Thanks as always, gentlemen! The entitled bit of me was going “where’s the latest episode?? You’ve ruined my weekly routine!” But the grateful, thankful part of me wants to say WOW you released this solidly for 33 weeks, and only took 1 week off. Thanks again! Pair of legends :)
I use to be a subs on aux guy until I mixed a festival in Quebec 4 years ago, politely requested the subs be on an aux and all of a sudden, the low end disappeared. Massive L'Acoustics rig, I think over 48 subs on the ground. Even the systems tech was surprised, discussed it for a few minutes, switched back to L/R and never looked back since. Thanks for the knowledge!
Chris' comment on SOMETIMES artistic types get pushed aside a bit by "tech" types who get lost in the gear, really hit home. Some us who are older grew up when you had to wear two hats; art & tech, because you were your own system tech but the part you looked forward to the most was when everything tech was sorted and you could just get "lost in the music", mix, and get goosebumps, lol Also the comment about "well sometimes they just don't have "it" is true in any creative endevour, and it kinda sucks when you realize you can't help that person ( or worse the day , horror of horrors, you recognize it in yourself!) get to the next level in their mixing skills. Great "back lounge " discussions guys, keep it up!
Pooch's comment about paints being mixed together turned on a light bulb in my head... Scientifically speaking, Audio and Visual are all perceived by us as frequencies on the Audio and Visual Spectrums. So it makes sense that you need to reserve space on the "audio canvas" for the instruments so you don't end up this brown mush. A couple years ago I was doing sound check and another tech was talking over my shoulder.. "Hey the toms sound thin" and comments like that across then entire kit. But when I asked the drummer to play all of the kit.. He was like wow! that is the best sounding kit I have ever heard on my rig. And all I could do is just smile.. Sometimes things do sound a bit odd on their own, but together build off of each other.
There’s a Netflix documentary on Clive Davis which I highly recommend, if people haven’t already seen it. There’s also one on David Foster I believe, but I haven’t seen that one !
Hey Pooch and Rabold, still wachting your covid conversation regularly and always find some more nuggets of wisdom in them. What do think about making an educational book out of it? I mean, Bobby Owsinskis books on recording, mixing and mastering consists to about 50% out of interviews and those seemed to sell quite nicely. If you do, don´t forget who gave you the idea🥳 Greetings André
Cool video again. Thanks Guys. What you were saying about listening to records that I think sound good made me do some research and it turns out that a lot of them are produced by the same guy, Hugh Padgham. I loved his work on Mercury Falling by Sting and found out that he'd worked on a whole host of other artists I like such as Frank Zappa, Mike and the Mechanics, Peter Gabriel, Genesis etc etc. Also, I appreciated what you were saying about mixes that sit well together and don't seem disjointed. I often get this feeling in smaller venues where the direct drum and guitar amp sounds from stage make it difficult to get the processed channels in without overpowering the other instruments and singers and pushing the level too much. Of course we are limited by where we are on the day, but do you have any tips or tricks for these situations? Thanks!
If you can’t get them to turn down, I’ve had success opposite-panning guitars (so you’re not reinforcing the SPL on the same side of the stage as the amp). However lifting the amp or pointing it back at the guitarist can help them realise how feckin’ loud it is.
Hugh is a great producer to analyze and emulate. Mixing around stage volume is all about communication. You have to be clear with your musicians that you are there to HELP THEM make them sound good and you need THEIR HELP. Explain what is happening and ask them to turn up or down to BE the mixers. It can be done if the musicians and sound guys work together as a team. YOU ARE ON THEIR SIDE...... they need to know that.
Thank you sooo much for these videos really learning a lot and greatly appreciate them. Q : Every mixer has their own style of mixing that they are most known for a.k.a signature sound, so how do you guys translate that across the different genres of artists that you mix ? Thank you.
QUESTION : do you guys find different genres easier to mix than others? I mix and get booked alot (in a non covid world) for musical theatre but struggle sometimes mixing a 5 piece rock n roll group.
Hey Guys - Suggestion: For those of us that have mostly grown up post 2000 and didn't really have the older 'well mixed' music in our faces all the time, would you consider creating a publicly available spotify playlist or something of music you'd consider healthy for mixers to get into listening to? Or good references you have? I'd be happy to continue my life-long habit of turning to pink floyd every time I want something good, but my wife might strangle me.
Totally agree! Knowing what instrument or interaction between instruments to listen for etc. in specific songs would be incredibly educational. I'd be more than willing to seek out those tracks/albums in the name of research and professional development!
Also your outro music is out of control loud compared to the content - perhaps you let an intern do your video mixes, but whoever it is doesn't use meters or ears.
OMG !! about subs on aux "don't do it, quit asking me to validate your decision use subs on aux". I usually find the actual board mix is bass light and they're fooling yourself by subs turned up, lol, All the best mixers I know and or respect do NOT use subs on aux for all those reasons, keep telling the truth guys!!
0:00
0:50 Chris's new gig / worship market
1:00 House of Worship discussion
9:41 Big Picture Disconnect
13:00 Common Errors when mixing in 2020
Thanks as always, gentlemen! The entitled bit of me was going “where’s the latest episode?? You’ve ruined my weekly routine!” But the grateful, thankful part of me wants to say WOW you released this solidly for 33 weeks, and only took 1 week off.
Thanks again! Pair of legends :)
Amazing wisdom!
I use to be a subs on aux guy until I mixed a festival in Quebec 4 years ago, politely requested the subs be on an aux and all of a sudden, the low end disappeared. Massive L'Acoustics rig, I think over 48 subs on the ground. Even the systems tech was surprised, discussed it for a few minutes, switched back to L/R and never looked back since. Thanks for the knowledge!
Awesome content guys!✌🏻
Nice thanks for the info and fun
Chris' comment on SOMETIMES artistic types get pushed aside a bit by "tech" types who get lost in the gear, really hit home. Some us who are older grew up when you had to wear two hats; art & tech, because you were your own system tech but the part you looked forward to the most was when everything tech was sorted and you could just get "lost in the music", mix, and get goosebumps, lol Also the comment about "well sometimes they just don't have "it" is true in any creative endevour, and it kinda sucks when you realize you can't help that person ( or worse the day , horror of horrors, you recognize it in yourself!) get to the next level in their mixing skills. Great "back lounge " discussions guys, keep it up!
Pooch's comment about paints being mixed together turned on a light bulb in my head... Scientifically speaking, Audio and Visual are all perceived by us as frequencies on the Audio and Visual Spectrums. So it makes sense that you need to reserve space on the "audio canvas" for the instruments so you don't end up this brown mush. A couple years ago I was doing sound check and another tech was talking over my shoulder.. "Hey the toms sound thin" and comments like that across then entire kit. But when I asked the drummer to play all of the kit.. He was like wow! that is the best sounding kit I have ever heard on my rig. And all I could do is just smile.. Sometimes things do sound a bit odd on their own, but together build off of each other.
The Producer is David Foster according to Wikipedia ;) Greetings
There’s a Netflix documentary on Clive Davis which I highly recommend, if people haven’t already seen it.
There’s also one on David Foster I believe, but I haven’t seen that one !
Of course five minutes after we were done - I went DAVID FOSTER. HA.. I'm getting old and forget shit. Thanks.
@@PoochRabold I don´t think we are getting old. I think is we are getting rusty in some way...
Hey Pooch and Rabold,
still wachting your covid conversation regularly and always find some more nuggets of wisdom in them. What do think about making an educational book out of it? I mean, Bobby Owsinskis books on recording, mixing and mastering consists to about 50% out of interviews and those seemed to sell quite nicely. If you do, don´t forget who gave you the idea🥳
Greetings
André
Cool video again. Thanks Guys. What you were saying about listening to records that I think sound good made me do some research and it turns out that a lot of them are produced by the same guy, Hugh Padgham. I loved his work on Mercury Falling by Sting and found out that he'd worked on a whole host of other artists I like such as Frank Zappa, Mike and the Mechanics, Peter Gabriel, Genesis etc etc. Also, I appreciated what you were saying about mixes that sit well together and don't seem disjointed. I often get this feeling in smaller venues where the direct drum and guitar amp sounds from stage make it difficult to get the processed channels in without overpowering the other instruments and singers and pushing the level too much. Of course we are limited by where we are on the day, but do you have any tips or tricks for these situations? Thanks!
If you can’t get them to turn down, I’ve had success opposite-panning guitars (so you’re not reinforcing the SPL on the same side of the stage as the amp).
However lifting the amp or pointing it back at the guitarist can help them realise how feckin’ loud it is.
Hugh is a great producer to analyze and emulate. Mixing around stage volume is all about communication. You have to be clear with your musicians that you are there to HELP THEM make them sound good and you need THEIR HELP. Explain what is happening and ask them to turn up or down to BE the mixers. It can be done if the musicians and sound guys work together as a team. YOU ARE ON THEIR SIDE...... they need to know that.
I agree about what you are saying about limitations of small gigs. I am also curious about tips and tricks to get it working in small clubs...
And the words of the day are “DISJOINTED” and “COMPROMISE”
I loved Disjointed Compromise, but their third album wasn’t so great... ;-)
@@EJCAudio Yeah it really didn't fully come together and they left a lot of ideas on the table.
Thank you sooo much for these videos really learning a lot and greatly appreciate them.
Q : Every mixer has their own style of mixing that they are most known for a.k.a signature sound, so how do you guys translate that across the different genres of artists that you mix ?
Thank you.
QUESTION : do you guys find different genres easier to mix than others? I mix and get booked alot (in a non covid world) for musical theatre but struggle sometimes mixing a 5 piece rock n roll group.
Hey Guys - Suggestion: For those of us that have mostly grown up post 2000 and didn't really have the older 'well mixed' music in our faces all the time, would you consider creating a publicly available spotify playlist or something of music you'd consider healthy for mixers to get into listening to? Or good references you have?
I'd be happy to continue my life-long habit of turning to pink floyd every time I want something good, but my wife might strangle me.
Totally agree! Knowing what instrument or interaction between instruments to listen for etc. in specific songs would be incredibly educational. I'd be more than willing to seek out those tracks/albums in the name of research and professional development!
Low pass and shelf filters impose time issues too...
Also your outro music is out of control loud compared to the content - perhaps you let an intern do your video mixes, but whoever it is doesn't use meters or ears.
OMG !! about subs on aux "don't do it, quit asking me to validate your decision use subs on aux". I usually find the actual board mix is bass light and they're fooling yourself by subs turned up, lol, All the best mixers I know and or respect do NOT use subs on aux for all those reasons, keep telling the truth guys!!