Thank you so much! I really appreciate you saying that, and I appreciate you helping spread the message with your comment. Thank you for being on this journey with me!
A “The 5 most common asked for deliverables from labels” Video would be dope. I’d like to start integrating this into my process EARLY while I work with these local clients. That way when I run into that client/ situation when it REALLY matters, I’m READY with no surprises or roadblocks to make me look like I can’t handle this
10:03 yeah Compression first totally surprised me when I heard that. I’ve always EQ’d the junk out first, then compressed only the good stuff. I guess I’ll try Serban’s way and see how I like it 🤷🏾♀️ Strange 🤔 But yeah he’s a top 1% professional making millions doing this so.. Love it though. Been studying guys like Serban, Dave, Jaycen, Andrew Scheps, Leslie Brathwaite, Teezio for over ten years. Always exciting to see how they all are uniquely execute their crafts to the planet.
Allow me to clarify. John talked about using a high pass filter as needed to kill some rumble (no other eq) before the compressor. Then using eq after the compressor. Instead of EQ into compression
I think that the less you define the specific objective of each mixing tool, or producing tool especially, the more options you have and more ideas you’ll get on the fly. That’s how I stay fresh.
The deesser stuff is good stuff, but I think at least the regular Waves deesser sits maybe 2k higher than the visual/stated number, all the way through the range. At least that's what an analyser (and also my ear, prior to it (which motivated me to look)) says.
kind of, but its still required to make remixes at the highest quality, and to use for some artists live performances as backing tracks, and to get any sync licenses in any movie, games, tv, etc. It's always been a needed thing for music if you want freedom to do those things, whereas I've never heard of a painter needing to separate the colors. But to agree with your point, it's asking the mixer to create different things, so they don't need to add up to the exact total of the original. That's the bigger point.
I think stems at least for live shows should have no compression at all. If they need compression leave it to the live sound engineer to apply the right amount.
If you are talking about compression on the instrument tracks themselves (and not mix bus compression on the entire mix), those are built into the sound in my opinion. Compression is often about the sound it delivers, more than it is about leveling anything out. Compression could cause notes to feel sped up, or slowed down, and change the way that instrument sounds. It controls the feeling of the sound far more than only the dynamics. If you remove compression from a stem, you are not delivering the stem the same way it sounds in the track. You are delivering a completely different sound that was not requested. Just my opinion. For you, it may work differently for whatever you are doing, but there's a reason why Serban and most other mixers would not remove processing from the tracks, when they deliver stems. The artist wants the sound to be close to the same as on the record, albeit not with any mixbus compression or mixbus processing of course.
@ All I can say as a long time live sound engineer that many times I had to deal with stems being played by bands that were way overcompressed for the live environment. Those were probably not done by world class mixers but still…..
I think stems are mostly not relevant anymore, maybe for broadcast or for artists who don’t have a clue and think it’s important. I do print stems for tracking purpose, I have my old system for tracking onsite and use the stems when tracking so my old system doesn’t have to run any plugins so it doesn’t has unnecessary load on the computer and causing latency.
I don't agree with that mindset. It depends who your clients are and what they require. Your average independent artist would require stems if they are looking to get their music licensed for film, tv, games, sync placements etc. There is no pre-requisite for this, so anyone can submit to open calls for songs from companies that make those placements. Most artists who want to get their music sync licensed must be able to deliver stems of the submitted track, and they are often rejected by the companies that pitch those songs if they don't have them. The more savvy the artist, the more they always want stems to be able to create remixes, or even to use them live as backing tracks or supporting tracks, etc. Artists are often under the false impression that mix engineers will keep the files forever on hard drives, and can pull everything back up at any time. This is never a good idea. In addition artists sometimes feel they can create stems themselves which is also a bad idea. The quality is certainly diminished when you use a stem splitting tool like rx or lalal, (or any others) to split the stems from a finished mix. This is why it makes the most sense to have the mixer make the set of stems that makes sense (given the specific needs of the artist and the instrumentation and arrangement of the song), immediately after the mix is approved, instead of trying to make them themselves later with lesser quality results. Getting stems at the highest quality, keeps options open. Not getting them, diminishes the flexibility of what can be done later at the highest quality. Many people who are penny wise and pound foolish don't get stems made. Those who want to keep their options open for sync placements, and live performances always do. Edit: And all the major labels always require them, which is why any mixer who mixes for a major label or intends to, should realize that they are always going to be part of the deliverables. Andrew Scheps built an entire program (that can be used by anyone) that bounces stems for him while he sleeps to avoid having to do it himself. It's obviously something important that top level requires, and everyone below that level who hopes to get to that level, should take seriously and require as well, IMO.
Best mixing channel on yt
Thank you! I really appreciate that!
where is his studio ? just seems to be a guy talking
3:30
I have thought the EXACT same thing for years. THANK YOU EVAN 🙏🏾🙏🏾
Always good advice brother, I also feel emotionally more at ease watching your videos. Thank you my man. Hope your well too.
Love this channel.
Big up man
Thank you so much! I really appreciate you saying that, and I appreciate you helping spread the message with your comment. Thank you for being on this journey with me!
A “The 5 most common asked for deliverables from labels” Video would be dope.
I’d like to start integrating this into my process EARLY while I work with these local clients.
That way when I run into that client/ situation when it REALLY matters, I’m READY with no surprises or roadblocks to make me look like I can’t handle this
10:03 yeah Compression first totally surprised me when I heard that.
I’ve always EQ’d the junk out first,
then compressed only the good stuff.
I guess I’ll try Serban’s way and see how I like it 🤷🏾♀️
Strange 🤔 But yeah he’s a top 1% professional making millions doing this so..
Love it though. Been studying guys like Serban, Dave, Jaycen, Andrew Scheps, Leslie Brathwaite, Teezio for over ten years. Always exciting to see how they all are uniquely execute their crafts to the planet.
9:32 Interesting, what would be the benefit of leaving the low rumble in as opposed to high passing before the compressor? Thanks 🤙🏼
Allow me to clarify. John talked about using a high pass filter as needed to kill some rumble (no other eq) before the compressor. Then using eq after the compressor. Instead of EQ into compression
@@customcutstudios Oh, this totally makes sense. Thank you for the clarification, much appreciated.
I think that the less you define the specific objective of each mixing tool, or producing tool especially, the more options you have and more ideas you’ll get on the fly. That’s how I stay fresh.
Now i gotta make stems and compare them to the original
nah, waste of time to compare them. They are for different purposes. Let them live their own unique life lol
Should I hi pass on the microphone, preamp or in the daw? Or all three
DAW so you have full control of it later if need-be
🔥🔥
good stuff
The deesser stuff is good stuff, but I think at least the regular Waves deesser sits maybe 2k higher than the visual/stated number, all the way through the range. At least that's what an analyser (and also my ear, prior to it (which motivated me to look)) says.
“Stems” thing is same as asking a painter to give you pictures colors separately
kind of, but its still required to make remixes at the highest quality, and to use for some artists live performances as backing tracks, and to get any sync licenses in any movie, games, tv, etc. It's always been a needed thing for music if you want freedom to do those things, whereas I've never heard of a painter needing to separate the colors. But to agree with your point, it's asking the mixer to create different things, so they don't need to add up to the exact total of the original. That's the bigger point.
I was just worrying about bouncing stems haha
I hear you. Happy to help ease your mind on that. Hearing how they create stems helped me to stop worrying about that also
I recently started do sync music. And first publisher/label that accapted my songs, wants stems together sound exactly same as the mix.
And thank you for the video, and all yours, that I’ve been watching!
I think stems at least for live shows should have no compression at all. If they need compression leave it to the live sound engineer to apply the right amount.
If you are talking about compression on the instrument tracks themselves (and not mix bus compression on the entire mix), those are built into the sound in my opinion. Compression is often about the sound it delivers, more than it is about leveling anything out. Compression could cause notes to feel sped up, or slowed down, and change the way that instrument sounds. It controls the feeling of the sound far more than only the dynamics. If you remove compression from a stem, you are not delivering the stem the same way it sounds in the track. You are delivering a completely different sound that was not requested. Just my opinion. For you, it may work differently for whatever you are doing, but there's a reason why Serban and most other mixers would not remove processing from the tracks, when they deliver stems. The artist wants the sound to be close to the same as on the record, albeit not with any mixbus compression or mixbus processing of course.
@ All I can say as a long time live sound engineer that many times I had to deal with stems being played by bands that were way overcompressed for the live environment. Those were probably not done by world class mixers but still…..
I think stems are mostly not relevant anymore, maybe for broadcast or for artists who don’t have a clue and think it’s important. I do print stems for tracking purpose, I have my old system for tracking onsite and use the stems when tracking so my old system doesn’t have to run any plugins so it doesn’t has unnecessary load on the computer and causing latency.
I don't agree with that mindset. It depends who your clients are and what they require. Your average independent artist would require stems if they are looking to get their music licensed for film, tv, games, sync placements etc. There is no pre-requisite for this, so anyone can submit to open calls for songs from companies that make those placements. Most artists who want to get their music sync licensed must be able to deliver stems of the submitted track, and they are often rejected by the companies that pitch those songs if they don't have them. The more savvy the artist, the more they always want stems to be able to create remixes, or even to use them live as backing tracks or supporting tracks, etc. Artists are often under the false impression that mix engineers will keep the files forever on hard drives, and can pull everything back up at any time. This is never a good idea. In addition artists sometimes feel they can create stems themselves which is also a bad idea. The quality is certainly diminished when you use a stem splitting tool like rx or lalal, (or any others) to split the stems from a finished mix. This is why it makes the most sense to have the mixer make the set of stems that makes sense (given the specific needs of the artist and the instrumentation and arrangement of the song), immediately after the mix is approved, instead of trying to make them themselves later with lesser quality results. Getting stems at the highest quality, keeps options open. Not getting them, diminishes the flexibility of what can be done later at the highest quality. Many people who are penny wise and pound foolish don't get stems made. Those who want to keep their options open for sync placements, and live performances always do. Edit: And all the major labels always require them, which is why any mixer who mixes for a major label or intends to, should realize that they are always going to be part of the deliverables. Andrew Scheps built an entire program (that can be used by anyone) that bounces stems for him while he sleeps to avoid having to do it himself. It's obviously something important that top level requires, and everyone below that level who hopes to get to that level, should take seriously and require as well, IMO.
@ I have to grow
a little bit better before I’m worthy 🤟🏼
First!
You’re the best!