Daniel, I really appreciate your approach here, and I wonder if you could help me to parse an issue that is related to mixing instruments that have overlapping frequencies like electric bass and electric guitar or even electric bass and kick. The issue is this: Sometimes after spending a while mixing, when I AB the mix without treatment I can hear the way that effects allow for greater clarity and separation. However, because of the way that these effects can add distortion - even minute phase changes that people wouldn't normally hear - I find that I actually prefer the music as minimally mixed as possible. My ears get tired and almost irritated listening to sounds heavily effected by post-processing. I find my self gritting my teeth and even wincing. I think this is because my body is responding in subconscious ways to the unnatural ways that the speaker is representing sound. It is like my auditory perception is telling me something isn't right. When I turn the plugins off, the natural phase and the subtle harmonic resonances of the music are more highly resolving, even though there is less separation in the mix. Do you experience this? How do you balance the desire for separation with the desire for naturally resolving harmonics and phase relationships? Thanks for any help you care to offer.
Do you also hear that issue if you listen other's engineers mixes, i.e. mine, or Al Schmitt things? If yes, then you are just on the way but not yet there. You do probably some settings and things right, but also make mistakes und are unprecise, i.e. with EQ's cuts etc. In that case I could recommend my Mixing Bible (on sale for some more days, but not long). You find it on www.danieldettwiler.com Or you could also book a 1:1 Lesson with me, however that is not cheap. Cheers!
Actually a nice statement - I will use that form now on in every tutorial. I think that is the most important thing that should be teached in soundengineering:-)
I never do that. If something is properly mixed, there is no need to mono the low end. Bass drum and Electric bass are anyway recorded in mono, so it actually is good if the low end from other instruments remain in stereo to not fight with the bass drum or the bass.
Thanks, I thought the high-pass is kind of obvious. But if not necessary I don't high-pass, as every highpass kills the dimension just a little bit. That said, I was at the Studio at the Jazzcampus, only listening on Nearfilelds. If there still are low frequencies rumble, yes, I would just filter them away. Actually a good idea to hear this, if there is only a nearfiled is to just put a HD25 or even an Ipod Earphone.
@@danieldettwiler.official ok i understand you where more focused in the more advanced technic. If the mix is not full of instruments i usualy do a less narrow curve of the highpass. Like 12dB. Instead of 24 or 48 dB . But is good to know your view... Yes in fact with a good Mike... There Will BE more information on the low Spectrum... Than just rumble. Thank you so much for your time.
Thanks for this tutorial, very helpful! I'm wondering why you use the Pro-Q to boost on guitar and bass instead of your trusted Scheps 73. You said in a previous video that a clean eq is very suitable for cutting, but not so much for boosting.
Depends on the Frequencies - the Scheps is great if the frequencies fit. I think I wanted to keep it simple in that tutorial and not try too many different plugs.
Yes, but really you could not compare them. The One15 is a speaker that is not bad, but far away from being an accurate mastering monitor. Depth of field is not constant in all the frequencies and it is difficult to judge the under mids. A matter of taste if an engineer can work with them or not. I could not. The NF3 really IS accurate in every aspect of sound reproduction. Depth of field is as it was on the recording, and constant in all frequencies. That is a huge difference. Physical integrity is there. Impulses are impulses and your ear never fatigues. Under Mids (better said: all frequencies) are just represented as they should. You'll hear immediately on what aspects on your mix you still need to work, as what ever is not yet perfect will sound really not perfect (showing your mistakes) - and that is, what I expect from a really perfect monitor..
@@danieldettwiler.official Thanks Daniel ! for now I find the One15 very coherent and clean without being un-naturally analytical, so it's a good speaker to me. but I'll try and check out NF-3 when I'm in Switzerland. best, Sylvain
@@danieldettwiler.official Thanks for answering :-) After seeing this video I think I will purchase your course ... I'm really looking forward to start 🙂
Would you suggest a similar multiband compression strategy for mixing guitars with aggressive vocals that are competing? Maybe there is a better way of dealing with it?
It is always depending on what exactly the problem is, but yes, sure, get some band on the guitar under control with Multiband Compressors or dynamic EQ's is a good idea...
It was, on this episode, really more to show the techniques to combine EQ with Dymamic EQ and then Side-Chain Multi-Band Compression. In a mix, very often a Electric Guitar needs more bite in my opinion and with those tricks it can be done more gently. If frequency boosts makes sense at the end or not must be judged in the entire mix.. I might make a tutorial in which I do a complete mix:-)
I think this is a great channel with vast depth of knowledge. But I think all this tweaking isn’t gonna make a better song better. At least this shows In context of real music not techno crap.
My favorite mix channel for sure! You have a really good content and is very professional and well explained. Congratulations and a huuuuge thank you!
Thx - feel free to promote it a little bit...
Another killer tutorial
As always - pure gold! Thank you, Daniel.
thanks, feel free to share the channel:-)
Love from India!
thanks, love back from switzerland. Let other Engineers from India have part on this - would be great if you could share it a little bit...
@@danieldettwiler.official sure, I must.
REDUCE TO THE MAX! Good idea to focus on something rather than put too much in ... thx!
Daniel, I really appreciate your approach here, and I wonder if you could help me to parse an issue that is related to mixing instruments that have overlapping frequencies like electric bass and electric guitar or even electric bass and kick.
The issue is this: Sometimes after spending a while mixing, when I AB the mix without treatment I can hear the way that effects allow for greater clarity and separation. However, because of the way that these effects can add distortion - even minute phase changes that people wouldn't normally hear - I find that I actually prefer the music as minimally mixed as possible. My ears get tired and almost irritated listening to sounds heavily effected by post-processing. I find my self gritting my teeth and even wincing. I think this is because my body is responding in subconscious ways to the unnatural ways that the speaker is representing sound. It is like my auditory perception is telling me something isn't right. When I turn the plugins off, the natural phase and the subtle harmonic resonances of the music are more highly resolving, even though there is less separation in the mix.
Do you experience this?
How do you balance the desire for separation with the desire for naturally resolving harmonics and phase relationships?
Thanks for any help you care to offer.
Do you also hear that issue if you listen other's engineers mixes, i.e. mine, or Al Schmitt things? If yes, then you are just on the way but not yet there. You do probably some settings and things right, but also make mistakes und are unprecise, i.e. with EQ's cuts etc.
In that case I could recommend my Mixing Bible (on sale for some more days, but not long).
You find it on www.danieldettwiler.com
Or you could also book a 1:1 Lesson with me, however that is not cheap.
Cheers!
Nice little space/studio as well! 🤓 It is fun to follow you along the path!
"it always needs more work than you think" dettwiler 2020 😉
Actually a nice statement - I will use that form now on in every tutorial. I think that is the most important thing that should be teached in soundengineering:-)
@@danieldettwiler.official i agree, always question your mix and how it can be improved further! great tip, and episode btw.
@@kevinfrieden7929 thanks, share it!
Great video!! I would absolutely love one on how to record and mix solo violin, as this is a very reoccurring thing as a film composer. :) thank you
Thanks - we will see....:-)
would you mono the low end on this mix or on the master?if so how ?
I never do that. If something is properly mixed, there is no need to mono the low end. Bass drum and Electric bass are anyway recorded in mono, so it actually is good if the low end from other instruments remain in stereo to not fight with the bass drum or the bass.
i learn something with you, thank you... but why you didnt make a highpass on the guitars, why did you leave all those low frequencies rumble?
Thanks, I thought the high-pass is kind of obvious. But if not necessary I don't high-pass, as every highpass kills the dimension just a little bit. That said, I was at the Studio at the Jazzcampus, only listening on Nearfilelds. If there still are low frequencies rumble, yes, I would just filter them away. Actually a good idea to hear this, if there is only a nearfiled is to just put a HD25 or even an Ipod Earphone.
@@danieldettwiler.official ok i understand you where more focused in the more advanced technic. If the mix is not full of instruments i usualy do a less narrow curve of the highpass. Like 12dB. Instead of 24 or 48 dB . But is good to know your view... Yes in fact with a good Mike... There Will BE more information on the low Spectrum... Than just rumble. Thank you so much for your time.
Thanks for this tutorial, very helpful! I'm wondering why you use the Pro-Q to boost on guitar and bass instead of your trusted Scheps 73. You said in a previous video that a clean eq is very suitable for cutting, but not so much for boosting.
Depends on the Frequencies - the Scheps is great if the frequencies fit. I think I wanted to keep it simple in that tutorial and not try too many different plugs.
@@danieldettwiler.official Ok, that makes sense, thanks.
Hey Daniel, cool looking Strauss NF-3. I have you had Amphion One15 next to them ? cheers
Yes, but really you could not compare them. The One15 is a speaker that is not bad, but far away from being an accurate mastering monitor. Depth of field is not constant in all the frequencies and it is difficult to judge the under mids. A matter of taste if an engineer can work with them or not. I could not. The NF3 really IS accurate in every aspect of sound reproduction. Depth of field is as it was on the recording, and constant in all frequencies. That is a huge difference. Physical integrity is there. Impulses are impulses and your ear never fatigues. Under Mids (better said: all frequencies) are just represented as they should. You'll hear immediately on what aspects on your mix you still need to work, as what ever is not yet perfect will sound really not perfect (showing your mistakes) - and that is, what I expect from a really perfect monitor..
@@danieldettwiler.official Thanks Daniel ! for now I find the One15 very coherent and clean without being un-naturally analytical, so it's a good speaker to me. but I'll try and check out NF-3 when I'm in Switzerland. best, Sylvain
Do you always use zero latency on the Pro-q?
Sometimes. Probably more often natural phase..
@@danieldettwiler.official Thanks for answering :-) After seeing this video I think I will purchase your course ... I'm really looking forward to start 🙂
@@MortenAndersen-hjemmesider Great - let me know what you think!
Would you suggest a similar multiband compression strategy for mixing guitars with aggressive vocals that are competing? Maybe there is a better way of dealing with it?
It is always depending on what exactly the problem is, but yes, sure, get some band on the guitar under control with Multiband Compressors or dynamic EQ's is a good idea...
some cool techniques but that one ringing frequency in the guitars that you then boosted was doing my head in. Decapitator didn't help the sound too.
It was, on this episode, really more to show the techniques to combine EQ with Dymamic EQ and then Side-Chain Multi-Band Compression. In a mix, very often a Electric Guitar needs more bite in my opinion and with those tricks it can be done more gently. If frequency boosts makes sense at the end or not must be judged in the entire mix.. I might make a tutorial in which I do a complete mix:-)
💐🙏💐
I think this is a great channel with vast depth of knowledge. But I think all this tweaking isn’t gonna make a better song better. At least this shows
In context of real music not techno crap.