cadence and pace were spot on.
.3 attack time on ssl buss is wild. You sure about that? Especially Andy Wallace. I always thought 10ms was wild for attack let alone 0.3! I also always thought Andy was at 30ms
Yep, Andy said it himself in one of his Mix with the Masters videos... as fast as 1ms sometimes, or 10ms on slower songs, but usually 3ms. Brendan's old assistant confirmed these settings for him as well.
@@JPHenryAudio is this how he was doing it back in the early 2000s? The nu metal stuff. Linkin park limp bizkit etc. ??
Or was this a more recent thing ?
@@JPHenryAudio FYI I don't know if I can post links but in the comments section of another video about Andy ssl buss comp someone said the following: "Incorrect. He used 10ms, auto rel and 4 ratio. This is stated in the Mix With the Masters videos. In the videos he says 1ms, but the hardware is faded out and he just reads it incorrectly. If you look at the unit, it's set to 10ms."
The video, if it loads via link, is this ua-cam.com/video/6aIdYp2DpcM/v-deo.html
'95 thru '01 based on info from his assistant.
Nice! If you get a chance check out the plus 10 db version 1. I think the eqs are better personally - sweeter
Thanks, I'll have to look into that!
Ace video, I wonder if it's true that he took a couple of hours to mix BLACK HOLE SUN !
I believe it, for two reasons: Jason Corsaro's entire tracking philosophy is to make things sound great with all faders at zero, and Brendan works FAST according to his old assistant.
@@JPHenryAudio all faders at zero with tape?...man that's just so gorilla !!
@@edbuller4435 yep! That was really the goal of tracking back then, especially with only one tape machine. Make decisions, and make it sound great on the way in!
@@JPHenryAudio I remember years ago, working with Chris Kimsey and he waxed lyrical about straight line mixing. I guess i'm confused. A HI hat or a tamborine isn't ever going to have a fader sit a zero right? So is there a stage between tracking and mixing where these levels are re-set? I am genuinely curious
@@edbuller4435 so the concept when tracking to tape was to set your levels going TO tape so that everything sounded great with the tape return faders at zero. That way, the mix engineer could start from zero and tweak accordingly. As track counts got higher and higher with 3348s and then PT, the art became lost.
Not a fan of the Snare sound, but a great video and drum sound overall!!
it's not my kind of snare either, to be honest!