Mixing tips with Andrew Scheps
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- Опубліковано 5 лют 2025
- Andrew Scheps discusses his approach to compression and limiting, as well as his techniques for achieving loud, competitive mixes. Watch the full 180-minute series at eu1.hubs.ly/H0...
#musicproduction #producertok #musicproducer #mixingandmastering #mixingengineer #recordingstudio #protools #mixingtips #productionprocess #mixbus #compression #musictech #studiotime #musicindustry #andrewscheps #lowroar #mixwiththemasters
The more I learn about mixing the less I know
Hearing people talk about how each compressor sounds different and has characteristics is insane to me
Lmao I feel that bro ☠️@@Jay-407
@@Jay-407that’s next level hearing skills fr
@@Jay-407be better then
@@lannyfce4786 says the rando on UA-cam 🪦🪦🪦
Stick a Soundgoodizer on the master and be done with it
dont be a soundcloud rapper
Yeah but then you sound like every other producer w FLstudio.
@@redixz3184 Its a joke
😆
Ah yes, the dubstep way
Andrew Scheps discusses his approach to compression and limiting, as well as his techniques for achieving loud, competitive mixes. Watch the full 180-minute series at eu1.hubs.ly/H0cdMLy0
🐐
"Competitive".
That was the day the music died.
@@klaxoncowIt can and still is done well. it benefits us as listeners. I agree overcompression is bad though
Very interesting take. As time has gone on, mixes have lost more and more dynamics. I’m not really a fan of overly compressed and clipped out mixes/masters. I think most have joined the ‘loudness war’ and didn’t even realize it. Let’s bring back quality.
Nah I like distorted sound
@@ffffffffffffff43yes, songs that sound like it was played on $5 discount speaker inside a Trash can
for god sake, people are listening to music while at work, study or gym.
nobody listen at full volume anyway
You can get things loud and still maintain dynamics. My latest mix is 12lufs and 7.4 lu. I used tons of compression and saturation but did small amounts on each instance.
@@R.A.D. I use compression and distortion/drive on mine too. But not to the point where the waveform looks boxed off and there’s no peaks lol that’s just crusty. But to each their own. I’m just advocating to bring back dynamics, transients, and quality. There’s a balance.
@robg317 Absolutely you still want transients and life in the track.
Thank you, rabbi.
80s mixes sound a million times better than most of todays sausage rolls. Back then they let music breathe and you can listen for hours without the fatigue. That’s my opinion anyway.
Go back to 80s. Bozo.
Depends on the genre really
Haha no I don’t need any of your coke-fueled top end and over the top drum gating. I’ll take 2024 mixes literally any day.
@@Aria-un9iyvery much
back then people were outside not scrolling through max 1 minute videos though... and that says a lot..
Andrew Scheps is one of my favorite people in the music industry. He's a brilliant human and seems very kind. He's a great ambassador and supporter of younger mixers. That said, his mixes frequently sound way too squashed to me.
careful people. This guy is a legend, he mixes tracks made by chart-topping song writers, producers with years of experience. Most if the newbie mistakes are already fixed, that's why often you don't need much when the track is already good. Not my case.
Love this guy.
Scheps Parallel Particles is super underrated for mixes or mastering
He's using a limiter as a compressor so it will push down (limit the dynamic range) but not compress the music, haha. I understand him 100% (because I mix with limiter ON on a mix bus so you can predict what will happended with your mix when "all in" mastering happens as it's great to mix that way, lots of fun ...), but you really "limit" your options later in mastering by doing this ... You can still put 101 limiter etc. later.
This ends when we he starts dropping Gems....full video link please??
At first glance thought this was rick rubin😂
Omg me tooo 😭😭
Studio shaman core
Ironically they worked together a bunch
this is one of the guys that Rick uses to make his stuff sound good tho
Is he making a distinction between the mix bus and the stereo bus
Don't mix too loud, -14LUFS is standard, take the lows out of a vocal. The list goes on.
The truth. Just do whatever the hell sounds good.
Different tastes. Loud sounds great sometimes. -14 work’s sometimes, other times it isn’t enough
@@CurtisGabrielMusic Exactly, different tastes, different genres. It's just something I learned after so many years, my world was shattered when I found out that majority of top producers in the world mix sometimes to -6! It all depends on what the client wants, what genre, and how it sounds.
@@whatevermusiciwant yes absolutely many seem to just go loud for the sake of it. Its completely pointless unless it enhances the feeling of the music. Doing it to a ballad for example. Ive seen some get up to -4 which is insane
@@CurtisGabrielMusic That's. Yeah, no. I have heard some really loud indie/folk mixes and it's not right. Can you image Simon and Garfunkel mixed to -4 lol.
@@whatevermusiciwant yeah insane 😂😂
Put 2 otts on the master, then soft clipper and you're good to go
Andrew is the GOAT! His approach is so unique and inspiring!
What’s the difference between mix buss and master buss like obviously there are drum buss and lead buss and vocal buss but mix buss? Is that just like a mini master ?
Interesting that he mentioned actively removing dynamic range. The lack of dynamic range has made contemporary music sound fairly similar
Yes, but “vintage” mixes (as much as I love them) all had a similar fuzzy rolled-off hi end and sub-free bass. Every era has its conformity 😌
@@SamNicolosiOfficialyeah but old records sounds like that because of limitations, this era sound like shit because too much limiting (pun intended)
Completely different than orchestral mixing. Audio engineering is fascinating!
@@matirojascyeah and it’s not analog compression/limiting. Those have harmonics that sometimes can’t be explained.
@@matirojasc and just uninteresting music in general.
Mixing is making your own sauce. 😉
Can someone explain to me why someone would bring the limiter at the mixing stage and not let it to the mastering stage ? Except for loudness war ? Serious beginner question
I think he may use those to control the input signal, like gain staging. I think, maybe.
It’s a personal preference more than anything..he likes it loud, and thats his reason for it. It is not a good OR a bad thing..its just another way of accomplishing a desired goal. I do it too, but tjat is because it is on my own productions..so i do everything in the same project..a lot of people do..but then again those cases are quite different than when only given the task to mix. That said, Andrew also do production and recording as well, so that might be the case for this specific project..that he is in charge of every aspect of the song.
BUT..short answer..it is just another way to achieve your goal.
@@moano3271 Thanks ! I guess that's also a way to have a mix loudness as close as possible to the final product.
I feel that the soundlevel normalization in streaming platforms kind of punishes the tunes that have littlle dynamic range... sometimes when listening with headphones the sound is kind of dull i open a google meet... this boosts up the sound volume on androids
Funny that. I have an SSL bus comp, but when I moved studio I didn’t plug it back in. Most of my gear is in storage or sold now and I mix in the box. I use 2 things. Multiband comp and a limiter on the bus. That’s all.
Well, that actually makes me feel better. I have a couple pieces of gear that are not even patched in and haven’t been for many months after moving things around. Funny how sometimes we buy things thinking we MUST have it and put it on everything. For me that’s how it started, but now I am finding that analog hardware is simply not very cost effective. Even if it IS objectively better. And to my ears it is. Trust me, I’m obsessed with my analog hardware. But it’s kinda sobering thinking about how there isn’t a $5,000 difference between the gear and the plugin. There never was. Im keeping it all, and my music gear is easily my pride and joy, I’m just glad I kind of came full circle with this before I spend many MANY more thousands on what is more of an addiction than a necessity lol. There’s a line in the sand, and for me it is 2 things: 1) Does it cost more than say 2-3K 2) will it help me NAIL something either at the source OR in a crucial part of my mix. If the answer is no, it doesn’t make sense for me anymore. I will ALWAYS have a use for a pair of killer API mic pres and a few dedicated hardware compressors for tracking, but all that other stuff? Honestly don’t need it
dude i would post screen recorded vids of me mixing and i would always get slack for laying my tracks at max volume, adjustments being made during the recording
I have no frickn idea what he s talking about. I still dont rly understand how to use my Ableton compressor
Keep at it and one day you’ll hear what each knob does
You need to look into compression in general. It will take a bit to train your ears to hear it.
Compression make loud sound go shhhh and small sound go boom
@MaceyWavves Uhhhhh kinda
More like it will make an entire sound so that the loud parts go shhh with the small parts, then you can make both parts go boom and equally loud by bringing it all back up.
You’re not crazy I couldn’t hear it for a while because I didn’t know what to listen for. Think of it as taking the loudest parts of the signal and squishing it back down so that it’s more even with the rest then really listen for that. It’s almost like it fattens the sounds and brings it forward, until you go to far then it just sounds tinny and squashed lol. Experiment with over compressing things badly and then dialing back lol. Mess around w parallel compression on drums by squashing them and then dialing the mix nob back. Idk if that helps but that’s kind of what made it click for me. Also play around with the attack and release. It’ll help you be able to hear the different ways you can use compression. Try a slower attack on a snare or a kick to let the transient through and you may notice it’ll tighten up the drum sound and make it sound more “punchy”. Whereas if you have a fast attack it’ll be more of a “smoothing” even type of effect. And sometimes I just run things through a hardware compressor for tone and literally nothing else. In my experience this CAN work with certain plugin emulations to a degree as well. I dunno maybe I’m just blabbering but these things helped me when I was starting out
What limiter is he using?
I used to use a compressor on my mix bus as well and for the last 2 years I haven’t used any either.
It's only to glue so if you're running hot and it's mastered you won't really need it but it depends on your genre in reggae or dub you need it
If you apply a limiter on every instrument, you can master quite loud
oh god, do not do this. It will sound like a 2008 webcam filmed youtube video
@@BobrLovr If you put the limiter on the master track the result will sound sort of crushed. Lots of studios have a limiter for each instrument track.
I share
Another 10 years and you will switch to clippers:)
Underrated comment 🙏 Retain dynamic range whilst filling out the frequency spectrum and upping perceived loudness 🫡
You know ;)
Soft clipper supremacy gang lol
Wtf he just said?
Slim rubin
😂
Rick look alike?
Has anyone here actually heard a dynamic mix? You cant hear the vocalist for most of it until the last chorus
Imo dynamic recording and mixing is way different to dynamic playing
Spikey transients are not pleasant, ever and more often than not the transients we cant hear is free headroom we can get back by clipping them or limiting them
Over doing it where degrades the track is the biggest issue, and that has nothing to do with loud muxes or masters
Thats just bad mixing or mastering which we can almost all agree is not optimal
After a certain time, every person who has mastered the art they switch to limiter on their mix busses i wonder why?
i’ve recently saw a video of a sound engineer explaining that the compressor hit and change the sustain too much that’s why he chooses limiters over compressors
I reached that point right outta college cuz the same reason. It adds too much dynamics and it overcompensate with like 3-6 dbs@noahrousseau7284
Because when your mixes are well constructed, compression is not required on the mixbuss because you've already done the work of gluing things together on a micro level. You'll probably find compression side-chaining and other dynamic processes taking place on individual channels and groups get that mixbuss-compressed sound BEFORE the mixbuss, rendering further compression unnecessary and damaging. Whereas a well-set limiter or clipper is just controlling the peaks of some of the transients and preventing momentary "overs".
@@joelonsdale Yeah i heard skrillex use clipper to for peaks and then control the dynamics with the limiter it just sounds clear this way without changing the original dynamics that’s how he get much clear tracks, what do you think?
@@noahrousseau7284 on fking everything? Limiter over Compressor ?
I literally get loose everytime i hear professionals talk about mixing lol
Does anyone know where I can find this full video?
does andrew drinks coffee while mixing tho?
Is that Mr. Shaggy Doo?
This guy is the problem with mixing in the last 20 years
I just don’t agree with mixes still being loud and overcompressed in these days. I think most are missing the trick but what do I know….I have no grammy nor long beard…
The kids are smashing the limiter! There is a new sound and mixing logically ain’t it.
His advice is great. Can’t get past the Walmart Rick Rubin vibes.
“Bring down the dynamic range” wtf
Rick Rubin lost weight
I'm a limiter boy. I don't have idea of he is talking about hahaha
This guy talks like he is half deaf.
How is he hired in his job?
Rick Rubin cosplay
Sausage Fattner on the mix bus.
I genu8nely hate this side or producing, the fact that only producers are gonna notice or gaf what compressor youre using. It puts people off from making music. And most of the time the consumer will never notice or gaf. If it sounds good it sounds good.
Stop the loudness wars please
L take. Keep the loudness war alive
No
It is over, loud won.
So his mixes suck. Dynamics rule! These people ruined music.
Imagine telling a professional they're wrong
@cody42693 I have met many in my life.
@@frankgarcia9834 Meeting can be a passing glance.
@@cody42693 just like this conversation 😁
@@frankgarcia9834 Then stop continuing to stare.
Brick wall limiting, sucks
"quite loud"... Mate that is a brick wall
This is the bullshit-mix every music-fan hate. A whisper loud like a cannon cracker. Ok, sounds good on a handy-„loudspeaker“
“I’m a fan of food tasting good “
At least he owns his crappy taste (for most all music not for commercial radio)
This guy is ether misleading or a great salesmen
Compression is just a way to turn down the volume when stuff gets loud. How on earth do people act like this is the most magical nuanced thing in the world? I get it that there are attack and release times and curves, but come on, it’s just simple math. If the compressor is coloring the sound that’s a bonus eq or saturation effect you could get from a dedicated source.
Bring down the dynamics. NOT the dynamic range. It still strikes me how even the most expert among us can't get the difference between dynamic range and dynamics. Yes, i know we all know what we mean, just guys, this is your art. Imagine if golfers got slice and hook mixed up.
He said nothing wrong
He ia part of the two worst metallica songs. Death mangnetic and the day that never comes. Compression sucks. Look up what this guy has mixed. Nothing great stands out.
The hubris of humanity never fails to amaze me
Oh wow.....
*BORING !!!!*
I use Sausage Fattener. Found that is the hidden sauce on Reddit
What you need to be a fan of is razors 🪒
Slammed.death magnetic