Great point, same with gigs. Truly not worth it, and anyone who thinks less of you for wearing protective equipment (basic earplugs) is a pussy who cares more about “looking tough” than their own well-being.
Connecting riffs/sections is a constant challenge. Even when several sections are good enough to keep together, combining them with other takes of other sections always takes extra care
I really like this kind of content. Instead of a lecture something, I feel like these two are having a conversation and the way it all flows just makes it easier for me to listen and engage myself in the discussion. Kudos to you
MixCraft from Acoustica allows the non-destructive editing and the type of changes they are discussing, including the blending of multiple sources, manually, or with automation, or even with the use of a macro to control the automation on any of those parameters. As a CNC and logic programmer as a profession, the open ended options and customizability is very appealing.
Great information! I think is why musicians want to go “dawless” when practicing or recording. They get distracted by all the options. I took a course on bass(yeah I play bass lol) my instructor laid out a plan on how to practice for one hour straight. Like anything in life, discipline goes a long way.
"Failing to practice" this brings painful memories. We had a teenager band and we decided to pay for a good studio and mixing guy. It was a great trip, but I was under huge stress and exhaustion in personal life during that time and I tried to prep for the studio, but it just didn't work out. I would struggle to start practicing and the practice sessions didn't make progress, the time was running out and I felt just more and more sucked out of energy. The record ended up great but the other guitarist had to play my rhythm tracks on two of the songs as well, because we were tight on time and I just wasn't getting it down. It was extremely embarrassing. What made me feel better about it was that we went with him playing the tracks after a while instead of me and that made the record much better, it was the right decision and I just had to get over with. The songs should've been down to the point way before few weeks before the studio. Btw shoutouts to modern gear and prices, you can make good sounding demo recordings at home (well you could make the whole recording home) and just get it down with all the time in the world and really hear your shortcomings before the studio. If you nail it on track at home, you can focus on artistic decisions in the studio and just perform the execution.
I love how adaptable mr scott is, he wants to retain the band while still striving toward the best possible sound. He's willing to do the work to break it down to the smallest pieces.
Taking now Scott's "Mixing Extreme Metal" course and OMG so much much much great info, my fav videos in the course are about "Pre-Production" of all instruments, these videos are the gold mine for people like me, really super duper informative course. Thank you so much Glenn for having Scott on your channel and not for the first time and thank you so much Glenn for promoting super talented guys like Scott! You Rock Glenn!
Fantastic info. I have definitely lost the flow of mixing by deciding to edit something or re-record the bass because I used a pick and I didn't like the sound, etc. I recently purchased Reaper and absofu**inglutely love it! I had used Audacity and Cubase before, neither of which inspired me. I find Reaper intuitive to use and it's really upped my game. If anything, I have to pull myself away to rest my ears.
I’ve started to just lay down guitars and bass and add basic drums without mixing anything, just get the song together first and wait to mix and master the tracks after the song is fleshed out, as y’all mentioned as the first topic. Great stuff as usual Glenn.
I have both of your classes. They helped me so much. I've recently started recording again after almost 20 years, and It was so helpful in getting into modern techniques. I've even become a huge fan of Amp sims. Great content.
Superb advice! Mixing can be the most fun of the recording experience, if things are tracked well and all your edits are done. Wish I'd learned this about 20 years earlier!
Thanks to you Glenn, I am now a proud licensed owner of the newest Reaper... coming from Studio 1 and Acid 7... Thanks again... I learn something new everyday... getting ready for the deep dive into Reaper. Oh yea.... f***Y** from Seattle.
only template i use is a reverb and delay aux track for send/return, i'm not sure about having busses already set up or certain EQs. try it out and see if it benefits your mixing style!
Just don't rely on your template settings too much, or else every song might start to sound the same. Maybe have several templates for different purposes. If that works for you.
All good suggestions in the video. I would also add, if possible, have someone else do the recording for you while you perform. Having to do it all yourself is a pain in the ass. I can't tell you how many times I fuck up a track because I have to start the recording, get re-situated and ready to play, etc. A separate person operating the DAW will also be more objective than you and can help better mix things because they are not emotionally tied to the music like you are.
I feel this is an interesting question. The reference tracks part.... One of which was Megadeth count down to extinction. So what would they have used as a reference track? it sounds like a constant circle of taking product N and trying to make it sound like product O
Pretty much is a circle of making one thing sound like another, or trying to innovate on something existing. It really helps you get places with the mix though.
References are a huge deal. I would only use one because if you know the reference sounds good, then getting your mix close to it will be good. I went without using a reference for so long and my mixes suffered for it.
I just edit everything and then stack it where it goes mix it over Devon 6 and 3/4 it one more time keeping save everything every little step you make if you need start over you can the mixing board is like a massage table embrace the freedom of creativity the mad science of rock and roll
Hey great vid, Scott seems like such a cool down to earth guy; I hope you have him on the show again. Question about the reference tracks bit - if you're only looking at reference tracks in the genre you're recording in, aren't you limiting yourself against cool stuff from other genres? For example, Beaten To Death are grind but the production on the guitars is almost like indie rock (single coil guitars all the way) and it sounds phenomenal IMHO. If they were produced like Napalm Death they wouldn't stand out as much. I'm not a producer so may be out of my depth here but interested to hear your thoughts.
There are always exceptions, it's pretty rare to play grindcore with single coil pickups, so if I ever ran into that situation myself I'd obviously load up some examples of single coil tones just to see what the ballpark would be. :)
These are basic mistakes? Man, am I EVER going to be able to learn all this stuff? The information provided by SpectreSoundStudios channel alone is overwhelming, and I thought I knew something about this.
Song arrangement is an important part of mixing that is often entirely ignored in metal. Sometimes, if you voice your song in a certain way, it will sound muddy, sloppy, or it may result in some conflict between each instrument. This stopped being the focus when society got into recorded music, but before the recording, we just had player technique and arrangement to achieve a good sound.
This is a good point, and is a large reason why nearly 60% of the original orchestral parts were cut out of the song. It sounds AMAZING on its own, but with everything else it became a bit much
Hey Glenn, I have a question. I know you always prefer a mic'd up cab when recording guitar..but do you notice and difference between mic'ing up a cab and using the direct out of an amplifier using an impulse that represents the same cab and mic position as when you're using the cabinet?
This does happen often, which is where you have to step in and just ask more questions to nail down what it is you know they need, and to basically guide them into that same spot. It's a balancing act for sure
@@ChernobylAudio666 I have tried that. I once had a 20 year old kid in my room that couldn't play a riff the same way twice, he would flub stuff every take, he wanted to punch in and I told him no, get it right. There is no punch in when you're Live on a stage. he complained about anything and everything to avoid taking responsibility for his mistakes. Even blamed his lack of ability on my amp and demanded he use his crap Ibanez amp and his line 6 pedal, Which would have forced the recording session to end so they could go pick up his crap amp from the rehearsal space. Glenn knows all about trying to convince a moron that his amp sucks and not to use it.
I hate when bands bring you reference tracks - which is fine to a point, but often they are referencing songs recorded in some million pound studio and you are expected to emulate that - thanks guys!!
That is a common situation, so I approach it by asking very specific questions. You'll often find that their answer is, "I just like the way it sounds, it sounds brutal, so yeah." Then it's all about offering options and getting a first mix to them for them to get the ball rolling and nail down more specifically what they like
I remember reading an article about some guys putting something like that together for Alexas during a hackathon a couple of years ago! I can't seem to find the link now, but this looks interesting: daw.voicecommander.net. Looks like it sends midi signals to your daw, might investigate it a bit more this weekend.
Glen, is there any specific way to mix a duo band, i.e. drums, vocals and guitars (no bassist), like White Stripes, Royal Blood, Eagle Twin and others?
After watching your video Glenn, my bass player asked me why you guys were saying "DUH" out of nowhere when you guys were talking ...smh...I told him you guys were talking about...a "DAW"...so he replied: "DUH!?..."...confirming he didn't get it...and he still doesn't get it to this day...and most certainly never will. I'm really feeling sorry for the guy.
Getting away from the voiceover thing. George Massenburg and myself. Both got our first recording studio jobs. At the same recording studio in Baltimore. At very young ages. We were both teenagers. But he is 8 years older than I. And then he left that studio. With another engineer also from that studio. To both together, start their own studio. And well. A couple of years later. Myself along with my high school buddy Philip. I did the same thing. I built the other second-largest, competitive studio. Back in 1978. When I was only 22 years old. And George was 30 by that time. Having known him since I was 15. When I was still in high school. And my high school band director took us on a field trip to his brand-new studio. ITI Recordings Inc. And there was is very nice, original, 20 input, homebrew, audio console. And 3M, M-56, 16 track machine. And JBL L-100 main control room monitors. And then I built something very similar myself. Ampex MM-1200-16 track 2 inch machine. 24 x 8 x 2 custom audio console. A cross between an API and Neve in circuitry and concepts. But of my own design. Without any college. I'm still not quite sure how I did that? I was very stoned. I have something built-in to me. I've learned how to access. In a stupor. And it just seems to work. And so at that studio that both George and I started at. They cut the most national commercials south of New York City. For those big corporations. For those Super Bowl like commercials. Which have to be better than best. And so one has to learn how to process voiceovers correctly. Which is just as important a technique. In and by itself. As cutting any music record hit. And none of those Pro engineers seem to understand this. It's very funny to me. But it's really not funny. It's a one click preset for them to set up in less than 10 minutes. And use the same one click preset. On every one of their UA-cam shows. They've never figured out how to do this correctly yet. In all of these years. Think about that. And they're trying to tell you how to make great recordings. Which they sort of do know how to make. But obviously not fully. They don't know how to do spoken word anything. So I love these guys. Because they teach their knowledge of their trade and expertise very well. And for that I condemn them. I mean commend them. Maybe a little of both? Because I would love to hear these with a great and properly processed, spoken word track. It makes it all the more intelligible and fun to listen to. You don't miss a God damned thing. You're in the middle of the conversation. It's upfront and personal sounding. It's intimate sounding. It's bigger than life sounding. It's like your own brain talking to yourself, sounding. And that's the whole idea of this. And the process thereof. It's intelligibility enhancing and enhancement. It's making that which does not sound normal to do. Sounding completely normal. Coming out of crappy little speakers. And never missing a consonant! No matter how low you have your volume levels set at while listening. This is the trick. This is what none of them have learned how to do. It's goofy! Think about this. They have experimented. With every microphone. With every preamp for those microphones. Tube and transistor alike and unalike. Every freakin' Equalizer under the sun. Drooling over the use. Of using a Fairchild 660, along with a 1176 UREI and LA-3's. Followed by an Orban De-Esser. Followed by an Allison Research KEPEX. But never learned how to use any of those. On spoken word voiceover or narrative recordings. Because they don't know how. Or they say it takes too much time to do.. No it does not. You create one preset in software and it's one click. It takes you 10 minutes to set up the preset. To use for the next 10 years that way. With every production. One click. And they are too fucking lazy to do that. So you guys need to get with the program of also understanding how to do spoken word recordings properly for UA-cam videos. You don't rely on the stupid little shotgun microphone you have purchased for your Go Pro. No!
Here’s one that I don’t understand..... The kick drum is not more important than the singer. When setting up your mixing board for final mix, START with vocals and mix everything else under that. I’ve seen so many mixers with drums labeled first and the whole final mix shows.... You would be surprised how heavy you can make a song sound if you DON’T start with the bass end of the sound spectrum.
GLEEEEEEEEEEN !!!! Is it important to get my music licensed before I upload it to all platforms? I've made a little EP and want to start promoting myself through the social media apps but I don't know if its better wait until I got the rights for my songs, what so you think? Do you license your music before you upload it to youtube?
I'm only 6 minutes into this lovely recording mixing production techniques, banter. Yes yes and yes. I love listening to you younger guys, having figured this out. It makes me proud of you. To realize. Aside from the technical fun and blah blah. We are all creating works of musical art. Now as to the vision. Of what you might think this sounds should be. That you are shooting for. Won't always happen that way. And it's best. Not to try and force that. Let the spirit of the moment and the music's desire. To be your guide. Not but you want it to be. But let it, the music, the recording. Tell you. How it wants to be mixed. How it wants to be perceived. You have to listen deeply. To understand what it's trying to say to you. And translate that to a bunch of cardboard speakers. Ain't always the most, scientific, clinical, academic way to go about doing things. It's way out of that little constricting box. Come along if you dare. Come along if you care. When you take a journey to the center of your mind. And let the music and recording tell you. How to mix it into this living work of musical art. Now because people like myself, are of, already, highly technically and electronically, experienced. So highly experienced. Some of your most sought after audio equipment, that you've always been drooling over. I may have actually built. That's who I am. But hey. I'm also an, Audio Engineer, extraordinaire. And when I'm engineering music or productions of any type. I am thinking & pursuing, from a purely, artistic, angle. But! At the same time. My Engineering Auto Pilot, has also been engaged. And while I am not consciously, scientifically, academically, technically thinking and creating in those terms. I'm so well seasoned. My Auto Pilot Engineering brain. It is automatically recalling and evaluating and timing and measuring and perceiving technically everything. Without me actually doing it consciously. It's automatic for me. I've been doing this for over 50 years now. But it was already automatic for me well over 30 years ago. I can do this in my sleep. And I have. Or while perhaps simultaneously watching an HBO movie. While I'm on the air live. With the super rock group. Topping the charts on Billboard. I've got 48 faders up. I'm watching a movie and holding a conversation, simultaneously. And then I get award nominations. It's goofy. I'm hardly even aware of my engineering. It's automatic. Sleep based engineering. I used to dream production techniques. You work them all out in your dreams... Then you experiment. On your best friends rock band. So if you screw up with your experiment. Nobody cares. That's called practicing. That's called rehearsing. That's called experimenting. That's how you work out your techniques. With whatever equipment has been put before you. Not necessarily the stuff you wanted, chosen nor picked out. But picked out for you by someone else. That's what it means to be an Audio Engineer. You can engineer audio. On any fucking thing that passes signal and works. And it's actually irrelevant. To the cost or quality of the equipment. You are using. Everything is entirely up to you. It doesn't matter if you have the world's cheapest equipment of even your own homebrew nature. As long as it passes signal. Somewhere between 50-15,000 Hz. With a minimum signal-to-noise ratio around 45 DB. A dynamic range. If you're lucky. Of about 55 DB. And no more than 3% total harmonic distortion. For starters. That's truly minimum NAB specifications. And if that's not good enough for you? You're in the wrong fucking business. This is because real Audio Engineers. Can turn out great recordings. On virtually anything that passes signal. No matter how fucked up or limited it might be. As, a real Audio Engineer. I can't use any equipment as an excuse. For delivering a lousy sounding recording. Doing so. Only proves that you are a clueless beginner rank amateur. And don't know what you're doing. Because the equipment is the excuse. For not getting a reasonable recording. Because you have deemed it substandard ultra crappy and not worthy. Of your engineering prowess. Which you do not possess at all. And so that is the standard that is set. For Professional Audio Engineers. Where some of us ain't got no, learn-ed, lurid, college degree. Because some of us have to teach. The college professors. How fucking to make, Professional Recordings. Because it really ain't by the book. It's a creative process. Intertwined with marvelous technical gobbledygook. So it can sound reasonable. Coming out of four-inch, 6 inch, not very high-powered, simple stereo systems. That may have cost a whopping $350. Oh wow, that much money? What money? That's chicken shit. And we have to make it sound good. Coming out of chicken shit crappy stereo systems. Because I am not creating mixes or recordings. For that matter. 2 pandered to the 1/2 of the 1%, of the, ultra wealthiest. That have $50,000-$100,000 home entertainment systems. I only know a few wealthy people with those. So for engineering rock 'n' roll. You really need, no real dynamic range. No ultra wide bandwidth frequency response. No ultra low distortion characteristics. To get, great sounding distorted rock 'n' roll recordings. The way we've always known them and loved them. Where there is really no technical anything. Connected with them. It was a purely creative process. Performed by actual Audio Engineers. Because we read all about this stuff. For years. About every single lousy piece of equipment out there and every fabulous piece of equipment out there. And then we installed them. Worked on them. Repaired them. Restored and rebuilt them. And we know them better than we know our own bodies. Inside and out. And then you don't have to think about that. Your thinking is done automatically. Sound travels at 1100 ft./s. That's all you have to know. And then you can see your sound bouncing around the room. I see sound. Yes I see sound. And no. I do not have, synesthesia. I don't see colors associated with musical sound. I simply see sound. I see if it's coming or going. I see where it's bouncing off of and from. I see whether it's coming at me in a positive modulated way. Or a negatively modulated way. And you have no idea what that means. But my brain knows precisely what that means. When my ears hear that. It automatically informs my brain. What precisely I am listening to. What I'm listening for. How it should be perceived. How it wants to sound. And can I direct it in that direction. It's trying to tell me to go in. So you have to let your recording and the music speak to you. It has to tell you. How it wants you to mix it. You are not telling it. How it is supposed to be mixed. Because the recording and the music is informing you. How you should be mixing it. Now I understand that's a difficult concept to fully comprehend. When you are a rank amateur beginner. With a college degree in Audio Engineering. Because they don't teach you this shit. In Recordin' Skoolz. Real. I mean,, Reel, Audio Engineers. Like myself. Worked all of this stuff out in analog. 35-55 years ago. Not unusual to see, 8 or more patch cords. Into separate hardware devices. For a single vocal microphone. With, EQ, limiting, more EQ, some compression. Then adding in a APHEX like enhancer. Followed by a downward expander. Then maybe some more compression. And followed up with more EQ. To make a completely and highly awful sounding unnatural vocal. Sound beautifully natural. And it's really all just one big trick on you's guys and gals and everyone in between. Like me. Wendy Carlos and Caitlin Jenner ain't got nothing on me. They don't know how to engineer their way out of a paper Duche bag. There I just college professors. And they have to be taught by actual Audio Engineers. Didn't really know how to do this. They just passed the tests. That doesn't mean they know anything or have any talent for this. It just means they passed the tests. And so now they teach that which they do not know. Mostly. Most of them. There are those few retired hit engineers teaching. I know many of them. I've had to teach them also. No not that button Bob. This button. Sheesh. Kind of stuff. And it's embarrassing when you have to tell Bob Clearmountain things like that. Yeah not that button on the Neve 8058. This other button. Oh sorry. That's all right Bob. So lousy sounding recordings are usually due to, operator error. Not your equipment. You can make perfectly beautiful recordings. On crap equipment. It's fun for me to show people how to do that. I have the best of the best, of the best equipment everybody could only dream of. But I don't need that. I really don't. It's just fun to have. It gives you bragging rights. Yes my control room is better than Sound City ever was. That doesn't mean anything. That's what's funny about, Audio Engineering. It's not what you've got. But what you do with it. That counts. And it really is that simple. You never let any piece of equipment stop you from making a quality recording. If you know how crappy it might be inside. Then you know what it can't deliver. Not what it says it's supposed to deliver. That's a completely different concept to consider. That's a professional versus amateur concept. To consider. And a few young engineers will consider such compromises. Well too bad for you dummies. And that's the name of that tune. RemyRAD
Oh ok...so this is the real Glenn, and the guy on the other vids who's categorically anti-drum samples is a character you play. Got it. I'm pretty sure I called it a few weeks ago on one of your other videos. lol
I will never save enough cash to do any of this, not on my low income. I will just stick to my "shit" way of recording my stuff without any of this stuff. I will just try to get a good sound from the start and not worry about messing with all of the tweaking. I hear Hi-hat bleed live, I guess my live sound sucks? OR is Hi-hat bleed not worth worrying about. Glenn talks about how great old Judas Priest sounds, correct me if I am wrong, but none of the early Priest was digitally recorded with any of those fancy expensive devices. I own a basic mixing board, basic stuff, basic audacity daw. I have none of the expensive things you guys constantly blather on about, I learned how to play my instruments myself, how to do it in 1 take, how to plan ahead for transitions instead of punch in every riff. I don't have anything to show for it because I am constantly being told by these shows that I have to spend thousands of dollars on the gear or I suck.
I don't think Glenn or myself have ever said you need to buy thousands in gear to sound good. I can't speak for Glenn but if I said that it's all about knowledge and putting in the time to learn your situation and how your instrument works, I think he could get on board with that answer. I created Guitar Tone Mastery with a $200 7-string guitar with stock pickups. It's all about knowledge and figuring out how to make your instrument sound the best it can in your situation. If great gear made everything better, then there would be thousands of home musicians (literally) that all had amazing mixes and songs "because they have thousands of dollars in gear." That's simply not true.
Just because they sometimes show gear/plugins/software that's a little pricey doesn't mean they demand that people buy it. There are lots of free or very cheap solutions to most problems. For example, Reaper has a never expiring Free Version that has all the functionality you'll need and lots of plugins preinstalled. And if that isn't enough, there's a pretty much never ending amount of free plugins online. If you do some digging you'll probably find everything you need. The paid plugins in direct comparison often sound a little better, but in most cases it will get the job done just fine. At this point, I've never spent any money on software/plugins for mixing and still somehow always got what I wanted. Trying to get a good sound from the start however is always a good idea, but the way I see it, that is also the part, where you probably do have to spend a little money for decent results. So if you're already getting a good sound out of your recording setup, money can't stop you in your mixing process.
i'd rather everyone start doing half diy/half digital recording instead, the comping and multiple takes stuff is agonizing to see. why record if you can't play in the first place? I have an amazing friend who plays multiple folk instruments and manages to perfectly play tunes in one take, very first take. All of these tools really just end up being crutches to fix shitty musicianship in post-prod. I respect your methodology much more than this reliance on the DAW contributing as much to the song as the schmucks "playing" on the tracks. plenty of old school classic records have wonky sections or slightly off-kilter timing, its much better to have "good enough and authentic" than "perfect and plastic."
Most home studios today (even modest ones) have more technology than the Beatles had when they recorded Sgt. Pepper's. My advice: know your gear, trust your ear.
Remember when bands recorded all together to tape? If it wasn't right, you'd either punch in or just do over from start. I recorded my first and second demos that way in the late 90s, before small commercial studies could afford Pro Tools. I remember reading about Maiden tracking one of their 2000s albums, maybe Brave New World. They tracked the band playing together and that was the core of the sound. That's why their 2000s stuff sounded so lively. By comparison, the Black Album is pretty much sterile and unlistenable.
Heartwork!!! Mmm the drums in my ridiculously overbuilt car stereo. (Stereo design “goal” was to make it sound like a sonar kick drum was sat right behind the drivers chest)
One of the other such things I love about these UA-cam experts and descriptions. Of how to make quality recordings. They are certainly accomplished music engineers. In their own right. But one thing they have never really ever learned. Glenn hasn't, Warren hasn't, Rick hasn't, Dave & Herb hasn't. No one fucking knows. How to fucking record. Or present. Spoken, narrative, voiceover, anything, proper, processing. They haven't a clue. Other than perhaps a limiter. Maybe. But not generally. Because they have their spiffy, USB microphone! And it sounds so good. That it really sounds like a piece of crap. Cheap Chinese condenser crap. Or, expensive SM-7, crap sound. Because they don't know how to use the SM-7. To make it sound like it's a Neumann U-87. And even if they did. They wouldn't understand the multiple steps and stages of EQ and dynamic range processing that is actually necessary to include. I mean it's absolutely mindless! Clueless! Amateurish! Rank amateur beginner-ish. Yet they know how to make hit music recordings with vocals. But know nothing about the spoken word requirements. Now I can safely say this. I have cut. Tens of thousands. Of national commercials. For a major advertising agency. And then 20 years. For a major American Television News Network & Radio Network. And you have to know how to properly present spoken word voiceover narrative recordings. You just have to. These guys don't know how to. But they know how to make rock 'n' roll recordings with vocals. They just don't know how to do spoken word. And I find this professionally saddening. That they are no better at this than every other beginner out there. Let me state this fact. For you all to know. You need no actual dynamic range whatsoever. When presenting spoken word, voiceover or narrative recordings. You need zero dynamic range. But with that zero dynamic range. Comes a wash of background room tone and noise. And making it appear that you are asthmatic and gasping. For every single breath you take. And that sounds fucking god-awful! And that's why god-awful. Created downward expanders. That no one makes rock 'n' roll hits. Seems to understand how to use on spoken word recordings? DUH. Howdy do DAT? Exactly. Howdy do DAT, indeed. Knowledgeably. That's how. What they don't teach you at recording school. Because they also don't know how to. Those professors have never had to capture spoken word for movie film or national commercials. And they haven't a clue how to do so. They just use stupid microphones. That they think are supposed to do the trick. And well, they don't. So if any wannabe self-proclaimed audio engineers. Would like to understand. How to properly obtain a great sounding voiceover narrative track. Feel free to call my answering service at, 202-239-7412. Leave your name, number and the best time to return your call. I'll be happy to get back to you shortly. And I'm talking about a game changer here for everyone. To make yourselves sound like actual Audio Engineers that know what you are talking about. Of course you are also all listening on in phase. But unfortunately. Are also 180° out of Absolute Polarity (not phase), together. This is a concept nobody can get right in their heads. Whether it's on their analog tape recorders. Or, the head on their shoulders or neck's. Not the drums. But their head. Like where their mouth is. And then prepared to be shocked. Not with electricity. But what you can get out of a simple SM-57 with a $40 foam pop filter. Not those stupid fucking embroidering loop pantyhose screens. Can we stop with those stupid fucking things? Foam pop filters are much better. It doesn't matter if it affects the sound. It's designed to affect the sound the way it's affecting the sound. And so who the FUCK are you to say any different? Because you don't know anything. I do. I have worked for some of these companies. I was a quality control manager for some of these companies. Or I just contributed my knowledge to some of these companies. And my knowledge goes well beyond that of virtually any fucking well-known hit engineer. You all know. On the Internet. And I know what the college professors don't know. Because most of them have no actual practical experience. So when professional goofball engineers are all talking into, SM-7 variant's. Original or the B version. Which are actually internally identical. No matter what other UA-cam morons happen to say. I have more of an inside scoop. And so the joke is on most of you. For spending $450. When you're SM-7 and/or 7B has actually cost you. More than $350. You did not need to spend. Because it's only got within it. This thing called a, SM-57 microphone cartridge, capsule and diaphragm. Which you can get for $100 new, $50 used. And then you put on the big 6 inch swollen gray phallic foam pop filter. That might set you back an additional 40 or $50. And you now have an, SM-7. That doesn't have those nifty switches. And can fall out of your plastic microphone clip. If not seated and shoved in, firmly. And the presence switch always engaged. Because you can't turn it off. And that's okay. Because you want it on. And you will have to do your high-pass filtering on your preamp, mixer or within your software. And then your downward expansion. Above all your downward expansion. So that nobody can hear. How horrible the room you are in sounds when you are speaking. And gasping for every breath. Because you are limiting the ever loving shit out of your spoken word vocal. The ever loving shit. Out of your vocal. Which then requires downward expansion. With the threshold set at your breath. What a concept! Dial in, 10-15 DB of downward expansion, only! No gating! Expansion only! And you will be reborn. Apply the same thing to your rock 'n' roll singers. And amaze your friends. Where did you get that Neumann U-47? Then tell them all you've spent $15,000 for that microphone to get that sound. They'll never know it was a $50 used, SM-57 with a cheap foam pop filter. Designed to keep your lips. At least 2 inches away from the diaphragm of the microphone cartridge capsule. At least 2 inches away! And that makes it a SM-7 or 7B. There is no difference between those 2 microphones sounds. Zero difference. The B simply stands for extra internal, Radio Frequency interference filtering. And the B does not mean it has the neodymium microphones and extended high frequency response and output level. Like the Beta series 57's. No it does not have that capsule. It has the old-fashioned SM-57 capsule. And the B, stands for, Broadcasting. It has extra internal RF shielding. To be around broadcast transmitters. To keep that signal from getting induced into the microphone. So it's nothing more than a stock SM-57 in Wolff's clothing. And costs you an additional $350. Just so you can all look stupid together. I'm not saying the SM-7 is not a fine studio microphone investment. It certainly is. But it's highly unnecessary. It's no better than an, SM-56-57 or 58. It's using the same capsule as all of those. So did the SM-5. A lesser-known and more rare known version of another SM-57. Actually suspended within an elastic and foam exterior. Making the 57 microphone inside. About 5 times larger in circumference. And a few inches longer in length. But it was still just a SM-57 inside all of that foam. It's very funny. It was popular at other radio stations years ago. But the foam had a tendency to rot out. Faster than the foam on the SM-7 that had much more metal in its structure substrate. And I grew up with these microphones from their very start and inception's. Some I've had going on 50 years now. And they sound no different from new ones. I'm using right next to them. So we all had to create these incredible sounds. Back in the 60s-70s-80s. With a very limited assortment and array of external audio doodads and gobbledygook. There wasn't any. You had a limiter and a reverb unit. Maybe even a single external special Gizmo-Tron, early rudimentary, digital effect thingy. You've got digital delay? Oh wow! Honey I've got all the delay you want. I charge by the hour. My batteries. And for my recordings. And the following is a true story regarding this.
So I was thinking.... While I was growing up (born in 78) I cranked music all the time on headphones. Now..... Watching tutorials I hear "don't mix on headphones! Don't mix on head phones!" So I think to myself ; OK. Don't mix on headphones mix on monitors. I buy said monitors and just now came to the thought........ Do I mix on my monitors how I would hear a mix normally on headphones?!?!?!? Mind blasting I know, but I feel like it's a good perspective to think from. If you always have listen to music on Headphones then you will mix a song to sound how it would on headphones. If you're mixing on monitors then it would destroy what you are going for. mic drop here... PS no mics were cupped in the typing of this comment
I was about to buy the mixing course for 87$, then I saw that for 147$ you also get the guitar tone course with it... I guess 147$ will disappear from my bank account tomorrow!
@@ChernobylAudio666 I'll keep that in mind thanks! I might not join right away since I don't have a Dischord account yet, but the time will come! I'll start by binge watch your courses hehe Cheers!
Look if you’re going to mix metal. I don’t care what anyone says. You need to use of reference track. This is the best reference track available for mixing death, black, or any type of hard rock heavy metal: ua-cam.com/video/3ij_pUtJJrw/v-deo.html
I disagree with the statement on bass performance. Yes, the bass performance should not be jumping all over dynamically, clipping and peaking then dropping out completely, no sense or reasoning for the louder, or punchier, or having a really rapid attack on the note, and no sense to more mellow, rounder, or legato notes. A good bass performance should have precision, and definite purpose, for the use of dynamics in every bass line. The bass is the most critical, IMO, instrument in a rock or metal band, in that a great bass performance that is played with an understanding of the song, and is played with the purpose of emphasizing parts of the song, and the notes in every part of the song that require being emphasized, being brought out, having more power and punch, and where that power and punch does not need to be applied to that higher level, then it is needed for the bass to be at a much more consistent level, and much more fitting with what the guitars, the drums, the vocals are doing those moments. To me, when I listen to a metal recording, and the bass part has been compressed to s*** that's exactly what the music tends to sound like to me. S***. Lifeless, dull, monotonous and emotionless, droning on and on. When you listen to the great bass players through Rock and metal, from cliff burton, and Steve digiorgio, Alex webster, Geezer butler, John entwistle, Chris squire, geddy lee, Steve harris, and I can go on and on, but you get the idea, those bass players are all very dynamic. Those bass players know when to feel their way along the riff with the guitar or with the drums or vocals, and when a part of the song, or part of a riff comes along or even part of a vocal that needs to be emphasized that needs to have punch, that needs to have power, or during a melodic portion of a song where there are harmonies being played between the instruments, a great bass line can make those harmonies with the guitars sound incredible, whereas a monotonous bassline that humps the root, goes nowhere, does nothing, says nothing, it absolutely detracts from what that song, what that part, could be, and those great bass players all knew that, and all play with that in mind. When you listen to an Iron Maiden album or you listen to the early Metallica albums with Cliff burton, you listen to any Black Sabbath album and here geezer Butler, you hear the song, the Dynamics of the song, the power and punch, or the holding together of the feel of the rhythm during a guitar solo, whatever it is, you hear those bass players, and they are all dynamic, and they are all dynamic with purpose and with precision. I watch UA-cam video tutorial after UA-cam video tutorial, and I can tell when it's a guitar player, someone who does not know how to play bass as a member of a real rhythm Section, because those are the guys that tell you to compress the s*** out of it to stop it down and good bass line should be completely consistent, and that's just flat out crap. A good baseline should communicate the feel of the song, and the rest come and you can't do that if it's compressed and completely consistent.
I play Fretless, I have in the past heard myself go flat during a track, I demanded we redo it. The entire track through, not just punch me in on that part, but redo the entire song because I was flat. The "producer" argued against it, said we can punch me in faster, I said no, re-take. I played through in the proper key 1 take, finished in key and took less time than it would have to punch in. Reason being that I want to perform, not punch, had I punched in it would have taken away that live energy of 1 take. But... that requires one to know the song. I think what you're trying to say is that there is a difference between a bassist and a bass guitar player.
And you don't get one of those awful pod casters style USB microphones. No. You simply set up your SM-57 with a skinny pop filter. A cheap pop filter. You don't even need a microphone boom or table stand. Just lie it flat on your desktop. Out of sight of the camera. About 1 foot in front of you. And use all of that above hardware I mentioned. In your paid for and or free cracked software plug-ins. And then you'll wonder why it sounds so fabulous? Well that's because the microphone is not on a table stand nor a boom. It's lying flat on the tabletop. There is no reflection that way. And your voice is directed into the microphone. Using the tabletop as an acoustic waveguide. With only a single plane surface. And no music audio engineer understands this kind of goofy shit. Because they understand nothing about microphone creation or design. Or actually how they work and what they pick up and how they pick it up. And what they are picking up. And what the microphone really shouldn't be picking up. That FUCK's up the sound. Like the reflection from the tabletop. You see. Donnie does not need that SM-57 on a gooseneck in front of his mouth. Though he thinks he does. Because he is also the world's finest audio engineer. Meanwhile. All the other presidents. Rely upon the military trained audio and video crew. That stick 3, SM-57's. Down low on the podium in a cluster together. Only one is actually on that you are listening to. The other pair are, emergency redundant, backups. And they process those microphones. Much in the same way as I do and as I described. And it all must be with US-made designed and built equipment. Most of what they purchase is a, SHURE, kind of thing. Which also includes EQ and limiters. Some limiters might expand. Some limiters just have a hysteresis time hold function. So no rush of background noise between sentences breaths and paragraphs. And presidents know to let the military audio and video crew. Do what they were trained to do. They don't need to be in charge of the microphones/microphone, themselves. But Donnie did. That's what children want to do. Shouldn't that microphone be closer to my mouth? No sir it does not need to be. Well I think needs to be. And I only need one. Yes Mr. Ass Wipe. I think I can probably safely assume. Since I have worked with those military White House audio video crew members. As a member of NBC-TV News, audio engineering. That one single 57 you see on Donnie. On the gooseneck. I would venture to say. That also on that podium. That Donnie doesn't know about. Are actually a pair of Crown or SHURE, PZM, Boundary or, miniature lavalier microphone capsules. Hidden within that wooden podium. When Donnie grabs his microphone to adjust it, closer to his mouth. And it, breaks and/or, fails. He'll never know. That microphone is no longer on. Until he taps it with his finger. And then wonders what's going on? Well the other hidden microphones on the podium are on now. So as not to have to go to a slide. That says: ONE MOMENT PLEASE. TECHNICAL DIFFICULTIES. You don't want to see on a presidential speech. And so Donnie is also a dumb ass know nothing self-proclaimed audio engineer child. And has instructed the military A/V crew. How to do their jobs. And so this alone.. Is a fucking great reason. NOT TO VOTE FOR THAT FUCKER AGAIN! Because I personally know. He doesn't know fucking anything about audio. Presidents of the United States. Do not need to think about doing audio. It is not within their purview. And I don't like people who fucking think they know something more about audio than I do. And he sure fucking doesn't have a clue. And that's a good reason not to vote for that rude brainless mother fucking corrupt mafioso style unethical crazed ripoff maven. Invading the White House. Who thinks he knows something about audio. This public service message brought to you by, RemyRAD Transmissions. And Emissions. And Sound Missions. Take a ride to the land inside of your mind. I know how to get people there. In their control rooms. And I can guarantee 90% of you. Who think you are there. Aren't really there. In what you are monitoring. Because I also have a secret. It's an engineering secret. It's a game changing engineering secret. It can change your life. It can change your control room. It can negate the need of an acoustic engineer. Or hanging on the wall acoustic gobbledygook soundproofing absorbing stuff. And it doesn't cost one penny to do. At that's what's so funny. You see, I've got a secret. A secret deep inside. Oh yeah. And I love sharing it with people. It's a life and game changer. And then you will understand audio more fully. Almost instantly. And you will better understand and relate to what you are hearing. Because everybody is all screwed up in their monitoring. And it's a simple stupid fucking wiring error. Done on purpose. Because stupid educated academic idiots insisted upon it. From a mathematical standpoint it is correct. But it is sonically. About as incorrect as you could possibly try to make a control room to sound. And you have to spend a lot of money. A stupid obscene, sum of money. To make your control room sound right. To be able to properly monitor anything. And well-known. That's the big joke here. It keeps a lot of people in business. Selling ulcers and all sorts of acoustic gobbledygook. To put around your control room and studio specification and blueprints, plans. For a tidy sum of money. Most all of it. A big joke on you guys. Because I have the secret. And so it is one other company. But so far I only know of one. All the others are goofball backwards. Every single last fucking one of them.
Always great to see you two working together! Love what Scott does, great guy, humble and very talented!
My biggest mixing mistake was destroying my hearing my whole life . You only get 2 eardrums, dont blow them out .
Great point, same with gigs. Truly not worth it, and anyone who thinks less of you for wearing protective equipment (basic earplugs) is a pussy who cares more about “looking tough” than their own well-being.
You know it's good whenever you learn something new within the first 5 minutes.
Separating the Edit and Mixing stages is such a pro level tip.
Not actually well-communicated by most people giving advice, though.
It really is!
Yessir, and trust me, I used to try and do everything... silly thing was that it took me even longer to realize it's not a good idea, haha!
@zach w same. I’ve only heard everyone on UA-cam to do it this way..
Connecting riffs/sections is a constant challenge. Even when several sections are good enough to keep together, combining them with other takes of other sections always takes extra care
Me, A Black Metal Artist: I’m just gonna ignore this.
Just put a tape recorder on top of the amp; that's how you produce black metal.
Just use a toothbrush as a recording mic to make it sound trve 😂
some good black metal out there* bro. and they're fusing other genres. have you heard blues/black metal? listen to zeal and ardor. devil in fine.
Me a bass player . I’m not going to understand this .
@@DanAloysius yep. Also the newer Style of black metal is nice soundwise. Do you know Der Weg einer Freiheit? Amazing Black metal from germany
I really like this kind of content. Instead of a lecture something, I feel like these two are having a conversation and the way it all flows just makes it easier for me to listen and engage myself in the discussion. Kudos to you
MixCraft from Acoustica allows the non-destructive editing and the type of changes they are discussing, including the blending of multiple sources, manually, or with automation, or even with the use of a macro to control the automation on any of those parameters. As a CNC and logic programmer as a profession, the open ended options and customizability is very appealing.
I've been using mixcraft for 15 years. This comment is accurate.
F yeah! Mixcraft is so good. My go to DAW haha
@@oscarcamey8 finally, found some fellow Mixcraft users. 😁
Already a few seconds into this video and a banner ad for "Autotune Unlimited" popped up below Glenn's face
Lmao
Gold!
This is why you pay for youtube... dont be so cheap.
@@DigitalChemistryBand not my style
@@thew0rstds224 UA-cam Vanced + Patreon support is probably the most viable way. Support the creator without giving UA-cam too much
Great information! I think is why musicians want to go “dawless” when practicing or recording. They get distracted by all the options. I took a course on bass(yeah I play bass lol) my instructor laid out a plan on how to practice for one hour straight. Like anything in life, discipline goes a long way.
"Failing to practice" this brings painful memories.
We had a teenager band and we decided to pay for a good studio and mixing guy. It was a great trip, but I was under huge stress and exhaustion in personal life during that time and I tried to prep for the studio, but it just didn't work out. I would struggle to start practicing and the practice sessions didn't make progress, the time was running out and I felt just more and more sucked out of energy.
The record ended up great but the other guitarist had to play my rhythm tracks on two of the songs as well, because we were tight on time and I just wasn't getting it down. It was extremely embarrassing.
What made me feel better about it was that we went with him playing the tracks after a while instead of me and that made the record much better, it was the right decision and I just had to get over with. The songs should've been down to the point way before few weeks before the studio.
Btw shoutouts to modern gear and prices, you can make good sounding demo recordings at home (well you could make the whole recording home) and just get it down with all the time in the world and really hear your shortcomings before the studio. If you nail it on track at home, you can focus on artistic decisions in the studio and just perform the execution.
I love how adaptable mr scott is, he wants to retain the band while still striving toward the best possible sound. He's willing to do the work to break it down to the smallest pieces.
Taking now Scott's "Mixing Extreme Metal" course and OMG so much much much great info, my fav videos in the course are about "Pre-Production" of all instruments, these videos are the gold mine for people like me, really super duper informative course. Thank you so much Glenn for having Scott on your channel and not for the first time and thank you so much Glenn for promoting super talented guys like Scott! You Rock Glenn!
Fantastic info. I have definitely lost the flow of mixing by deciding to edit something or re-record the bass because I used a pick and I didn't like the sound, etc. I recently purchased Reaper and absofu**inglutely love it! I had used Audacity and Cubase before, neither of which inspired me. I find Reaper intuitive to use and it's really upped my game. If anything, I have to pull myself away to rest my ears.
I’ve started to just lay down guitars and bass and add basic drums without mixing anything, just get the song together first and wait to mix and master the tracks after the song is fleshed out, as y’all mentioned as the first topic. Great stuff as usual Glenn.
I have both of your classes. They helped me so much. I've recently started recording again after almost 20 years, and It was so helpful in getting into modern techniques. I've even become a huge fan of Amp sims. Great content.
@@polpottopg I'm sorry I dont know what you mean.
Superb advice! Mixing can be the most fun of the recording experience, if things are tracked well and all your edits are done. Wish I'd learned this about 20 years earlier!
Some great nuggets here.
I don't want to hear a reference track in mixing. I want to use the palette of sounds to create something fresh and exciting.
Scott's last lines in the vid is priceless, lol. Also, great job dudes. Quite informative.
Such great advice here. So guilty of getting sidetracked into things away from the goal at hand. Thanks so much.
Thanks for watching man!
Thanks to you Glenn, I am now a proud licensed owner of the newest Reaper... coming from Studio 1 and Acid 7...
Thanks again... I learn something new everyday... getting ready for the deep dive into Reaper.
Oh yea.... f***Y** from Seattle.
This is great info, and I'd add that there should ideally be a plan for the mix before even tracking.
Love how Glen was biting this tongue about the samples the whole video 😂
I can be polite... sometimes
I bribed him!
My brain is all mixed up from so much info!!!! Time to go practice and hope for the best!!!
31:42, dude, you should have started with that, that mixing technique is great during these times
Is it normal to create mix templates and use them on different songs instead of starting from scratch every time?
Glenn does it. Seems like Normal.
only template i use is a reverb and delay aux track for send/return, i'm not sure about having busses already set up or certain EQs. try it out and see if it benefits your mixing style!
Just don't rely on your template settings too much, or else every song might start to sound the same. Maybe have several templates for different purposes. If that works for you.
@26 min... yes... we did that with Acid soooo many years ago... gotta love visual editing.
All good suggestions in the video. I would also add, if possible, have someone else do the recording for you while you perform. Having to do it all yourself is a pain in the ass. I can't tell you how many times I fuck up a track because I have to start the recording, get re-situated and ready to play, etc. A separate person operating the DAW will also be more objective than you and can help better mix things because they are not emotionally tied to the music like you are.
This is awesome! Thanks Glenn + Scott for the awesome tutorial \m/
Cheers for watching!
invaluable channel and lessons
Thanks for watching the video man! :)
I feel this is an interesting question.
The reference tracks part....
One of which was Megadeth count down to extinction.
So what would they have used as a reference track?
it sounds like a constant circle of taking product N and trying to make it sound like product O
Pretty much is a circle of making one thing sound like another, or trying to innovate on something existing. It really helps you get places with the mix though.
Thanks for the free tutorial man
No problem 👍
LoL. That ending. I WAS eating sweet-n-sour chicken....Spit THAT across the room.
In Australian parlance... Scott's a farkin' legend, mate!
Thank you! :D
I do everything at once - songwriting, mixing, editing, programming.... It's a mess. No vision.
Dude i loved Aquila when i was a teenager i'm actually friends with the former bassist and his brother.
when would panning guitars not work? double, quad etc... "Tool" don't double track do they?
Highly suggest this course.
Thanks for that Cameron, I appreciate the kind words!
@@ChernobylAudio666 thanks for the knowledge!
Homie rocking that transmutation circle lmao
References are a huge deal. I would only use one because if you know the reference sounds good, then getting your mix close to it will be good. I went without using a reference for so long and my mixes suffered for it.
Yes, I had the same situation, and that's the importance of having a roadmap :)
I just edit everything and then stack it where it goes mix it over Devon 6 and 3/4 it one more time keeping save everything every little step you make if you need start over you can the mixing board is like a massage table embrace the freedom of creativity the mad science of rock and roll
Hey great vid, Scott seems like such a cool down to earth guy; I hope you have him on the show again. Question about the reference tracks bit - if you're only looking at reference tracks in the genre you're recording in, aren't you limiting yourself against cool stuff from other genres? For example, Beaten To Death are grind but the production on the guitars is almost like indie rock (single coil guitars all the way) and it sounds phenomenal IMHO. If they were produced like Napalm Death they wouldn't stand out as much. I'm not a producer so may be out of my depth here but interested to hear your thoughts.
There are always exceptions, it's pretty rare to play grindcore with single coil pickups, so if I ever ran into that situation myself I'd obviously load up some examples of single coil tones just to see what the ballpark would be. :)
These are basic mistakes? Man, am I EVER going to be able to learn all this stuff? The information provided by SpectreSoundStudios channel alone is overwhelming, and I thought I knew something about this.
barely a minute in and already a bassist joke from Glenn. I'm in the right spot.
Song arrangement is an important part of mixing that is often entirely ignored in metal. Sometimes, if you voice your song in a certain way, it will sound muddy, sloppy, or it may result in some conflict between each instrument. This stopped being the focus when society got into recorded music, but before the recording, we just had player technique and arrangement to achieve a good sound.
This is a good point, and is a large reason why nearly 60% of the original orchestral parts were cut out of the song. It sounds AMAZING on its own, but with everything else it became a bit much
Eyyyy I'mma Early. Join the Discord if wanna discuss the episode with fellow metalheads!
"A vision sounds like new age bullshit", love it!💪
Yay
Can’t wait to use this info.
Hey Glenn, I have a question. I know you always prefer a mic'd up cab when recording guitar..but do you notice and difference between mic'ing up a cab and using the direct out of an amplifier using an impulse that represents the same cab and mic position as when you're using the cabinet?
Off-topic question - have you ever tried using the Earthworks mics on a guitar cab? Might sound good!
Alot of reference tracks that bands send me, are bands they like, or bands in the same genre, but isn't what they are looking for in a mix.
This does happen often, which is where you have to step in and just ask more questions to nail down what it is you know they need, and to basically guide them into that same spot. It's a balancing act for sure
@@ChernobylAudio666 I have tried that. I once had a 20 year old kid in my room that couldn't play a riff the same way twice, he would flub stuff every take, he wanted to punch in and I told him no, get it right. There is no punch in when you're Live on a stage. he complained about anything and everything to avoid taking responsibility for his mistakes. Even blamed his lack of ability on my amp and demanded he use his crap Ibanez amp and his line 6 pedal, Which would have forced the recording session to end so they could go pick up his crap amp from the rehearsal space. Glenn knows all about trying to convince a moron that his amp sucks and not to use it.
Good talk thamks
Thanks for watching dude!
Hey Glenn? have you ever produced an entire album in the role of a producer? Also How long/how much is it to book recording time with you?
Proud of you, son.
12:23 a nice ahhhggg sound.
I hate when bands bring you reference tracks - which is fine to a point, but often they are referencing songs recorded in some million pound studio and you are expected to emulate that - thanks guys!!
That is a common situation, so I approach it by asking very specific questions. You'll often find that their answer is, "I just like the way it sounds, it sounds brutal, so yeah." Then it's all about offering options and getting a first mix to them for them to get the ball rolling and nail down more specifically what they like
I need a voice activated DAW it's getting harder to put my guitar down.
That'd be awesome !
I remember reading an article about some guys putting something like that together for Alexas during a hackathon a couple of years ago! I can't seem to find the link now, but this looks interesting: daw.voicecommander.net. Looks like it sends midi signals to your daw, might investigate it a bit more this weekend.
Ardour/Mixbus have that functionality.
Glen, is there any specific way to mix a duo band, i.e. drums, vocals and guitars (no bassist), like White Stripes, Royal Blood, Eagle Twin and others?
After watching your video Glenn, my bass player asked me why you guys were saying "DUH" out of nowhere when you guys were talking ...smh...I told him you guys were talking about...a "DAW"...so he replied: "DUH!?..."...confirming he didn't get it...and he still doesn't get it to this day...and most certainly never will. I'm really feeling sorry for the guy.
Getting away from the voiceover thing. George Massenburg and myself. Both got our first recording studio jobs. At the same recording studio in Baltimore. At very young ages. We were both teenagers. But he is 8 years older than I.
And then he left that studio. With another engineer also from that studio. To both together, start their own studio. And well. A couple of years later. Myself along with my high school buddy Philip. I did the same thing. I built the other second-largest, competitive studio. Back in 1978. When I was only 22 years old. And George was 30 by that time. Having known him since I was 15. When I was still in high school. And my high school band director took us on a field trip to his brand-new studio. ITI Recordings Inc. And there was is very nice, original, 20 input, homebrew, audio console. And 3M, M-56, 16 track machine. And JBL L-100 main control room monitors.
And then I built something very similar myself. Ampex MM-1200-16 track 2 inch machine. 24 x 8 x 2 custom audio console. A cross between an API and Neve in circuitry and concepts. But of my own design. Without any college. I'm still not quite sure how I did that? I was very stoned. I have something built-in to me. I've learned how to access. In a stupor. And it just seems to work.
And so at that studio that both George and I started at. They cut the most national commercials south of New York City. For those big corporations. For those Super Bowl like commercials. Which have to be better than best. And so one has to learn how to process voiceovers correctly. Which is just as important a technique. In and by itself. As cutting any music record hit. And none of those Pro engineers seem to understand this. It's very funny to me. But it's really not funny. It's a one click preset for them to set up in less than 10 minutes. And use the same one click preset. On every one of their UA-cam shows. They've never figured out how to do this correctly yet. In all of these years. Think about that. And they're trying to tell you how to make great recordings. Which they sort of do know how to make. But obviously not fully. They don't know how to do spoken word anything.
So I love these guys. Because they teach their knowledge of their trade and expertise very well. And for that I condemn them. I mean commend them. Maybe a little of both? Because I would love to hear these with a great and properly processed, spoken word track. It makes it all the more intelligible and fun to listen to. You don't miss a God damned thing. You're in the middle of the conversation. It's upfront and personal sounding. It's intimate sounding. It's bigger than life sounding. It's like your own brain talking to yourself, sounding. And that's the whole idea of this. And the process thereof. It's intelligibility enhancing and enhancement. It's making that which does not sound normal to do. Sounding completely normal. Coming out of crappy little speakers. And never missing a consonant! No matter how low you have your volume levels set at while listening. This is the trick. This is what none of them have learned how to do. It's goofy!
Think about this. They have experimented. With every microphone. With every preamp for those microphones. Tube and transistor alike and unalike. Every freakin' Equalizer under the sun. Drooling over the use. Of using a Fairchild 660, along with a 1176 UREI and LA-3's. Followed by an Orban De-Esser. Followed by an Allison Research KEPEX. But never learned how to use any of those. On spoken word voiceover or narrative recordings. Because they don't know how. Or they say it takes too much time to do.. No it does not. You create one preset in software and it's one click. It takes you 10 minutes to set up the preset. To use for the next 10 years that way. With every production. One click. And they are too fucking lazy to do that.
So you guys need to get with the program of also understanding how to do spoken word recordings properly for UA-cam videos. You don't rely on the stupid little shotgun microphone you have purchased for your Go Pro. No!
Here’s one that I don’t understand.....
The kick drum is not more important than the singer.
When setting up your mixing board for final mix, START with vocals and mix everything else under that. I’ve seen so many mixers with drums labeled first and the whole final mix shows....
You would be surprised how heavy you can make a song sound if you DON’T start with the bass end of the sound spectrum.
the clickbait😹 love it!!!
What band is he mixing? That sounded pretty interesting.
That's actually a song I've produced with a group of session musicians-that is the exact session that you get in Mixing Extreme Metal :)
You’re really good at making people click on your videos, dude
GLEEEEEEEEEEN !!!!
Is it important to get my music licensed before I upload it to all platforms? I've made a little EP and want to start promoting myself through the social media apps but I don't know if its better wait until I got the rights for my songs, what so you think? Do you license your music before you upload it to youtube?
I'm only 6 minutes into this lovely recording mixing production techniques, banter. Yes yes and yes.
I love listening to you younger guys, having figured this out. It makes me proud of you. To realize. Aside from the technical fun and blah blah. We are all creating works of musical art.
Now as to the vision. Of what you might think this sounds should be. That you are shooting for. Won't always happen that way. And it's best. Not to try and force that. Let the spirit of the moment and the music's desire. To be your guide. Not but you want it to be. But let it, the music, the recording. Tell you. How it wants to be mixed. How it wants to be perceived. You have to listen deeply. To understand what it's trying to say to you. And translate that to a bunch of cardboard speakers. Ain't always the most, scientific, clinical, academic way to go about doing things. It's way out of that little constricting box. Come along if you dare. Come along if you care. When you take a journey to the center of your mind. And let the music and recording tell you. How to mix it into this living work of musical art.
Now because people like myself, are of, already, highly technically and electronically, experienced. So highly experienced. Some of your most sought after audio equipment, that you've always been drooling over. I may have actually built. That's who I am.
But hey. I'm also an, Audio Engineer, extraordinaire. And when I'm engineering music or productions of any type. I am thinking & pursuing, from a purely, artistic, angle. But! At the same time. My Engineering Auto Pilot, has also been engaged. And while I am not consciously, scientifically, academically, technically thinking and creating in those terms. I'm so well seasoned. My Auto Pilot Engineering brain. It is automatically recalling and evaluating and timing and measuring and perceiving technically everything. Without me actually doing it consciously. It's automatic for me. I've been doing this for over 50 years now. But it was already automatic for me well over 30 years ago. I can do this in my sleep. And I have. Or while perhaps simultaneously watching an HBO movie. While I'm on the air live. With the super rock group. Topping the charts on Billboard. I've got 48 faders up. I'm watching a movie and holding a conversation, simultaneously. And then I get award nominations. It's goofy. I'm hardly even aware of my engineering. It's automatic. Sleep based engineering. I used to dream production techniques. You work them all out in your dreams... Then you experiment. On your best friends rock band. So if you screw up with your experiment. Nobody cares. That's called practicing. That's called rehearsing. That's called experimenting. That's how you work out your techniques. With whatever equipment has been put before you. Not necessarily the stuff you wanted, chosen nor picked out. But picked out for you by someone else. That's what it means to be an Audio Engineer. You can engineer audio. On any fucking thing that passes signal and works. And it's actually irrelevant. To the cost or quality of the equipment. You are using. Everything is entirely up to you. It doesn't matter if you have the world's cheapest equipment of even your own homebrew nature. As long as it passes signal. Somewhere between 50-15,000 Hz. With a minimum signal-to-noise ratio around 45 DB. A dynamic range. If you're lucky. Of about 55 DB. And no more than 3% total harmonic distortion. For starters. That's truly minimum NAB specifications. And if that's not good enough for you? You're in the wrong fucking business.
This is because real Audio Engineers. Can turn out great recordings. On virtually anything that passes signal. No matter how fucked up or limited it might be. As, a real Audio Engineer. I can't use any equipment as an excuse. For delivering a lousy sounding recording. Doing so. Only proves that you are a clueless beginner rank amateur. And don't know what you're doing. Because the equipment is the excuse. For not getting a reasonable recording. Because you have deemed it substandard ultra crappy and not worthy. Of your engineering prowess. Which you do not possess at all.
And so that is the standard that is set. For Professional Audio Engineers. Where some of us ain't got no, learn-ed, lurid, college degree. Because some of us have to teach. The college professors. How fucking to make, Professional Recordings. Because it really ain't by the book. It's a creative process. Intertwined with marvelous technical gobbledygook. So it can sound reasonable. Coming out of four-inch, 6 inch, not very high-powered, simple stereo systems. That may have cost a whopping $350. Oh wow, that much money? What money? That's chicken shit. And we have to make it sound good. Coming out of chicken shit crappy stereo systems. Because I am not creating mixes or recordings. For that matter. 2 pandered to the 1/2 of the 1%, of the, ultra wealthiest. That have $50,000-$100,000 home entertainment systems. I only know a few wealthy people with those.
So for engineering rock 'n' roll. You really need, no real dynamic range. No ultra wide bandwidth frequency response. No ultra low distortion characteristics. To get, great sounding distorted rock 'n' roll recordings. The way we've always known them and loved them. Where there is really no technical anything. Connected with them. It was a purely creative process. Performed by actual Audio Engineers. Because we read all about this stuff. For years. About every single lousy piece of equipment out there and every fabulous piece of equipment out there. And then we installed them. Worked on them. Repaired them. Restored and rebuilt them. And we know them better than we know our own bodies. Inside and out. And then you don't have to think about that. Your thinking is done automatically. Sound travels at 1100 ft./s. That's all you have to know. And then you can see your sound bouncing around the room. I see sound.
Yes I see sound. And no. I do not have, synesthesia. I don't see colors associated with musical sound. I simply see sound. I see if it's coming or going. I see where it's bouncing off of and from. I see whether it's coming at me in a positive modulated way. Or a negatively modulated way. And you have no idea what that means. But my brain knows precisely what that means. When my ears hear that. It automatically informs my brain. What precisely I am listening to. What I'm listening for. How it should be perceived. How it wants to sound. And can I direct it in that direction. It's trying to tell me to go in.
So you have to let your recording and the music speak to you. It has to tell you. How it wants you to mix it. You are not telling it. How it is supposed to be mixed. Because the recording and the music is informing you. How you should be mixing it.
Now I understand that's a difficult concept to fully comprehend. When you are a rank amateur beginner. With a college degree in Audio Engineering. Because they don't teach you this shit. In Recordin' Skoolz. Real. I mean,, Reel, Audio Engineers. Like myself. Worked all of this stuff out in analog. 35-55 years ago. Not unusual to see, 8 or more patch cords. Into separate hardware devices. For a single vocal microphone. With, EQ, limiting, more EQ, some compression. Then adding in a APHEX like enhancer. Followed by a downward expander. Then maybe some more compression. And followed up with more EQ. To make a completely and highly awful sounding unnatural vocal. Sound beautifully natural. And it's really all just one big trick on you's guys and gals and everyone in between. Like me. Wendy Carlos and Caitlin Jenner ain't got nothing on me. They don't know how to engineer their way out of a paper Duche bag. There I just college professors. And they have to be taught by actual Audio Engineers. Didn't really know how to do this. They just passed the tests. That doesn't mean they know anything or have any talent for this. It just means they passed the tests. And so now they teach that which they do not know. Mostly. Most of them. There are those few retired hit engineers teaching. I know many of them. I've had to teach them also. No not that button Bob. This button. Sheesh. Kind of stuff. And it's embarrassing when you have to tell Bob Clearmountain things like that. Yeah not that button on the Neve 8058. This other button. Oh sorry. That's all right Bob.
So lousy sounding recordings are usually due to, operator error. Not your equipment. You can make perfectly beautiful recordings. On crap equipment. It's fun for me to show people how to do that. I have the best of the best, of the best equipment everybody could only dream of. But I don't need that. I really don't. It's just fun to have. It gives you bragging rights. Yes my control room is better than Sound City ever was. That doesn't mean anything. That's what's funny about, Audio Engineering. It's not what you've got. But what you do with it. That counts. And it really is that simple. You never let any piece of equipment stop you from making a quality recording. If you know how crappy it might be inside. Then you know what it can't deliver. Not what it says it's supposed to deliver. That's a completely different concept to consider. That's a professional versus amateur concept. To consider. And a few young engineers will consider such compromises. Well too bad for you dummies.
And that's the name of that tune.
RemyRAD
@@nope-z5y as modest as he is succinct.
@@seansalo5117 Oh my god, I am laughing my ass off. Also uses more periods than a COBOL programmer.
Oh ok...so this is the real Glenn, and the guy on the other vids who's categorically anti-drum samples is a character you play. Got it. I'm pretty sure I called it a few weeks ago on one of your other videos. lol
This comment might make him announce you as the butthurt of the week 😂
@@thomaskuhn2549 Anywhere but the briar patch!
I will never save enough cash to do any of this, not on my low income. I will just stick to my "shit" way of recording my stuff without any of this stuff. I will just try to get a good sound from the start and not worry about messing with all of the tweaking. I hear Hi-hat bleed live, I guess my live sound sucks? OR is Hi-hat bleed not worth worrying about. Glenn talks about how great old Judas Priest sounds, correct me if I am wrong, but none of the early Priest was digitally recorded with any of those fancy expensive devices. I own a basic mixing board, basic stuff, basic audacity daw. I have none of the expensive things you guys constantly blather on about, I learned how to play my instruments myself, how to do it in 1 take, how to plan ahead for transitions instead of punch in every riff. I don't have anything to show for it because I am constantly being told by these shows that I have to spend thousands of dollars on the gear or I suck.
I don't think Glenn or myself have ever said you need to buy thousands in gear to sound good. I can't speak for Glenn but if I said that it's all about knowledge and putting in the time to learn your situation and how your instrument works, I think he could get on board with that answer. I created Guitar Tone Mastery with a $200 7-string guitar with stock pickups. It's all about knowledge and figuring out how to make your instrument sound the best it can in your situation. If great gear made everything better, then there would be thousands of home musicians (literally) that all had amazing mixes and songs "because they have thousands of dollars in gear." That's simply not true.
Just because they sometimes show gear/plugins/software that's a little pricey doesn't mean they demand that people buy it.
There are lots of free or very cheap solutions to most problems. For example, Reaper has a never expiring Free Version that has all the functionality you'll need and lots of plugins preinstalled. And if that isn't enough, there's a pretty much never ending amount of free plugins online. If you do some digging you'll probably find everything you need. The paid plugins in direct comparison often sound a little better, but in most cases it will get the job done just fine. At this point, I've never spent any money on software/plugins for mixing and still somehow always got what I wanted. Trying to get a good sound from the start however is always a good idea, but the way I see it, that is also the part, where you probably do have to spend a little money for decent results. So if you're already getting a good sound out of your recording setup, money can't stop you in your mixing process.
i'd rather everyone start doing half diy/half digital recording instead, the comping and multiple takes stuff is agonizing to see. why record if you can't play in the first place? I have an amazing friend who plays multiple folk instruments and manages to perfectly play tunes in one take, very first take. All of these tools really just end up being crutches to fix shitty musicianship in post-prod. I respect your methodology much more than this reliance on the DAW contributing as much to the song as the schmucks "playing" on the tracks.
plenty of old school classic records have wonky sections or slightly off-kilter timing, its much better to have "good enough and authentic" than "perfect and plastic."
Most home studios today (even modest ones) have more technology than the Beatles had when they recorded Sgt. Pepper's. My advice: know your gear, trust your ear.
Remember when bands recorded all together to tape? If it wasn't right, you'd either punch in or just do over from start. I recorded my first and second demos that way in the late 90s, before small commercial studies could afford Pro Tools.
I remember reading about Maiden tracking one of their 2000s albums, maybe Brave New World. They tracked the band playing together and that was the core of the sound. That's why their 2000s stuff sounded so lively.
By comparison, the Black Album is pretty much sterile and unlistenable.
I make my mixes clip slightly and then add a limiter, it adds punch
Trying to record my horrible playing is my first mistake, crap in crap out as they say.
Heartwork!!! Mmm the drums in my ridiculously overbuilt car stereo. (Stereo design “goal” was to make it sound like a sonar kick drum was sat right behind the drivers chest)
I feel you 😂
thank you discord!
I start over every project.. And you can tell it. lol
"Failing to prepare is preparing to fail".
I’m ready wait what?
That's gotta be an actual Yoda quote.
@@espenstoro Indeed, but it's a military saying ;)
One of the other such things I love about these UA-cam experts and descriptions. Of how to make quality recordings. They are certainly accomplished music engineers. In their own right. But one thing they have never really ever learned. Glenn hasn't, Warren hasn't, Rick hasn't, Dave & Herb hasn't. No one fucking knows. How to fucking record. Or present. Spoken, narrative, voiceover, anything, proper, processing. They haven't a clue. Other than perhaps a limiter. Maybe. But not generally. Because they have their spiffy, USB microphone! And it sounds so good. That it really sounds like a piece of crap. Cheap Chinese condenser crap. Or, expensive SM-7, crap sound. Because they don't know how to use the SM-7. To make it sound like it's a Neumann U-87. And even if they did. They wouldn't understand the multiple steps and stages of EQ and dynamic range processing that is actually necessary to include. I mean it's absolutely mindless! Clueless! Amateurish! Rank amateur beginner-ish. Yet they know how to make hit music recordings with vocals. But know nothing about the spoken word requirements.
Now I can safely say this. I have cut. Tens of thousands. Of national commercials. For a major advertising agency. And then 20 years. For a major American Television News Network & Radio Network. And you have to know how to properly present spoken word voiceover narrative recordings. You just have to. These guys don't know how to. But they know how to make rock 'n' roll recordings with vocals. They just don't know how to do spoken word. And I find this professionally saddening. That they are no better at this than every other beginner out there.
Let me state this fact. For you all to know. You need no actual dynamic range whatsoever. When presenting spoken word, voiceover or narrative recordings. You need zero dynamic range. But with that zero dynamic range. Comes a wash of background room tone and noise. And making it appear that you are asthmatic and gasping. For every single breath you take. And that sounds fucking god-awful! And that's why god-awful. Created downward expanders. That no one makes rock 'n' roll hits. Seems to understand how to use on spoken word recordings? DUH. Howdy do DAT? Exactly. Howdy do DAT, indeed. Knowledgeably. That's how. What they don't teach you at recording school. Because they also don't know how to. Those professors have never had to capture spoken word for movie film or national commercials. And they haven't a clue how to do so. They just use stupid microphones. That they think are supposed to do the trick. And well, they don't.
So if any wannabe self-proclaimed audio engineers. Would like to understand. How to properly obtain a great sounding voiceover narrative track. Feel free to call my answering service at, 202-239-7412. Leave your name, number and the best time to return your call. I'll be happy to get back to you shortly. And I'm talking about a game changer here for everyone. To make yourselves sound like actual Audio Engineers that know what you are talking about. Of course you are also all listening on in phase. But unfortunately. Are also 180° out of Absolute Polarity (not phase), together. This is a concept nobody can get right in their heads. Whether it's on their analog tape recorders. Or, the head on their shoulders or neck's. Not the drums. But their head. Like where their mouth is.
And then prepared to be shocked. Not with electricity. But what you can get out of a simple SM-57 with a $40 foam pop filter. Not those stupid fucking embroidering loop pantyhose screens. Can we stop with those stupid fucking things? Foam pop filters are much better. It doesn't matter if it affects the sound. It's designed to affect the sound the way it's affecting the sound. And so who the FUCK are you to say any different? Because you don't know anything. I do. I have worked for some of these companies. I was a quality control manager for some of these companies. Or I just contributed my knowledge to some of these companies. And my knowledge goes well beyond that of virtually any fucking well-known hit engineer. You all know. On the Internet. And I know what the college professors don't know. Because most of them have no actual practical experience.
So when professional goofball engineers are all talking into, SM-7 variant's. Original or the B version. Which are actually internally identical. No matter what other UA-cam morons happen to say. I have more of an inside scoop. And so the joke is on most of you. For spending $450. When you're SM-7 and/or 7B has actually cost you. More than $350. You did not need to spend. Because it's only got within it. This thing called a, SM-57 microphone cartridge, capsule and diaphragm. Which you can get for $100 new, $50 used. And then you put on the big 6 inch swollen gray phallic foam pop filter. That might set you back an additional 40 or $50. And you now have an, SM-7. That doesn't have those nifty switches. And can fall out of your plastic microphone clip. If not seated and shoved in, firmly. And the presence switch always engaged. Because you can't turn it off. And that's okay. Because you want it on. And you will have to do your high-pass filtering on your preamp, mixer or within your software. And then your downward expansion. Above all your downward expansion. So that nobody can hear. How horrible the room you are in sounds when you are speaking. And gasping for every breath. Because you are limiting the ever loving shit out of your spoken word vocal. The ever loving shit. Out of your vocal. Which then requires downward expansion. With the threshold set at your breath. What a concept! Dial in, 10-15 DB of downward expansion, only! No gating! Expansion only! And you will be reborn. Apply the same thing to your rock 'n' roll singers. And amaze your friends. Where did you get that Neumann U-47? Then tell them all you've spent $15,000 for that microphone to get that sound. They'll never know it was a $50 used, SM-57 with a cheap foam pop filter. Designed to keep your lips. At least 2 inches away from the diaphragm of the microphone cartridge capsule. At least 2 inches away! And that makes it a SM-7 or 7B. There is no difference between those 2 microphones sounds. Zero difference. The B simply stands for extra internal, Radio Frequency interference filtering. And the B does not mean it has the neodymium microphones and extended high frequency response and output level. Like the Beta series 57's. No it does not have that capsule. It has the old-fashioned SM-57 capsule. And the B, stands for, Broadcasting. It has extra internal RF shielding. To be around broadcast transmitters. To keep that signal from getting induced into the microphone. So it's nothing more than a stock SM-57 in Wolff's clothing. And costs you an additional $350. Just so you can all look stupid together.
I'm not saying the SM-7 is not a fine studio microphone investment. It certainly is. But it's highly unnecessary. It's no better than an, SM-56-57 or 58. It's using the same capsule as all of those. So did the SM-5. A lesser-known and more rare known version of another SM-57. Actually suspended within an elastic and foam exterior. Making the 57 microphone inside. About 5 times larger in circumference. And a few inches longer in length. But it was still just a SM-57 inside all of that foam. It's very funny. It was popular at other radio stations years ago. But the foam had a tendency to rot out. Faster than the foam on the SM-7 that had much more metal in its structure substrate. And I grew up with these microphones from their very start and inception's. Some I've had going on 50 years now. And they sound no different from new ones. I'm using right next to them.
So we all had to create these incredible sounds. Back in the 60s-70s-80s. With a very limited assortment and array of external audio doodads and gobbledygook. There wasn't any. You had a limiter and a reverb unit. Maybe even a single external special Gizmo-Tron, early rudimentary, digital effect thingy. You've got digital delay? Oh wow! Honey I've got all the delay you want. I charge by the hour. My batteries. And for my recordings. And the following is a true story regarding this.
There are no mistakes, only happy accidents :)
Glenn, no viewers comments this week?
Hope all is well stay safe my friend!
Working on a special episode for tomorrow
@@SpectreSoundStudios oooh! Sounds great!
Scott definitely doesn’t like Belphegor
Worst band evar er ma gerd :D
But if you're mixing black metal, how do you know if it sounds shitty? Serious question.
So I was thinking....
While I was growing up (born in 78) I cranked music all the time on headphones.
Now.....
Watching tutorials I hear "don't mix on headphones! Don't mix on head phones!"
So I think to myself ; OK. Don't mix on headphones mix on monitors.
I buy said monitors and just now came to the thought........
Do I mix on my monitors how I would hear a mix normally on headphones?!?!?!?
Mind blasting I know, but I feel like it's a good perspective to think from.
If you always have listen to music on Headphones then you will mix a song to sound how it would on headphones.
If you're mixing on monitors then it would destroy what you are going for.
mic drop here...
PS no mics were cupped in the typing of this comment
Haaa! I'm liker #666!
This guy just makes more sense than I usually have! I"m guilty of many of these things. Thanks for this video!
Glenn I have the same graphic on your shirt on a face mask
"...very much a modern style of..." [vomits in mouth a little].."mixing metal..."
I was about to buy the mixing course for 87$, then I saw that for 147$ you also get the guitar tone course with it... I guess 147$ will disappear from my bank account tomorrow!
Don't forget to join us in the Discords so we can help out if you have any questions!!!
@@ChernobylAudio666 I'll keep that in mind thanks! I might not join right away since I don't have a Dischord account yet, but the time will come! I'll start by binge watch your courses hehe Cheers!
I dont need practicing, I just need more expencive gear!
Yes!
Cheers man. I'll drink to that.
You has unsubscribed me a total of 17 times now... Subbed again, sure would be nice if UA-cam would stop unsubbing me
Scott from Chernobyl. Nice!🤘
Howdy! Thanks for watching ;)
@@ChernobylAudio666 yep. I'm a subscriber and watch your videos all the time. I use cakewalk too.
#1 Using these click bait videos as reference material!
Look if you’re going to mix metal. I don’t care what anyone says. You need to use of reference track. This is the best reference track available for mixing death, black, or any type of hard rock heavy metal: ua-cam.com/video/3ij_pUtJJrw/v-deo.html
Recording black metal= Can and string lol now symphonic black metal, oh the intricacies.
I disagree with the statement on bass performance. Yes, the bass performance should not be jumping all over dynamically, clipping and peaking then dropping out completely, no sense or reasoning for the louder, or punchier, or having a really rapid attack on the note, and no sense to more mellow, rounder, or legato notes. A good bass performance should have precision, and definite purpose, for the use of dynamics in every bass line. The bass is the most critical, IMO, instrument in a rock or metal band, in that a great bass performance that is played with an understanding of the song, and is played with the purpose of emphasizing parts of the song, and the notes in every part of the song that require being emphasized, being brought out, having more power and punch, and where that power and punch does not need to be applied to that higher level, then it is needed for the bass to be at a much more consistent level, and much more fitting with what the guitars, the drums, the vocals are doing those moments. To me, when I listen to a metal recording, and the bass part has been compressed to s*** that's exactly what the music tends to sound like to me. S***. Lifeless, dull, monotonous and emotionless, droning on and on. When you listen to the great bass players through Rock and metal, from cliff burton, and Steve digiorgio, Alex webster, Geezer butler, John entwistle, Chris squire, geddy lee, Steve harris, and I can go on and on, but you get the idea, those bass players are all very dynamic. Those bass players know when to feel their way along the riff with the guitar or with the drums or vocals, and when a part of the song, or part of a riff comes along or even part of a vocal that needs to be emphasized that needs to have punch, that needs to have power, or during a melodic portion of a song where there are harmonies being played between the instruments, a great bass line can make those harmonies with the guitars sound incredible, whereas a monotonous bassline that humps the root, goes nowhere, does nothing, says nothing, it absolutely detracts from what that song, what that part, could be, and those great bass players all knew that, and all play with that in mind. When you listen to an Iron Maiden album or you listen to the early Metallica albums with Cliff burton, you listen to any Black Sabbath album and here geezer Butler, you hear the song, the Dynamics of the song, the power and punch, or the holding together of the feel of the rhythm during a guitar solo, whatever it is, you hear those bass players, and they are all dynamic, and they are all dynamic with purpose and with precision. I watch UA-cam video tutorial after UA-cam video tutorial, and I can tell when it's a guitar player, someone who does not know how to play bass as a member of a real rhythm Section, because those are the guys that tell you to compress the s*** out of it to stop it down and good bass line should be completely consistent, and that's just flat out crap. A good baseline should communicate the feel of the song, and the rest come and you can't do that if it's compressed and completely consistent.
I play Fretless, I have in the past heard myself go flat during a track, I demanded we redo it. The entire track through, not just punch me in on that part, but redo the entire song because I was flat. The "producer" argued against it, said we can punch me in faster, I said no, re-take. I played through in the proper key 1 take, finished in key and took less time than it would have to punch in. Reason being that I want to perform, not punch, had I punched in it would have taken away that live energy of 1 take. But... that requires one to know the song. I think what you're trying to say is that there is a difference between a bassist and a bass guitar player.
Speak for yourself, my mixes are perfect. (Said no-one ever.)
lol!
Haha :D
And you don't get one of those awful pod casters style USB microphones. No. You simply set up your SM-57 with a skinny pop filter. A cheap pop filter. You don't even need a microphone boom or table stand. Just lie it flat on your desktop. Out of sight of the camera. About 1 foot in front of you. And use all of that above hardware I mentioned. In your paid for and or free cracked software plug-ins. And then you'll wonder why it sounds so fabulous? Well that's because the microphone is not on a table stand nor a boom. It's lying flat on the tabletop. There is no reflection that way. And your voice is directed into the microphone. Using the tabletop as an acoustic waveguide. With only a single plane surface. And no music audio engineer understands this kind of goofy shit. Because they understand nothing about microphone creation or design. Or actually how they work and what they pick up and how they pick it up. And what they are picking up. And what the microphone really shouldn't be picking up. That FUCK's up the sound. Like the reflection from the tabletop.
You see. Donnie does not need that SM-57 on a gooseneck in front of his mouth. Though he thinks he does. Because he is also the world's finest audio engineer. Meanwhile. All the other presidents. Rely upon the military trained audio and video crew. That stick 3, SM-57's. Down low on the podium in a cluster together. Only one is actually on that you are listening to. The other pair are, emergency redundant, backups. And they process those microphones. Much in the same way as I do and as I described. And it all must be with US-made designed and built equipment. Most of what they purchase is a, SHURE, kind of thing. Which also includes EQ and limiters. Some limiters might expand. Some limiters just have a hysteresis time hold function. So no rush of background noise between sentences breaths and paragraphs. And presidents know to let the military audio and video crew. Do what they were trained to do. They don't need to be in charge of the microphones/microphone, themselves. But Donnie did. That's what children want to do. Shouldn't that microphone be closer to my mouth? No sir it does not need to be. Well I think needs to be. And I only need one. Yes Mr. Ass Wipe.
I think I can probably safely assume. Since I have worked with those military White House audio video crew members. As a member of NBC-TV News, audio engineering. That one single 57 you see on Donnie. On the gooseneck. I would venture to say. That also on that podium. That Donnie doesn't know about. Are actually a pair of Crown or SHURE, PZM, Boundary or, miniature lavalier microphone capsules. Hidden within that wooden podium. When Donnie grabs his microphone to adjust it, closer to his mouth. And it, breaks and/or, fails. He'll never know. That microphone is no longer on. Until he taps it with his finger. And then wonders what's going on? Well the other hidden microphones on the podium are on now. So as not to have to go to a slide. That says: ONE MOMENT PLEASE. TECHNICAL DIFFICULTIES. You don't want to see on a presidential speech. And so Donnie is also a dumb ass know nothing self-proclaimed audio engineer child. And has instructed the military A/V crew. How to do their jobs. And so this alone.. Is a fucking great reason. NOT TO VOTE FOR THAT FUCKER AGAIN! Because I personally know. He doesn't know fucking anything about audio. Presidents of the United States. Do not need to think about doing audio. It is not within their purview. And I don't like people who fucking think they know something more about audio than I do. And he sure fucking doesn't have a clue. And that's a good reason not to vote for that rude brainless mother fucking corrupt mafioso style unethical crazed ripoff maven. Invading the White House. Who thinks he knows something about audio.
This public service message brought to you by, RemyRAD Transmissions. And Emissions. And Sound Missions. Take a ride to the land inside of your mind. I know how to get people there. In their control rooms. And I can guarantee 90% of you. Who think you are there. Aren't really there. In what you are monitoring. Because I also have a secret. It's an engineering secret. It's a game changing engineering secret. It can change your life. It can change your control room. It can negate the need of an acoustic engineer. Or hanging on the wall acoustic gobbledygook soundproofing absorbing stuff. And it doesn't cost one penny to do. At that's what's so funny. You see, I've got a secret. A secret deep inside. Oh yeah. And I love sharing it with people. It's a life and game changer. And then you will understand audio more fully. Almost instantly. And you will better understand and relate to what you are hearing. Because everybody is all screwed up in their monitoring. And it's a simple stupid fucking wiring error. Done on purpose. Because stupid educated academic idiots insisted upon it. From a mathematical standpoint it is correct. But it is sonically. About as incorrect as you could possibly try to make a control room to sound. And you have to spend a lot of money. A stupid obscene, sum of money. To make your control room sound right. To be able to properly monitor anything. And well-known. That's the big joke here. It keeps a lot of people in business. Selling ulcers and all sorts of acoustic gobbledygook. To put around your control room and studio specification and blueprints, plans. For a tidy sum of money. Most all of it. A big joke on you guys. Because I have the secret. And so it is one other company. But so far I only know of one. All the others are goofball backwards. Every single last fucking one of them.
Hardly two minutes of content before the first interruption ad...
Hey I'm here I'm here early lol
Reference tracks and footnotes need to Killed at birth before they can reproduce.
i just found out i wasn't subscribed to you anymore. another YT glitch?
I imagine! Thanks if you re-subscribed!
@@SpectreSoundStudios its my pleasure
I will never not mix and edit lol I'm a mere human
4th is trusting a fart
When mixing - turn off the internet and fucking listen. The end.
YES :)