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!
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.
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
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'
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 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.
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!
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!
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.
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.
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!
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!
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
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 !
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 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?🧐
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.
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.
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.'
Sidechaining my kick/bass and the snare to the upper mid instruments has made my mixes sound a lot cleaner, but I'm working in hip hop and there's no double kicks and not much distortion going on.
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.
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
Something I have found that has been working at the moment is leave the bass along and let it do it's thing and mix around it. If something really needs to be done the do ig
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.
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.
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.
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.
Totally. I love side chaining. I think dude is kind of off here. Use about a half db of gain reduction and use a slower release and the kick punches thru well, keeping the low rumble of the bass steady thru double bass parts, etc. I. love side chaining on heavy music, but it isnt needed every time.
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
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 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.
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"
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.
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.
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.
@@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.
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.
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.
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.
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!
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
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
I always find mixing in mono is the key ...first mix everything until it sounds good in mono via sonar using most close flat frequencies. When it sounds great as mono then switch it over to stereo make a very slight adjustment . Bum!!! 90% of the time your mix will sound great.
Thanks for a great video with good information or thoughts, etc. I have a question that might be a little OT though: How usual is it among professional mixing engineers to use "volume automation" instead of compression? What is the benefit to do that very tedious work as volume automation should be, I havent done it much myself. Some engineers seem to think that part of the problem of modern mixing is too much use (over-use) of compression and limiting, too squashed dynamics and too much digital harshness, etc. And part of the Loudness War. Also when I compare a song from 70s and one from today you notice then effect of the Loudness War. But as a professionel that needs to make money theres no real escape unless you gonna lose listeners, etc. One other OT question (maybe for a different video?): Why is there a function in every DAW called "scrub", what is it used for? I just put a blind eye to it since I didnt find or read about a real use for it (though I didnt google it either). But then the other day I saw YT-vid where the guy suddenly says "and here's the scrub in Cubase to easily find pops and clicks...". And my brain just goes *Wooow! * First time I ever heard anyone mention a very practical and logical use for this function.
Loudness wars are a whole other topic, completely separate from using compression in the mix. It's not one or the other, you should be doing lots of compression AND lots of volume automation. If it's too tedious, get a controller with faders instead of drawing it with your mouse.
Hey Robin, think of the scrub as the same way on an analogue tape deck you would rock the tape back and forth across the head.. Back in the old days when we would edit with a razor blade, you would move or rock the two tape reels across the head until you heard the kick drum hit. Lay the tape on the block and cut. The scrub tool is just a great way of getting in to hear what is going on like that. I use it all the time in Cubase.
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!
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.
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.
Any good or bad experience, anyone, with sidechaining specific frequency bands, like the bass and low mid area of room and overhead tracks, to duck them when the kick, snare and toms are being hit? Or vice versa, with cleaning up cymbal wash by using a multiband comp or dynamic eq on the close mics, ducking their upper mids and treble range when the cymbals are playing?
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
I don't really get the first point. As you say later in the video, both bass and kick have nice stuff at the same frequencies. But in my experience, the bass often mask the low end punch of the kick because of that. I usually use Trackspacer for that and it works great, especially perceptible when listening with something that can actually reproduce those frequencies with any impact (subwoofer, subpac etc.).
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
Does your view on side-chaining the bass also apply to the rock/pop genre as well? These tips are really making rethink how I've been mixing. Just when you think you're getting somewhere, back to square one again. When I apply new tips and ideas, I really need to listen and ask myself, is this really making my tracks sound better or worse?
that's the ultimate question to ask yourself! If it's electronic pop stuff with big sub bass and 808's, then sidechaining might be useful sometimes. But pop-rock with more of a live band feel, I'd say no, you don't need it.
Yeah, more live band feel rock/pop. I only just recently started using this technique on sessions and was only ducking a couple db, but I'm going to give a hard listen and see if it's actually helping or not. I really enjoy your videos and approach man. The genre you work in is not what I'm doing at all, but I've still learned a ton of useful things from you. Thanks and keep it coming!@@hardcoremusicstudio
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
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.
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
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'
Great tips! You're the man :)
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 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.
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
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!
Best mixing channel! Really solid info here for any genre
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.
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.
That 808 impression was amazing 🤣 Great tips 👍
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!
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!
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
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 !
All of the above are absolutely true. Good mixes are done with volume, even eq'ing can be devastating for the mix...
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.
Most of the time the problems are caused by lack of decent acoustic properties and not hearing it correct.. plus what you said... 💯👏🏻
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?🧐
Thanks ... reminds me of what I should be doing ... listening not looking at mix charts.
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.
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.
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
@@AudioBoi1 why thank you
Sidechaining my kick/bass and the snare to the upper mid instruments has made my mixes sound a lot cleaner, but I'm working in hip hop and there's no double kicks and not much distortion going on.
Great video. I learned about mistakes I was actually doing and techniques to improve my mixes.
i watched many of your vids and you are great! thank you
Big Up for your third topic!
Never heard anybody talking about that on youtube.
Super helpful info. You just saved me and others many many hours of trial and error. I appreciate you!
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.
Interesting learning about how to apply these tips within the context of Metal 🤘🏼🎧
Always great advise. My new go-to guy!
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
Something I have found that has been working at the moment is leave the bass along and let it do it's thing and mix around it. If something really needs to be done the do ig
This information is gold! Thank you🙏
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
Just found your channel and so many of your comments make so much sense!!
Agree with you on this....
its really whats happening... specially the Midrange Point... Thanks!!
LOL "I've used sidechaining one time" I'm right there with you, it almost never sounds better
Thanks for your videos 🔥
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.
Hi Jordan, great video as usual! What headphones would you recommend for referencing low end?
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.
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.
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.
Man, your stuff is so high quality! Please keep it up!
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.
"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.
Absolutely necessary video, this helped me so much!
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
Totally. I love side chaining. I think dude is kind of off here. Use about a half db of gain reduction and use a slower release and the kick punches thru well, keeping the low rumble of the bass steady thru double bass parts, etc. I. love side chaining on heavy music, but it isnt needed every time.
Obnoxiously helpful.
Thank you.
Subbed 👍👍👍
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
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 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.
man. that last tip hit me right here.
So what exactly are you mixing the low end on? I can only see the ns10s behind you, and they dont really go under 100hz
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"
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.
This is really good advice. Thanks
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.
I do not merely carve, I even use bandstop to blow holes in the frequency spectrum 😂
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.
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.
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.
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!
To summarize this video for viewers. Use your tummy for mixing decisions.
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
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
Hello, Jordan! Great video. What headphones would you reccomend for checking low end? Regards!
I always find mixing in mono is the key ...first mix everything until it sounds good in mono via sonar using most close flat frequencies. When it sounds great as mono then switch it over to stereo make a very slight adjustment . Bum!!! 90% of the time your mix will sound great.
Thanks for a great video with good information or thoughts, etc.
I have a question that might be a little OT though: How usual is it among professional mixing engineers to use "volume automation" instead of compression? What is the benefit to do that very tedious work as volume automation should be, I havent done it much myself. Some engineers seem to think that part of the problem of modern mixing is too much use (over-use) of compression and limiting, too squashed dynamics and too much digital harshness, etc. And part of the Loudness War. Also when I compare a song from 70s and one from today you notice then effect of the Loudness War. But as a professionel that needs to make money theres no real escape unless you gonna lose listeners, etc.
One other OT question (maybe for a different video?): Why is there a function in every DAW called "scrub", what is it used for? I just put a blind eye to it since I didnt find or read about a real use for it (though I didnt google it either). But then the other day I saw YT-vid where the guy suddenly says "and here's the scrub in Cubase to easily find pops and clicks...". And my brain just goes *Wooow! * First time I ever heard anyone mention a very practical and logical use for this function.
Loudness wars are a whole other topic, completely separate from using compression in the mix. It's not one or the other, you should be doing lots of compression AND lots of volume automation. If it's too tedious, get a controller with faders instead of drawing it with your mouse.
@@hardcoremusicstudio Thanks!
Hey Robin, think of the scrub as the same way on an analogue tape deck you would rock the tape back and forth across the head.. Back in the old days when we would edit with a razor blade, you would move or rock the two tape reels across the head until you heard the kick drum hit. Lay the tape on the block and cut. The scrub tool is just a great way of getting in to hear what is going on like that. I use it all the time in Cubase.
@@timothypaul4956 I didn't mix back then but I recorded several songs back then, when playing in different bands. So I get the comparison! Thanks! :)
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!
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.
Also, if you haven't tried UAD plugins, you should. I just bought their distressor and it is GNARLY. Sound so legit.
Cool tips thanks!
I think I’ve had more “ah hah” moments watching you over a lot of UA-cam mixing explanations. Thanks again!
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.
Awesome tips!
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.
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.
The last tip is a game changer.So true
Any good or bad experience, anyone, with sidechaining specific frequency bands, like the bass and low mid area of room and overhead tracks, to duck them when the kick, snare and toms are being hit? Or vice versa, with cleaning up cymbal wash by using a multiband comp or dynamic eq on the close mics, ducking their upper mids and treble range when the cymbals are playing?
@ 2:05 I see you bass drop.
Well put
👍🏻👍🏻 great info as always
This needed to be said
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.
Well said!
Dude your channel kicks ass
This guy is f... cool! Love your videos man! :)
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
I don't really get the first point. As you say later in the video, both bass and kick have nice stuff at the same frequencies. But in my experience, the bass often mask the low end punch of the kick because of that. I usually use Trackspacer for that and it works great, especially perceptible when listening with something that can actually reproduce those frequencies with any impact (subwoofer, subpac etc.).
He just doesn't have a fast compressor, or doesn't see any point at all in using fast release times.
That background music ❤️
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
Very good video matey!! Thank you !! VG :-)
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:(
Does your view on side-chaining the bass also apply to the rock/pop genre as well? These tips are really making rethink how I've been mixing. Just when you think you're getting somewhere, back to square one again. When I apply new tips and ideas, I really need to listen and ask myself, is this really making my tracks sound better or worse?
that's the ultimate question to ask yourself! If it's electronic pop stuff with big sub bass and 808's, then sidechaining might be useful sometimes. But pop-rock with more of a live band feel, I'd say no, you don't need it.
Yeah, more live band feel rock/pop. I only just recently started using this technique on sessions and was only ducking a couple db, but I'm going to give a hard listen and see if it's actually helping or not. I really enjoy your videos and approach man. The genre you work in is not what I'm doing at all, but I've still learned a ton of useful things from you. Thanks and keep it coming!@@hardcoremusicstudio
Thankyou
The KISS principle!