5 GAME-CHANGING Techniques from JAYCEN JOSHUA 🔥
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- Опубліковано 25 лип 2024
- In this video, you’ll learn some of the most advanced and effective mixing techniques from Jaycen Joshua. I've watched almost all of the tutorials available from Jaycen Joshua, and here are the five most important things that I’ve learned: Dynamic Processing, Importance of Transients, Reverbs, Bigger Kicks, and Stereo Widening.
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I explain all of them with different examples. These five mixing techniques from Jaycen Joshua can boost your career instantly! So don’t miss out on them.
Dynamic Processing: You’ll learn how to amplify transients and bring life back to your songs using plugins like SPL Transient Master, Waves Smack Attack, iZotope, and Oak Sound Spiff
.
Dry/Wet Mixers: You’ll learn how to achieve maximum loudness by controlling the reverb tails.
Phat Shadow Technique: By learning this simple technique, you can make your guitars, synths, or other mix elements more stereo without adding reverbs with long decay.
Bigger Kick: By tricking the ear, you can achieve bigger kicks. This is a simple but effective trick.
Front to Back Panner: You can achieve more 3D mixes using Waves Trueverb. This is Jaycen Joshua’s mixing trick to push the sounds further in the mix.
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Chapters:
00:00 Important Notes
00:38 1. Transients
02:35 Example 1
03:11 Example 2
03:58 Results
04:49 Special Trick
05:24 2. Dry/Wet Mixers
06:45 3. Phat Shadow Technique
07:31 4. Bigger Kicks
08:07 5. Front to Back Panner
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#mixingtips #jaycenjoshua #mixingtutorial
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I appreciate you putting in the work to post educational content. I need, though, to address three things, important for beginners to understand.
1. Transients were never seen as the enemy in the analog world. It was working with Analog gear, specifically Tape, that would attenuate transients naturally. Since they are very fast high amplitude sounds, tape would distort and they would be smoother sounding. Same with tubes, for example - there's only a certain amount a tube can take before distorting.
2. More transients doesn't mean better sound. There's way more to it than just that. Clipping a sound, for example, lets you preserve the perceived transient while helping you achieve transparent loudness. If you just boost your transients with a transient designer, your final mix will sound squashed, because a limiter (which is a compressor, basically), will react to high amplitude transients in a different way than a clipper would do.
3. Making your kick longer is not something you should always do if you don't know what you are doing. In your example, the long kick is objectively ruining your mix. You have a bassline that's moving a lot and your short kick let that bassline exist in its own space. The long kick overlapped your bass and made a mess out of it. Longer kick is better only when you have space for it, when it's tuned (roughly), and when it's just long enough. We're talking about fine margins.
Thank you so much for taking the time to clarify 🙏
@@3volvemusic 🤗
Thank you for sharing your insights. While I appreciate your perspective, there are a few points I'd like to address:
-It's intriguing to consider how transients were perceived as challenges in the analog era, with amplifying them not being a common practice at the time.
-I completely agree that simply increasing transients doesn't automatically result in better sound quality. It's an essential aspect to consider during mixing, and exaggerating anything could indeed lead to issues.
-Regarding kick length, extending it can prove beneficial in scenarios where increasing volume isn't an option, and after trying various EQ/compression techniques or layering. This approach aligns with the concept of creating a perceived sustained sound that appears larger to the ear.
I'm also interested in delving deeper into your concept of "Longer kick is better only when you have space for it, when it's tuned (roughly)". Specifically, I'm curious about how this concept aligns with the practice of side chaining the kick and bass in specific areas. It seems contradictory to suggest that there's no room when employing side chaining, which typically aims to create sonic space for both elements within the mix. Could you elaborate further on this?
@@yeckxo I'm not sure how you came to the conclusion that transients were perceived as challenges in the analog era. They had the tape, that's basically a clipper. It would be impossible to amplify transients pre 1998 as there were no tools to do that in the analog era. The first transient designer was born in 1998. Up until then, you would have to manually manipulate the audio file.
As for your question, as with everything in mixing, there's never a simple single answer. Like when people ask me what's the magic trick to make your record loud... there's no magic trick, it's the collection of small things that lets you be loud in the end. So I'll try and keep it short.
Sidechaining has limitations. As you can use sidechain signal to trigger and attenuate level or even EQ (Soothe2 way) from your bass when the kick does something, that takes a lot away from the bass. Don't forget, your track named "bass" is named bass because that's its job. To be the bass. If the kick who's job is to be the kick comes and tries to take away the job's bass without being properly educated in how to be a bass, then you have problems. Say you are in a club. There's a lot of decay in that club, especially if you are in the back and especially on the low end. If your kick is long, that bass buildup in the back of the club + let's say a 1.5s RT60 would mean two things.
1. Your long kick will make everything sound terrible. You won't be able to hear anything else but the kick. Why do you think DJ's like Skrillex use short kicks? If there's anyone that knows how records sound in the clubs, it's DJ's. We should listen to them. :)
2. The more you go down in pitch, the more dissonant two close notes will sound if played together, regardless of they are in key or not. Play a perfect fifth C4 + G4 and it sounds great. Play that C1 + G1 or C0 + G0 and it will sound very bad. If your kick is not tuned, when it will meet a bass note that's a different pitch than the kick is doing, you'll feel it weird. And if you add up my point 1, with the reverb decay... then you are in for even more trouble. That's why tuning your kick helps, but up to a certain extent. Because if let's say you're in Cmin and you tune your kick to C, if your bass pattern plays C, A, F, G, only at one point in the progression the kick will be matched to the bass. But that doesn't mean you can just tune every kick differently for each chord, cause a kick should be stable, it's the one that keeps the rhythm going. Tune every kick and it will mess up with the listener. Unless if the kick IS your bass and then you can tune it for each chord.
I actually had a client recently that had a dance record and came back with a note that the bass and kick sound dissonant. And that was surprising to hear as it was sounding great in my studio and my headphones. Especially after tuning his kick to the key of the song. Asked him if he can hear the same issue on his headphones, and it was good there. Turns out his room had a mode exactly where the kick was tuned and that created extra length for that specific frequency that overlapped with the perfectly sidechained bass in his environment. Now imagine if the kick was even longer what would've happened.
That's why I advice everyone... make horizontal room for your bass if you bass needs room. Horizontal as in time, not as in level (sidechain). Always work on your bass in headphones as the low end response is not affected by the room and you get the cleanest representation of what's actually going on.
See... not an easy answer. And that's just scratching the surface.
Yeah a lot of bro science here.
Amazing! Keep up the good work. Thanks!
Thank you for the positive feedback.
Really great content, thank you💪🏻
My pleasure, I'm glad it was helpful.
Very useful buddy,thanks 🤝
Thank you for the positive feedback.
These are really valuable tips.
I'm glad it was helpful.
Huge thanks
You're welcome man!
Wow!
Thanks ;)
Thank you so much for this great video man! Where do you got the multitracks from Katy Perry from? I would really like to train mixing with some multitracks but i cant find any online..
I've got them from "stemsguys@gmail.com"
I went to go look at spiff sounds amazing
Yeah. it really sounds amazing.
question , it wont be unbalanced when mono guitar pan 100 percent to one side and its reverb to another?
It depends on the reverb bus volume. simply it would act like panning if you turn the reverb volume down.
Nice, but why you have the early relfections fader all the way down in the last example?
I isolated the early reflections and carefully considered their role within the mix context. It became evident that maintaining these early reflections was crucial. However, if increasing their presence enhances the overall result, then amplifying them is warranted. This adjustment mirrors the exact setting employed by Jaycen Joshua.
The early reflections are at -24 so they are still there only not so audible. It gives more of a feeling than a 'hearing'
@@steppabanton9753 that's what we're trying to achieve. we only need to push the sound a bit further in the mix.
Man this video is absolutely great thank you 👊
Hey! thanks for watching.
Nah you didn't gain match after applying the transient processing, basically you just made it sound louder in that instance, it's more about controlling those -transients through saturation and compression without loosing the punch
yeah I didn't gain match but if you do it yourself, you can clearly hear the improvements.
💎💎
;)
Is transient designer affect headroom or not? Because its sounds louder?
Yes, a transient designer can affect headroom. By shaping the transients and sustain of your audio, it can make sounds appear louder, which can reduce the available headroom. This is because increasing the attack or sustain can raise the peak levels of your audio signal. It's important to monitor your levels and adjust accordingly to maintain proper headroom.
Do you have Jaycen Joshua’s kick samples??? He replaces them if needed
I don't have that. also I don't recommend changing the producer's kick sample.
There is debate on transients that makes it kind of difficult to have too much of them in the mix. Bacically the analog songs have alot of transient in them unlike you explained, even then they had limiters but not a graphical UI to make the visible to the mixing engineer, and on top of that they often had to make sure the dynamics were not too much for the LP record. But these day in the digital enviroment and with the loudness, it is easier to see how much you would need to get to the point of loudness you are aiming for, and even to go back to the mix and change some things. But ultamately a transient is a part of what the kick drum, it is just the attack and it will move the cone of the speaker, but too much of the transient and too long and the clarity is gone, famous mixing engineers often trick the ear, like deadmouse and the mxing engineer for Beyoncé say. Short kicks make room for low end of other instruments which need to go in tandem with the kick, bass and even guitar in rock music. If you are using a transient designer you are also changing the timbre of the instrument and effectively changing the shape of how the instrument is looking in a EQ. So for smack in a snare drum or kick for that matter the mids are incredibly important!! Saturation on instruments with excessive transients lower the transient and will have the same impact but will not trigger a limiter and suck away the energy....In the end it your mix, you can't teach people how to make music they like if you don't first learn what they are after. Many mixing engineers are doing too much processing to make a song ''special'' while in fact most people who do not have access to a studio will often use virtual instruments and libraries, which have great sounds out of the box. But it is not about making the song special, but to solve problems and to do as less as possible to make a song work, that is how the best mixing engineer made music and that is what i am after.
Hey, thanks for the insightful input. It's interesting to note how transients were viewed as adversaries in the analog era, perhaps due to the challenges in handling them effectively. Amplifying transients wasn't a common practice back then.
When you do amplify transients, it's crucial to manage them carefully, often involving processes like limiting or clipping. Without this management, the mix with amplified transients might sound unpleasant compared to one where transients weren't amplified but still underwent limiting or clipping.
whats the difference between Izotope alloy and izotope transient shaper ?
Almost no difference, iZotope Alloy 2 just discontinued.
Amazing work, thank u so much. U deserve million's of subscribers.
Hey! thank you for the kind words. I'm glad it was helpful.
1996 reverb in a 2024 video nice love it. the necessary serban namedrop to appear with any sort of authority - unnecessary.
You using ai voice clone of yourself? I enjoy metric halo's transient plugin
Was thinking the same. Hard to listen to
Thanks for the great content! Highly appreciated the useful info summarized in short duration. I just think might be better to show existing plugins only rather than discontinued ones like İzotope Alloy which is replaced by Neutron in 2017.
because I've been using this technique since 7 years ago I didn't know that iZotope Alloy 2 is discontinued at the moment. lol
and them the trend is to use Clippers that cut the transients!
Transients breathe life into songs, but it's essential to allow some of that vitality to be refined during the mixing/mastering process.
You are talking about peaks
Slow attack fast release compression has the effect of boosting transients by compressing only the sustained part of a signal. Lots of good tips in this video but the idea that nobody enhanced transients until the plugin era is absurd.
He puttin people on game I’m saprized he don’t have more followers
Thank you for the positive feedback. I'm glad it was helpful.
Way too much transients in the voiceover
😂😂😂😂😂😂
I used all the plugins mentioned in the video.
🤣🤣🤣
ai text to speech
It's AI.
You are a robot, you are the future and I hate it
I'm your friend.
i thought clipping would be the new thing, but clipping causes less transients, nah??
We definitely aim to reduce the presence of certain transients, and employing a clipper could prove to be a viable solution for achieving this objective.
Youre missing one important thing, a good song transports a specific vibe overall. That’s it
that's the final destination.
lol game changing is so 1638. Good luck.
;)
" more transients = good " lol... m8.... the lesson is controlling transients, not that more transients is always better.
Also.. Dynamite (Taio Cruz song) as an example of what not to do. lol. Really?
Q. Why does Dynamite translate well, to so many different systems?
Think about it.
Taio Cruz song sounds like trash. No transients = No Life. we're not talking about translating well in all kind of speakers.
@@yeckxo lmao dude you realize that Serban mixed that song?