Andrew Scheps Unplugged: Decoding the Mix
Вставка
- Опубліковано 7 чер 2024
- Andrew Scheps, today I'm Having a GAS with one of the most respected and well-reputed mix engineers in the music industry. Andrew Scheps returns to the podcast and is IRL and 'unplugged' for the first time!
Ashore, A new way to Work From Anywhere: ashore.io
We discuss his Grammy Nomination for mixing 'The Blue Hour'; his mix bus processing, his collaboration with Waves on Scheps Omni Channel 2, distortion, reverb, parallel processing, his preferred headphones for mixing and why mix engineers choose to mix in the box, Red Hot Chili Peppers, fame, AI and much more!
More on Andrew Scheps here: www.mcdman.com/scheps.html
Low Roar: www.lowroarmusic.com/
Having a GAS™ is the podcast that talks to the great and the good of the creative industries, and in particular finds out what makes great music for film, for TV, for advertising; for dancing to, for cooking to, f*cking to, and more...
GAS™ Music is a music production agency in Manchester, UK. We compose and produce original music, create awe inspiring sound design and have a fully integrated audio post-production studio. We also have a great record collection, and welcome any additions, recommendations or criticisms.
www.gasismusic.co.uk
© GAS™ Music 2024
0:00 Welcome to Having a GAS with Andrew Scheps
0:31 Ashore
0:55 Andrew Scheps Grammy Nomination
4:36 Mixing The Blue Hour: Andrew Scheps Discusses
18:20 Switching off the "visual cortex"
24:03 Group and Mix Bus Processing
39:30 Focusing on Individual Elements
43:16 Sampled vs Live Drums
44:47 Scheps Omni Channel 2
50:07 Analog vs Digital Distortion
54:18 Sculpting reverbs for The Blue Hour
1:01:34 Sonic Artefacts
1:05:00 Parallel Processing
1:10:20 Outboard Gear vs 'In the box'
1:11:35 Mixing on Headphones
1:13:46 Red Hot Chili Peppers
1:21:12 Andrew Scheps Musical Taste
1:25:05 Andrew Scheps on Fame
1:31:30 Andrews Scheps Responds to UA-cam comments
1:34:08 Andrew Scheps on AI
#AndrewScheps #Podcast #Interview
Andrew Scheps returns to Having a GAS and is IRL and 'unplugged' for the first time!
*Thanks to Ashore for providing this episodes location:* ashore.io
More Podcasts Here: ua-cam.com/play/PLqTTXkHu-bI-2VfIic3LMyL3hqBqThM8X.html
Sir Andrew Scheps is the Gandalf of Mixing
Heres what I learned atfet 15 years of mixing: The professionals know which probelms need fixing and fix them. Masters find bigger picture problems and solve them with simpler solutions. Just my two cents and what I aspire to become... edit: a lovely reaction was Andrews reaction to a new tip on transient lengh implying different distances. His first question: "Does that work?".
Wow
Even Andrew Scheps is not immune to the slow sag of a boom mic stand...Love this great talk fellas!
haha *lol*
should've gotten a Latch Lake
I met Andrew at NAMM in 2020. He was as kind and as genuine as can be; sometimes his daughter was with him. He always acknowledged me whenever we bumped into or walked past each other.
I do miss his interviews! Got me through the pandemic!!!
So calming listening to Andrew
I could listen to him talking about mixing and audio in general for days. No one else seems to be able to explain these concepts so clearly and concisely. Being able to just pull up hours of his knowledge on my phone, is an absolute privilege.
Al Schmitt, once said when your recording in the worlds best rooms, with the best artist and best instruments, best equipment it gets easier.
Such a great interview! Thank you.
52:36 LMAO. Sometimes the only way to avoid steering people in the wrong direction is to stop the car completely. I hear you, Mr Scheps.
Loved this. It's always easy to sit through an entire podcast with Andrew Scheps. Would love to see his friend "Evil" Joe Barresi on some time! 🤘
Always a pleasure listening to Andrew Sheps. Thx for that!
I’m an indie artist, self taught and I make everything by myself : composing, recording, mixing, artwork .. but it’s not by choice, I was born before the internet, so I started with bands, live experience. I had to take the less traveled road because the chemistry didn’t work, but it’s when you hear Andrew talk that you realize how important vision is a part of audition 😬😉… always a pleasure to hear experience talk 🙏
Thank you
Glad that you enjoyed this episode and thank you for sharing your story!
That was awesome! Thank you ❤. And I love to work with the Audeze as well 🤗
“Cheating” is when somebody else does something I hadn’t thought of and it sounds better and/or achieves results faster than what I’m doing. 😂
Recently Ive heard a couple ppl say 'I want my drums to be different, the 909, 808, etc. are just so boring." I just shake my head and I think "They are drums, they serve everything that you layer on top of them" I totally feel validated after hearing Andrew basically confirming the same as my thoughts.
The interviewer learned so much on this interview
Exactly how a good conversation should be. Hope you learned something too from watching
yessss excited to watch another interview with andrew scheps 😁
ready to learn some new stuff 🫡
Thanks for tuning in! Let us know what you pick up!
Andrew, you are such a wonderful teacher! For the longest time I questioned my simple approach to mixing: focusing mostly on balance and using 3 to 4 plugins per channel, on average. (i.e., compression, saturation, delay and eq (only if I absolutely need it to tame high and/or low frequencies, etc.), and reverb sends. For me, if the tracking is solid, then mixing should be simple - time consuming, perhaps, but still simple. Thank you so much for encouragement!
Glad watching this was helpful for you, loads more episodes on the channel too
Ok, I've just invented Beard Mic, that Andrew Scheps' next update should incorporate. I love listening to Andrew because he is so, so genuine.
Love this new setup!
We love filming interviews in person and are aiming to do more in this style moving forward. Thank you for your support!
Mr Schepes, you don’t know me and I do t know you. However I am a fan of your work. But even more so your approach and concepts of mixing. Thank you for sharing with us.
thank you very much
Ah! The entire point of the mix is emotional, Andrew said. Like a wholeness perspective and not just technical details. That could be one key between top level mixing engineers and average mixes.
Exactly. I don’t claim to be on his level, but when I mix, the final question I ask myself is: Does it FEEL good? For me, I have to literally have the sensation that I’m sitting in a velvet couch.
I also recall in my mind, how I felt about certain mixes that had an influence on me such as Pink Floyd’s Dark Side of the Moon, Steely Dan’s Aja, or anything by Marvin Gaye from the early 70s.
Sure. A mix can sound great with lots of clarity and punchiness. But…FEELING is everything.
If I don’t get there, I’ll go back and rework it until I find it.
All those rules and processes are essentially guidelines for learning and training your ears. Once you get to the point you can trust your ears the "rules" matter less.
Andrew trusts his ears, so he doesn't need all the rules and processes as long as he's happy with the product.
I was literally listening to Jon Hopkins immediately before watching this haha. The kick on open eye signal is indeed amazing.
A beautiful piece of music
Love this
Chris Berens at Audeze,(that Andrew Scheps talks about in headphone segment), has been invaluable to me for choosing several headphones for my room here. My room is very good and tuned, but the headphones are crucial here.
Scheps is so cool, zero f$%ks given, just does his thing with no stress, doesn't over think things
andrew spittin bars
Where can I find the "Listen" plugin he is talking about?
I think taking a 15 minute listening break, take a walk or whatever and then come back with fresh ears, can also do womders. Listening farigue can be very counter productive.❤
It is me or… this is an old upload??… i think I remember watching this…. Huh? Greatt podcast man!
It's brand new, third episode on the channel with Andrew Scheps you may have watched one of the previous episodes as well?
This interview is GREAT! The interviewer missing the mark so much on what Andrew is trying to say gets even MORE out of Andrew.
Possible to get the links for the two "listen: plugins ? Thanks x
🙃
Wow, I’m really impressed by Edward Norton’s interview skills in the world of audio. Who knew?
The perfect mix is the one that takes the least effort to perceive
Be interesting to know how he keeps everything in his brain. Specifically thinking about the number of tracks, groups, sub groups etc etc . How does he manage all the information when he's mixing?
Ok just watched a demo video on that Freakshow site Andrew recommended and was half expecting that girl from The Ring to crawl out of my screen
Is it strange that I’m not surprised how well he excels at classical music? Like I know he has this reputation for his liberal use of parallel compression and distortion, but his whole philosophy is and has always been about “putting you in the room with the band” and it just makes sense to me that he can capture an orchestra in that same way!
23:08 I just take my screen off and listen
1:02:58 speaking of aliasing, does the Omni chan v2 have oversamplibg... the saturation in v1 aliases....a lot.
Super intéressant bien que ca ne soit pas le style que je pratique c'est toujours bien de voire des méthodes de travail et des tricks
Why are they using a boom mic stand??
I find myself puzzled about the recording quality. Andrew is moving a lot in front of the sm7b and he also hitting and re-positioning the mic. yet we don't hear any coloration, any bumbs, any rustle. I also think that the sure sm85 and sm7b sound a little to brilliant to be "vanilla" especially in that kind of room and that kind of distance. I have two theories: you either boom the voices right above the cams, hence the bigger range of possible movement, or you run your signal through some serious AI-filtering-black-magic. third option is that you spend a crazy amount of time on post-processing manually. do you mind spilling the secrets here for us fellow podcasters?
It’s a little from column B and a little from
column C.
We do make an effort to ensure these pods sound good with post production, but we also use Adobe’s new voice enhancement tool.
We have to blend the enhanced signal with the dry signal because the Adobe tool is pretty artefacty in the high end.
- Greg
Did you use adobe enhance on the voices?
Sounds bad
I think we did, but I'll check with Nathan to be sure.
- Greg
Cool. Not trying to be snarky. I use it all the time at work, but it definitely has a sound, and I have to be careful not to be heavy handed with it.@@HavingaGAS
@@ChrisIsaac1 it adds a fair amount of low end for sure
Loves me some Freakshow Industries
I’ve never understood putting anything on the MixBus at the start, because how could you possibly know how to tweak those knobs if the sound you’re going to be sending through it hasn’t even been created yet?
@ 14:58 - "I think it's a loss of perspective more than anything else...You need to learn how to listen as a listener and not just as someone who knows what's going on"---statement of the Year!🤓
I feel exactly the same way about Pet Sounds. I bought it but find it unlistenable
A mixbus reverb? That's in vogue again is it? Remember people scoffing at Ozone 5 for having a mixbus reverb?
Hey Andrew, I responded to one of your Reddit threads but got literally nothing but downvotes. No one bothered to suggest any alternatives, I guess my idea was just deemed unworthy. I want a plugin compressor-limiter that lets me draw my own attack and release curves with splines. The closest thing is Sonible Smart Comp which is basically just illustrated attack time and one extra parameter. Not bad. It should also have upper and lower thresholds and a custom drawable knee would really put it over the top, making it able to do literally any compression/expansion sound and even what playfair dynamic grader can do.
My condolences for receiving downvotes on Reddit. MCompressor by Melda allows you to define custom curves with splines. It's also free to use. I'm not sure if it ticks all your boxes, but I suppose you'll just have to give it a try.
I'd say Cableguys Shaperbox plugins are pretty much exactly what you are looking for, or atleast the most practical way to do what you're talking about.
Also, Reddit is a place of endless pettiness, but I do see why this would probably get downvoted. It may be missing the forest for the trees of what you want a compressor to do, but I think the shaperbox compressor/volume plugins would do exactly what you're looking for.
@@magicmark3309 I appreciate your comment, and I think Shaperbox is a fantastic plugin, but Volumeshaper is a ducker, not a compressor, and IMO does not sound or behave like a compressor hardly at all. It has a fixed amount of gain reduction modulated by an LFO, not the audio signal.
@@redcollard3586 they have a specific compressor/dynamics shaper now. Among a bunch of other ones. I was just mentioning the volume shaper as well in case you hadn’t heard of it, but I think they added the compressor one last year or so. I mean, it’s pretty much spot on to what you’re talking about, or atleast from what I gather you’ve said.
I also know there’s a couple other plugins that are super close to what you’re saying, but I can’t think of their names at the moment. I feel like izotope has something like that. Also, the FabFilter dynamics plugins may not feature the drawing spline ability, but they do have great visual representations.
@@michaelgraflmusic Thanks for mentioning the MComp, Michael. I would describe it as offering a fully custom spline interface knee control. Very, very cool indeed, and exactly what I want for a combined knee/threshold interface. But I wish I could do that same process for both attack and release controls as well. Basically if you could fuse MComp with VolumeShaper... that would be just about the perfect interface! Now let me multiband it as much as a like, give it the fabfilter gui treatment, and then it can do literally everything in a mix except true saturation and verb/delay.
39:59 - information worth a million dollars
1:11:10 who? 😅
Why would you bother Trademarking "Gas"?
Having a gas is trademarked
34:24 was that a fart? 🤔
Can you please ask Andrew Scheps if he has tinnitus?
Is he still making a sausage out of everything
Trying to justify John frusciante’s disrespect 😢
Treating the mix buss or sub mix busses in the act of mixing is a fools errand, it’s not up for debate, it’s cart before the horse common sense shit, I will throw an eq, compressor or ? on the mix busses AFTER I’m at the finish line of the actual mixing process as a next step, but anything before hand is just dumb and I know a lot of people do it because there is a shit ton of aimlessly bad mixes out there, ask if Al Schmidt mixed into a 2 buss, he certainly did NOT, he’d use it at the end
Speaking in absolutes in a creative landscape is “a fools errand”. There are plenty of Grammy winning mixers who work on the mix bus, different strokes for different folks. All that matters is if it sounds good in the end. Sit down dude you sound like a whiny boomer.
your lack of experience is speaking quite loud
The ssl bus comp is famously known to be mixed into, because artists wanted the mix to sound like the radio in the studio sessions. Look up the ssl e-series console and the history of it. Also read a book called ‘behind the glass’ loads of mix engineers mix into the mix bus, it’s a fact.
It’s also called ‘top down’ mixing and the reason mix engineers utilise this philosophy is because you can create a vibe easier and the mix can sound more inspiring sooner.
@@Cvydx and you sound bad guaranteed, fundamentals of engineering are NOT an art form, it’s science. Here’s some science for you that I’m positive you don’t know, compression in series is a multiplication, not an addition, that is a fact that is not subject to artistic whim, mixing into a 2 buss compressor is what all rubbish faux engineers do, not the real guys, and the vast majority of real guys are pretty much boomers, clown