"The only thing that matters is what comes out of the speakers and nobody who buys that record is going to know or care what it’s mixed on.” EXACTLY! 🙌🏻
Well, not exactly. Classic console sound will always sound better and more transparent. Digital sound software plugs have all one kind of algorithm and sound the same, while every analog circuit has its own sound and mix of those gives more transparent and 'expensive' sound.
I like that he is sitting in front of an analogue console just for show (as is mandatory when you want to be taken seriously as a sound engineer) and say that he'd rather mix all digital on a pair of speakers and an iMac
Hi There it is! But its also so satisfying to turn those knobs and sliders in real life ☺️ But as he said, the people consuming the music will probably not hear a difference if it was mixed analog or digital.
@@hithere4289 nope, it depends on the application. He's talking about mixing here, I wouldn't want to record an orchestra without a large format console. Mixing, less so.
@@hithere4289 no it isn't, summing and mixing through an analogue mixer does affect the 2trk, nothing wrong with not using an analogue console and digital mixing is amazing now we have the options but saying it is a waste is a bit closed off. I remember before digital, now is great, i still love my desk though.
Yes, Master Wizard Scheps...Create what you want to hear coming out of the speakers. Always soaking up anything that Andrew has to say, he is one of the best at mixing & sharing his knowledge! Thank You. =)
Dear Andrew, you just delivered the nicest Xmas present to everyone. I love it when someone says it like it is and doesn't swallow all the bullshit, you just clarified a whole lot of things that I have thought for a long time, one doesn't often hear someone who can speak clearly with a justified authority and clarity. Nuff said. Thank you and a very Happy Christmas 2020
Andrew is my hero. I have never heard him utter a single word about mixing and recording that I didn't agree with completely.... proving that he is, indeed, a genius.
I like how he's emphasizing what needs to be emphasized and dismissing what needs to be dismissed. Young engineers need to pay close attention because if you follow the right path... you will end up sounding EXACTLY like this when you're older. Trust me.
Listening to this calm and measured man reinforces why I don't listen to Reddit "experts" and homemade music bosses demanding we all do things their way.
Hey my dude if you have that gift of an extreme ear you are very fortunate and gifted. The invention of portable analog and the digital access to recording has allowed a new generation of musicians and producers to emerge.
I do NOT understand the whole loudness thing. I understand the idea of having the medium level of sound in a song - on a digital medium, say - be different from one song, record, artist, producer to the next. Nobody likes to leave headroom lying around so your peak moment of the song is at -5 dbfs. However. For a streaming service or just for your mp3 player on your desktop PC, it's dead simple to calculate the average gain of a track, and to balance them out against each other. I'd be surprised if Spotify didn't do that. So what's the point then? On some records you can hear that everything has been "upped" and then slammed into not clipping with a compressor. The result: a mix that sounds messy and that can only be made sense of by putting it... louder yourself. It's probably the thing I hate the most in "modern recordings".
Great thoughtful and very insightful interview with Andy Scheps - quite agree about 'rules' and... ....basically most everything else... Thanks for making and posting.
Mixing is a challenge between loudness, presence, muddiness, boom, room, frequency clashing, phase, the amount of filtering and distortion. it is a challenge between the artificial sound made in digital domain, the ideal tonal balance, fletcher munson curve and analog recordings which are again processed to hit in the guts. Very wise sentence that every processing comes with some artifacts more or less. I recently like the SSL xcomp it might change in the future.
I still remember the excitement of my first 4 track AND my first computer which I bought specifically for recording. So lucky to live in a time where multitrack recording is readily accessible.
I loved my Tascam 244 (still got it) but the Atari-based MIDI setup was a two-edged sword that although exciting at first it killed my fledgling keyboard skills and resulted in lots of unfinished ideas. In my next Groundhog Life I'll go 8 track and play the synths instead of relying on sequencing. I now record DAWless with as much 244 mindset as I can muster.
1:45 exactly what I teach my students: once you understand what a FET circuit does different to an Tube/Opto/PWM, you can shape sounds the way you want
I do care about the music. A shit song stays a shit song, even when it was recorded or mastered in a multi million dollar studio. A hit song stays a hit song, even if it was recorded on K7
@@sK3LeTvM1 Even with what little I learned about mixing and mastering the difference is huge in terms of clarity and volume level being similar to a normal song made by engineers. A hit without giving mixing and mastering just dies.
He is totally right about educating yourself online with videos. There are tonnes of good vids out there but knowing where to start and progressing in a sequential manner is tricky. Well worth it to go for an Audio engineering course/degree
That lesson on fet comp and snares is killer advice. I just pick what works well with my control interface, layout, then go. Thanks for clearing up some disbeliefs in digital. So true about people who buy not caring what it was mixed on. Most teenagers never even heard of any of those Audio manufacturers name. The digital streaming service are not uniform . I see the war coming back. The only problem I see so far is UA-cam. If you upload something too loud it will be a clipping mess
I love this guy. He is so knowledgeable and ready to share it all. Lots of respect for people like Andrew sheps, About online: there are so many lousy videos that have a long list of comments praising how cool the video is and how much they are learning. The fact is that the guy doesn't have a clue and is doing things like choosing plugins based on no experience. A good video tries to explain why choices are made Instead of saying he always uses a whatever on drums and a whatever on all his vocals. You don't make good mixes using the same plugins on every type of track.
Andrew speaks the language of music whether it's digital or analog, on a board or out the box all of this makes sense, I love making music in the box more than being in a big studio. However, I have sought after outboard gear as well, your Avalon737, LA 610, Auratones, Genelecs, Adams X series speakers, Mogami, NS10's, burl stuff, Coleman stuff, mic's of all kinds, 414 ll, U87's, logic, pro tools, studio one 5, every wave plugin, most UAD Plugins, Octo UAD card, even Apogee rosetta and big ben and the list go on, at the end of the day like Andrew said it's what comes out of your speakers, I am delighted with the music that I produce, engineer, ear candy recording at 432 KH, etc. it's all good...Scheps is the man!
I learned everything I know by trial and error plus yt tutorials. Took me 3 years to get it good enough to release something. But the equipment is such a huge point in getting good results and if u don't have the money for good speakers and a daw it will take much more time imo.. But I am happy that we have so much possibilities to learn more about mixing nowadays.
What a fantastic interview of a great speaker. Andrew seems to be a down to earth guy from what I took from this. I would love to work with someone like that through the learning curve. I still have so much more to learn and UA-cam has been a big help.
Hmm. “Tape itself completely changes what you put on it, because that’s the only way you get it to stick to the tape itself”. That gives me an interesting idea that I can’t wait to try. It’s probably gonna sound like a joke, but I can’t wait to try this experiment. I think that’s a really exciting revelation. Thanks for sharing this, it is a very good interview!! Very well spoken and very intriguing I think.
I mean, it's not really a huge revelation - audio engineers gave up on tape recording in favor of analog-to-digital, for EXACTLY that reason - by feeding your mic input through the preamp and directly into an ADC to convert straight to digital, you captured the performance of the artist EXACTLY as it was played. If it's the character of tape saturation you're after, you can do the same thing (with way more control) by using plugins. Personally, I'd recommend Waves, they make amazing plugins. They also worked with Abbey Road Studios to make the Abbey Road Vinyl plugin, which simulates Abbey Road's old vinyl characteristics on modern digital audio. Sounds exactly like the real thing.
Okay, so I went to a whole lot of work for bland results. My idea was to stack two reels of tape, one on top of the other, or one inside of a second layer of tape. I thought that the tapes would sort of slide and catch a little here and there. I couldn’t get much of anything interesting. But id love to try the same experiment again, but on a nice two inch Studer open reel! I’ve only got cassette decks and a Tascam porta 7. Prolly even less substantial effect if if any. I wish my original ideas would yield more excitement.
@@jimmy_jamesjams_a_lot4171 Well, you're not far off from achieving the tape saturation a lot of people are after these days in mixing, but I really think you should take a look at tape emulation plugins. They give you WAY more control over the sound, and if it's still too subtle for you, you can layer instances of the plugins in your mixer channel and exaggerate the effect. It honestly sounds indistinguishable from analog tape sat. Give it a shot
100% from my experience and practice over time , i stared to make my own rules in mixing . it is all about creating system in the mix for better results
I spent 23 years on the road as a sound tech. Every word coming out of this guys mouth is real. I am impressed with his ability to articulate his knowledge. I was on that Metallica Tour referenced in the video. Their sound mixer, Big Mick, took 8 to 10 db out between 5500 and 7K to get the levels he wanted without producing a raspy feeling.
For me it about my workflow. If I spend three hours mixing in the box I’m exhausted from constantly looking at the screen and constantly opening and closing plugins and windows as well as the constant mouse and keyboard moves. However, if I spend three hours mixing on a console I’m energized and have lost all concept of how long I’ve been working and can go for 8-10 hours easily.
Analogue still sounds better everyone segueing otherwise are either making money selling plugins or don’t want to save for real gear. Analogue always has better stereo image, saturation, loudness, and punch. It sounds rounder and fatter, always. And all that adds up track per track. If they can’t hear it the there you go...
@@morbidmanmusic I have an API console so I do not need a control surface. My best friend has a Slate dual screen controller which he loves, but my API sounds a lot better.
@@heythere6983 Yeah, we have been saying that for years, but some of the biggest records of the last few years are done 100% in the box. Billie Eliish’s first big album is one example. I used to think it was all about the sound, but now I think it’s about the work flow because the improvement in digital plugins and DAW’s the line between the two sounds has been blurred beyond anyone’s ear.
wow don't know how i got here, but the sound quality of this man speaker was perfectly recorded ... reminds me of St Louis KMOX in the old days of Bob Hardy . ... now that was talk radio
Really appreciated your total honesty on most of the the topics Andy ⭐️⭐️⭐️⭐️⭐️ More so the streaming services out there...Everyone should have a copy of Dark Side of the Moon...to simply enjoy, and learn 🎧
" Rules are ridiculous in the realm of creativity" Andrew Scheps. God Bless you sir.. cause he also added the truth that there is still a best way when there in no right or wrong way
this guy is a fucking genius. i will be applying all of this stuff to my mixing, but also using this knowledge across my artistic practice (drawing, comics, writing, painting etc)
Yes, learning to do everything in the box right now...love your points...I bet if you had mixed my lp it would have been much better than what I did but I'm still learning
He expressed everything I believe and then some. In the early days of digital people were throwing away analog equipment and things sounded terrible. We have reached a great equilibrium point where digital is used for its strengths and analog is used for its strengths - having the best of both worlds in real studios is amazing. In addition to that, emulation is getting better every year and that enables people to start recording and/or mixing who might never get access to a real studio. Emulated analog equipment is also an amazing educational tool. I have never used a real 1176, but I know how one works because I have access to pretty decent emulations on multiple platforms.
I went 100% in the box some years ago, and don't miss it. But what HAS done a great deal is the Softube Console 1 MKII. That gives me the best of both worlds.
The HONESTY is refreshing. If he can mix on plugins then so can we. Now how it goes in is very important. He said work the way you as long as it sounds good
I left my work recording in 1999 with low frequency tinnitus. Still mainly analog then - I’m still tempted to stick a jewellers screwdriver in my pocket. I do dabble from time to time on my MacBook but nothing commercial. I have more recording power on my Mac then any of the studios I worked in but what I miss is good acoustic environments. What I don’t miss from the analog era is the expense!
Points on education are very good. In my opinion the best thing about music technology and production education is the basic knowledge about technology. For example If you know how compression works and how to use it you get good results with any VST or hardware. Many even good self taught engineers actually have not too much glue what they are doing, they just open more vst:s and browse the preset menu like a wheel of fortune.
I like all the answers but not the last one because some platforms put a limiter on your product and it could cause clipping if the peak level and lufs aren´t set properly. I know because I worked for one of that company.
You can add harmonic distortion by using tube microphones etc. The converters NOW are incredibly good. I always hear comments…tape sounds warmer…these speakers sound warmer. Most of the time it really means lack of frequency response!
I strongly agree with Andrew, having the tools of both worlds (digital and analog) is the best! For example, if you want to use a Lexicon 480L reverb, you can have a great sounding plugin that does not take space and does not cost $8000 and still sound like the hardware unit! However, if you want to have the nice transients and saturation of a beautiful sounding transformer you can also have it by using hardware. In my opinion, having the tools of both worlds is the best, you can pick and choose the elements to be used based in your taste and personal preference. There is no right or wrong, just personal preferences. Wherever you feel comfortable with.
Yep, I also bought too many plugins then I realized I didnt know how to use any of them really good. So my mixes suck because of that! Though it feels nice to have lots of options even though it still sounds not even half decent. Ive spent a lot more on learning for the last two years than buying new stuff. Spent lot more time on understanding my room and acoustic treatment, using different monitoring, etc. I just need to be able to hear stuff really accuratly or else the mixes will just never translate and I need to buy the same monitors to the world population. Translation is the key imo! Then move on to become a good mixer which is a lifetime of work really. Just understanding Input level, EQ'ing, compression and reverb is enough for most home users (amatuers).
I've spent the last 8 years fussing around with the wrong monitors. I originally had some 5" Mackies and made a ton of music, then thought I could upgrade and do even better. I got some adam a7x, then neumann kh120 then focal alpha 80s, and rotated through them and tried adjusting my room etc etc. I gave up recently and bought some cheap Presonus eris 5 xt's and they blew my mind. Basically everything I wanted to hear, so personally I learned not to think more expensive = better... it didn't work for me. If you are having similar problems try those out.
Take the extreme approach when trying different comp and eq’s to hear their character. Fastest attack with the slowest release, then play with the threshold, ratio, etc. Then find the attack/release u want. Same with eq but just increase the vol and sweep. But yea learning ur room and monitors is key! Not a lot of people know this, but if u go to the support page on Auralex’s website, they have a free room analysis request. U send a diagram and pics of ur room and they suggest treatment placement. I’ve used them twice
You can always count on Andrew to give you the real deal, he just don't give a fck about showboating or ego. He understands that it's really up to you, and what is it you are trying to achieve. There is no wrong or right.
The Loudness War is over and EVERYBODY lost! I never had a record label tell me something needed to be mastered louder. I've only had clients say that. I'll do an A/B comparison with a master where I think it should be vs. a "loud" one, level match on playback. The band always says "your way sounds better but we're afraid people won't like it". That's not serving the art, it's playing on fear. One of these days, devices will have volume controls so mastered level won't matter any more.
No offense but, perhaps find different or a wider variety of clients? I've done the same and almost always gotten a more artistic/intelligent response from clients. It does take time sometimes to educate them by playing a range of other records from super squashed to super open. That's also something that's best understood/communicated before tracking/mixing if possible (or inferred at least from reference tracks or bands they say they're into).
Creativity is all about "the ends justify the means" If you make a good song analogue, or digital. If the song is good, you are good. There's a good chance that what you ENJOY using will turn out a better creative product, so if you LIKE one way or another, then do it like that. Who the feck are you trying to impress? You will have fans no matter what you do if you are good! People will watch a window washer who does a quick and clean job, with amazement and awe in their eyes.
For the record, Andrew is a mix engineer so I feel like the loudness war question is outside of his wheel house. Still interesting to hear his thoughts as I'm sure if need be he could play mastering engineer if asked to but the loudness thing falls on Mastering Engineers since turning things up to commercial standards is part of the Mastering process which explains why the issue has never come up on his end. Plus lets be honest, I'm pretty sure most projects Andrew is working on have a budget set aside for a dedicated Mastering Facility.
Actually that's not true for most cases, the loudness needs to be taken care of on the mixing stage if you really want it very loud, the mastering is not enought most of the time
@@charliea2425 sorry but I have to disagree with you. I work with many professional studios and mastering facilities. You can send your mix at pretty much any volume you want to a Mastering Facility as long as any limiters used in your master chain are bypassed and you're peaks aren't over a certain amount so they have some headroom to work with. Most studios/mix engineers send mixes over to Mastering Engineers at a decent volume but nowhere near where they need to be concerned about the "Loudness War" as discussed in this video with Andrew.
@@Espresso101 I'm not saying your mix should be loud already before mastering, I said "taking care of", by that I mean the dynamic, if you send a really dynamic mix with loud drums to mastering studios, they are going to squash it bad, so in most electronic mixes you need to make sure you have a small crest factor, wich is done when mixing. (If you want your mix to be respected but still very loud). So asking that to a mixing engineer makes sense I guess
@@charliea2425 i see what you're saying. Very true...I work mainly in metal where its the case but not as critical to tame as it would be in EDM due to all the low frequency content. But they'll never squash it too bad. If they felt it was making things worse, a good ME would ask u to go back and tame it or send over stems. In the end, it's their name on it too.
@@Espresso101 Yep, they would ask you to go back on the mix, or have the stems to mix it better, the mix is an important part of loudness for sure, yes you are right it is not as drastic in metal compared to some electronic music styles
Yes, a lot of people can have a studio at home now..doesn't mean they are all making music or know how to use the DAW properly. I've heard some recordings which have been done in professional studios that sound horrendous. Bad mixes, tracks recorded at a low volume, or tracks that are too tinny and not enough bass, or too much bass... but..these have been hits! It's really up to the composer/artist how they want their music to sound. Music is art and doesn't have to follow 'rules'. Artists are able to experiment with whatever sound and overall production they want. If others like it...great!
"rules is ridiculous in something creative." my little artist heart just melted
For real
Rules of grammar “are” nice however.
These peolple are full of tricks.
wanda James i was quoting. thats what he said.
Christian Beale yeah I know. He just sounded stupid. I didn’t think anyone would care... just a slip.
There are more pearls in this 11 min viid than a lot of tutorials;
Yes, some REAL stuff.
So true!
But this just does right back to what he was saying about knowing specific things and not really understanding the fundamentals 🤣🤣
He is always such an intelligent speaker; calm and measured and thoughtful and humble. Thanks for posting this great interview!
Well it’s “1” louder. Isn’t it?
He's just like he is here when you meet him in person! Very approachable guy!
#TheRealDeal
"The only thing that matters is what comes out of the speakers and nobody who buys that record is going to know or care what it’s mixed on.” EXACTLY! 🙌🏻
Well, a few of them do.
That happens when a studio enthusiast is mixed with a music fan.
Thank you for this spot on vision !
Nor do they give a damn how much you paid for your guitar.
Well, not exactly. Classic console sound will always sound better and more transparent. Digital sound software plugs have all one kind of algorithm and sound the same, while every analog circuit has its own sound and mix of those gives more transparent and 'expensive' sound.
@@adriatic123 Try the Plug-in Alliance SSL 9000J and get back to me on that 😜
They need to post this at the top of every audio forum 🤣🤣🤣
The Gandalf of mixing engineering. Sage
Kwame Eyiah absolutely.
Loool yes
Lol. Yeah u read my mind
#FACTS
Albus Dumbledore
I like that he is sitting in front of an analogue console just for show (as is mandatory when you want to be taken seriously as a sound engineer) and say that he'd rather mix all digital on a pair of speakers and an iMac
Yeah. He uses his waves strip a lot. And honestly an analog console is a waste of money nowadays
Hi There it is! But its also so satisfying to turn those knobs and sliders in real life ☺️ But as he said, the people consuming the music will probably not hear a difference if it was mixed analog or digital.
@@hithere4289 nope, it depends on the application. He's talking about mixing here, I wouldn't want to record an orchestra without a large format console. Mixing, less so.
@morenazo952 your are 100 percent right.
@@hithere4289 no it isn't, summing and mixing through an analogue mixer does affect the 2trk, nothing wrong with not using an analogue console and digital mixing is amazing now we have the options but saying it is a waste is a bit closed off. I remember before digital, now is great, i still love my desk though.
As Peter said, such a wise, calm, and humble engineer! The man himself, Gandalf Scheps. Thank you for sharing this gem of an interview!
Love the way he articulates the points
Andrew Scheps is my spirit animal.
Yes, Master Wizard Scheps...Create what you want to hear coming out of the speakers. Always soaking up anything that Andrew has to say, he is one of the best at mixing & sharing his knowledge! Thank You. =)
The MASTER at work sharing his wisdom. Love this guy
The most straight forward advice. He's the best.
Love Andrew. He is always down to earth and encouraging.
Love this guy's attitude, he is old skool but has his foot in the new stuff too
Dear Andrew, you just delivered the nicest Xmas present to everyone. I love it when someone says it like it is and doesn't swallow all the bullshit, you just clarified a whole lot of things that I have thought for a long time, one doesn't often hear someone who can speak clearly with a justified authority and clarity. Nuff said. Thank you and a very Happy Christmas 2020
Andrew has the most integrity and unbiased instruction
Andrew is my hero. I have never heard him utter a single word about mixing and recording that I didn't agree with completely.... proving that he is, indeed, a genius.
I like how he's emphasizing what needs to be emphasized and dismissing what needs to be dismissed.
Young engineers need to pay close attention because if you follow the right path... you will end up sounding EXACTLY like this when you're older. Trust me.
What?
Listening to this calm and measured man reinforces why I don't listen to Reddit "experts" and homemade music bosses demanding we all do things their way.
"I basically ignore ALL of that..." A man after my own heart. :)
really enjoyed what this guy had to say, felt like an honest genuine opinion that wasn't trying to adhere to what is deemed as the right answer
So wise, so intelligent. Videos like this give me a liberation and lets me drop all dumb built up standards I hold myself to. Thank you mixing Wizard.
Hey my dude if you have that gift of an extreme ear you are very fortunate and gifted. The invention of portable analog and the digital access to recording has allowed a new generation of musicians and producers to emerge.
This is a thorough video. Big ups to Andrew!
Thank God for honesty.
Legendary info!! Not boring and straight to the point as usual!! This man knows his stuff!!
I'm in a private "loudness war" with myself.
Cool interview.
Me too.
I do NOT understand the whole loudness thing. I understand the idea of having the medium level of sound in a song - on a digital medium, say - be different from one song, record, artist, producer to the next. Nobody likes to leave headroom lying around so your peak moment of the song is at -5 dbfs.
However. For a streaming service or just for your mp3 player on your desktop PC, it's dead simple to calculate the average gain of a track, and to balance them out against each other. I'd be surprised if Spotify didn't do that. So what's the point then? On some records you can hear that everything has been "upped" and then slammed into not clipping with a compressor. The result: a mix that sounds messy and that can only be made sense of by putting it... louder yourself. It's probably the thing I hate the most in "modern recordings".
@@yalu2
Despite the loudness war I'm having with myself....I hear you.
Great thoughtful and very insightful interview with Andy Scheps - quite agree about 'rules' and... ....basically most everything else... Thanks for making and posting.
Mixing is a challenge between loudness, presence, muddiness, boom, room, frequency clashing, phase, the amount of filtering and distortion. it is a challenge between the artificial sound made in digital domain, the ideal tonal balance, fletcher munson curve and analog recordings which are again processed to hit in the guts.
Very wise sentence that every processing comes with some artifacts more or less. I recently like the SSL xcomp it might change in the future.
or you can use your ears and forget all that crap
Not really, you just need to learn it properly and all falls in place.
Forgot the most important!
*Room Treatment*
Sooooo overlooked tho
I'm not in the audio business whatsoever but hearing this guys passion and knowledge is intriguing.
I still remember the excitement of my first 4 track AND my first computer which I bought specifically for recording. So lucky to live in a time where multitrack recording is readily accessible.
I loved my Tascam 244 (still got it) but the Atari-based MIDI setup was a two-edged sword that although exciting at first it killed my fledgling keyboard skills and resulted in lots of unfinished ideas. In my next Groundhog Life I'll go 8 track and play the synths instead of relying on sequencing. I now record DAWless with as much 244 mindset as I can muster.
This guy is speaking my language. Great video!
One of my favorite paradoxes: "In art (or anything, for that matter), there are no rules."
Which is a subset of: "There are no absolutes."
There’s nothing like proper perspective!! Great interview!
1:45 exactly what I teach my students: once you understand what a FET circuit does different to an Tube/Opto/PWM, you can shape sounds the way you want
Great advice! There is no right or wrong answer. Only your ears will tell the truth.
I do care about the recording quality and I am not alone!
The core fundamentals have to be there. The rest is subjective. As in the music itself.
I do care about the music. A shit song stays a shit song, even when it was recorded or mastered in a multi million dollar studio. A hit song stays a hit song, even if it was recorded on K7
@@sK3LeTvM1 Even with what little I learned about mixing and mastering the difference is huge in terms of clarity and volume level being similar to a normal song made by engineers. A hit without giving mixing and mastering just dies.
Yup! Check out In Spite of All The Danger by the Beatles
He is totally right about educating yourself online with videos. There are tonnes of good vids out there but knowing where to start and progressing in a sequential manner is tricky. Well worth it to go for an Audio engineering course/degree
That lesson on fet comp and snares is killer advice. I just pick what works well with my control interface, layout, then go. Thanks for clearing up some disbeliefs in digital. So true about people who buy not caring what it was mixed on. Most teenagers never even heard of any of those Audio manufacturers name. The digital streaming service are not uniform . I see the war coming back. The only problem I see so far is UA-cam. If you upload something too loud it will be a clipping mess
this guy is a legend, look up what he has mixed HOLY MOLY
I really enjoyed watching this video and I have learned so much from this engineer. He is genuine and a nice person. Thank you!
I love this guy. He is so knowledgeable and ready to share it all. Lots of respect for people like Andrew sheps,
About online: there are so many lousy videos that have a long list of comments praising how cool the video is and how much they are learning. The fact is that the guy doesn't have a clue and is doing things like choosing plugins based on no experience. A good video tries to explain why choices are made Instead of saying he always uses a whatever on drums and a whatever on all his vocals. You don't make good mixes using the same plugins on every type of track.
Andrew speaks the language of music whether it's digital or analog, on a board or out the box all of this makes sense, I love making music in the box more than being in a big studio. However, I have sought after outboard gear as well, your Avalon737, LA 610, Auratones, Genelecs, Adams X series speakers, Mogami, NS10's, burl stuff, Coleman stuff, mic's of all kinds, 414 ll, U87's, logic, pro tools, studio one 5, every wave plugin, most UAD Plugins, Octo UAD card, even Apogee rosetta and big ben and the list go on, at the end of the day like Andrew said it's what comes out of your speakers, I am delighted with the music that I produce, engineer, ear candy recording at 432 KH, etc. it's all good...Scheps is the man!
I learned everything I know by trial and error plus yt tutorials. Took me 3 years to get it good enough to release something. But the equipment is such a huge point in getting good results and if u don't have the money for good speakers and a daw it will take much more time imo.. But I am happy that we have so much possibilities to learn more about mixing nowadays.
This is so true
Is Logic Pro x good enough?
@@reekrodriqguez6552 ideally you would have Logic Pro XX, typically X is not considered good enough.
What a fantastic interview of a great speaker. Andrew seems to be a down to earth guy from what I took from this. I would love to work with someone like that through the learning curve. I still have so much more to learn and UA-cam has been a big help.
Whatever gives you the tools to get what you want coming out of the speakers............. The best advice ever.
When Andrew Sheps speaks, I listen closely.
Great interview with such a warm and likable gun. I think I could listen to him talk about sound for hours. This was 11 minutes and it felt like 2!
After all, as the Beatles said, "Happiness is a warm gun" :)
Hmm. “Tape itself completely changes what you put on it, because that’s the only way you get it to stick to the tape itself”. That gives me an interesting idea that I can’t wait to try. It’s probably gonna sound like a joke, but I can’t wait to try this experiment. I think that’s a really exciting revelation. Thanks for sharing this, it is a very good interview!! Very well spoken and very intriguing I think.
I mean, it's not really a huge revelation - audio engineers gave up on tape recording in favor of analog-to-digital, for EXACTLY that reason - by feeding your mic input through the preamp and directly into an ADC to convert straight to digital, you captured the performance of the artist EXACTLY as it was played.
If it's the character of tape saturation you're after, you can do the same thing (with way more control) by using plugins. Personally, I'd recommend Waves, they make amazing plugins. They also worked with Abbey Road Studios to make the Abbey Road Vinyl plugin, which simulates Abbey Road's old vinyl characteristics on modern digital audio. Sounds exactly like the real thing.
Okay, so I went to a whole lot of work for bland results. My idea was to stack two reels of tape, one on top of the other, or one inside of a second layer of tape. I thought that the tapes would sort of slide and catch a little here and there. I couldn’t get much of anything interesting. But id love to try the same experiment again, but on a nice two inch Studer open reel! I’ve only got cassette decks and a Tascam porta 7. Prolly even less substantial effect if if any. I wish my original ideas would yield more excitement.
@@jimmy_jamesjams_a_lot4171 Well, you're not far off from achieving the tape saturation a lot of people are after these days in mixing, but I really think you should take a look at tape emulation plugins. They give you WAY more control over the sound, and if it's still too subtle for you, you can layer instances of the plugins in your mixer channel and exaggerate the effect. It honestly sounds indistinguishable from analog tape sat. Give it a shot
Love this! People only care about the song. Not what it was mixed on. :)
Exactly !
Neve’s are the best! When I was in school, everybody booked the SSL room every weekend. I was in heaven in Vr36 room 🎵💯🔊
My fav mix engineer
Andrew nails it again!!!
100% from my experience and practice over time , i stared to make my own rules in mixing . it is all about creating system in the mix for better results
Thank you for this! Super cool video! A+++
I spent 23 years on the road as a sound tech. Every word coming out of this guys mouth is real. I am impressed with his ability to articulate his knowledge. I was on that Metallica Tour referenced in the video. Their sound mixer, Big Mick, took 8 to 10 db out between 5500 and 7K to get the levels he wanted without producing a raspy feeling.
I’m not sure what that live sound has to do with studio sound
well said. you can tell Andy is full of experience and knowledge of the size of volcano. thanks for the interview and precious informations
This is awesome. I could seriously listen to this guy talk all day! Please have him on again if you can.
BROTHER, YOU ARE THE BEST!!! You oooh really helped me!! THANK YOU VERY MUCH!
For me it about my workflow. If I spend three hours mixing in the box I’m exhausted from constantly looking at the screen and constantly opening and closing plugins and windows as well as the constant mouse and keyboard moves. However, if I spend three hours mixing on a console I’m energized and have lost all concept of how long I’ve been working and can go for 8-10 hours easily.
Get a good control surface. As an old tape / mixer person.. that is still the way.
Analogue still sounds better everyone segueing otherwise are either making money selling plugins or don’t want to save for real gear.
Analogue always has better stereo image, saturation, loudness, and punch. It sounds rounder and fatter, always. And all that adds up track per track.
If they can’t hear it the there you go...
I have an old Mackie 8 buss console. I don’t think I could ever mix “in the box”. I prefer real outboard gear.
@@morbidmanmusic I have an API console so I do not need a control surface. My best friend has a Slate dual screen controller which he loves, but my API sounds a lot better.
@@heythere6983 Yeah, we have been saying that for years, but some of the biggest records of the last few years are done 100% in the box. Billie Eliish’s first big album is one example. I used to think it was all about the sound, but now I think it’s about the work flow because the improvement in digital plugins and DAW’s the line between the two sounds has been blurred beyond anyone’s ear.
wow don't know how i got here, but the sound quality of this man speaker was perfectly recorded ... reminds me of St Louis KMOX in the old days of Bob Hardy . ... now that was talk radio
Excellent presentation, thank you.
This is beautiful. It's so refreshing to hear such clarity and knowledge from a speaker, it's like a laser beam cutting through the crud/snake-oil.
The irony is he makes money selling plugins. Talk about snake oil!
Really appreciated your total honesty on most of the the topics Andy ⭐️⭐️⭐️⭐️⭐️ More so the streaming services out there...Everyone should have a copy of Dark Side of the Moon...to simply enjoy, and learn 🎧
I agree with all of his points. Some people get stuck on what they know vs. how the end product sounds.
Started before the 4 track cassette and learned on a studio board 8 track Fostex. I miss those days. There was no internet either....better times.
" Rules are ridiculous in the realm of creativity" Andrew Scheps. God Bless you sir.. cause he also added the truth that there is still a best way when there in no right or wrong way
👏🎶thanks alot what a great interview, I love the 4 track days
this guy is a fucking genius. i will be applying all of this stuff to my mixing, but also using this knowledge across my artistic practice (drawing, comics, writing, painting etc)
We need more LA producers like Andrew Scheps just hanging out in Melbourne until things get better in America. "Best Practice......"
Yes, learning to do everything in the box right now...love your points...I bet if you had mixed my lp it would have been much better than what I did but I'm still learning
Keep going, studying and hands on experience is key. One Love.
This dude is brilliance. He said something that i had to replay 10 times over cause it was that real.
6:18
🤔
@@killboybands1 It was earlier but it was worth recording. I might even tweet it.
@@killboybands1 Just watch that part too. Damn, :)
He expressed everything I believe and then some. In the early days of digital people were throwing away analog equipment and things sounded terrible. We have reached a great equilibrium point where digital is used for its strengths and analog is used for its strengths - having the best of both worlds in real studios is amazing. In addition to that, emulation is getting better every year and that enables people to start recording and/or mixing who might never get access to a real studio. Emulated analog equipment is also an amazing educational tool. I have never used a real 1176, but I know how one works because I have access to pretty decent emulations on multiple platforms.
I went 100% in the box some years ago, and don't miss it. But what HAS done a great deal is the Softube Console 1 MKII. That gives me the best of both worlds.
Such a pragmatic guy, great knowledge sharing.
The HONESTY is refreshing. If he can mix on plugins then so can we. Now how it goes in is very important. He said work the way you as long as it sounds good
Thank you for explaining this thoroughly!
Such a genius. He looks like he was born in a studio. Guru ! 💯
I left my work recording in 1999 with low frequency tinnitus. Still mainly analog then - I’m still tempted to stick a jewellers screwdriver in my pocket. I do dabble from time to time on my MacBook but nothing commercial. I have more recording power on my Mac then any of the studios I worked in but what I miss is good acoustic environments. What I don’t miss from the analog era is the expense!
Points on education are very good. In my opinion the best thing about music technology and production education is the basic knowledge about technology. For example If you know how compression works and how to use it you get good results with any VST or hardware. Many even good self taught engineers actually have not too much glue what they are doing, they just open more vst:s and browse the preset menu like a wheel of fortune.
this man is pure wisdom
I like all the answers but not the last one because some platforms put a limiter on your product and it could cause clipping if the peak level and lufs aren´t set properly. I know because I worked for one of that company.
You can add harmonic distortion by using tube microphones etc. The converters NOW are incredibly good. I always hear comments…tape sounds warmer…these speakers sound warmer. Most of the time it really means lack of frequency response!
thanks, it actually let me through so i could download it.
i really apreciate your help with dowloanding this software
Absolutely loved this interview!!!! :)
Anyone know what those mixcube looking speakers are? look too small to be mixcubes/5c?
Yeah looks like the vintage 5C Auratones.. i have the black ones. Lovely mid speakers 👌
I strongly agree with Andrew, having the tools of both worlds (digital and analog) is the best! For example, if you want to use a Lexicon 480L reverb, you can have a great sounding plugin that does not take space and does not cost $8000 and still sound like the hardware unit! However, if you want to have the nice transients and saturation of a beautiful sounding transformer you can also have it by using hardware. In my opinion, having the tools of both worlds is the best, you can pick and choose the elements to be used based in your taste and personal preference. There is no right or wrong, just personal preferences. Wherever you feel comfortable with.
Yep, I also bought too many plugins then I realized I didnt know how to use any of them really good. So my mixes suck because of that! Though it feels nice to have lots of options even though it still sounds not even half decent. Ive spent a lot more on learning for the last two years than buying new stuff. Spent lot more time on understanding my room and acoustic treatment, using different monitoring, etc. I just need to be able to hear stuff really accuratly or else the mixes will just never translate and I need to buy the same monitors to the world population. Translation is the key imo! Then move on to become a good mixer which is a lifetime of work really. Just understanding Input level, EQ'ing, compression and reverb is enough for most home users (amatuers).
I've spent the last 8 years fussing around with the wrong monitors. I originally had some 5" Mackies and made a ton of music, then thought I could upgrade and do even better. I got some adam a7x, then neumann kh120 then focal alpha 80s, and rotated through them and tried adjusting my room etc etc. I gave up recently and bought some cheap Presonus eris 5 xt's and they blew my mind. Basically everything I wanted to hear, so personally I learned not to think more expensive = better... it didn't work for me. If you are having similar problems try those out.
@@skatechatham Sure, at least you gave me something to think about! Thanks!
Take the extreme approach when trying different comp and eq’s to hear their character. Fastest attack with the slowest release, then play with the threshold, ratio, etc. Then find the attack/release u want. Same with eq but just increase the vol and sweep. But yea learning ur room and monitors is key! Not a lot of people know this, but if u go to the support page on Auralex’s website, they have a free room analysis request. U send a diagram and pics of ur room and they suggest treatment placement. I’ve used them twice
Lovely. Yes, yes, yes and also yes. Sensible views from an expert with no axe to grind.
"The Perfect is the Enemy of the Good"
Somebody watched Sam Hyde! :D
@No Copyright Music Instrumental HGMedias
Coloration is coloration, either a measurable detriment or a subjective tool. That goes for both A or D
stop making sense.
thanks a lot!!! so nice reverb
You can always count on Andrew to give you the real deal, he just don't give a fck about showboating or ego. He understands that it's really up to you, and what is it you are trying to achieve. There is no wrong or right.
The Loudness War is over and EVERYBODY lost! I never had a record label tell me something needed to be mastered louder. I've only had clients say that. I'll do an A/B comparison with a master where I think it should be vs. a "loud" one, level match on playback. The band always says "your way sounds better but we're afraid people won't like it". That's not serving the art, it's playing on fear. One of these days, devices will have volume controls so mastered level won't matter any more.
"One of these days, devices will have volume controls" 😂
No offense but, perhaps find different or a wider variety of clients? I've done the same and almost always gotten a more artistic/intelligent response from clients. It does take time sometimes to educate them by playing a range of other records from super squashed to super open. That's also something that's best understood/communicated before tracking/mixing if possible (or inferred at least from reference tracks or bands they say they're into).
I Know man why hasnt anyone invented the volume knob?...
The only ones that lost are the ones that simply do not understand it. Loud was never and will never be the best or better
great video, thank you
fantastic interview
Creativity is all about "the ends justify the means"
If you make a good song analogue, or digital. If the song is good, you are good. There's a good chance that what you ENJOY using will turn out a better creative product, so if you LIKE one way or another, then do it like that. Who the feck are you trying to impress? You will have fans no matter what you do if you are good!
People will watch a window washer who does a quick and clean job, with amazement and awe in their eyes.
For the record, Andrew is a mix engineer so I feel like the loudness war question is outside of his wheel house. Still interesting to hear his thoughts as I'm sure if need be he could play mastering engineer if asked to but the loudness thing falls on Mastering Engineers since turning things up to commercial standards is part of the Mastering process which explains why the issue has never come up on his end. Plus lets be honest, I'm pretty sure most projects Andrew is working on have a budget set aside for a dedicated Mastering Facility.
Actually that's not true for most cases, the loudness needs to be taken care of on the mixing stage if you really want it very loud, the mastering is not enought most of the time
@@charliea2425 sorry but I have to disagree with you. I work with many professional studios and mastering facilities. You can send your mix at pretty much any volume you want to a Mastering Facility as long as any limiters used in your master chain are bypassed and you're peaks aren't over a certain amount so they have some headroom to work with. Most studios/mix engineers send mixes over to Mastering Engineers at a decent volume but nowhere near where they need to be concerned about the "Loudness War" as discussed in this video with Andrew.
@@Espresso101 I'm not saying your mix should be loud already before mastering, I said "taking care of", by that I mean the dynamic, if you send a really dynamic mix with loud drums to mastering studios, they are going to squash it bad, so in most electronic mixes you need to make sure you have a small crest factor, wich is done when mixing. (If you want your mix to be respected but still very loud). So asking that to a mixing engineer makes sense I guess
@@charliea2425 i see what you're saying. Very true...I work mainly in metal where its the case but not as critical to tame as it would be in EDM due to all the low frequency content. But they'll never squash it too bad. If they felt it was making things worse, a good ME would ask u to go back and tame it or send over stems. In the end, it's their name on it too.
@@Espresso101 Yep, they would ask you to go back on the mix, or have the stems to mix it better, the mix is an important part of loudness for sure, yes you are right it is not as drastic in metal compared to some electronic music styles
Yes, a lot of people can have a studio at home now..doesn't mean they are all making music or know how to use the DAW properly.
I've heard some recordings which have been done in professional studios that sound horrendous. Bad mixes, tracks recorded at a low volume, or tracks that are too tinny and not enough bass, or too much bass...
but..these have been hits!
It's really up to the composer/artist how they want their music to sound.
Music is art and doesn't have to follow 'rules'. Artists are able to experiment with whatever sound and overall production they want.
If others like it...great!