3 Low End Mixing MISTAKES That Are Killing Your Mixes
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- Опубліковано 5 чер 2024
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These 3 low end mixing techniques are taught over and over again in colleges and online...
But if you're mixing rock and heavy music, these could actually be mistakes that are killing your mixes - not helping them!
Here are 3 common low-end mixing mistakes that should avoid when mixing rock, metal and hardcore.
You should do a mini series for this - low end, mid range and high end mixing mistakes!
good idea!
it would be good to see if you are using static mixing levels and what db reference, or a ball park of what "quiet listening" really is. do you stay at the same volume or do you change levels?
@@hardcoremusicstudio would be interesting to hear more about mid range especially cos everyone talking about the low end yet we hear more in the mid range.
Best mixing tip I ever heard: split the difference between clarity and togetherness. If something is a little muddy but it gels with the rest of the track, that is much preferred over a clear sound that stands alone or an ultra muddy sound that's buried in the mix. Great video!
compromise
Not nearly enough audio gurus for the 'rest of us' i.e. those who DON'T make EDM. Incredibly refreshing to hear an industry professional debunk some enduring myths propagated by those for whom excellence is invariably 'dope'
I so appreciate you summarizing at the end of this video, it’s not done often enough on tutorials. It wouldn’t be a surprise to know that when things are presented in a list form by the time you get to number 3 we’ve forgotten number 1 and 2 and on & on it goes.
That 808 impression was amazing 🤣 Great tips 👍
Thank you for summarizing. So many tutorial videos never do. It’s like nobody realizes that by the time you get to number 3 you forgot what number 1 was. The longer the list the less you remember each item… 😊
I've learned more from Jordan's vids than I've learned in Audio Engineering school.. This guy knows his stuff!! My mixes are a hell of a lot better due to him!
I know this is a late, late reply but...... This is why I've always said I went to UA-cam University when it comes to mixing.
@@sighermikethat's what I do as I'm new to this shit no school I been playing for years so I started recording and UA-cam has taught me alottt
You are the first guy I've discovered that actually gives good tips. Other big channels say some good stuff too, but you really give precise explanations for stuff that makes sense in a way that I can actually apply it. Never have I heard anyone else talk about the "focusing too much
I absolutely adore your ability to communicate to someone who isn't entirely at home with all the jargon related to sound engineering as well as your clear articulation to go with your apparent knowledge of what you're talking about. Subscription well earned. :) Keep up the good work.
The low mid tip is killer!!! It just instantly solved my long-time problem! Thanks!!!
Great tips! You're the man :)
This is why I have followed your advice and used your training since the start, because nothing I followed was working, you are very outside the box and seem to be all about going with what works for YOU. This is why I track my leads exactly the same as my rhythms (two tracks, panned hard left and right). This works for my style of music and although having a single lead track down the middle works sometimes, I find the dynamics of my music really shines when I leave the mid space for my bass and vocals. Thanks for more awesome advice!
Best mixing channel! Really solid info here for any genre
Man, your stuff is so high quality! Please keep it up!
I've learned more from your videos than any others, easily. And the unconventional wisdom is the best part. Thank you for providing all of this content free on the web. I know you probably don't have to!
100%! I just watched your video today, went back to my dense mix I was struggling with and brought back the lower mids (while avoiding the real muddy mud). WOW what a difference! And let me tell you, for the first time since I started mixing in the last year and a half, my mix is FINALLY translating on ALL sources! Car, phone, instagram, you name it!
Thank you so much my friend. This really was a great video and I'm pleased I watched it. The last point I think is sooooo important and I couldn't agree more.
Just found your channel and so many of your comments make so much sense!!
Super helpful info. You just saved me and others many many hours of trial and error. I appreciate you!
Great video. I learned about mistakes I was actually doing and techniques to improve my mixes.
Interesting learning about how to apply these tips within the context of Metal 🤘🏼🎧
i watched many of your vids and you are great! thank you
Good advices !! Especially the 3rd one. Use to go crazy with that frequency separation thing. Ultimately it could help to separate kick and bass a little frequency wise if needed. But I definitely don’t do it automatically
Always great advise. My new go-to guy!
All of the above are absolutely true. Good mixes are done with volume, even eq'ing can be devastating for the mix...
There was a point where I was obsessed w/ carving as it related to the low-end, this was a very short-lived phase but yeah, getting out of that mindset was definitely a huge improvement & generally I think a lot of mixers become so fixated with things not being "muddy" that they over-equalize everything & the mixes in general end up sounding too clinical, inorganic or even just harsh. It's ok to let the low-mids live
by this point i'll basically decide which instrument to give the lowest freqs to & then put a sub boost on the master, since the other instruments i've already kept out of that sub-80 range anyway
for the side chain stuff Just side chain to where the conflict happen in the low end with a multiband comp or by splitting the signal between sub and the rest. it won't damage the sound of the bass in the mid and low range but make you feel the kick better. If the rythm is slow it's pretty great.
Absolutely necessary video, this helped me so much!
Dude! Love this! I’m exactly where you say. My mixes are really clear and you can hear everything perfectly, but they just don’t sound quite “there” when I reference. So then I try and add some coloured compression or eq to bring some of the “glue” back
LOL "I've used sidechaining one time" I'm right there with you, it almost never sounds better
Hearing tip #1 I literally feel like I've gone back 10 paces, one day everyone says you need to sidechain your kick and bass, then everyone around you believes the opposite
I would like to add that the side chain compression can also be performed over specific frequency ranges of an instrument. Certain plugins do have that feature. So even though a good strategy would be to resolve frequency conflicts before/without side chaining for genres like heavy metal, rock and the like. If an issue persists, One could still use selective frequency compression or dynamic compression as an added option to further resolve or to get more definition in the low end. I personally found it to have subtle and impactful results at fewer instances. Having said that if recordings are done in correlation to its intended purpose, one may not feel the need to side chain compress in the first place.
This information is gold! Thank you🙏
Agree with you on this....
its really whats happening... specially the Midrange Point... Thanks!!
👍🏻👍🏻 great info as always
You could Sidechain a Frequency instead of the attack......
That’s what I do. I do a shelf at like 60hz and I dip it when the kick hits
Sidechaining can be a useful tool, it could really make a walking and pumping bass line if you know what you’re doing. That being said, don’t rely on it alone to solve frequency conflicts. Fine tuning the frequencies is the way to go.
That was sooooo useful. As a beginner I was dreading having to work out sidechaining 😁
You should definitely still learn how to do it. Many metal mixers still do sidechain at least the low band on a multiband compressor on the bass triggered by the kick. Not saying one way is better than the other but don't use this video as an excuse to never learn how to sidechain.
Most of the time the problems are caused by lack of decent acoustic properties and not hearing it correct.. plus what you said... 💯👏🏻
Most valuable tips. I know this scenario while mixing everything until no energy is remaining but everything is perfectly seperated. Then I wonder how that could happen and start over again :)
Stay safe and sound.
Thanks ... reminds me of what I should be doing ... listening not looking at mix charts.
Obnoxiously helpful.
Thank you.
Subbed 👍👍👍
To summarize this video for viewers. Use your tummy for mixing decisions.
This is really good advice. Thanks
Great video. Picking up on your point regarding carving, I think I have a useful analogy to describe its excessive use. Imagine you're making a stir fry, you've got all the typical ingredients in the pan (the rice, chili, chicken , onions, ginger, snow peas, etc) but everything is in its own separate section of the pan with no two ingredients coming into contact. Everything will 'cook' individually but without the 'stir' aspect (or the 'mix' of components) you won't achieve something that can easily be described as 'greater than the sum of its parts.'
good analogy
@@AudioBoi234 why thank you
This guy is f... cool! Love your videos man! :)
A great tip I got was to control the low end using a multiband comp. Lets you get a bit more energy left over for the midrange.
Awesome man, thanks!
The last tip is a game changer.So true
Hi Jordan, great video as usual! What headphones would you recommend for referencing low end?
Big Up for your third topic!
Never heard anybody talking about that on youtube.
Best utube video tutorial about low end mixing treatment for 2018. Soo...The golden buzzer for bass fqs dealing for 2018 gets easily hit for Mr. Jordan,hands down.
"Go listen to some of them and see if I'm missing anything by not using side chaining..."
What an absolute madlad you are, Jordan.
man. that last tip hit me right here.
Cool tips thanks!
9:54 amazing tip... No one ever talks about.... Everyone talks about the basics of carving and creating space, which is important, but once you get that down and understand where instruments generally live in the frequency spectrum... (As a guideline, not a hard and set rule) Then it's time to focus on a more cohesive mix. :)
Excited to try this in my mixes now.
Thank you!
Awesome tips!
I really love your stuff, Man. So inspiring and informative. Thanks and keep it up.
You're a very articulate producer that's helped me a ton in my pathetic attempts at being better at mixing. I've learned so much from the way you've been able to communicate your ideas and just want to give you a heartfelt thank you for the awesome information. It's turned my mixes from shit to...hopefully a better version of shit haha. Seriously though, THANK YOU BRO!
I think I’ve had more “ah hah” moments watching you over a lot of UA-cam mixing explanations. Thanks again!
Hello, Jordan! Great video. What headphones would you reccomend for checking low end? Regards!
I love the way he threw that 808 in there! It caught me for a second. I actually thought, "Wow!, he can really do a great 808!" Nice mix. Subtle, but powerful. Great tips, though I've got to agree with some other comments that a bit of very subtle sidechaining works. I mostly deal with "pre-mixed" stuff, and am kind of new at starting from the ground up, but I'll sometimes use Pro-MB to have the higher frequencies of the kick throw the guitars slightly out to the sides just a bit. It makes the kick jump out and be more present/in your face. It's not always the kick/bass that are creating a mask that makes it sound dull. Why not use the kick to make the rhythm guitar a little more dynamic? The are so super crunched most of time. I like to make them move a bit. So, there's room for side chaining, just not how he's used to doing it or what can be done with Waves plugins, which he tends to favor and I don't care for much at all. If you're not gonna go UAD, at least use Slate Digital. Though I am finding myself grabbing Scheps Omni more often lately. I just think people need to stop compressing the hell out of everything. I don't want a kick sounding like a sample in an EDM track. Leave the dynamics in, please! I'm almost always using Pro-MB to put some upward expansion in an over compressed kick. I'll do this on 6 out of 10 tracks that I get because I'm dealing with stuff that people have already mixed, and I don't dare ask for the stems because they are "experts" and will get butt hurt: find where the kick and bass are "clumping", use the "Free" sidechain in Pro-MB to have that trigger expansion where the slap of he kick is, then have that slap toss the guitars out to the sides a bit more. If they are already really wide, I'll sometimes do something else like have the pick or slap of the bass move something in some direction. The biggest problem I find is lack of dynamics. You want very subtle things, like moving something forward or backward, or mid to side or vice verse at almost unconscious levels. The ear likes to be tickled, but not made sea-sick.
I just downloaded your mixing cheat sheet! I would've loved to have registered for the webinar, but I have final exams and I have little time:(
Nice info! Totally agree with the sidechaining part. The nature of metal just doesn't make any sense for it. Love it when doing other genres though.
Dude your channel kicks ass
Great video, Thanks!
Well put
I think using "frequencies" can be good starting points or put you in a good ball park....but the ears should kind of take over at a certain point, and are allowed to override your eyes
Yes, other than with a few of the iZotope plugins and UAD compressors, I've only used side-chaining on a few different types of plugins, maybe on a hundred projects in over 20 years. I only use it when it makes things easier.
Not sure what you mean in terms of "obsessing", but for certain types of music the 25-50 Hz is absolutely critical to get right relative to the rest of the mix. However, it may not be worth going for if you don't have adequate room size to mix and master in. However, if you have a room with at least 25,000 cubic feet, and the subs that will get you down there (typically at least a few 21" subs with tightly controlled bass), and room with good bass management (or no ceiling), THEN AND ONLY THEN, can you realiably mix and master down those range.
One thing, if you are doing sub optimization using headphones, it is definitely NOT worth spending much time going down there. We have a few "sub-30 Hz" in-ear and closed back ear/headphones, that are among the few actually meant to be used down that low for mix confirmation, and I can tell you, they are still very, very tough to translate their picture to the real world. It is theoretically doable for sure, but you will have to spend a lot of hours, across many types of music before you can even begin to get a semi-reliable idea of how to translate headphone LF to real world LF. Unfortunately, even then, the way phasing, aliasing and IM are represented will vary every few Hz, so... again, it is virtually impossible to do ULF/LF mixing reliably with headphones.
The third recommendation, which is really about using your ears, not your eyes, is a really good one, and is why I often push new mixers to use non-visual EQ options for a while. Also, carving with high roll-offs often introduces a lot of noticeable phase problems, making for a muddy mix.
Very good video matey!! Thank you !! VG :-)
Well said!
One year ago i was like "yeah i think i understand what he's saying", but in reality i wasn't. Now i finally understand. I think you need to learn this by yourself, by mixing a lot of different projects and messing up at least 100 times.
Or i'm just stupid.
is kinda fun, cause in the University it all was about math, but the creativity may get lost with so much knoledge. but having the knoledge and also know when to take that knoledge and apply it is better than being applying all you know to everithing or just not having the knoledge
CLA doesn’t adhere to any rule of carving out a space for the kick and the bass guitar. And he’s mixed over 22,000 songs.
I totally agree with the everything is to separated now adays comment. My struggle is constantly trying to get the right amount of glue without everything sounding to muddy or cleaning things up only to find everything sounds way to separate. Oddly, I'd much rather listen to a muddy mix than one where everything has been overly carved out. The excitement is in the mud it's just trying to get the right balance that's difficult.
I would argue that even a lot of electronic music does not need sidechain compression. The best sidechain advice I heard was from Kenny Beats, "Sidechain Pumps, If your song Rocks, Let it Rock"
For the first tip, what I see people doing often on rock music is sidechaining a multiband compressor and just ducking the low band (below like 120hz) on the bass keyed to the kick drum. This seems to be a way to make space for your kick without having your bass disappear in the mix.
Maybe not in metal but side chaining is definitely a good solution when needed.
I use it and it works. Everything else I agree.
The most important thing for bass and kick clarity is lo cut filter.
You don't need 60 or 80hz in the heavy guitar.
Basically exactly what he said... he clearly states that he is talking about mixing heavier music such as hardcore and metal.
And I think most people mixing this type of music already know to high pass guitars. Me personally, I generally do it at least at 80 Hz, more likely up around 100-110 and as high as even 150 Hz. Guitars really don't play a very big role (almost none, actually) in the low end in metal. It's all about that bass guitar. In my opinion, dialing in and mixing the bass guitar is the single most important aspect of metal mixing. It must do multiple things REALLY well for a nice, tight mix. It has to have nice, big energy, but without killing the entire sub region. However, it also needs enough presence in the upper-mids so as not to sound synth-like. Also, it kinda needs to be a "foundation" for the song, and IMO, it is the biggest single thing that can really "glue" a mix together.
Also, if you haven't tried UAD plugins, you should. I just bought their distressor and it is GNARLY. Sound so legit.
Greatly appreciate your info! That said, I can't think of any great Rap engineers that sidechain the 808 to the kick (unless for creative reasons). All that does is take away your impact of the 808, which is what it's really all about with a lot of Rap music. People like Alex Tumay and Mike Dean essentially never use it (unless for creative reasons, like Mike with his Trance vibes sometimes). Never use to solve bass problems though. Sorry to be that guy, just really don't want engineers thinking they should sidechain their 808s for Rap/Hip-Hop.
Focus on low-mids..got it. But I don't really know what to do! 😅 A little help?
I usually make a 2-3db cut at around 400-500Hz on guitars and 5-6db on bass.
Yup. Energy of the song comes first. It's not a big deal for things to get a little muddy. Soilworks "The Ride Majestic" is a good example of this.
I also find I cut 100hz out of the bass until the kick sneaks through. It's usually not much. Maybe 4db. I also mutliband 60 and below on the bass. Fast attack, slow release. Not a ton of reduction. Just enough to get it even.
Hi ! I'm beginer in mixing but after some unsuccessful trials I decided that the idea for side chain kick - bass is no't for me and carving i the low-end too. Accidentaly (or not) I saw your video and my conclusions were confirmed. I think the key is careful listening. Thank you !
This needed to be said
Ive learned so much useful shit watching these clips. thsnks
I generally disagree. While sidechaining shouln't be viewed as a tool to resolve frequency conflicts, it is awesome as an artistic instrument. A slight gain reduction (between 1-2 dBFS) with a really fast release can make a flat, lifeless sounding rhythm section have that groovy and punchy feel, especially on those stops with choked crash accents that rock/metal artists and fans love so much. It gives that slam we like about it. This is the case where subtlety gives a real benefit.
hi alexey, could you further elaborate on this, please? i'd like to learn what sounds very interesting. thx.
@@Eleni_Be it's not that easy to explain it by words if you didn't understand my comment. To really notice this effect, you should have a well trained ear, otherwise you probably won't even notice any difference, because when this effect is used in heavy music, it's subtle.
@@alexeypolevoybass got it nonetheless :)
I agree to an extent, but I have had more success with parallel compression than sidechain compression when it comes to getting the punch out of a kick in a metal track. I run a send from my kick and snare (sometimes toms depends on the sound I'm looking for) to a channel set up with just an absolutely smashed comp and then blend those two to get my desired final mix. Of course, there is no right or wrong way as long as the end result is the sound you're going for.
@@thewalrusdragon9579, if you were really reading my comment, you'd notice that I was talking not about the kick, but about drums + bass. Parallel compression is a completely different thing and is a must in heavy genres.
The sidechain tip was lifesaving😍🤌🏻 I got a question, what about using sidechain from kick/snare on overheads and room mics ? I use this with fast attack and fast release to let them cut through, what do you think about it?🧐
Most useful video on low end I have ever seen.
AWESOME!!!!
Thanks jordan!
Good stuff.
I make heavy brostep, your videos are awesome. I spent the past month producing hardcore/screamo just to gain experience and make use of what you are teaching. In my genre, I have no choice but to sidechain EVERYTHING to the kick, and my kicks are short, metal kicks too. But, my goal is -2.5 RMS and about -4 LUFS... LMAO
what I do in my mixing process is to export the son with all the master stuff ... hear the song just on mp3 and if something gets my attention i jump into the project back and fix it.... it sounds complicated but with this technique I don't have that "number bios" and helped me a lot to make 20 steps but reach my goal for a good mix... first make the song, quick and dirty, mix and balance and then comes the tuning and trying out what I need in this song, and if i export the track and here the music I constantly hear " oh that have to change, the voice here have to get more mono and than after some point more stereo so it fits more with all the other stuff" or "oh why is here so muddy, the low end is to much i have to compress and so goes on ...
Thank you 🙏
Hi Jordan , I like your videos, just a little advice, try making them with examples, specially something as hard as low end. also even better make the videos on best case scenario (great recording) and wost case scenario(crappy recording). kudos
im not convinced theres a right or wrong way to mix, i have been doing it for years, im listening to reference tracks and theyre so vastly different i think its all a matter of taste
thank you
Dude you need more subs. Great videos!
less subs, more mids :P
@@amonst4r HAHAHAH this made my day
trying my best man!
how would you describe the sound of your ns10's ? at low level, do you hear 120hz-300hz ? i've heard they are bright. Thank you.
That background music ❤️