Man I struggled for so long with grasping the importance of the “output” knob on compressors or EQ… my snare or kick drum would be just fuckin slappin’ but my mixes would immediately start falling apart 😅 I feel that, finding those levels for the individual channels/elements within a mix and for the most part being consistent across the board with those levels after applying compression, saturation, and EQ’s is not discussed enough. The video was extremely insightful and informative man! Thank you for this 🙏🏾
Jordan is the real deal folks. There's a lot of BS on UA-cam, a lot of dudes stealing info from other creators videos to create videos to parrot what they've seen. Those guys don't know what they are talking about, and you should avoid them like the plague! That said...Jordan, this is some of the absolute best info I have EVER seen regarding Compression! Congratulations, and Thank You for sharing information that demystifies something in an understandable and frank way!
Always incredible stuff! One of my favourite channels for a reason🤘 If I may make a suggestion, there's a slight misunderstanding with the definition of compression attack/release. Compressor attack doesn't behave like a "wait" function so much as it is a "rate" control. Attack defines how quickly it takes the compressor to reach it's full gain reduction potential, and release is the rate in which it takes to return to no gain reduction. When I learned this it really changed the way I could feel a compressor working. I know it seems minor, but I think for some people it helps to free them up from overthinking and get back to feeling compression and using their ears.
I have to corret one thing: the attack time is not the time the compressor waits. It is the time the compression needs to reach the maximum potential gainreduktion. the best analogy would be a Synth, You press a key how does the Attack envelope shapes the sound. with longer attacktimes the sound would fade in, with a shorter time it plays immediately. the same goes for how a compressor reacts. But this means that the compressor starts working as soon the threshold was reached. Also attack and release have different envelope curves, so the same 30 ms attack time would sound different on different compressors.
Thanks!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! finally, Basics, put into perspective. Please don't ever get tired reeling everybody in, on the foundations of our trade. The human ear has been workin in the same way ever since!! And always will! Faster CPUs, calculation and algorithmic precision, are supposed to make our lives easier, because they are tools, and they have to remain as such. Throughout our entire modern perception of life, betterment seems to be only a click away! Misconception, wishful thinking, distraction !!!! So...... I'am grateful that one of our senses, the hearing, can only be fooled to a certain extent. The rest is up to us!!!!!!!! Thanx
Hello Jordan, I am new to pro tools but how did you make those faders move around 30:29 when playing the tracks? Are those volume automation? Thank you so much for this video. This is very educational.
Also, remember, less is more. Some of the greatest music/songs of all time never had the luxury of plugins at all. Record everything without distortion/clipping, and NEVER underestimate vocal automation BY HAND. Buy an external fader for your DAW. Just speaking from experience
People struggle with mixing because they don't know how to balance. Even in the best mixing course they don't create modules to really get great at it. I know it's difficult to grab, but it crucial to master before anything else.
Sometimes a boring safe mix is just as bad though. All those old records were recorded often very well, good hardware on the way in, excelent engineering, tube mics, clipping preamps etc. and when they worked on 4 track and bounced stuff together everytime they did an overdub. in the end there was countless iterations of tape colouring. Then the whole mix was printed to tape. Sometimes things can appear to sound natural but you never know what was done to it. My biggest peoblem in mixing right now is boring safe mixes and not going for it. All that matters is how it sounds out of the. speaker in the end
Grab your free Mixing Cheatsheet to learn the go-to starting points for EQ and compression in heavy mixes: hardcoremusicstudio.com/mixcheatsheet
Jordan dropping some fundies…. This is fantastic for those new to mixing. This should be required watching for anyone attempting to mix music.
Man I struggled for so long with grasping the importance of the “output” knob on compressors or EQ…
my snare or kick drum would be just fuckin slappin’ but my mixes would immediately start falling apart 😅
I feel that, finding those levels for the individual channels/elements within a mix and for the most part being consistent across the board with those levels after applying compression, saturation, and EQ’s is not discussed enough.
The video was extremely insightful and informative man! Thank you for this 🙏🏾
Ayyye bearded Jordan! ⚡️⚡️
Jordan is the real deal folks. There's a lot of BS on UA-cam, a lot of dudes stealing info from other creators videos to create videos to parrot what they've seen. Those guys don't know what they are talking about, and you should avoid them like the plague!
That said...Jordan, this is some of the absolute best info I have EVER seen regarding Compression!
Congratulations, and Thank You for sharing information that demystifies something in an understandable and frank way!
Best music production channel on UA-cam and it’s not close. Thank you Jordan!
My favorite mixer!
This would have saved me so much headache back when I started. Great video.
Beard is looking good, Jordan! Thanks for the years of confidence and success
Digging the facial hair my man. Lean in!
Always incredible stuff! One of my favourite channels for a reason🤘
If I may make a suggestion, there's a slight misunderstanding with the definition of compression attack/release. Compressor attack doesn't behave like a "wait" function so much as it is a "rate" control. Attack defines how quickly it takes the compressor to reach it's full gain reduction potential, and release is the rate in which it takes to return to no gain reduction. When I learned this it really changed the way I could feel a compressor working. I know it seems minor, but I think for some people it helps to free them up from overthinking and get back to feeling compression and using their ears.
Absolute gold for anyone in the early stages of mixing! Good review and reminders for more experienced mixers as well. Thanks for sharing this 👍
Killer video as always, Jordan!
i’m not the target demographic. but i absolutely love the vid
It's always good to go back to the basics from time to time!
Great crash course!
Thank you for your work 🤝
I have to corret one thing: the attack time is not the time the compressor waits. It is the time the compression needs to reach the maximum potential gainreduktion. the best analogy would be a Synth, You press a key how does the Attack envelope shapes the sound. with longer attacktimes the sound would fade in, with a shorter time it plays immediately. the same goes for how a compressor reacts. But this means that the compressor starts working as soon the threshold was reached. Also attack and release have different envelope curves, so the same 30 ms attack time would sound different on different compressors.
Thank you for the information on compression 👍🏼
Thank you for this Jordan!
this video save my life
Wowowowow thanks for posting!
Yes Jordan🎉
usefull verymuch
👍
Great video
thnx
Great 👍 🎉
Thanks!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
finally, Basics, put into perspective.
Please don't ever get tired reeling everybody in, on the foundations of our trade.
The human ear has been workin in the same way ever since!! And always will!
Faster CPUs, calculation and algorithmic precision, are supposed to make our lives easier, because they are tools, and they have to remain as such.
Throughout our entire modern perception of life, betterment seems to be only a click away!
Misconception, wishful thinking, distraction !!!!
So......
I'am grateful that one of our senses, the hearing, can only be fooled to a certain extent.
The rest is up to us!!!!!!!!
Thanx
Solid vid, good stuff!
I would be curious to know what you´re up to with those stacked NS10´s and CLA10´s, where you comparing them again?
after 12 years i just realized ive been mixing with my eyes half the time 😭
Hello Jordan, I am new to pro tools but how did you make those faders move around 30:29 when playing the tracks? Are those volume automation? Thank you so much for this video. This is very educational.
Yes that's volume automation
Yeaaaaaaaaaaah
Wouldn't it be nice if Jordan turned his Magic Frequency Cheatsheet into a plugin. That's like a no brainer.
Funny you say that...
@hardcoremusicstudio uh oh...
@@hardcoremusicstudio🤣🤣🤣
Third!
First and only time i do this
👍
Also, remember, less is more. Some of the greatest music/songs of all time never had the luxury of plugins at all. Record everything without distortion/clipping, and NEVER underestimate vocal automation BY HAND. Buy an external fader for your DAW. Just speaking from experience
People struggle with mixing because they don't know how to balance. Even in the best mixing course they don't create modules to really get great at it. I know it's difficult to grab, but it crucial to master before anything else.
@@lebcaleb8692what do you recommend or suggest to get better in mixing? Are there any things you can share with us? Thank you in advance
Sometimes a boring safe mix is just as bad though. All those old records were recorded often very well, good hardware on the way in, excelent engineering, tube mics, clipping preamps etc. and when they worked on 4 track and bounced stuff together everytime they did an overdub. in the end there was countless iterations of tape colouring. Then the whole mix was printed to tape. Sometimes things can appear to sound natural but you never know what was done to it. My biggest peoblem in mixing right now is boring safe mixes and not going for it. All that matters is how it sounds out of the. speaker in the end
What's better than a set of NS10s?
Answer: Two sets.
First comment
FYI it's $4000 dollars for the program. I'm sure that's fair but it wasn't something I could afford.