Mad respect for the "if it sounds good, don't listen to me tip" I run into that sometimes when EQ'ing low end out of instruments. I feel like it sounds better with the low end mixed in with my kick and bass so i don't do it sometimes. Rock on dude great video.
Stop listening to people who have been to college on some marketing courses. Get to know your DAW Listen to lots of music Know what you want to make And put I bit of you in your music.
And cry after you try to lay bass under low pads for three weeks but get wet fart noises all the time... You need at least basic knowledge to make music YOU WANT to make. It's not necessarily full on education, but you need knowledge nonetheless.
@@oldensad5541 I come from a time before they were heeps of UA-cam uploads showing people and I picked up little bits from hanging with other musicians and lots of trial and error but in that time of making many mistakes, I also found out many things and all from just doing. That been said it because I enjoy doing it and I'm very interested in music but I wouldn't have the same approach if I wanted to try brain surgery.
4. I learned this arrangement formula with Berklee Online: Lead, Groove, Wildcard. At any moment, you mostly want those three things clearly defined. Your lead is usually a singer or soloist, your groove is your drums and bass and wildcard is the unique featured supporting instrument. Listen to your favorite records through this prism and ask yourself how you can apply it to your arrangements and mixing.
@@ghfjfghjasdfasdf What genre does this not work on? I’ve made everything from Country to Complextro. The focus and roles may shift quickly but I can all but guarantee that this still applies. By all means, though, provide examples.
@@bloknumfazm I appreciate your sentiment but why not use both halves of our brain? If you feel but don’t think, you’re more like an animal than a human. The ability to think may be a double-edged sword, but it’s a sword nonetheless. Sure, the better you get the less you need to think. However, to just jump into feeling without guidance is a great way to get lost.
This video is GOLD. I so needed it a year ago. I realized a lot of this over a long course of time. I hope people realize how much time this advice has saved them.
Great video - definitely covers many of the tips I’ve learned since really getting into production in the last couple of years. Probably main other big tips are focus on the mix not the master. Master should be minimal change in comparison - back to not being able to polish a turd.
Reverb throws are also great for making everything work together because you have more control than just a reverb send or bus. If you high pass the send it will sound much cleaner and help your bass come out. Even just low shelfing it is also okay
Thank you so much for taking a holistic approach to this advice! Music production is so much more than just making beats. It's theory, sound design, mixing, arrangement, and so much more!
Hey Mattie! Awesome stuff! Just a correction if I may: soundchaining ISN'T making one sound quieter when other plays - this is merely an effect of sidechaining, but sidechaining can be used in reverse as well (making one sound louder when other plays). What you described is called "ducking" (the sound "ducks" under when another plays). Sidechaining is simply making one track/plugin "listen" to what another track (or plugin on another track, depending on what your DAW is capable of) is doing. Nevertheless, once again, awesome stuff.
Just found you today. Well done. Your obvious proficiency and passion is astounding. I also REALLY like how you very nicely tell people to quit being bad and lazy at songwriting. 🤣👍🤘
really enjoyed the video, it’s impressive how much info you packed into such a short time! but honestly, i think cramming 500 hours into 27 minutes might oversimplify some important concepts. sometimes, less is more, you know?
Side chain is underrated imagine I never use it on kick and 808 I’ll use it on reverb and delay for vocals or I’ll side chain the bass in pianos or guitars to keep the fundamental frequencies of those instruments without having them compete with an 808
@@OhitsShiftzIt’s especially important for low sounds. Basically, when you combine two sounds, you’re actually combining two patterns. For example, when you interlock your fingers, you’re marrying opposite patterns. However, for bass sounds that would create a cancellation. Therefore, the lower the sounds, the more important it is that the amplitude polarity is same-same aka in-phase aka “squiggles are moving in the same direction”. Higher frequency sounds also benefit from timing experimentation but that will be more of a timbre preference rather than outright nulling.
Simply put, mess with phase invert on your individual tracks. Check your mix in mono to make sure things aren’t disappearing with the new phase alignment Try stuff. Sometimes something sounds better than the original
@@OhitsShiftz The closer the +attacks+ of your layered sounds are to starting at EXACTLY the same time.. the better you are. (Transients.) There's wiggle room, ofc, but the farther off you are... the higher the likelihood of (phase) cancellation. The addition of your second sound will make the first sound quieter/thinner. If it makes any sense... it's the difference between "2 + 2 = 4" and "2 + -1 = 1"
You defined side-chaining by giving the definition of side chain compression. But I think it's okay because it needs to be simplified for newcomers, the way language needs to be simplified for preschoolers. Side-chaining is routing audio to other channels so that the input of this signal can alter one or more attributes of the audio channel (etc.) receiving it, by using effects with side-chaining capabilities. Other uses include Reverb management, Dynamic EQ adjustment, synth modulation, and automating effects parameters to add interest or musicality.
Unintentional clipping is bad, but intentional clipping is good. In some cases, you need to remove peaks without using a limiter or a compressor, because they will color the dynamics of the signal. A clipper will remove wild transients and it will be almost inaudible. When done intentionally it's actually a lifesaver for transparent dynamic shaping, and it will actually make both limiters and compressors work better.
I do the kinda reverse on the rainbow. Drums-Purple, Bass-Blue, Guitar-Green, Lead-Yellow, Vocals-Orange, Midi/FX-Red, then pink/magenta is for mix busses
It is a great idea if it doesn't affect other aspects of the track sound, which may depend on where the gain is in the signal chain in your daw. I'm guessing it will always be at the start (of the signal flow for the track)? It certainly is in Cakewalk for example. That means that the volume (gain) is being manipulated BEFORE it is fed into your plugins instead of afterwards. Fader volume is usually last in the signal chain (for the track). Reaper does not have gain (which is really annoying actually, for other reasons) but it does have different volume automation modes, some of which allow you to move the fader up and down and move the whole automation envelope with it - which is exactly what we are trying to achieve here. If gain automation isn't working for you in your daw there are a number of ways to emulate what Reaper does. One is to add a free volume (gain) plugin as the last plugin before the fader and automate that plugin. Another is to send the output of the (volume) automated track to a bus so that you can move the whole envelope volume up and down using the bus' fader instead.
@@glennlittle7955 thank you for this! i’m gonna take notes. i guess this trick can be useful only to simulate volume automation so that you can have an idea of how it sounds. i usually take care of volume during mixing and automation is my last step of it.
@@Jivasounds Yeah. The biggest problem I have is guitar amp sims, but it's going to be an issue with any non-linear plugin (saturation, compression, etc). I must say that I don't think volume automation is a strong suit of most daws. I was horrified when I first realised that, having added automation, moving the fader no longer did anything. I get why, but then I think too much in daws is "it was this way in analogue studios so let's do it the same".
6:54 For me it is: Drums - Dark blue Bass - Red Strings - Purple Guitar - Olive Synths - Pink / Magenta Keys - Green Vocals - Magenta / Pink FX - Orange
great tips. However some genres its almost essential to clip. You dont want to clip while recording, but clipping as a creative effect or to increase loudness during mix and master stage is great. As far as Lufs, if you are making modern pop (ariana grande, olivia rodrigo, doja cat etc) or any edm subgenre, even -9 is not enough. No joke, many of these tracks are clocking in at -4 to -6. You can keep things dynamic by clipping in the mix. Clip individual elements, busses, sub mixes, the master. Shave 1-2db in stages and you will have loud songs
Clipping: You're right, I think you 2 are talking about 2 different things. He's talking about unintentional +digital+ clipping and you're talking about intentionally using a soft/hard clipper (which is emulating +analog+ clipping). LUFS: I don't think even a fairly-skilled bedroom mixer is gonna be able to hit -4 or -6 with ANY of the clarity (of tone or transients) that a pro mixer in a pro studio can get. For 90% of people it's just an unrealistic bar. And sure you CAN hit it.. but you're prolly doing more harm than good by doing so. Acquaint yourself with your limits. (Personally, I know that when I hit around -7, I'm probably f'ing something up...even if I don't initially hear it.) And, unless you're music is playing live.. there's a 90% chance it's being normalized anyway. Almost nobody turns that feature off on their DSP of choice. But.. these are just my thoughts. What do I know...
@@nilespeshay1734 While I agree squeezing in the extra LUFS doesn't matter incredibly unless its live, I'm going have to disagree respectfully; -5 LUFS is not hard at all to hit cleanly if you're intentional with your mix, -4 and even -3.5ish is not *that* much harder
SUBSCRIBED … really concise and helpful video … impressed with your common sense approach and time you have put into the content … looking forward to following and learning with you!! … thank you!!
Bonus tip: In logic instead of saving a mix 1, mix 2 etc as projects taking up space you can save it under "project alternatives". (don't know if you can do it in other daws)
@@Dave1507 Can only speak for Logic but what it does is save what's new in your project while still keeping the old alternative.. instead of duplicating the entire project taking up just as much space as the 1st one. So if you have a 2Gb project and add 300Mb of audio files in the new alternative you'll use 2,3Gb instead of 4,3Gb
@@sebsmithhklie ah yes, that makes sense, and depending on which alternative you load up it fuses the original with the addidtions of that alternative. I rememeber this from my IT days, we called it incrimental backup, where it uses a similar process.
“All of the top studios are hiring session instrumentalists, hiring people to play the drums” is VERY genre dependent. If you’re making rock, sure. If you work in Hip Hop or electronic genres, not so much
I will say about sound selection, it is true that good sounds matter more than what effects you use MOST of the time. But, if you're going to use a "bad" sound and use effects to make it better you have to understand WHAT the effects do and WHY they make your sounds better. For example, before I would use drum sounds and be frustrated when they lacked punch, so I would do the most straightforward thing and slap a distortion on it to make it louder which ended up clipping in the mix and sounding pretty disgusting overall. But what I didn't understand was the relationship between the transient and the tail and how to create a satisfying ratio between the two using something like a transient shaper, EQ to boost frequencies only present at the points in the sound I wanted to accentuate, used a compressor with high attack to leave the transient untouched while slightly lowering the tail, or a combination of all the above, etc.. And although this can be a tedious process, and I don't recommend doing it every single time you need a sound, it is good practice for when you need to slightly adjust your samples later on. Because no sound is going to be perfect, understanding how to make it fit your vision for a track can be huge.
A. Listen to a LOT of music. B. Learn how to write and arrange songs. C. Don’t use presets, use your ears. D. Learn how to use a compressor. E. Learn how to use an e.q. CORRECTIVELY. F. Have parents or family members already in the entertainment industry.
Mixing is one of the hardest things to get right. You have to do many muxes to know what really works. It's like playing instruments. It just doesn't happen fast.
I've been watching UA-cam tutorials everyday for the last 6 years. I've made a lot of progress but still nowhere near where you're at. This is a great informative video.
I know this is an older comment, but let’s tackle this together! Most DAWs automatically compensate for latency, so you usually won’t have to worry about peaks and troughs being misaligned, which can cause phase cancellation. However, if you do run into phase issues, try manually aligning both tracks! When done right, your mix will sound fuller and punchier. If there’s phase cancellation, it might come off as thin or hollow, especially in the low end. For the most part, though, phase cancellation shouldn’t be a big concern. If things do sound hollow, print the parallel signal to its own audio file and line up the transients with the original. That should do the trick! I hope this helps, man!!! Have a wonderful day! 😄😄😄
Hi there, 1. What is a good recording sound (your tip 1)? If you have a good guitar, amp (or modelers like helix floor), you play good your recording, and do not record hot (don’t clip).. is that a good sound? 2. Would you use same reverbs on guitars and drums? What about if let’s say your acoustic guitar is haunting and you need a hall/cave reverb? Or you need an ambient guitar sound? Or would you create specific busses for specific instruments? Wouldn’t that cost also CPU power? Or would it be better to put reverb on a group (e..g acoustic guitar), rather than a bis specifically for acoustic guitar reverbs? P.S. In loved what you said “putting glitter on a piece of 💩 “
a good recording sound : without unwanted artefacts, a performance that you are proud of, and overall you can already listen to it and enjoying it before further processing. the best sounds i recorded barely needed any mixing
Mad respect for the "if it sounds good, don't listen to me tip" I run into that sometimes when EQ'ing low end out of instruments. I feel like it sounds better with the low end mixed in with my kick and bass so i don't do it sometimes. Rock on dude great video.
Stop listening to people who have been to college on some marketing courses.
Get to know your DAW
Listen to lots of music
Know what you want to make
And put I bit of you in your music.
And cry after you try to lay bass under low pads for three weeks but get wet fart noises all the time...
You need at least basic knowledge to make music YOU WANT to make. It's not necessarily full on education, but you need knowledge nonetheless.
@@oldensad5541 I come from a time before they were heeps of UA-cam uploads showing people and I picked up little bits from hanging with other musicians and lots of trial and error but in that time of making many mistakes, I also found out many things and all from just doing.
That been said it because I enjoy doing it and I'm very interested in music but I wouldn't have the same approach if I wanted to try brain surgery.
@@oldensad5541exactly
@@oldensad5541Learn music theory.
@@oldensad5541 lmao this happens way too much lmfaoooooooo
4. I learned this arrangement formula with Berklee Online: Lead, Groove, Wildcard. At any moment, you mostly want those three things clearly defined. Your lead is usually a singer or soloist, your groove is your drums and bass and wildcard is the unique featured supporting instrument. Listen to your favorite records through this prism and ask yourself how you can apply it to your arrangements and mixing.
That only works for a handful of genres.
@@ghfjfghjasdfasdf What genre does this not work on? I’ve made everything from Country to Complextro. The focus and roles may shift quickly but I can all but guarantee that this still applies. By all means, though, provide examples.
Stop formulating. Start feeling.
@@bloknumfazm I appreciate your sentiment but why not use both halves of our brain? If you feel but don’t think, you’re more like an animal than a human. The ability to think may be a double-edged sword, but it’s a sword nonetheless. Sure, the better you get the less you need to think. However, to just jump into feeling without guidance is a great way to get lost.
@@Hexspa agree with u... a lot of times people are just overcomplicating ideas...
This video is GOLD. I so needed it a year ago. I realized a lot of this over a long course of time. I hope people realize how much time this advice has saved them.
Nice compendium of general and some less general tips! Love it!
And thanks for quoting (indirectly?) Joe Meek!
"If it sounds good, it IS good".
Great video - definitely covers many of the tips I’ve learned since really getting into production in the last couple of years. Probably main other big tips are focus on the mix not the master. Master should be minimal change in comparison - back to not being able to polish a turd.
Thanks! :) these are useful tips, something for everyone in here.
Reverb throws are also great for making everything work together because you have more control than just a reverb send or bus. If you high pass the send it will sound much cleaner and help your bass come out. Even just low shelfing it is also okay
this is for newbies. most people will just read that and go...huh?
Thank you so much for taking a holistic approach to this advice! Music production is so much more than just making beats. It's theory, sound design, mixing, arrangement, and so much more!
Hey Mattie! Awesome stuff!
Just a correction if I may: soundchaining ISN'T making one sound quieter when other plays - this is merely an effect of sidechaining, but sidechaining can be used in reverse as well (making one sound louder when other plays). What you described is called "ducking" (the sound "ducks" under when another plays). Sidechaining is simply making one track/plugin "listen" to what another track (or plugin on another track, depending on what your DAW is capable of) is doing.
Nevertheless, once again, awesome stuff.
Dang it, I new I hadn't invented reverse sidechaining. 😂😂😂
With that naming "Final " - Amen! Thank
you for the awesome video
Awesome overview!!! Very helpful to hear all these ideas in one place
All of these are good tips, been producing for about 9 years and these things came naturally after hours of production. Listen to the man
Just found you today. Well done. Your obvious proficiency and passion is astounding. I also REALLY like how you very nicely tell people to quit being bad and lazy at songwriting. 🤣👍🤘
Automating the gain control rather than volume has never occured to me🤯 thanks for pointing that out!
really enjoyed the video, it’s impressive how much info you packed into such a short time! but honestly, i think cramming 500 hours into 27 minutes might oversimplify some important concepts. sometimes, less is more, you know?
Love your videos and your sense of humour is wicked
Side chain is underrated imagine I never use it on kick and 808 I’ll use it on reverb and delay for vocals or I’ll side chain the bass in pianos or guitars to keep the fundamental frequencies of those instruments without having them compete with an 808
I'm the inverse- I pretty much always sidechain the kick/bass guitar/synth bass. I need to start using sidechaining with reverb. Any small tips?
I'm new to music producing but I can tell that this is exceptionally good content
Clearly explained, practical tips. Earned a sub.
...don't forget to "align" when you're layering. Phase/polarity can impact your sounds in a big way....Thx for your vids!!!
Could you give an example of this? Or maybe a video related to it, I’ve heard about this before but want a good understanding of my own
@@OhitsShiftzIt’s especially important for low sounds. Basically, when you combine two sounds, you’re actually combining two patterns. For example, when you interlock your fingers, you’re marrying opposite patterns. However, for bass sounds that would create a cancellation. Therefore, the lower the sounds, the more important it is that the amplitude polarity is same-same aka in-phase aka “squiggles are moving in the same direction”. Higher frequency sounds also benefit from timing experimentation but that will be more of a timbre preference rather than outright nulling.
Simply put, mess with phase invert on your individual tracks.
Check your mix in mono to make sure things aren’t disappearing with the new phase alignment
Try stuff. Sometimes something sounds better than the original
@@OhitsShiftz The closer the +attacks+ of your layered sounds are to starting at EXACTLY the same time.. the better you are. (Transients.) There's wiggle room, ofc, but the farther off you are... the higher the likelihood of (phase) cancellation. The addition of your second sound will make the first sound quieter/thinner.
If it makes any sense... it's the difference between "2 + 2 = 4" and "2 + -1 = 1"
@@nilespeshay1734 thank you!!! 😊
this videos sums it all up! Great work
Thank you! This not only helped me discover new things, but also review what I already knew. New sub 🙌🏼
You defined side-chaining by giving the definition of side chain compression. But I think it's okay because it needs to be simplified for newcomers, the way language needs to be simplified for preschoolers. Side-chaining is routing audio to other channels so that the input of this signal can alter one or more attributes of the audio channel (etc.) receiving it, by using effects with side-chaining capabilities. Other uses include Reverb management, Dynamic EQ adjustment, synth modulation, and automating effects parameters to add interest or musicality.
staring at rice is not cooking rice - Taoist proverb
14:06 OMG THAT'S GENIUS. How did I not think of that? Not being able to move the fader is so irritating
There's a trim control where the volume numbers are - dragging it moves the whole automation information up or down
Thanks dude! This was awesome
Badass! Thank you bro!
great video, thanks
Good tutorial so far. Thanks alot
I learned so much in this Video, Thank you ;)
Unintentional clipping is bad, but intentional clipping is good. In some cases, you need to remove peaks without using a limiter or a compressor, because they will color the dynamics of the signal. A clipper will remove wild transients and it will be almost inaudible. When done intentionally it's actually a lifesaver for transparent dynamic shaping, and it will actually make both limiters and compressors work better.
Btw if ur making tearout/deathstep you want ur stuff to be atleast -2.5 LUFS to compete
Also attains to heavier dubstep
i use and learn with Ableton but you explain things pretty good Gracias
I watched 500 hours of tutorials and I agree all these tips.
Best tutorial on Mixing ever!😄
Can't wait to see your channel blow up bro :D
HOLY SHIT This movie gonna change my mind and music production 21 is the best advise for me
Thanks. BTW - Kiss may have had a resurgence in the 80's, but All Their Big Hits were produced in the 70's. :^)
This video is too good man! thank you so much
Awesome, thank you!
Thank you for sharing!
Very useful videos, thanks a lot ! Your videos are on par with much more famous music production you tube channels !
Brilliant video bro, great advice just earned a new supporter 💯
Great video
Thanks for this great video! 🦊
New sub man. Dope channel🔥🔥🔥🔥
I do the kinda reverse on the rainbow. Drums-Purple, Bass-Blue, Guitar-Green, Lead-Yellow, Vocals-Orange, Midi/FX-Red, then pink/magenta is for mix busses
Tip #20 will get you better at mixing faster and in any room with any set up
automate gain instead of volume!!! what a great idea!!!
It is a great idea if it doesn't affect other aspects of the track sound, which may depend on where the gain is in the signal chain in your daw. I'm guessing it will always be at the start (of the signal flow for the track)? It certainly is in Cakewalk for example. That means that the volume (gain) is being manipulated BEFORE it is fed into your plugins instead of afterwards. Fader volume is usually last in the signal chain (for the track). Reaper does not have gain (which is really annoying actually, for other reasons) but it does have different volume automation modes, some of which allow you to move the fader up and down and move the whole automation envelope with it - which is exactly what we are trying to achieve here. If gain automation isn't working for you in your daw there are a number of ways to emulate what Reaper does. One is to add a free volume (gain) plugin as the last plugin before the fader and automate that plugin. Another is to send the output of the (volume) automated track to a bus so that you can move the whole envelope volume up and down using the bus' fader instead.
@@glennlittle7955 thank you for this! i’m gonna take notes. i guess this trick can be useful only to simulate volume automation so that you can have an idea of how it sounds. i usually take care of volume during mixing and automation is my last step of it.
@@Jivasounds Yeah. The biggest problem I have is guitar amp sims, but it's going to be an issue with any non-linear plugin (saturation, compression, etc).
I must say that I don't think volume automation is a strong suit of most daws. I was horrified when I first realised that, having added automation, moving the fader no longer did anything. I get why, but then I think too much in daws is "it was this way in analogue studios so let's do it the same".
6:54 For me it is:
Drums - Dark blue
Bass - Red
Strings - Purple
Guitar - Olive
Synths - Pink / Magenta
Keys - Green
Vocals - Magenta / Pink
FX - Orange
Use the "humanize" feature of your daw for a little enhancement for point 9
great tips. However some genres its almost essential to clip. You dont want to clip while recording, but clipping as a creative effect or to increase loudness during mix and master stage is great. As far as Lufs, if you are making modern pop (ariana grande, olivia rodrigo, doja cat etc) or any edm subgenre, even -9 is not enough. No joke, many of these tracks are clocking in at -4 to -6. You can keep things dynamic by clipping in the mix. Clip individual elements, busses, sub mixes, the master. Shave 1-2db in stages and you will have loud songs
Clipping: You're right, I think you 2 are talking about 2 different things. He's talking about unintentional +digital+ clipping and you're talking about intentionally using a soft/hard clipper (which is emulating +analog+ clipping).
LUFS: I don't think even a fairly-skilled bedroom mixer is gonna be able to hit -4 or -6 with ANY of the clarity (of tone or transients) that a pro mixer in a pro studio can get. For 90% of people it's just an unrealistic bar. And sure you CAN hit it.. but you're prolly doing more harm than good by doing so. Acquaint yourself with your limits. (Personally, I know that when I hit around -7, I'm probably f'ing something up...even if I don't initially hear it.) And, unless you're music is playing live.. there's a 90% chance it's being normalized anyway. Almost nobody turns that feature off on their DSP of choice.
But.. these are just my thoughts. What do I know...
@@nilespeshay1734 While I agree squeezing in the extra LUFS doesn't matter incredibly unless its live, I'm going have to disagree respectfully; -5 LUFS is not hard at all to hit cleanly if you're intentional with your mix, -4 and even -3.5ish is not *that* much harder
@@camrenblue If what you're saying is true, then there is very little need for professional mixers.
No one cares about your loudness standards, n00b😂
anything mixed to 4 or 5 luf is absolutely garbage and unlistenable. All those artists mentioned are absolutely trash.
SUBSCRIBED … really concise and helpful video … impressed with your common sense approach and time you have put into the content … looking forward to following and learning with you!! … thank you!!
thanks for this video. I have my notifications turned on for your contents
awesome!!! Thank you!
This was so helpful!!!
Nice video, you just got another subscriber 😁
Great video concept ❤
Thanks for this compact guide, God bless you! I subbed :D
I use the LUFS metering in pro-L 2 🙌
awesome vid! ty!
Great thank you for the magic pill now everyone has it all figured out 👍
I like this guy
This is such a helpful video
Love it! Thanks!!
Very helpful man, tysm!🤍
First tutorial where there is literally no music in the background my god I enjoy this.
I appreciate man💯🙏
thanks fam
Note to self, automate gain not volume, so you can still change the fader later
Bonus tip: In logic instead of saving a mix 1, mix 2 etc as projects taking up space you can save it under "project alternatives". (don't know if you can do it in other daws)
Fl has the backup for that. Don't know about using no space though. Because what's being saved if it doesn't use up any space?
@@Dave1507 Can only speak for Logic but what it does is save what's new in your project while still keeping the old alternative.. instead of duplicating the entire project taking up just as much space as the 1st one.
So if you have a 2Gb project and add 300Mb of audio files in the new alternative you'll use 2,3Gb instead of 4,3Gb
@@sebsmithhklie ah yes, that makes sense, and depending on which alternative you load up it fuses the original with the addidtions of that alternative. I rememeber this from my IT days, we called it incrimental backup, where it uses a similar process.
“All of the top studios are hiring session instrumentalists, hiring people to play the drums” is VERY genre dependent. If you’re making rock, sure. If you work in Hip Hop or electronic genres, not so much
I HV LUORNED A LOT . THANS DEAR
This is 'the nutshell'!
great tips!
The opening of Van Helen's cover of Pretty Woman is literally a wet fart in a bathtub with lots of processing and not sounds great.
What a video 🔥
Thanks
I will say about sound selection, it is true that good sounds matter more than what effects you use MOST of the time.
But, if you're going to use a "bad" sound and use effects to make it better you have to understand WHAT the effects do and WHY they make your sounds better.
For example, before I would use drum sounds and be frustrated when they lacked punch, so I would do the most straightforward thing and slap a distortion on it to make it louder which ended up clipping in the mix and sounding pretty disgusting overall. But what I didn't understand was the relationship between the transient and the tail and how to create a satisfying ratio between the two using something like a transient shaper, EQ to boost frequencies only present at the points in the sound I wanted to accentuate, used a compressor with high attack to leave the transient untouched while slightly lowering the tail, or a combination of all the above, etc..
And although this can be a tedious process, and I don't recommend doing it every single time you need a sound, it is good practice for when you need to slightly adjust your samples later on. Because no sound is going to be perfect, understanding how to make it fit your vision for a track can be huge.
Good advice
Thank you.
Dope keep up!
What is the name of your book? I am blind and I’m just getting started in music production. I’m going to subscribe to your channel.
bro how did you know about my "dopestnewbeat final FINAL" file? i sincerely feel called out personally from that one lolol
A. Listen to a LOT of music. B. Learn how to write and arrange songs. C. Don’t use presets, use your ears. D. Learn how to use a compressor. E. Learn how to use an e.q. CORRECTIVELY. F. Have parents or family members already in the entertainment industry.
Mixing is one of the hardest things to get right. You have to do many muxes to know what really works. It's like playing instruments. It just doesn't happen fast.
Where can we find the book mate?
THX BRO
I've been watching UA-cam tutorials everyday for the last 6 years. I've made a lot of progress but still nowhere near where you're at. This is a great informative video.
What are some effective ways to avoid phase issues when using New York style compression (parallel compression)?
I know this is an older comment, but let’s tackle this together!
Most DAWs automatically compensate for latency, so you usually won’t have to worry about peaks and troughs being misaligned, which can cause phase cancellation. However, if you do run into phase issues, try manually aligning both tracks!
When done right, your mix will sound fuller and punchier. If there’s phase cancellation, it might come off as thin or hollow, especially in the low end.
For the most part, though, phase cancellation shouldn’t be a big concern. If things do sound hollow, print the parallel signal to its own audio file and line up the transients with the original. That should do the trick!
I hope this helps, man!!! Have a wonderful day! 😄😄😄
Talk about using SSD drums, please
4:23 *70s rock band. KISS is from the 70s.
Bro but “dopest new beat final final” is my favorite song. How could I forget it?
Hi there,
1. What is a good recording sound (your tip 1)? If you have a good guitar, amp (or modelers like helix floor), you play good your recording, and do not record hot (don’t clip).. is that a good sound?
2. Would you use same reverbs on guitars and drums? What about if let’s say your acoustic guitar is haunting and you need a hall/cave reverb? Or you need an ambient guitar sound? Or would you create specific busses for specific instruments? Wouldn’t that cost also CPU power? Or would it be better to put reverb on a group (e..g acoustic guitar), rather than a bis specifically for acoustic guitar reverbs?
P.S. In loved what you said “putting glitter on a piece of 💩 “
a good recording sound : without unwanted artefacts, a performance that you are proud of, and overall you can already listen to it and enjoying it before further processing.
the best sounds i recorded barely needed any mixing
2:10 SOME CALLS DAW THIS
😂😂
What exactly is FX (Pink) compared to Synths/Keys (Green)?
FX would include extra noise, risers, foley, etc. Any sort of uncategorizable sounds I put there.
All this sauce and for free? Im subing🔥
Great tips man but why oh WHY so many cuts in your video edit.. once I see it.. I can't unsee it
So far 70 people think you left at least one of the 500 hours you watched out of this video :D
S U P E R
content!
thanks a lot!