Managing Transients in a Mix - Mixing With Mike Mixing Tip
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- Опубліковано 11 лют 2016
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I've just found your channel about two days ago; I have been watching your videos nonstop. Your principles on staging a mix with early reflections and compression are second to none and exactly what I've been looking for for years now. "THAT SOUND" we're all familiar with, as you've mentioned in other videos, that 3 dimensional sound... I've been studying this art seriously for about 5 years now(bought my first recording equipment 10 years ago), and this was the last seam sewn up for my understanding of all the elements that separate the pros from the amateurs. I follow so many phenomenal channels (other Grammy winning pros), and none of them divulge this information so clearly and concisely. It makes me wonder if there's a bit a gatekeeping going on. Anyway, FINALLY, I have a clear objective when it comes to compression and reverb, instead of "oh, just do subtractive eq, compress, additive eq, limit and call 'er done, bro". Now I know the WHY, all thanks to you. Thank you Thank you Thank you!!!!
Your channel is a goldmine.
Transient management.... One of the things that set the men apart from the boys, in this business.. Thanks for another great video, Mr. White
+CarlosGunX It is indeed! hanks Carlos!
Pure gold…thanks Mike
youre a friggen legend mate, love this channel
I've learned tons of thing about compression with your videos, you're such a master with this tool ! Thank you very much.
+Hellosange Awesome! Stay tuned, many more to come...
Fantastic! Thank you, Mike!
Consistently the best info on your channel, thank you for your time and for sharing
THANK YOU MIKE! This really solidified why some of my mixes were a bit cloudy lately. I never compressed the guitars in this way. everything else was though. so the guitars would cloud the drums and overpower things. this is exactly what i needed to see today :). I don't know why i didn't make the connection until now. I actually thought of it when you played the bass guitar and the drums.
+Zack Dusedau Thanks Zack,
Probably the only thing I do not use this specific technique with is the vocals or lead instruments. I like to think of this process as a way of weaving all of the rhythm section instruments together in the same way good musicians performing together on stage would not step on each other, but rather find their role in the group and adjust their performances accordingly. The way songs have been constructed since multitrack recording with overdubs going all the way back to the 60's, this natural responsiveness is easily lost. This technique helps to bring back some of that vibe.
Cheers!
Mike
Awesome. Really a new way to look the compressors for me. Thank you very much.
Cheers!
This is gold! I had forget about that for a while but you've reminded me of it and added some more knowledge and reasoning on top of what I already knew. Thank You
+TwoTimesThree Cheers!
Brilliant Video!!
Great info. Thanks a lot! Very helpful.
An other terrific Tutorial. I have been experimenting with transients for a little bit and this front to back movement is something i was trying to incorporate into my mixes. It is a subject that people don't really discuss and i am very glad you did. Helped me solidify my understanding of it and the believe that i was on the right track doing so.
+Alexis Roy Cheers Alexis!
Great stuff, thanks for doing this Mike! Think I owe you a session next time I'm in the area!
+Ed Sokolowski Cheers Ed!
Awesome
Nice advice on setting the stage Mike! As usual, amazing. Who wants to SECOND, THIRD and FOURTH that?!
+Paul Douse Thanks Paul !
I know this might be a stupid question but I still have to ask.
Are you using differente layer of compression in your mixes? Compression is used for controlling dynamics but also to create depth, give character etc. So I'm wondering are you using one layer of compression to do all this or do you use two or more layers to do each thing one by one?
I'm really trying to better understand compression since it is really important to get a great mix. Thank you in advance.
+Rose Gold Hi Rose,
In this example i am using one layer to demonstrate the effect. As the mix progresses there will be additional layers depending on the needs of individual instruments or groupings of instruments. The extra layers will enhance the foundation of the first layer as demonstrated in the video.
Excellent question!!!
Mike
+Michael White Thank you so much your answer. That helps a lot
Hey Mike - Great vid! Question: could you explain a little more how you equate release times with musical values such as eight notes (etc). This must be bpm-related right? Is there some sort of chart for this (like with delay-bpm musical value rates)? This is news to me...:)
+jeff7775 Hi Jeff,
Yes, there is a chart you can easily find if you search BPM Delay Time chart. The easy way to calculate a 1/4 note time is to divide the temp into 60. (60/120bpm = .5 secs or 500ms) the rest is math to get other music timings. This is an important one for getting release times to feel right.
Cheers!
Mike
+Michael White Hey thanks for the quick response. Ok, so musical release values of a compressor are equivalent to those of a delay (as in a delay effect), and are calculated the same way. Interesting... Thanks for the info!
I never thought of it this way when working on analog consoles, I always did it by ear. Later when I equated the release times to ms as displayed on digital consoles and plugins I discovered that the times that felt right were almost always very close to a musical value. Now I use it as a starting place and it almost always works.
Cheers!
Mike
Transient peaks and how to manage them.
Basics:
The transient peak is the inital attack of a percusive instrument.
Our perception of volume doesn't happen in that little millisecond time.
Transient perception sounds closer if attack is faster.
Sharp high frequency signal.
Compressor Settings:
Fast attack will catch transient and make your kick softer
Slower attack will focus on the rest of the sound and allow the transient to pull forward a bit because the rest of the signal is flatter.
Right on!
Note to self: don't forget to use lower ratios as well, even a tiny bit of reduction can make a world of difference.
hey thanks for this video but i have a question.. is transit important in vocals as well for bringing the vocal forward?
+BENNGIIE Yes, but it requires more detailed attention than do most instruments. There is a big difference between words that start with hard consonants versus soft consonants. You also have to factor in sibilence.
It makes a single setting difficult unless the vocal is rhythmically repetitive. Most of these issues are best dealt with, note by note, phrase by phrase.
Are you referring to using automation?
At the end with the pre-delay thing.. Wouldn't you have a pre-delay to GET that distance? I thought pre-delay was the amount of time it takes for reflections to initially hit the walls. If you have no pre-delay = instant reflections = closer stereo field?
+Aspen Mallery Great question Aspen!
There is a difference between depth and distance. You can have a lot of depth with an up-front vocal and pre-delayed reverb behind it to set the depth. Distance, means that the sound source is far away from you. When a sound source is far away, the reverb will arrive very close to the direct sound. In that situation, the pre delay may add some depth, but at the expense of pulling the direct signal toward you.
Hope that makes sense...
Cheers!
Mike
Michael White awesome response. Subbed.
Do you set your attack times to a note value too, or just always go to 3 or 30 milliseconds..?
+kye903 Hey kye!
I do not set the attack times to musical values. I used 3 and 30 because they represent enough of a difference to hear the effect and still be musical. They also represent the 2 attack settings on the SSL channel compressor which I am very used to.
Cheers!
Mike
Hey Mike , it would good at some point if you do a video explaining the different types of compressors and ways to use them. Vari mu, Fet , Vca, Opto, Solid state...ect. Im not talking about comp techniques here. I think there is a lot of confusion about the tonality and flaws on different types and wrongly use of them. Plus I don't think theres nobody out there explaining this. Yeah a lot of videos about compression but not explaining in depth the different types of tonal variations according to tubes ,transistors and so on, and I think thats what confuse a lot people staring to understand compression.
Already done!
Vari Mu ua-cam.com/video/UeexgXNYjss/v-deo.html & ua-cam.com/video/_aN9FkAhDnw/v-deo.html
VCA ua-cam.com/video/cA0FwUN6Q2A/v-deo.html
Opto ua-cam.com/video/PybH5U-VBoQ/v-deo.html
FET ua-cam.com/video/IZtwfrODOs8/v-deo.html
I also have a Power Compression Course that goes into every variation of these types, vintage thru modern.
blog.music-production-guide.net/power-compression-course/
Cheers!
Mike
Michael White Bruh, you are the shit!!!!! In a fertilizing type of way. I previously would only watch Dave, but you've got the juice!!!
don´t use a compressor when you need a limiter :-) that´s to me the answer to the question, Interesant approach on how to use compression, but they are a lot more, thanks to clarify this technique
Cheers!
Clipping for percussive instruments and limit for tonal instruments.
first
+treztracks I second that thought :-)