About the last part: what and how are you splitting the frequency bands in different busses( in studio one )? And what do you mean with: "return channel"? A bus, where you route your fx channels/busses to?
Just want to add a piece of knowledge at the end of the 4th: "Low Monitoring" tip. Constant low monitoring levels will bring more problems in the mix. It is scientifically proven that we humans have a flatter response after 80-85 dB due to Fletcher-Munson curve (which is referred as "how we hear" in this video). Flat response meaning you will mix and or master your track hearing how everything sits in the mix because around those levels your ear doesn't interpret what its hearing since you hear almost exactly where it should. 85 dB might be considered high in some cases(about 6-8 hours of constant 85 dB may damage your ears) but it is okay if you do listen in lower volume time to time unless you are defining the errors in the mix and take a 5-10 minute break after 30-45 minute mixing session while working on 85 dB if you don't want to get ear fatigue.
Agreed, their mixing plugins are pretty much always solid, especially their collabs with Softube. I use Supercharger GT and the RC-series reverbs on almost every mix.
I'm not sure I agree with sidechain everything, they did it a bit in the analogue days, but with automation in DAWS I would suggest doing it the hard way and automating the mix level itself, that way you don't lose your dynamics of the track
I completely disagree with that videos advice. not only does it sound frikkin awful, it also changes the track to be completely robotic and lifeless. there are better ways of sidechaining. multiband compressors do a much better to duck certain parts without removing the entire spectrum of a sound
great video, I find it a bit confusing, the Delay Send you mention at 1:58 , when you say "very short different Delays," you mean sample delay in (ms) or short feedback delays with different time like 1/2, 1/4, 1/8 and so on. Thank You, best regards, George.
Is it possible to sidechain in Cubase with Komplete 12? Or does NI have any plans to introduce it? Thanks! _EDIT: What I mean is, the current way of sidechaining (ONLY with NI plugins) is to use a quad channel and do manual routing. This is highly convoluted and converting stereo tracks to quad tracks takes a longer time. Cubase already supports sidechaining in the DAW as standard. Are there any plans to implement proper sidechaining, like all other plugin manufacturers do?_
EDIT 2: Oh, and one more thing. Whenever I put a single Quadro track on Cubase in order to use NI plugins for sidechain, literally every channel on the mixer now uses a Quadro panner. There is no way to use Stereo panning any longer, which is a total ballache. This is another reason why I don't use NI plugins for sidechain, although I would really love to.
Low sample rate/buffer size maybe? Midi and VST consume a lot of cpu and memory if you got too many tracks, and a lot of hard disk if you're using many samples (kontakt). If you're happy with a sound/track, record/render it so you can free some cpu/memory usage and avoid overheating the hard disk trying to find every sample being triggered.
Oooo. Some strange ideas in there. Shifting the bass as a whole slightly ahead or behind just sounds wierd. Much better to quantize with a percentage randomizer. because that is how musicians play. Using out of time delays is plain unmusical. Including ANY element in an orchestration or arrangement should be in time. That includes delays. If you have a straight 8 delay that sits on the beat so is diguised by other elements of the orchestration, - if you must have a delay - choose a time setting that is in time (dotted 8ths or triplets), but falls in the gaps. A bit like a drummer does with ghosting on his snare drum. But out of time - nooooo. A good idea is to create three of four extra audio tracks and copy the recorded track to those tracks and shift them back a 1/8th, or 1/4 or whatever and use the faders to simulate the fade of the feedback. You can place the repeats where ever they work best in time and also pan and alter the sound of each delay to spectacular effect. Time consuming but very effective and fun.
You're no doubt better at mixing than me, but tips #2 was terrible advice. When you moved the upright bass, it clearly sounded misplaced/out of time. Would be much better to keep it in time, but fiddle around with making space in the frequency range for both low-end instruments, sidechaining compressor/multiband compressor/dynamic eq etc., not move the actual bass out of time. And same goes for the delay trick: when you change delay time, each repeat is going further and further off-beat. If you really want to move it slightly (though as said I think you should rather make place for it than move it), put a sample-delay on the same aux channel and move the whole delay sound some ms later. And though the last tip is great, I hope we can see more plugins in the future with internal filtering so you can keep it within a single plugin and don't have to send it back and forth to aux channels and make even more mess in you project than there is already ;)
@James Maybe, but that would be an artistic choice for the groove, not a tip to fix lack of impact in low end. Especially with the bassline in the video, the upright bass doesn't sound like it is artistically dragged behind the beat, just sounds like bad MIDI-editing
James is so good at presenting this kind of content. Really great tips.
I could watch this all day. Thanks for all the tips, very helpful and informative
Can't believe I am actually pressing LIKE on a NI video. It's been ages.
They need much more like this. I'd love a "10 things you can do with plugin x" style tutorials for all thier effects.
Excellent video, thanks NI. Packed with ideas and techniques to try out.
This is actually quite informative. There are some tips here I've not seen elsewhere.
Thanks
About the last part: what and how are you splitting the frequency bands in different busses( in studio one )?
And what do you mean with: "return channel"? A bus, where you route your fx channels/busses to?
I've used the delay offset before just for the 'feel' of it, but id never thought that it could be helpful for the mix! I really liked this video
please I need more of this!!! Tips Ive never heared before...Id pay for more content like this
yeah, cool stuff but dont give them that idea, heh
Just want to add a piece of knowledge at the end of the 4th: "Low Monitoring" tip. Constant low monitoring levels will bring more problems in the mix. It is scientifically proven that we humans have a flatter response after 80-85 dB due to Fletcher-Munson curve (which is referred as "how we hear" in this video). Flat response meaning you will mix and or master your track hearing how everything sits in the mix because around those levels your ear doesn't interpret what its hearing since you hear almost exactly where it should. 85 dB might be considered high in some cases(about 6-8 hours of constant 85 dB may damage your ears) but it is okay if you do listen in lower volume time to time unless you are defining the errors in the mix and take a 5-10 minute break after 30-45 minute mixing session while working on 85 dB if you don't want to get ear fatigue.
Quality video using some quality plugs! Well done, NI!
I would like to see some new mixing plugins from NI.
Agreed, their mixing plugins are pretty much always solid, especially their collabs with Softube. I use Supercharger GT and the RC-series reverbs on almost every mix.
@@mister_xenomorph RC-reverbs are my most used reverb plugins.
@@mister_xenomorph RC is garbage against Softube TSAR or Lexicon algos, supercharger gt is decent but i prefer soundtoys decapitator
Pangeaner 😂 lexicon is an emulation and needs to be atleast as characteristic as the original. Not to mention the fact that it can cost a lot.
@@amitrana2756 yeah, an emulation made by the same fucking company which made the devices lol what do u mean :D
Mastering compression is my next step. I didn't realise how important it was
great video to get the fundamentals right. thank you!
I'm not sure I agree with sidechain everything, they did it a bit in the analogue days, but with automation in DAWS I would suggest doing it the hard way and automating the mix level itself, that way you don't lose your dynamics of the track
I completely disagree with that videos advice. not only does it sound frikkin awful, it also changes the track to be completely robotic and lifeless. there are better ways of sidechaining. multiband compressors do a much better to duck certain parts without removing the entire spectrum of a sound
Love it thank you for using Reason
Great video. Keep them up NI 👍
Thanks for all the very helpful tricks, it's nice how we never end learning in mixing :) it's sooo fun
Excellent tips! Love the last part (treatment of HI FREQ.), very nice.
great video, I find it a bit confusing, the Delay Send you mention at 1:58 , when you say "very short different Delays," you mean sample delay in (ms) or short feedback delays with different time like 1/2, 1/4, 1/8 and so on. Thank You, best regards, George.
Invaluable ⭐️⭐️⭐️⭐️⭐️
Glad you think so 🙏
I just realised that Native 12 Select is nothing compare to 12 and 12 Ultimate. Nice Video… love you guys!!
I'm late to the game, but, Yeah, Man, Yeah-very cool!
Damn, I just learned a lot, now to try it all out
Really great video!
Great tips, thank you! :-)
great tips thank you!!!!
Is it possible to sidechain in Cubase with Komplete 12? Or does NI have any plans to introduce it? Thanks!
_EDIT: What I mean is, the current way of sidechaining (ONLY with NI plugins) is to use a quad channel and do manual routing. This is highly convoluted and converting stereo tracks to quad tracks takes a longer time. Cubase already supports sidechaining in the DAW as standard. Are there any plans to implement proper sidechaining, like all other plugin manufacturers do?_
EDIT 2: Oh, and one more thing. Whenever I put a single Quadro track on Cubase in order to use NI plugins for sidechain, literally every channel on the mixer now uses a Quadro panner. There is no way to use Stereo panning any longer, which is a total ballache. This is another reason why I don't use NI plugins for sidechain, although I would really love to.
This is very helpful
great information! Thanks
great tips
wow fantastic video, chapeau!
Great info!!
I didn't understand tip one. Can someone explain it to me?
If this is a basics, I am done.
Useful🎧
Great
i have a hard time hearing the difference between sidechain compression on & off :|
Love you
Which DAW is it Ableton live??
I loose dynamics while i comp some sounds so now im trying to avoid this only using distortion effects and paning the mids and highs
This is great, I will try it once I find out my why my Kontact and Reactor keeps crashing >;(
Low sample rate/buffer size maybe? Midi and VST consume a lot of cpu and memory if you got too many tracks, and a lot of hard disk if you're using many samples (kontakt). If you're happy with a sound/track, record/render it so you can free some cpu/memory usage and avoid overheating the hard disk trying to find every sample being triggered.
@@GuilleSMasini great advice. I've found that to be my fix as well for cpu issues that is
How did u learn mixing, just by expirimenting? :o
Anybody wanna send me that A1StereoControl plugin? The website doesnt work...
Chris Melee you still want it?
Graham Wilson ending up getting it. Thanks tho!
Another tip: don't overcompress!
Diss & Dad fuck yeah
Way Nr. 1: Use Softube, Waves and UAD instead. 100% increase in quality (if you know what you doing in both cases)
Oooo. Some strange ideas in there. Shifting the bass as a whole slightly ahead or behind just sounds wierd. Much better to quantize with a percentage randomizer. because that is how musicians play. Using out of time delays is plain unmusical. Including ANY element in an orchestration or arrangement should be in time. That includes delays. If you have a straight 8 delay that sits on the beat so is diguised by other elements of the orchestration, - if you must have a delay - choose a time setting that is in time (dotted 8ths or triplets), but falls in the gaps. A bit like a drummer does with ghosting on his snare drum. But out of time - nooooo. A good idea is to create three of four extra audio tracks and copy the recorded track to those tracks and shift them back a 1/8th, or 1/4 or whatever and use the faders to simulate the fade of the feedback. You can place the repeats where ever they work best in time and also pan and alter the sound of each delay to spectacular effect. Time consuming but very effective and fun.
Nice vid but i feel sad now
Why?
You're no doubt better at mixing than me, but tips #2 was terrible advice. When you moved the upright bass, it clearly sounded misplaced/out of time. Would be much better to keep it in time, but fiddle around with making space in the frequency range for both low-end instruments, sidechaining compressor/multiband compressor/dynamic eq etc., not move the actual bass out of time. And same goes for the delay trick: when you change delay time, each repeat is going further and further off-beat. If you really want to move it slightly (though as said I think you should rather make place for it than move it), put a sample-delay on the same aux channel and move the whole delay sound some ms later.
And though the last tip is great, I hope we can see more plugins in the future with internal filtering so you can keep it within a single plugin and don't have to send it back and forth to aux channels and make even more mess in you project than there is already ;)
@James Maybe, but that would be an artistic choice for the groove, not a tip to fix lack of impact in low end. Especially with the bassline in the video, the upright bass doesn't sound like it is artistically dragged behind the beat, just sounds like bad MIDI-editing
sjidechaining