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hello guys welcome to September nail the
mix with mr. nollie get good can I call hello guys welcome to September nail the
you now they get good sure hello hello mix with mr. nollie get good can I call
guys thanks for being here you now they get good sure hello hello
I hope you guys had a great time mixing guys thanks for being here
prayer position just to make sure that I hope you guys had a great time mixing
everything is operational why don't you prayer position just to make sure that
guys all type 1 if you can hear me give everything is operational why don't you
me lots of ones I know you can hear me guys all type 1 if you can hear me give
because you're all say whoa and ye and me lots of ones I know you can hear me
he's so beautiful I think they're because you're all say whoa and ye and
talking they're talking about you though he's so beautiful I think they're
not about yeah clearly clearly all right talking they're talking about you though
we just got about two thousand ones cool not about yeah clearly clearly all right
man the ones are just trickling really we just got about two thousand ones cool
fast so cool so just so you guys know man the ones are just trickling really
we're gonna be answering your questions fast so cool so just so you guys know
all throughout the stream so if you have we're gonna be answering your questions
a question the best way for you to ask all throughout the stream so if you have
it is to put a cue in between two a question the best way for you to ask
brackets I'm going to type that into the it is to put a cue in between two
into the chat box right now just so you brackets I'm going to type that into the
see and then your question afterwards into the chat box right now just so you
that is going to make it very easy for see and then your question afterwards
Amrish to give me the questions that is going to make it very easy for
otherwise we're gonna get lost and I Amrish to give me the questions
won't get to your question we want to otherwise we're gonna get lost and I
answer every single one of your won't get to your question we want to
questions yeah and like ljust said I answer every single one of your
want to be clear that I'm down to answer questions yeah and like ljust said I
questions while I'm doing stuff and more want to be clear that I'm down to answer
interactive this is really the best questions while I'm doing stuff and more
route is for everyone so please don't be interactive this is really the best
shy yeah ask away route is for everyone so please don't be
cool so with that I want to say that shy yeah ask away
we're really really impressed by the cool so with that I want to say that
number of you that had the balls to we're really really impressed by the
enter into the mix competition I know number of you that had the balls to
that it's not an easy thing to get enter into the mix competition I know
judged by your peers and to have to that it's not an easy thing to get
stick to a deadline and to possibly not judged by your peers and to have to
win but I want to remind you guys that stick to a deadline and to possibly not
really these win but I want to remind you guys that
prizes and our mixed competition should really these
be looked at as a bonus really what prizes and our mixed competition should
you're really getting out of this is the be looked at as a bonus really what
chance to work with some incredible you're really getting out of this is the
sounding stems that were recorded you chance to work with some incredible
know at the top top levels and working sounding stems that were recorded you
on music that you love and then getting know at the top top levels and working
the opportunity to learn from someone on music that you love and then getting
like nalli that's there that's the real the opportunity to learn from someone
benefit out of all this the makes like nalli that's there that's the real
competition is awesome but that's just a benefit out of all this the makes
that's that's just bonus getting good at competition is awesome but that's just a
mixing takes years it's not gonna happen that's that's just bonus getting good at
in one month so for especially for those mixing takes years it's not gonna happen
of you guys who competed for the first in one month so for especially for those
time maybe you didn't make it to the top of you guys who competed for the first
20 or didn't win don't be discouraged time maybe you didn't make it to the top
shit takes time I mean not long you've 20 or didn't win don't be discouraged
been mixing I guess it's been about shit takes time I mean not long you've
let's being about eight years really been mixing I guess it's been about
since I first started dabbling more let's being about eight years really
seriously probably about six years of since I first started dabbling more
like serious professional development seriously probably about six years of
and a lot of being in over my head like serious professional development
having to figure stuff out really and a lot of being in over my head
quickly so so I can definitely concur having to figure stuff out really
that like challenging yourself and quickly so so I can definitely concur
putting yourself in awkward positions that like challenging yourself and
really does wonders for what you can do putting yourself in awkward positions
if you've got the drive to to push really does wonders for what you can do
through those boundaries it's gonna make if you've got the drive to to push
you it's gonna make you accelerate like through those boundaries it's gonna make
you wouldn't believe you it's gonna make you accelerate like
at which point did you start to get you wouldn't believe
serious with your mixing I mean I guess at which point did you start to get
I think what really happened is after I serious with your mixing I mean I guess
okay I'm sorry I think what really happened is after I
when I when I did the first EP with my okay I'm sorry
old band read cease fire was kind of the when I when I did the first EP with my
first thing which I really put my whole old band read cease fire was kind of the
like I'm really kind of tried to gin up first thing which I really put my whole
on as much knowledge as I could and did like I'm really kind of tried to gin up
that and then once like straight off the on as much knowledge as I could and did
back of that basically I came over to that and then once like straight off the
work on periphery two and I was just back of that basically I came over to
kind of you know I helped a lot but I work on periphery two and I was just
didn't mix that record or anything but kind of you know I helped a lot but I
that was like pretty eye-opening to me I didn't mix that record or anything but
was like okay I think I know what it that was like pretty eye-opening to me I
takes and actually I've developed a was like okay I think I know what it
little really useful skills but I need takes and actually I've developed a
to up my game a lot and especially in little really useful skills but I need
terms of like getting to know about to up my game a lot and especially in
working with real drums and all that terms of like getting to know about
stuff because everything before that was working with real drums and all that
just in the box so stuff because everything before that was
I guess yeah kind of post p2 I had like just in the box so
a very quick period of improvement where I guess yeah kind of post p2 I had like
I started working with other clients a very quick period of improvement where
because they thought incorrectly that I I started working with other clients
did like loads on that record which I because they thought incorrectly that I
had really helped with the engineering did like loads on that record which I
and the kind of production side of had really helped with the engineering
things but I didn't mix it it's so and the kind of production side of
really kind of coming out of that was things but I didn't mix it it's so
when I really had to yeah get my game on really kind of coming out of that was
so if you go back to your older mixes do when I really had to yeah get my game on
you cringe like how far back how far so if you go back to your older mixes do
back would you say as cringe-worthy um you cringe like how far back how far
I'd say more than like two years to be back would you say as cringe-worthy um
honest to be brutally honest like the I'd say more than like two years to be
last for a freckle of juggernaut the one honest to be brutally honest like the
of the Philip III kind of makes me last for a freckle of juggernaut the one
cringe that was like the end of cringe of the Philip III kind of makes me
for me a lot of people really like how cringe that was like the end of cringe
the album sounds which is great but for me a lot of people really like how
there's a few basic decisions that I the album sounds which is great but
really wish I'd made differently that there's a few basic decisions that I
would make me not cringe I'm I don't I'm really wish I'd made differently that
actually proud of like the engineering would make me not cringe I'm I don't I'm
for the most part especially the guitars actually proud of like the engineering
in the bass but the mix kind of makes me for the most part especially the guitars
cringe a little bit so I think that in the bass but the mix kind of makes me
actually made me feel so bad like that cringe a little bit so I think that
feeling of self defeat when it actually actually made me feel so bad like that
came out and I've kind of started to feeling of self defeat when it actually
hear all sorts of issues with it that I came out and I've kind of started to
wasn't stoked about that made me despair hear all sorts of issues with it that I
so much that that really made me go wasn't stoked about that made me despair
crazy with it and kind of develop all of so much that that really made me go
the techniques for recording and mixing crazy with it and kind of develop all of
especially drums which are the ones the techniques for recording and mixing
which I'm going to be showing you today especially drums which are the ones
all right so let's uh let's talk about which I'm going to be showing you today
this session mm-hmm some more or let's all right so let's uh let's talk about
get started talking about this session this session mm-hmm some more or let's
yeah I see that you've got it all in get started talking about this session
logic already and I'm going to show yeah I see that you've got it all in
everybody the screen but is this kind of logic already and I'm going to show
your general starting point for a mix everybody the screen but is this kind of
yeah so this is exactly my starting your general starting point for a mix
point right here I haven't done very yeah so this is exactly my starting
much like you guys have all had the same point right here I haven't done very
files that I'm working with here much like you guys have all had the same
the only things I've added to this files that I'm working with here
session are I printed a kick sample and the only things I've added to this
I also printed a snare room like ambient session are I printed a kick sample and
sample I printed those down to audio and I also printed a snare room like ambient
imported them into the session so I'm sample I printed those down to audio and
not dealing with live triggering we can imported them into the session so I'm
get to details about those and where I not dealing with live triggering we can
got them from get to details about those and where I
once we actually start mixing and then got them from
you can see I've like group together for once we actually start mixing and then
example here's my kick bus it's like a you can see I've like group together for
logic has this cool folder system where example here's my kick bus it's like a
it's it actually acts as a bus as well logic has this cool folder system where
so all of these four kicked channels are it's it actually acts as a bus as well
being routed through this kick bus here so all of these four kicked channels are
and I can minimize it if I want to but being routed through this kick bus here
so the same thing for snare toms I'm and I can minimize it if I want to but
kind of calling overheads all of the so the same thing for snare toms I'm
various like sembly mics then the room kind of calling overheads all of the
then I've grouped the bass di and AM various like sembly mics then the room
I've got my rhythm guitars and the then I've grouped the bass di and AM
little overdubs pinch harmonic I group I've got my rhythm guitars and the
together I've got these melody guitars little overdubs pinch harmonic I group
groups the drones you guys all know together I've got these melody guitars
these files but basically you can see groups the drones you guys all know
I've grouped them and color-coded them I these files but basically you can see
like just just so I can quickly see I've grouped them and color-coded them I
what's going on in the session and some like just just so I can quickly see
of these more sparse things or paths what's going on in the session and some
which only enter for a brief moment like of these more sparse things or paths
the the overdub you can see how can I which only enter for a brief moment like
trim the audio files just so I can see a the the overdub you can see how can I
little bit more easily when I'm zoomed trim the audio files just so I can see a
out when things come in and out because little bit more easily when I'm zoomed
that can be a bit weird when you're just out when things come in and out because
dealing with a huge block of audio there that can be a bit weird when you're just
I just gotta say they're blown away by dealing with a huge block of audio there
the fact that you're doing track bad I just gotta say they're blown away by
mixing oh yeah so so maybe we should the fact that you're doing track bad
just talk for a moment that like this mixing oh yeah so so maybe we should
this setup here this my laptop with the just talk for a moment that like this
eye lock and a pair of headphones has this setup here this my laptop with the
been kind of probably what I've mixed eye lock and a pair of headphones has
most of the things which I'm known for been kind of probably what I've mixed
on actually I normally use Audio most of the things which I'm known for
Technica headphones but I got these ones on actually I normally use Audio
quite recently I like them and that's Technica headphones but I got these ones
not through preference it's just that quite recently I like them and that's
I've been travelling for a lot of my not through preference it's just that
life in the last few years and with the I've been travelling for a lot of my
way the deadlines are and the world of life in the last few years and with the
audio is now I can do my work from here way the deadlines are and the world of
so yeah I literally I'm pretty good at audio is now I can do my work from here
doing things now with the trackpad so yeah I literally I'm pretty good at
sometimes I'll have an external mouse doing things now with the trackpad
but to be honest unless the laptop is sometimes I'll have an external mouse
really far away from me and I have an but to be honest unless the laptop is
external keyboard my hand just defaults really far away from me and I have an
to coming back onto the trackpad and I external keyboard my hand just defaults
don't even use it in in hotel rooms I to coming back onto the trackpad and I
also do the trackpad thing yeah it's not don't even use it in in hotel rooms I
bad it's like really not bad at all yeah also do the trackpad thing yeah it's not
yeah I don't know I can I can do with it bad it's like really not bad at all yeah
the only thing that can be annoying is yeah I don't know I can I can do with it
like edging very tiny values where you the only thing that can be annoying is
kind of have to like roll your finger to like edging very tiny values where you
try it yeah kind of have to like roll your finger to
anyway will this guy will right here so try it yeah
that he'd rip out his hair he had to use anyway will this guy will right here so
a trackpad that he'd rip out his hair he had to use
well I'm bold so you can figure out what a trackpad
happened I think that's that's a that's well I'm bold so you can figure out what
how it happened yeah that's the true happened I think that's that's a that's
story and one other thing that they're how it happened yeah that's the true
trying to figure out is what kind of story and one other thing that they're
headphones are you wearing these are trying to figure out is what kind of
sennheiser HD 650s that's what i thought headphones are you wearing these are
they were there yeah they're open backs sennheiser HD 650s that's what i thought
headphones which I'm well basically when they were there yeah they're open backs
I used to use the audio Technica's I was headphones which I'm well basically when
trying to isolate myself because I I used to use the audio Technica's I was
wasn't necessarily I'm good listening trying to isolate myself because I
conditions I'd be on a bus or a plane or wasn't necessarily I'm good listening
not trying to disturb people around me conditions I'd be on a bus or a plane or
baby yeah these days I'm kind of not trying to disturb people around me
settling down and trying to find some baby yeah these days I'm kind of
headphones I really enjoy the sound of I settling down and trying to find some
like the the audio Technica's they're headphones I really enjoy the sound of I
fine but I do prefer the sounds of these like the the audio Technica's they're
ones and in a session like this Irene fine but I do prefer the sounds of these
don't mind about things bleeding but ones and in a session like this Irene
actually just interestingly earlier I don't mind about things bleeding but
did have the monitors on just a little actually just interestingly earlier I
bit like a tiny bit in the background did have the monitors on just a little
and straightaway I could hear like loads bit like a tiny bit in the background
of phasing with what I was hearing in my and straightaway I could hear like loads
ears cuz I guess I don't even really of phasing with what I was hearing in my
realize how much sound can come into ears cuz I guess I don't even really
them so that's pretty cool and I can realize how much sound can come into
kind of hear you but you've got a little them so that's pretty cool and I can
microphone to talk directly to me as kind of hear you but you've got a little
well so yeah that helps and so yeah microphone to talk directly to me as
you've kind of seen my layout of the well so yeah that helps and so yeah
session here I done some panning just you've kind of seen my layout of the
very like briefly like you know I've got session here I done some panning just
my Tom's my four Tom's here and I've very like briefly like you know I've got
panned them as you might expect I always my Tom's my four Tom's here and I've
pan my drums drumming perspective I've panned them as you might expect I always
done the same good but kind of close mic pan my drums drumming perspective I've
the close mics on the cymbals here do done the same good but kind of close mic
you think everyone should do drummer the close mics on the cymbals here do
perspective yeah it's weird to me when you think everyone should do drummer
it's not it's really weird yeah it's perspective yeah it's weird to me when
kind of like thinking in opposite I get it's not it's really weird yeah it's
that it's supposed to be like you're kind of like thinking in opposite I get
looking master drummer and I understand that it's supposed to be like you're
that when you're engineering if I was looking master drummer and I understand
looking through that window at a drum that when you're engineering if I was
kit it's kind of makes sense to pan the looking through that window at a drum
pots to what you see but especially with kit it's kind of makes sense to pan the
modern drum tones are so upfront and pots to what you see but especially with
in-your-face I feel like I'm playing modern drum tones are so upfront and
them I'm like like that the snare drum in-your-face I feel like I'm playing
is right in front of me not that I'm them I'm like like that the snare drum
hearing a drummer playing towards me I is right in front of me not that I'm
don't know and so I just hearing a drummer playing towards me I
make sense to me and whatever let's take don't know and so I just
a real quick I just want to adjust one make sense to me and whatever let's take
thing let's take a quick break I just a real quick I just want to adjust one
want to fix one thing we'll be right thing let's take a quick break I just
back guys we're gonna fix Knollys mic want to fix one thing we'll be right
cool are you a fan of bands like 5 back guys we're gonna fix Knollys mic
seconds of summer Paramore New Found cool are you a fan of bands like 5
Glory your state champs well this month seconds of summer Paramore New Found
over at nail to mix calm we have the one Glory your state champs well this month
and only mr. Kyle black who's worked over at nail to mix calm we have the one
with all of those bands he's gonna come and only mr. Kyle black who's worked
on nail the mix here at the end of the with all of those bands he's gonna come
month and he's going to mix the song on nail the mix here at the end of the
secrets my stage chance you can get all month and he's going to mix the song
of the stems for secrets and enter the secrets my stage chance you can get all
mix competition for a chance to win over of the stems for secrets and enter the
$1,000 in Phil Cal audio gear and you mix competition for a chance to win over
can watch Kyle mix the song from scratch $1,000 in Phil Cal audio gear and you
all the way to the end the winner of our can watch Kyle mix the song from scratch
mixing competition this month is gonna all the way to the end the winner of our
win a pair of faux kal-el ear headphones mixing competition this month is gonna
which are retailed at $1,000 to our win a pair of faux kal-el ear headphones
fantastic pair of headphones which are retailed at $1,000 to our
I love focal audio stuff as you can see fantastic pair of headphones
behind me I rock the twins love them I love focal audio stuff as you can see
great speakers and the second-place behind me I rock the twins love them
winner is going to get a pair of bow great speakers and the second-place
hell sphere earbuds which are worth winner is going to get a pair of bow
about 150 bucks and that is a pretty hell sphere earbuds which are worth
awesome prize as well so if you want to about 150 bucks and that is a pretty
watch Kyle Black come in mix a state awesome prize as well so if you want to
champ song show you guys how to do it watch Kyle Black come in mix a state
from scratch as well as get those stems champ song show you guys how to do it
on your computer and learn how to be a from scratch as well as get those stems
master of pop pong click the link below on your computer and learn how to be a
sign up for nail mix today get started master of pop pong click the link below
[Music] sign up for nail mix today get started
cool yep all right and we are back guys [Music]
all right sorry for that little bit of cool yep all right and we are back guys
noise you're experiencing there so the all right sorry for that little bit of
other thing I was going to address is noise you're experiencing there so the
you can see over here on I've got these other thing I was going to address is
two different outputs here those are you can see over here on I've got these
identical it's just so that I can hear two different outputs here those are
something and you guys can hear identical it's just so that I can hear
something so my sessions wouldn't something and you guys can hear
normally have to output like stereo outs something so my sessions wouldn't
and this one is pulled down in volume normally have to output like stereo outs
just so I can hear Hale properly when and this one is pulled down in volume
he's talking to me again not normal for just so I can hear Hale properly when
my sessions there so beyond the way that he's talking to me again not normal for
I've organized everything here you can my sessions there so beyond the way that
see I've got like some some kind of I've organized everything here you can
output buses up here this is something see I've got like some some kind of
I've been doing more recently it's kind output buses up here this is something
of having a grouped system for my I've been doing more recently it's kind
outputs and instead of kind of applying of having a grouped system for my
my buss compression to the whole mix I outputs and instead of kind of applying
actually only apply it to the my buss compression to the whole mix I
instruments and not the vocals so actually only apply it to the
basically what I've got is my whole mix instruments and not the vocals so
is going to this instrumental output basically what I've got is my whole mix
here apart from the vocals which are is going to this instrumental output
going to this vocal out mix which that's here apart from the vocals which are
just a blank fader and then those two going to this vocal out mix which that's
are summing out to my actual master just a blank fader and then those two
track and unless you want to go over are summing out to my actual master
organization or there's any questions at track and unless you want to go over
this point we can start to dive into organization or there's any questions at
mixing it maybe some fundamental this point we can start to dive into
organization because one thing that we mixing it maybe some fundamental
always tell people and which I strongly organization because one thing that we
strongly believe is mix prep maybe it's always tell people and which I strongly
not all of it but it's a huge part of strongly believe is mix prep maybe it's
your mix like if you don't get that part not all of it but it's a huge part of
right you're gonna be setting obstacles your mix like if you don't get that part
for yourself throughout the whole mix I right you're gonna be setting obstacles
feel like the guys I know who are great for yourself throughout the whole mix I
mixers part of why they're great is feel like the guys I know who are great
because their work flows great so maybe mixers part of why they're great is
we can spend a little bit of time because their work flows great so maybe
talking about it obviously you could we can spend a little bit of time
talk for six hours about it yeah let's talking about it obviously you could
just do a little bit yeah so I think for talk for six hours about it yeah let's
me really good mix prep starts during just do a little bit yeah so I think for
tracking which I obviously agree with me really good mix prep starts during
you good yeah I obviously had I checked tracking which I obviously agree with
this project so I kind of knew what I you good yeah I obviously had I checked
was getting into when I went to mixing this project so I kind of knew what I
it but you know everything from the was getting into when I went to mixing
labeling system hopefully you guys it but you know everything from the
enjoyed the fact that all of the files labeling system hopefully you guys
when you received them were number enjoyed the fact that all of the files
kind of 0 1 through 246 or whatever it when you received them were number
was you know what I'm wondering guys in kind of 0 1 through 246 or whatever it
the chat let us know if you even noticed was you know what I'm wondering guys in
that and if that helped you I'm curious the chat let us know if you even noticed
and we're in reference to his numbering that and if that helped you I'm curious
system let us know yeah let me know and we're in reference to his numbering
because I think it rules so I rules system let us know yeah let me know
basically just being able to drag and because I think it rules so I rules
drop everything into a session and it basically just being able to drag and
being in order now that order might not drop everything into a session and it
be specifically the audience that you being in order now that order might not
like but I do think it's pretty be specifically the audience that you
intuitive and certainly for drums like but I do think it's pretty
there's so many different microphones intuitive and certainly for drums
that there could be in terms of weird there's so many different microphones
room mics and spot mics if I get a that there could be in terms of weird
folder from a client which just has all room mics and spot mics if I get a
of these tracks mixed you know vocals folder from a client which just has all
guitars bass drums you know I can often of these tracks mixed you know vocals
like you don't realize that there's some guitars bass drums you know I can often
drum track buried in the backing vocal like you don't realize that there's some
like like near the backing vocals and drum track buried in the backing vocal
yeah you don't necessarily know how many like like near the backing vocals and
tracks of each instrument you have so yeah you don't necessarily know how many
it's just for me it can be a real tracks of each instrument you have so
nightmare and it really puts me off even it's just for me it can be a real
beginning mixing if the first thing I nightmare and it really puts me off even
have to do is sift through this folder beginning mixing if the first thing I
to find out where everything is and when have to do is sift through this folder
it's a lot of tracks it's just yeah no to find out where everything is and when
fun at all so so my system of doing that it's a lot of tracks it's just yeah no
I didn't invent it of course but I saw I fun at all so so my system of doing that
saw Ramesh do it if you guys know Ramesh I didn't invent it of course but I saw I
doesn't go to he's really good good user saw Ramesh do it if you guys know Ramesh
out of the UK I saw him doing that on a doesn't go to he's really good good user
session and it made life amazing oh just out of the UK I saw him doing that on a
so you know these guys all pretty much session and it made life amazing oh just
thought that the numbering system was so you know these guys all pretty much
incredible and the guys who didn't thought that the numbering system was
notice it said they didn't notice it incredible and the guys who didn't
because it was so easy to organize the notice it said they didn't notice it
session cool that's good there you go because it was so easy to organize the
the only thing I'll say is if you're session cool that's good there you go
doing it be sure to write 0 1 for the the only thing I'll say is if you're
numbers through to 9 because otherwise doing it be sure to write 0 1 for the
the computer is going to get confused numbers through to 9 because otherwise
and put like track 2 with the 20s and the computer is going to get confused
then try 3 with the 30 so like the whole and put like track 2 with the 20s and
thing will get kind of convoluted so then try 3 with the 30 so like the whole
remember that one like always add a zero thing will get kind of convoluted so
in front of those digits but yeah please remember that one like always add a zero
do that and enjoy it in front of those digits but yeah please
so yeah so apart from that you know do that and enjoy it
things like just ensuring that all of so yeah so apart from that you know
the audio starts in the same place things like just ensuring that all of
providing people with the tempo map when the audio starts in the same place
you send something off to mix is pretty providing people with the tempo map when
important I guess this is kind of you send something off to mix is pretty
turning into more of a talked about like important I guess this is kind of
what's it's like when I receive things turning into more of a talked about like
from clients what's it's like when I receive things
but yeah the number of clients that from clients
don't send me a tempo map is pretty huge but yeah the number of clients that
or they don't even tell me what the don't send me a tempo map is pretty huge
tempo is something which I didn't do or they don't even tell me what the
with this because it's a static tempo tempo is something which I didn't do
but that I do really like to do when with this because it's a static tempo
this changes in a session what about if but that I do really like to do when
it's a static tempo don't you just want this changes in a session what about if
it anyways for delays and time-based it's a static tempo don't you just want
effects yeah yeah but is it like they it anyways for delays and time-based
can just tell me yeah just tell me yes effects yeah yeah but is it like they
but if there's tempo changes what I'll can just tell me yeah just tell me yes
do is create a MIDI region that is but if there's tempo changes what I'll
basically like a click like I'll just do is create a MIDI region that is
put like a blob of information every basically like a click like I'll just
quarter note and loop it for the entire put like a blob of information every
session and consolidate that region down quarter note and loop it for the entire
because MIDI actually encodes the tempo session and consolidate that region down
information into it when you then export because MIDI actually encodes the tempo
that region so if somebody sends me a information into it when you then export
piece of MIDI I don't know if I have that region so if somebody sends me a
something on this computer that could piece of MIDI I don't know if I have
show you and it would be kind of yeah something on this computer that could
counterproductive at this point but if show you and it would be kind of yeah
you just import this MIDI file into your counterproductive at this point but if
session most doors are going to ask you you just import this MIDI file into your
if you want to import the the tempo data session most doors are going to ask you
from that as well and that's just a if you want to import the the tempo data
really quick way of cross-platform from that as well and that's just a
making sure that you get the the right really quick way of cross-platform
tempos there because even like sometimes making sure that you get the the right
just the tempos in different doors can tempos there because even like sometimes
be a bit weird like Pro Tools yeah they just the tempos in different doors can
are a little bit weird right like Pro be a bit weird like Pro Tools yeah they
Tools if I have like 140 in Pro Tools are a little bit weird right like Pro
and somebody sends me that and I import Tools if I have like 140 in Pro Tools
into logic logic sometimes registers and somebody sends me that and I import
like 140 point zero zero nine or into logic logic sometimes registers
something you know the one that's funny like 140 point zero zero nine or
is if you have a band who did their something you know the one that's funny
writing and guitar pro or something is if you have a band who did their
bright guitar Pro tempos are like 136 writing and guitar pro or something
point eight nine to write weird stuff bright guitar Pro tempos are like 136
like that yes so do the time coding I point eight nine to write weird stuff
guess of the MIDI so but the MIDI like that yes so do the time coding I
regions encode that properly and logic guess of the MIDI so but the MIDI
will just read it it will look really regions encode that properly and logic
weird on the tempo list but that way will just read it it will look really
everything locks in perfectly weird on the tempo list but that way
protip pro tip for those of you guys everything locks in perfectly
have sometimes when you're doing this protip pro tip for those of you guys
certain DAWs will cooperate more than have sometimes when you're doing this
other does to get around this if you put certain DAWs will cooperate more than
a MIDI note at the zero point that other does to get around this if you put
should solve it yeah like that was that a MIDI note at the zero point that
was something which I actually meant to should solve it yeah like that was that
say when I was talking about creating was something which I actually meant to
that region in the first place make sure say when I was talking about creating
it begins that region in the first place make sure
the zero point in the door because when it begins
you export the region and then somebody the zero point in the door because when
imports it the imported regions only you export the region and then somebody
going to start at the first piece of imports it the imported regions only
information it's just dead space and the going to start at the first piece of
MIDI file before that and like if that information it's just dead space and the
doesn't actually correspond with the MIDI file before that and like if that
zero point in the session then all of doesn't actually correspond with the
your tempo change data is not going to zero point in the session then all of
line up with the actual track so that's your tempo change data is not going to
why I do like a quarter note and I start line up with the actual track so that's
it from the very beginning it's just why I do like a quarter note and I start
like I don't I don't listen to it or it from the very beginning it's just
anything but it's just like a sixteenth like I don't I don't listen to it or
note long blip every quarter note for anything but it's just like a sixteenth
the whole session so that's a really note long blip every quarter note for
good one there and and I've I now have the whole session so that's a really
put into my request from bands when they good one there and and I've I now have
send me files that they send me tempo put into my request from bands when they
data that way whenever this tempo send me files that they send me tempo
changes so that's good yep in terms of data that way whenever this tempo
other things for preparation you could changes so that's good yep in terms of
go through and do some clip gaining on other things for preparation you could
stuff that's something which actually go through and do some clip gaining on
could be worthwhile doing in this stuff that's something which actually
session for example like the vocals sit could be worthwhile doing in this
pretty hot so maybe I'm just gonna go session for example like the vocals sit
and do that right now so like I might pretty hot so maybe I'm just gonna go
just trim these down by like five DB or and do that right now so like I might
so like I just did it's like I'm not just trim these down by like five DB or
gonna play it yeah but I happened to so like I just did it's like I'm not
notice from hearing what this raw data gonna play it yeah but I happened to
sounded like in my door that the vocals notice from hearing what this raw data
are really loud on top of everything sounded like in my door that the vocals
else are really loud on top of everything
well perhaps even a better way of doing else
that would be on my vocal bus here to well perhaps even a better way of doing
just insert like a game plug-in say like that would be on my vocal bus here to
minus 5 DB or something just so things just insert like a game plug-in say like
sit pretty close to where I want them I minus 5 DB or something just so things
think probably the same is going to sit pretty close to where I want them I
happen with the guitars and the bass too think probably the same is going to
but I don't know why these faders aren't happen with the guitars and the bass too
at zero I'm just gonna level everything but I don't know why these faders aren't
so I'm really starting from nothing with at zero I'm just gonna level everything
you guys what else is there oh yeah so so I'm really starting from nothing with
something else which I did is I stripped you guys what else is there oh yeah so
all the silence on the toms and I used something else which I did is I stripped
those samples which I also gave to you all the silence on the toms and I used
guys of the the individual hits on the those samples which I also gave to you
toms just to to replace any hits that guys of the the individual hits on the
had we had bleed there's something which toms just to to replace any hits that
there's a fill which Matt does like four had we had bleed there's something which
times during the session where he hits there's a fill which Matt does like four
like the react I was probably this one times during the session where he hits
here yeah that fill right there don't do like the react I was probably this one
dead he hits or a splash directly after here yeah that fill right there don't do
that rack one hit and it comes through dead he hits or a splash directly after
super loud and that mic so pretty much that rack one hit and it comes through
every time he did that fill I replace super loud and that mic so pretty much
just the second hit of the two with a every time he did that fill I replace
sample so that we didn't get that in just the second hit of the two with a
the Tom closed mic there so I did that sample so that we didn't get that in
then I bounced them back down as audio the Tom closed mic there so I did that
so I had these really nice neat tracks then I bounced them back down as audio
here which don't have any bleed on them so I had these really nice neat tracks
that's really nice I really hate the here which don't have any bleed on them
process of stripping toms it's fine to that's really nice I really hate the
do it for one song when you're doing a process of stripping toms it's fine to
whole album and every song before you do it for one song when you're doing a
can even start mixing you have to go whole album and every song before you
through and do that so you need an can even start mixing you have to go
assistant yeah it's totally why I need through and do that so you need an
an assistant but I also need some like assistant yeah it's totally why I need
I've got people that helped me out with an assistant but I also need some like
stuff in fact a guy called Sebastian who I've got people that helped me out with
might be watching this I know he's part stuff in fact a guy called Sebastian who
of the nail the mix has helped me out a might be watching this I know he's part
lot Sebastian we love you of the nail the mix has helped me out a
Sebastian send and he's he's a good dude lot Sebastian we love you
oh yeah I've seen his name in there yeah Sebastian send and he's he's a good dude
he he helped me out with with the oh yeah I've seen his name in there yeah
project which I recently mixed by he he helped me out with with the
creating like the session start points project which I recently mixed by
for me basically I mixed one song and creating like the session start points
then he created a template from there for me basically I mixed one song and
and chopped up all the Tom's in fact I then he created a template from there
think he extracted MIDI from the Tom's and chopped up all the Tom's in fact I
so that I could trigger Tom samples think he extracted MIDI from the Tom's
because I the wrong tracks weren't very so that I could trigger Tom samples
good you know stuff like that really because I the wrong tracks weren't very
saves so much time and makes me so much good you know stuff like that really
happier about mixing because so much saves so much time and makes me so much
creative energy is wasted at that happier about mixing because so much
beginning when you wake up ready to do creative energy is wasted at that
some mixing and then the first thing you beginning when you wake up ready to do
have to do is go whole load of problems some mixing and then the first thing you
yeah that really sucks so yeah something have to do is go whole load of problems
which I'm doing more and I'm sure yeah that really sucks so yeah something
there's nothing special about how I which I'm doing more and I'm sure
strip toms but I kind of feel like I there's nothing special about how I
want to show somebody kind of up close strip toms but I kind of feel like I
and personal how I do it so they can do want to show somebody kind of up close
it for me in the future of it I prefer and personal how I do it so they can do
to do it that way then use a gate it for me in the future of it I prefer
because it's completely consistent gates to do it that way then use a gate
can sometimes miss trigger and also like because it's completely consistent gates
the amount of decay on a on a hit might can sometimes miss trigger and also like
vary like you know so there might be a the amount of decay on a on a hit might
ring out like at the very end of the vary like you know so there might be a
song I wanted my rack Tom's to ring out ring out like at the very end of the
sorry my floor tom hits there you know I song I wanted my rack Tom's to ring out
didn't want them just to disappear one sorry my floor tom hits there you know I
of them to disappear sorry to sustain didn't want them just to disappear one
properly and fade in a way that wasn't of them to disappear sorry to sustain
going to be super obvious like their properly and fade in a way that wasn't
clothes might got cut off going to be super obvious like their
so yeah that's something else which I clothes might got cut off
did in this session what else have I so yeah that's something else which I
done or would I generally do at the did in this session what else have I
beginning of a session I think kept done or would I generally do at the
gaining and kind of gaining stuff around beginning of a session I think kept
this is a good point good point to start gaining and kind of gaining stuff around
so for me at that point this is a good point good point to start
apart from color coding everything which so for me at that point
I still don't really have a system for I apart from color coding everything which
just do pretty colors that don't look I still don't really have a system for I
- horrible side-by-side you know there's just do pretty colors that don't look
something about the colors in logic - horrible side-by-side you know there's
anyways that just look really nice it's something about the colors in logic
funny I think like a spa I think I see anyways that just look really nice it's
them so much that to me they're kind of funny I think like a spa I think I see
annoying and when I see when I see Pro them so much that to me they're kind of
Tools and how it also colors stuff I'm annoying and when I see when I see Pro
like yeah that's kind of cool Tools and how it also colors stuff I'm
Wow I just look I look at I think of like yeah that's kind of cool
logic a lot it looks to me like Wow I just look I look at I think of
fabfilter plugins which and they look logic a lot it looks to me like
incredible yeah there's something about fabfilter plugins which and they look
the way it looks which is just like incredible yeah there's something about
soothing and uh yeah but maybe you're the way it looks which is just like
right maybe it's no I mean it's probably soothing and uh yeah but maybe you're
just what you're used to looking you're right maybe it's no I mean it's probably
looking at I certainly don't mind how just what you're used to looking you're
logic look looks and I think the logic looking at I certainly don't mind how
axe is awesome I really like this the logic look looks and I think the logic
whole kind of folder set up which I axe is awesome I really like this the
briefly talked about before and the fact whole kind of folder set up which I
that on the the mix window I can see briefly talked about before and the fact
like the actual color codes that go with that on the the mix window I can see
those as well even where there aren't like the actual color codes that go with
any regions that's really cool so yeah those as well even where there aren't
is there anything else you'd like me to any regions that's really cool so yeah
touch upon for actual mix prep well I is there anything else you'd like me to
just want to say real quick about the touch upon for actual mix prep well I
color coding you have that it's just want to say real quick about the
important to me I know it's important to color coding you have that it's
Joey it's important to you but I have important to me I know it's important to
worked under certain mixers who prefer Joey it's important to you but I have
no color coding whatsoever so just you worked under certain mixers who prefer
guys watching this of course I kind of no color coding whatsoever so just you
just want to emphasize that you guys watching this of course I kind of
shouldn't be just copying this stuff just want to emphasize that you
like this is information and concepts shouldn't be just copying this stuff
and problem solving that you should like this is information and concepts
apply to your own life the best the best and problem solving that you should
way possible for you if color coding apply to your own life the best the best
doesn't work for you that's okay like way possible for you if color coding
I've worked with two really great dudes doesn't work for you that's okay like
who don't use any at all and I also know I've worked with two really great dudes
plenty of really great dudes who need it who don't use any at all and I also know
color coded I personally need a color plenty of really great dudes who need it
coded or I lose my place easily so yeah color coded I personally need a color
with that I think are making noise cool coded or I lose my place easily so yeah
alright well I'm not gonna bother just with that I think are making noise cool
to play that the track you've all been alright well I'm not gonna bother just
working on it for a month and you know to play that the track you've all been
how that sounds but really the place working on it for a month and you know
which I need to start to be able to even how that sounds but really the place
explain my mixed style is to talk a which I need to start to be able to even
little bit about top-down mixing and explain my mixed style is to talk a
some of you who have seen me talk about little bit about top-down mixing and
my mixing before will be familiar with some of you who have seen me talk about
this already and again it's not a my mixing before will be familiar with
concept that I invented this already and again it's not a
but the idea is that before I go in and concept that I invented
start doing things on individual tracks but the idea is that before I go in and
in my mix actually start by applying start doing things on individual tracks
processing on the stereo bus that's in my mix actually start by applying
actually gonna bring things a little bit processing on the stereo bus that's
closer to what a final mix should sound actually gonna bring things a little bit
like in terms of EQ and also impart some closer to what a final mix should sound
compression to the mix which is going to like in terms of EQ and also impart some
help how things sit and additionally compression to the mix which is going to
some saturation like kind of analog help how things sit and additionally
modeling plugins and also limiting as some saturation like kind of analog
well so when I'm mixing I'm always modeling plugins and also limiting as
mixing into essentially a faux master well so when I'm mixing I'm always
chain and the reason for that is because mixing into essentially a faux master
drum transients in particular react to chain and the reason for that is because
the process of mastering like you tend drum transients in particular react to
to lose some of the transient on your the process of mastering like you tend
drums when things get made loud that's to lose some of the transient on your
just the way that has to be if you're drums when things get made loud that's
gonna make your waveform a big fat just the way that has to be if you're
sausage instead of something with loads gonna make your waveform a big fat
of spiky points along it a tasty sausage sausage instead of something with loads
tasty sausage but the point is you want of spiky points along it a tasty sausage
it to be a tasty sausage and not a tasty sausage but the point is you want
really bad frankfurter and so I don't it to be a tasty sausage and not a
really think I can keep that analogy really bad frankfurter and so I don't
going really think I can keep that analogy
so the I'm confused by sausages now is
I'm ruining my sausages for breakfast so the I'm confused by sausages now is
and it's just on my mind I'm ruining my sausages for breakfast
so they're gonna reuse the sausage and it's just on my mind
fattener plug-in I don't is that a real so they're gonna reuse the sausage
plugin that's a real plugin Wow it fattener plug-in I don't is that a real
sounds great well when I saw in the plugin that's a real plugin Wow it
chats that people were saying you need sounds great well when I saw in the
sausage fattener on that I thought they chats that people were saying you need
were being funny right like in some sausage fattener on that I thought they
chats a while back and it turns out it's were being funny right like in some
a real plugin all right cool and I'll chats a while back and it turns out it's
have to look into that as a graphic a real plugin all right cool and I'll
sausage on it low-end enhancement or have to look into that as a graphic
something oh well anyway so so the thing sausage on it low-end enhancement or
for me is like actually that loss of something oh well anyway so so the thing
transient impact that you get when you for me is like actually that loss of
make something loud is desirable to me transient impact that you get when you
that is the sound that we associate with make something loud is desirable to me
really pleasing sounding modern drums that is the sound that we associate with
because when you have a really really really pleasing sounding modern drums
huge amount of transient information on because when you have a really really
say a snare drum what that sounds like huge amount of transient information on
is something very spiky and pokey in say a snare drum what that sounds like
your ears it doesn't sound smooth it is something very spiky and pokey in
finally makes it very difficult to find your ears it doesn't sound smooth it
a level even just to listen back to the finally makes it very difficult to find
song at because if you make it loud a level even just to listen back to the
enough song at because if you make it loud
you can really get a vibe for the for enough
the for the guitars and everything else you can really get a vibe for the for
that's going on the mixer snare drum is the for the guitars and everything else
abrasive it's really like an ice pick in that's going on the mixer snare drum is
your ear so that actual stage of abrasive it's really like an ice pick in
limiting or clipping on the master buss your ear so that actual stage of
to me is a really positive part of limiting or clipping on the master buss
mixing and of mastering so I always mix to me is a really positive part of
with that in place because otherwise I mixing and of mastering so I always mix
would make completely different with that in place because otherwise I
decisions when processing for especially would make completely different
my drums and then at some point in the decisions when processing for especially
future when somebody does master my my drums and then at some point in the
track I'm gonna lose all of the future when somebody does master my
transient information which I'd already track I'm gonna lose all of the
eliminated a loss of and end up with a transient information which I'd already
mix which doesn't have any punch to it eliminated a loss of and end up with a
at all so basically when I do send mix which doesn't have any punch to it
something off to mastering all the only at all so basically when I do send
thing which I take off is the limiter something off to mastering all the only
though every every other part of my top thing which I take off is the limiter
down mixing chain remains on so without though every every other part of my top
further ado let's look at what I'm down mixing chain remains on so without
actually doing there so the like I further ado let's look at what I'm
mentioned very briefly earlier I am kind actually doing there so the like I
of splitting things off into two mentioned very briefly earlier I am kind
separate stereo outs before it hits the of splitting things off into two
master so the place we're gonna look for separate stereo outs before it hits the
the first pass at the top down mixing master so the place we're gonna look for
chain is on this bus here this the first pass at the top down mixing
instrumental bus that I have set a set chain is on this bus here this
up because I don't have anything going instrumental bus that I have set a set
on on the vocal output bus I'm only up because I don't have anything going
affecting everything else and this bus on on the vocal output bus I'm only
send you see here is only the output affecting everything else and this bus
that's sending to you guys so you can send you see here is only the output
hear it that that's the only reason for that's sending to you guys so you can
that for that bus being there normally hear it that that's the only reason for
there would be nothing there so the that for that bus being there normally
first thing which I have and I used to there would be nothing there so the
use a fabfilter EQ to achieve the EQ first thing which I have and I used to
that I wanted these days I'm using these use a fabfilter EQ to achieve the EQ
wonderful plugins made by slate digital that I wanted these days I'm using these
to approximate that and I found that wonderful plugins made by slate digital
these have alternately like a really to approximate that and I found that
aggressive sound from this Neve style these have alternately like a really
you hear over here and a very smooth aggressive sound from this Neve style
top-end sound from this custom series you hear over here and a very smooth
equalizer and let's just look at the top-end sound from this custom series
mousse which I'm doing so on the Navy equalizer and let's just look at the
hue I'm not doing anything on the top mousse which I'm doing so on the Navy
but I am boosting 2 & 1/2 DB at 5 in a hue I'm not doing anything on the top
bit okay the exact frequency doesn't but I am boosting 2 & 1/2 DB at 5 in a
matter too much Oh a bit sorry about 5 bit okay the exact frequency doesn't
min a bit yeah five in a bit five point matter too much Oh a bit sorry about 5
three one but yeah min a bit yeah five in a bit five point
now with this equalizer to three one but yeah
and a bit DB of boost sounds really now with this equalizer to
aggressive let's just maybe if I just and a bit DB of boost sounds really
solo I don't just solo the drums because aggressive let's just maybe if I just
like the mix isn't leveled so if I just solo I don't just solo the drums because
start playing audio it's gonna sound like the mix isn't leveled so if I just
really bad and that's gonna be start playing audio it's gonna sound
distracting for what I'm trying to show really bad and that's gonna be
you but I'll basically bypass in fact distracting for what I'm trying to show
you know what I'm gonna bypass you but I'll basically bypass in fact
everything apart from the limiter here you know what I'm gonna bypass
just so that the level is consistent so everything apart from the limiter here
this is what my mix would sound like just so that the level is consistent so
without either of the EQ in place but my this is what my mix would sound like
drums would sound like sorry next stage without either of the EQ in place but my
is gonna be to bring in my navy hue drums would sound like sorry next stage
which is doing this five in a bit K is gonna be to bring in my navy hue
boost and it's also boosting down about which is doing this five in a bit K
110 just under 2 dB boost and it's also boosting down about
so basically it's gonna bring some extra 110 just under 2 dB
presence and fatness to my mixer without so basically it's gonna bring some extra
[Music] presence and fatness to my mixer without
so this frequency that kind of an [Music]
unpleasant range there but it's bringing so this frequency that kind of an
some presence in can I talk at the same unpleasant range there but it's bringing
time as the the playback is that okay some presence in can I talk at the same
people can hear me alright yeah yeah time as the the playback is that okay
that's actually one of the beauties of people can hear me alright yeah yeah
the new cardioid mic that we have on you that's actually one of the beauties of
that that you can talk while playing the the new cardioid mic that we have on you
music that's awesome okay cool and yep that that you can talk while playing the
I'm also doing this low boost I'll show music that's awesome okay cool and yep
you what that's doing so somewhere I'm also doing this low boost I'll show
around there now to counteract the you what that's doing so somewhere
low-end boost that I'm doing I'm also around there now to counteract the
high passing pretty low down and about low-end boost that I'm doing I'm also
34 per s just so the extreme subs don't high passing pretty low down and about
get too out of control and I can push 34 per s just so the extreme subs don't
sub-elements in my mix a bit harder and get too out of control and I can push
they're not going to completely overload sub-elements in my mix a bit harder and
the master buss I'd say in general it's they're not going to completely overload
a good idea even if you don't adopt any the master buss I'd say in general it's
of the rest of my top down mixing a good idea even if you don't adopt any
approach to at least high-pass on the of the rest of my top down mixing
master buss at some point someone just approach to at least high-pass on the
said the fgn made it sound tighter was master buss at some point someone just
that the intention made a sound said the fgn made it sound tighter was
tighter yeah yeah I guess I wonder if that the intention made a sound
what you're hearing is really tightness tighter yeah yeah I guess I wonder if
or if it's enough what you're hearing is really tightness
really the presence bump but it could or if it's enough
also be the high-pass filter that's true really the presence bump but it could
so it does actually one of the reasons also be the high-pass filter that's true
why I've changed to using these accusers so it does actually one of the reasons
they do actually have a tone to them why I've changed to using these accusers
just even bypassed and if you're hearing they do actually have a tone to them
that then good on you like the it's a just even bypassed and if you're hearing
subtle difference for sure but I'm that then good on you like the it's a
exaggerating that by using this drive subtle difference for sure but I'm
control over here which effectively exaggerating that by using this drive
simulates driving the line amps of the control over here which effectively
real Neve equalizer a bit harder simulates driving the line amps of the
that adds a bit of a low bump to it real Neve equalizer a bit harder
makes things kind of rich and when you that adds a bit of a low bump to it
put on a stereo source you find that makes things kind of rich and when you
often these plugins have been developed put on a stereo source you find that
really well to kind of separate both often these plugins have been developed
sides a little bit have slightly really well to kind of separate both
different things going on which sides a little bit have slightly
additionally give you a bit of extra different things going on which
hysteria with that well you know with additionally give you a bit of extra
the with the real units that's a thing hysteria with that well you know with
right people do actually I mean I know the with the real units that's a thing
you know but like people do actually run right people do actually I mean I know
signal through units with no settings on you know but like people do actually run
just to get the character of the units signal through units with no settings on
so it is a thing it is totally and it just to get the character of the units
makes a difference it does and I'd say so it is a thing it is totally and it
this control is it's very very subtle makes a difference it does and I'd say
but I did about a year and a half ago I this control is it's very very subtle
did like a whole set of really in-depth but I did about a year and a half ago I
blind listening tests where I basically did like a whole set of really in-depth
went through every analog modeling blind listening tests where I basically
plugin that I had whether it was a went through every analog modeling
compressor or tape machine or a preamp plugin that I had whether it was a
model anything basically even if even if compressor or tape machine or a preamp
it was supposed to do something else model anything basically even if even if
eq's even and kind of just ran a stereo it was supposed to do something else
mix through each of them and then put eq's even and kind of just ran a stereo
them into a really great program made by mix through each of them and then put
uh by hatha HOF a that it's called the them into a really great program made by
what's the cool it's called just blind uh by hatha HOF a that it's called the
test I think I'll find it here in my what's the cool it's called just blind
yeah for you plus blind test basically test I think I'll find it here in my
you insert this onto each channel oh I yeah for you plus blind test basically
like that and then it level matches and you insert this onto each channel oh I
Auto solos the tracks it will it can it like that and then it level matches and
will rearrange them and randomize them Auto solos the tracks it will it can it
and get rid of the names and you can will rearrange them and randomize them
even enter notes that stay in place and and get rid of the names and you can
rate them out of five stars so that's an even enter notes that stay in place and
amazing plugin by the way if you ever ya rate them out of five stars so that's an
want to do some blind testing which I amazing plugin by the way if you ever ya
highly highly recommend you do thank you want to do some blind testing which I
check that one out it's actually free if highly highly recommend you do thank you
you're just free beneath for I think if check that one out it's actually free if
you just have four tracks it's free if you're just free beneath for I think if
you you just have four tracks it's free if
on more than four like this is the for you
you plus which I paid not very much on more than four like this is the for
money for it you can basically have as you plus which I paid not very much
many tracks as you want but yeah you you money for it you can basically have as
know grab a free plugin if you you have many tracks as you want but yeah you you
the job they were wondering of real know grab a free plugin if you you have
quick you could play an a/b between the the job they were wondering of real
plugin bypassed and then not just so quick you could play an a/b between the
they can hear what the the needy huge plugin bypassed and then not just so
yeah yep just what it does yeah yeah they can hear what the the needy huge
sure do you want like join me to yeah yep just what it does yeah yeah
actually like completely get rid of the sure do you want like join me to
audio bands as well like yeah I'll get actually like completely get rid of the
rid of the EQ here so in fact all I audio bands as well like yeah I'll get
really need to do is just toggle this rid of the EQ here so in fact all I
drive control on and off so I'll do that really need to do is just toggle this
if you want to hear it so it's honor drive control on and off so I'll do that
than so hopefully you could hear as I go if you want to hear it so it's honor
up to the higher range you really start than so hopefully you could hear as I go
to hear the effect there where you get up to the higher range you really start
that saturation but it's really pleasing to hear the effect there where you get
yeah yeah so the point I was making with that saturation but it's really pleasing
the blind testing actually was that that yeah yeah so the point I was making with
control which I previously overlooked the blind testing actually was that that
completely when using that EQ in my control which I previously overlooked
blind testing had one of the best like completely when using that EQ in my
most euphonic blind testing had one of the best like
saturation characters that I found and most euphonic
seem to make things a little bit tighter saturation characters that I found and
but really focused the low-end in a in a seem to make things a little bit tighter
good place but really focused the low-end in a in a
made the stereo image sound awesome but good place
it didn't bring in any weird kind of made the stereo image sound awesome but
grating harmonic so in the past I was I it didn't bring in any weird kind of
was using something from VCC which is grating harmonic so in the past I was I
the Virtual Console connection by slate was using something from VCC which is
this plugin over here I was using the the Virtual Console connection by slate
brit 4 ke which models like an SSL this plugin over here I was using the
because i thought that's great but now brit 4 ke which models like an SSL
i've kind of gone off it because it has because i thought that's great but now
this edgy character which is not eq it's i've kind of gone off it because it has
it's the void the harmonics it's this edgy character which is not eq it's
bringing out i guess or a lot of odds it's the void the harmonics it's
order harmonics i feel with a lot of I bringing out i guess or a lot of odds
guess original software distortion it order harmonics i feel with a lot of I
not maybe not necessary distortion units guess original software distortion it
but units that would create some sort of not maybe not necessary distortion units
harmonics hmm one of the things that but units that would create some sort of
used to bug me was that the more you harmonics hmm one of the things that
drove them they would just get nasty used to bug me was that the more you
hard yeah info and I think a lot of drove them they would just get nasty
newer pieces hard yeah info and I think a lot of
they're figuring that out yeah the one newer pieces
thing I will say with the slate plugins they're figuring that out yeah the one
which I really like is that their thing I will say with the slate plugins
effects are really subtle and I'd like which I really like is that their
that because I believe that the real effects are really subtle and I'd like
things are very subtle so for example me that because I believe that the real
just adjusting that drive knob on the EQ things are very subtle so for example me
probably didn't sound like very much but just adjusting that drive knob on the EQ
that's probably about what you would get probably didn't sound like very much but
doing it for real and it's important to that's probably about what you would get
take care with that not to drive these doing it for real and it's important to
things to the point where you're hearing take care with that not to drive these
a huge affect from these devices like things to the point where you're hearing
especially these slight ones like the a huge affect from these devices like
tape machine it should always be a especially these slight ones like the
subtle thing if you're driving it to the tape machine it should always be a
point where it's a night and day subtle thing if you're driving it to the
difference you're really messing up your point where it's a night and day
audio signal and certainly if you do difference you're really messing up your
that across a load of tracks in your mix audio signal and certainly if you do
cumulatively you're just building up that across a load of tracks in your mix
this wall of noise that by the end is cumulatively you're just building up
not gonna make you mix any better you'll this wall of noise that by the end is
probably find that stripping all of them not gonna make you mix any better you'll
out of your session it's certainly gonna probably find that stripping all of them
be like wow everything's clear and wide out of your session it's certainly gonna
and amazing so oh yeah use it sparingly be like wow everything's clear and wide
it's not bad to use it but but really and amazing so oh yeah use it sparingly
get to know the character of each of it's not bad to use it but but really
these things do something like what I get to know the character of each of
did where you just create a new session these things do something like what I
take one of your mixers you don't just did where you just create a new session
have to do with full mixers but full take one of your mixers you don't just
mixers are generally a good place to have to do with full mixers but full
start because they have so much mixers are generally a good place to
information but generally instruments start because they have so much
that have a lot of low-end will also information but generally instruments
really excite saturation plugins or any that have a lot of low-end will also
any kind of saturation distortion in really excite saturation plugins or any
general so you'll be able to hear the any kind of saturation distortion in
character of what you're working on and general so you'll be able to hear the
and just go nuts with it like really go character of what you're working on and
to town investigating what these things and just go nuts with it like really go
do and and their character even just to town investigating what these things
last night preparing for this I started do and and their character even just
messing with the waves last night preparing for this I started
NLS well your psychic someone just asked messing with the waves
about that really yeah now's now to me NLS well your psychic someone just asked
that's a really exaggerated sounding about that really yeah now's now to me
plug-in as I typically find with waves that's a really exaggerated sounding
when they do these models plugins they plug-in as I typically find with waves
tend to have a very very obvious when they do these models plugins they
coloration which I don't like too much I tend to have a very very obvious
would never use the waves NLS on the coloration which I don't like too much I
whole mix just based on my prief would never use the waves NLS on the
experimentation with it it's a bit too whole mix just based on my prief
aggressive for me but it is very cool on experimentation with it it's a bit too
individual instruments and when we get aggressive for me but it is very cool on
to mixing I might well chuck it on and individual instruments and when we get
just to say in this whole session my to mixing I might well chuck it on and
goal is not necessarily to completely just to say in this whole session my
recreate the album mix I believe that my goal is not necessarily to completely
process is gonna be similar enough that recreate the album mix I believe that my
it's gonna be very close to the album process is gonna be similar enough that
mix if anything I'd like to do better it's gonna be very close to the album
and I've certainly learned a lot in six mix if anything I'd like to do better
months or so since I mixed p3 to the and I've certainly learned a lot in six
point where I'd like to come to you now months or so since I mixed p3 to the
and have a bit of fun with this and you point where I'd like to come to you now
know use some plugins I don't use all and have a bit of fun with this and you
the time and try some new things that I know use some plugins I don't use all
don't do all the time and see where it the time and try some new things that I
goes so hopefully that's gonna come out don't do all the time and see where it
for the best I think it should be cool I goes so hopefully that's gonna come out
think you'll be all right yeah I think for the best I think it should be cool I
we'll be cool I have done a couple of think you'll be all right yeah I think
trial runs and this already so so I we'll be cool I have done a couple of
think we'll be okay then so yeah that's trial runs and this already so so I
the the Neve EQ that I'm doing there I'm think we'll be okay then so yeah that's
just gonna put back my was it was just the the Neve EQ that I'm doing there I'm
about two and a half wasn't there and just gonna put back my was it was just
this is like oohs - and a bit - - and a about two and a half wasn't there and
bit super on one eight is one eight this is like oohs - and a bit - - and a
point one anything point one eight bit super on one eight is one eight
counts as a bit yeah cool all right so point one anything point one eight
that's the first part so with that EQ I counts as a bit yeah cool all right so
brought out some extra low-end that's the first part so with that EQ I
I've brought out some presence in what brought out some extra low-end
I'm doing and as I say that Lee Hughes I've brought out some presence in what
very aggressive especially the presence I'm doing and as I say that Lee Hughes
bands like these mid bands like 1d very aggressive especially the presence
beyond those is like 3d be on another EQ bands like these mid bands like 1d
they're very broad and they they seem to beyond those is like 3d be on another EQ
have some kind of additional harmonic they're very broad and they they seem to
character to them as well they're not have some kind of additional harmonic
particularly smooth for this reason I character to them as well they're not
don't use the top the top n ban which is particularly smooth for this reason I
nominally a 12 K shelf but to me effects don't use the top the top n ban which is
stuff way lower than that but that's nominally a 12 K shelf but to me effects
where this next plug-in comes in this stuff way lower than that but that's
custom series equalizer which has a very where this next plug-in comes in this
beautiful sounding top end to it and I custom series equalizer which has a very
know from having studied a little bit beautiful sounding top end to it and I
about these plugins that it's not just a know from having studied a little bit
typical shelf that extends off to about these plugins that it's not just a
infinity it's kind of like this weird typical shelf that extends off to
bell shape that has a very smooth ramp infinity it's kind of like this weird
and then actually a bit of a tail off on bell shape that has a very smooth ramp
the top as well so instead of kind of and then actually a bit of a tail off on
bringing up everything to infinity it the top as well so instead of kind of
kind of rolls off the top end a little bringing up everything to infinity it
bit so I'll just show you what that's kind of rolls off the top end a little
doing I'll hit play and you'll hear bit so I'll just show you what that's
hopefully a smooth top end character doing I'll hit play and you'll hear
coming into play in fact what I'm gonna hopefully a smooth top end character
do is I'm gonna gradually increase it coming into play in fact what I'm gonna
because if I just bypass it and bring it do is I'm gonna gradually increase it
back in you're probably gonna think it's because if I just bypass it and bring it
a very drastic difference so I'm gonna back in you're probably gonna think it's
hit play now and see that a very drastic difference so I'm gonna
[Music] hit play now and see that
so just on the drums on their own you're
probably hearing that's bringing out so just on the drums on their own you're
like the cymbals and the snare top but probably hearing that's bringing out
tell you what why don't I bring in some like the cymbals and the snare top but
guitars and bass here I'm gonna bring tell you what why don't I bring in some
them down in volume I'm just gonna guess guitars and bass here I'm gonna bring
hopefully this will be somewhat level them down in volume I'm just gonna guess
[Music]
do you how that really brings everything
to the forefront to me that's a really do you how that really brings everything
beautiful sound and when I was using the to the forefront to me that's a really
fabfilter EQ it sounded great there's beautiful sound and when I was using the
nothing wrong with that fabfilter EQ it sounded great there's
EQI I think it's without doubt the best nothing wrong with that
digital ehue out there and it's very EQI I think it's without doubt the best
pretty digital ehue out there and it's very
it's very pretty it's very nice to work pretty
with and maybe it could even completely it's very pretty it's very nice to work
recreate these these in who cares if you with and maybe it could even completely
went hard on it but for me once I recreate these these in who cares if you
changed to this I noticed that the top went hard on it but for me once I
end of my mixer sounded a bit more open changed to this I noticed that the top
and that this aggressive presence band end of my mixer sounded a bit more open
did something very cool that I wasn't and that this aggressive presence band
really getting from from the fabfilter did something very cool that I wasn't
EQ so just to show you what again I really getting from from the fabfilter
guess it's kind of a good thing I EQ so just to show you what again I
brought those guitars in I think it does guess it's kind of a good thing I
make it quite a lot easier to hear brought those guitars in I think it does
what's happening here I'm just gonna make it quite a lot easier to hear
bypass the whole plug-in away this what's happening here I'm just gonna
trimmer this trim plugin sorry I should bypass the whole plug-in away this
mention that just so you know is it's trimmer this trim plugin sorry I should
just merely bringing down the gain of mention that just so you know is it's
the whole signal of everything that's just merely bringing down the gain of
instrumental in this mix the idea fair the whole signal of everything that's
is I don't want to hit my master buss instrumental in this mix the idea fair
too hard there's plenty of headroom is I don't want to hit my master buss
there but I've got some further things too hard there's plenty of headroom
going on and even before I get to the there but I've got some further things
master buss as a compressor which we'll going on and even before I get to the
get to next and if I hit that too hard master buss as a compressor which we'll
then I'm not gonna have any Headroom to get to next and if I hit that too hard
play with on the threshold control so then I'm not gonna have any Headroom to
I've got my trim control set there to play with on the threshold control so
minus 6 so that's just bringing down the I've got my trim control set there to
volume of everything so actually I'm minus 6 so that's just bringing down the
going to not bypass the whole thing but volume of everything so actually I'm
just bypass that sorry about the burps going to not bypass the whole thing but
from this coffee apologies I'm going to just bypass that sorry about the burps
just bypass the two eq's not bring them from this coffee apologies I'm going to
in one at a time so you can hear what's just bypass the two eq's not bring them
happening in one at a time so you can hear what's
[Music] happening
so hopefully you can hear right off the
bat that I started to bring the mix to so hopefully you can hear right off the
life like if you hear not just on the bat that I started to bring the mix to
drums but if you hear the guitars they life like if you hear not just on the
go from these kind of muddy wet sounding drums but if you hear the guitars they
things to something with a lot more go from these kind of muddy wet sounding
presence and bite to them it's already things to something with a lot more
starting to sit nicely against the the presence and bite to them it's already
drums as unmixed as they are so that's starting to sit nicely against the the
very cool and and the bass would be the drums as unmixed as they are so that's
same actually if I just solo the bass I very cool and and the bass would be the
think it makes a huge difference on same actually if I just solo the bass I
there so this is the bass I'll I'll do think it makes a huge difference on
the same thing so straight away it's there so this is the bass I'll I'll do
starting to do something very nice there the same thing so straight away it's
now of course by boosting up the top and starting to do something very nice there
bottom essentially what I'm doing is now of course by boosting up the top and
kind of doing a very broad scoop in the bottom essentially what I'm doing is
mid-range of my mix you could experiment kind of doing a very broad scoop in the
if you want with doing exactly that mid-range of my mix you could experiment
instead of boosting but the system has if you want with doing exactly that
been working really well for me and I instead of boosting but the system has
really like the character of these two been working really well for me and I
eq's and especially having that drive really like the character of these two
control on the on the neavy hue there it eq's and especially having that drive
makes it an added bonus a bit of extra control on the on the neavy hue there it
saturation on my mix that's hopefully makes it an added bonus a bit of extra
gonna make things sound more analog as saturation on my mix that's hopefully
much as I don't really care about people gonna make things sound more analog as
thinking if I mixed on a console or not much as I don't really care about people
so that's stage one on my top down thinking if I mixed on a console or not
mixing the next stage is going to be so that's stage one on my top down
buss compression and I'm using another mixing the next stage is going to be
plug-in here from from slates digital buss compression and I'm using another
this is a model of an SSL buss plug-in here from from slates digital
compressor which is a probably the most this is a model of an SSL buss
famous buss compressor out there which compressor which is a probably the most
was built into the G Series the SSL 4000 famous buss compressor out there which
G Series consoles back in the day and was built into the G Series the SSL 4000
kind of revolutionized the sound of rock G Series consoles back in the day and
and roll because people could suddenly kind of revolutionized the sound of rock
compress their whole mixes in an and roll because people could suddenly
aggressive way and he started to get compress their whole mixes in an
very cool results coming out there aggressive way and he started to get
I guess the original intention was that very cool results coming out there
people could make their mixes a bit I guess the original intention was that
louder to show to ANR and stuff like people could make their mixes a bit
that and it certainly got abused a bit louder to show to ANR and stuff like
but anyway you don't need the history that and it certainly got abused a bit
lesson at this point before I even dive but anyway you don't need the history
into the settings I have going on here I lesson at this point before I even dive
do want to give a bit of an overview into the settings I have going on here I
about what compression even is because I do want to give a bit of an overview
feel like people misconstrue this a lot about what compression even is because I
and I'm sorry if you've if you've feel like people misconstrue this a lot
attended you know one of the camps which and I'm sorry if you've if you've
I've done or if you've seen other attended you know one of the camps which
tutorials I've done I've done or if you've seen other
you gonna have heard this information tutorials I've done
before but it never hurts to have a Rika you gonna have heard this information
you can't ever hear it enough yeah and I before but it never hurts to have a Rika
do have nothing that I have a fairly you can't ever hear it enough yeah and I
good way of explaining what compression do have nothing that I have a fairly
is so to me when I think of a compressor good way of explaining what compression
I just think of a guy at a mixing is so to me when I think of a compressor
console with his hand on a fader because I just think of a guy at a mixing
all that a compressor is doing is it's console with his hand on a fader because
an automatic volume control that's all all that a compressor is doing is it's
it is it can just work very quickly or an automatic volume control that's all
very slowly depending on how you tell it it is it can just work very quickly or
so really it's just like a guy pulling very slowly depending on how you tell it
down a fader when something exceeds a so really it's just like a guy pulling
certain threshold now what do I mean down a fader when something exceeds a
when I say that I mean that let's say I certain threshold now what do I mean
say to this guy okay look at the level when I say that I mean that let's say I
on this meter and anytime he exceeds X say to this guy okay look at the level
level let's say it's minus 6 dB I will on this meter and anytime he exceeds X
need to bring down the fader a little level let's say it's minus 6 dB I will
bit to stop it from going much louder need to bring down the fader a little
than that what we've essentially done bit to stop it from going much louder
there is I've created a human compressor than that what we've essentially done
and all I've done is essentially set a there is I've created a human compressor
threshold which is one of the controls and all I've done is essentially set a
you'll see on a compressor which I've threshold which is one of the controls
said is minus 6 above which this guy is you'll see on a compressor which I've
going to start pulling down the volume said is minus 6 above which this guy is
he's compressing the the signal in other going to start pulling down the volume
words he's not letting it go as loud as he's compressing the the signal in other
it would have been now being a human he words he's not letting it go as loud as
has a certain amount of reaction time if it would have been now being a human he
he's seeing quite quick movement on the has a certain amount of reaction time if
meter he might not be able to really to he's seeing quite quick movement on the
work too quickly as soon as it goes over meter he might not be able to really to
the threshold he might take a little bit work too quickly as soon as it goes over
of time before he can pull that that the threshold he might take a little bit
fader down and then the same thing as it of time before he can pull that that
starts to back away because not only fader down and then the same thing as it
does he have to bring the fader down but starts to back away because not only
has to start pushing it back towards does he have to bring the fader down but
zero once the the level starts receding has to start pushing it back towards
again so basically our guy is a slow zero once the the level starts receding
compressor at this point and that's kind again so basically our guy is a slow
of that's a new displace sometimes compressor at this point and that's kind
slower is better totally now so there's of that's a new displace sometimes
there's slow compressors and then slower is better totally now so there's
there's also guys that you've given a there's slow compressors and then
lethal cocktail of cocaine and caffeine there's also guys that you've given a
who have the reaction speeds of a lethal cocktail of cocaine and caffeine
hummingbird and sometimes you need that who have the reaction speeds of a
and sometimes you need that too because hummingbird and sometimes you need that
this guy is going to be able to see and sometimes you need that too because
things happen way way faster because of this guy is going to be able to see
the lethal cocktail of caffeine and things happen way way faster because of
cocaine and a little bit of psychic the lethal cocktail of caffeine and
ability and the psychic ability so cocaine and a little bit of psychic
basically this guy is gonna be able to ability and the psychic ability so
react super quickly so as soon as that basically this guy is gonna be able to
level exceeds it he's pulling down the react super quickly so as soon as that
fader almost before he should have done level exceeds it he's pulling down the
what we've happened what's happen fader almost before he should have done
there is you've got like a very fast what we've happened what's happen
acting compressor now I've been talking there is you've got like a very fast
pretty vaguely just what I've been acting compressor now I've been talking
talking about that but the point i'm pretty vaguely just what I've been
trying to make is that a compressor can talking about that but the point i'm
do two things it can either reduce the trying to make is that a compressor can
dynamic range of something which is what do two things it can either reduce the
people typically think of compressors dynamic range of something which is what
are doing or it can increase the dynamic people typically think of compressors
range of something which actually is the are doing or it can increase the dynamic
opposite of the evil compression thing range of something which actually is the
that most people seem to have if we have opposite of the evil compression thing
our regular guy he's slow to react let's that most people seem to have if we have
say he sees a snare drum which has a our regular guy he's slow to react let's
really big spike but he can't react say he sees a snare drum which has a
quickly enough for that so the spike really big spike but he can't react
gets through before he can pull down the quickly enough for that so the spike
fade out but then he brings down the gets through before he can pull down the
fader afterwards he's essentially fade out but then he brings down the
bringing down the volume of what comes fader afterwards he's essentially
directly after the transient which is bringing down the volume of what comes
the sustain the snare so the attack is directly after the transient which is
still up here but the transient sorry the sustain the snare so the attack is
the sustainer the the drum is now all still up here but the transient sorry
the way down here so if she don't have the sustainer the the drum is now all
increased the dynamic range of the snare the way down here so if she don't have
drum that's really cool that's a very increased the dynamic range of the snare
useful thing to be able to do and that's drum that's really cool that's a very
typically how one uses a compressor when useful thing to be able to do and that's
you're trying to get more attack out of typically how one uses a compressor when
a drum you use a slow attack time which you're trying to get more attack out of
the the the name attack is actually kind a drum you use a slow attack time which
of confusing because people generally the the the name attack is actually kind
think that having it is confused yeah of confusing because people generally
it's one of those audio terms yeah more think that having it is confused yeah
attack well no I guess it's kind of it's one of those audio terms yeah more
right but people think it's right but attack well no I guess it's kind of
you think of it kind of like almost like right but people think it's right but
a presence thing or like an EQ thing or you think of it kind of like almost like
yeah transient thing yeah so basically a presence thing or like an EQ thing or
the slower the guy is the more attack yeah transient thing yeah so basically
the the signal is gonna have before he the slower the guy is the more attack
can clamp down on to it and then the the the signal is gonna have before he
slower his release is the longer it's can clamp down on to it and then the
gonna take him to reduce to kind of get slower his release is the longer it's
back to zero afterwards so so there's gonna take him to reduce to kind of get
another snare hit directly behind the back to zero afterwards so so there's
first one his fate is not even back to another snare hit directly behind the
zero by the time that one comes blazing first one his fate is not even back to
in so he's reacting to that but he zero by the time that one comes blazing
didn't even get back to zero so that's in so he's reacting to that but he
no it was kind of softer than the first didn't even get back to zero so that's
one or if he's really fast then maybe he no it was kind of softer than the first
gets to fade it back to zero and you one or if he's really fast then maybe he
kind of hear the sustain of the drums gets to fade it back to zero and you
swell back up again because he's so kind of hear the sustain of the drums
quick on it that he's got all the way swell back up again because he's so
back up to zero and the drum hasn't even quick on it that he's got all the way
finished ringing out so that would be back up to zero and the drum hasn't even
the release portion of the compressor so finished ringing out so that would be
that kind of compression is is very the release portion of the compressor so
useful for increasing dynamic range the that kind of compression is is very
other one the really fast caffeinated useful for increasing dynamic range the
dude is going to be able to ash other one the really fast caffeinated
clamped down on the transient of the dude is going to be able to ash
snare drum before it ever reaches its clamped down on the transient of the
maximum peak snare drum before it ever reaches its
so our sustain is here the peak volume maximum peak
is reduced everything is kind of brought so our sustain is here the peak volume
down in volume but essentially we've is reduced everything is kind of brought
reduced the dynamic range between the down in volume but essentially we've
sustain and the attack portion so what reduced the dynamic range between the
we're doing with fast attack compression sustain and the attack portion so what
is actually killing some of the attack we're doing with fast attack compression
of that thing or we're not allowing is actually killing some of the attack
allowing the front end of a note to come of that thing or we're not allowing
through which is also very useful if you allowing the front end of a note to come
take something like a piano which has a through which is also very useful if you
very sharp transient on the front of it take something like a piano which has a
you might want to try using fast attack very sharp transient on the front of it
compression or even limiting to get rid you might want to try using fast attack
of that because what it's going to compression or even limiting to get rid
enable you to do is to level that of that because what it's going to
keyboard in the mix a lot more easily enable you to do is to level that
because you don't have the hammer sound keyboard in the mix a lot more easily
of the keys jabbing you in the ears because you don't have the hammer sound
instead you can hear a more balanced of the keys jabbing you in the ears
ratio of the attack of the keyboard instead you can hear a more balanced
combined with sustain also being very ratio of the attack of the keyboard
nice and audible so with that very brief combined with sustain also being very
rundown of compression and maybe we'll nice and audible so with that very brief
come back to it again I see you have rundown of compression and maybe we'll
something by the way that's one of the come back to it again I see you have
best descriptions I've ever heard of something by the way that's one of the
compression thank you actually there's best descriptions I've ever heard of
one more thing which I forgot to talk compression thank you actually there's
about there which is the ratio oh yeah one more thing which I forgot to talk
so the ratio is how I tell this guy how about there which is the ratio oh yeah
much I want him to bring the fader down so the ratio is how I tell this guy how
by when something goes over the much I want him to bring the fader down
threshold by when something goes over the
so all it is is it's a simple ratio of threshold
in and out so if I say I want you to do so all it is is it's a simple ratio of
this with a ratio of four to one that's in and out so if I say I want you to do
saying to you that's saying to the guy this with a ratio of four to one that's
that the ratio is that the volume of saying to you that's saying to the guy
sorry getting tongue-tied here if the that the ratio is that the volume of
signal exceeds threshold by four dB it's sorry getting tongue-tied here if the
only going to come out one DB louder so signal exceeds threshold by four dB it's
it's four on the one side and one on the only going to come out one DB louder so
other so he's doing three DB of gain it's four on the one side and one on the
reduction that's the technical term for other so he's doing three DB of gain
how much work the compressor is doing reduction that's the technical term for
because he's pulling that fader down by how much work the compressor is doing
3 dB once it exceeds the threshold by a because he's pulling that fader down by
4 DB because it's gone in at 4 it's come 3 dB once it exceeds the threshold by a
out at 1 3 DB difference there if I told 4 DB because it's gone in at 4 it's come
him to use ten to one ratio that meant out at 1 3 DB difference there if I told
that if it went 10 DB over the threshold him to use ten to one ratio that meant
he'd have to bring the fader down 9 DB that if it went 10 DB over the threshold
to get 1 DB out on the other side a he'd have to bring the fader down 9 DB
ratio of 1 to 1 means no compression is to get 1 DB out on the other side a
happening so some compressors in their ratio of 1 to 1 means no compression is
default state have the ratio knobs happening so some compressors in their
to one to one and I've definitely seen default state have the ratio knobs
people thinking that they're using a to one to one and I've definitely seen
compressor and totally hearing the people thinking that they're using a
results of this compressor without ever compressor and totally hearing the
adjusting that ratio control and like results of this compressor without ever
just being like oh yeah this sounds adjusting that ratio control and like
great and then you kind of have to say just being like oh yeah this sounds
I'm sorry for that that's actually not great and then you kind of have to say
doing anything for SIBO is real and we I'm sorry for that that's actually not
see bow is totally real yet like I get doing anything for SIBO is real and we
done with it all the time yeah II do we see bow is totally real yet like I get
all do you just have to laugh about it done with it all the time yeah II do we
but it's good it's good to be aware and all do you just have to laugh about it
that's where stuff like blind testing but it's good it's good to be aware and
comes in because we are all so fallible that's where stuff like blind testing
so fallible I barely trust my ears and comes in because we are all so fallible
my brain to decipher anything especially so fallible I barely trust my ears and
like I would never come into this studio my brain to decipher anything especially
and make any kind of critical decisions like I would never come into this studio
because I know that my ideas of how and make any kind of critical decisions
something sounds so out of whack or you because I know that my ideas of how
know I see people talking about like oh something sounds so out of whack or you
damn that Aurora converter sounds so know I see people talking about like oh
good like this music sounds really good damn that Aurora converter sounds so
compared to what I hear at my house it's good like this music sounds really good
like we've changed absolutely every compared to what I hear at my house it's
variable there and like there's no way like we've changed absolutely every
you could possibly be able to hear just variable there and like there's no way
the difference that the converter is you could possibly be able to hear just
making anyway that's not that's an aside the difference that the converter is
so the ratio control as I was saying is making anyway that's not that's an aside
a way of saying how aggressive this guy so the ratio control as I was saying is
is gonna be with the fader control a a way of saying how aggressive this guy
high ratio if you go about ten to one is gonna be with the fader control a
that's what we call limiting because you high ratio if you go about ten to one
getting to the point where it's the that's what we call limiting because you
ratio that the level is being severely getting to the point where it's the
severely cut anything above the ratio that the level is being severely
threshold and if you get to what's severely cut anything above the
called brick wall limiting that's what threshold and if you get to what's
we call an infinity to one ratio where called brick wall limiting that's what
it doesn't matter how loud the signal is we call an infinity to one ratio where
it's coming out at the threshold volume it doesn't matter how loud the signal is
at zero so that's kind of how ratio it's coming out at the threshold volume
works now using the ratio you could at zero so that's kind of how ratio
achieve the same amount of gain works now using the ratio you could
reduction two different ways with a achieve the same amount of gain
compressor without even touching the reduction two different ways with a
attack and release settings like if we compressor without even touching the
use the ratio of two to one let's say attack and release settings like if we
and we had a signal that we were use the ratio of two to one let's say
compressing and we pull the threshold and we had a signal that we were
all the way down until we were guessing compressing and we pull the threshold
let's say five DB of gain reduction that all the way down until we were guessing
could be one way but the other thing we let's say five DB of gain reduction that
could do is say a ten to one ratio and could be one way but the other thing we
then just pull the threshold down a could do is say a ten to one ratio and
little bit until it's just starting to then just pull the threshold down a
touch that the the signal you might find little bit until it's just starting to
you start getting to that five DB of touch that the the signal you might find
gain reduction way quicker so what's the you start getting to that five DB of
difference between those two things gain reduction way quicker so what's the
said both register 5 DB of gain difference between those two things
reduction we've used a different ratio said both register 5 DB of gain
to achieve it the difference is with the reduction we've used a different ratio
high ratio essentially everything to achieve it the difference is with the
underneath that threshold is completely high ratio essentially everything
untouched so if you had a really dynamic underneath that threshold is completely
thing going on that wasn't very loud the untouched so if you had a really dynamic
dynamics would be preserved there it's thing going on that wasn't very loud the
only when things start to hit that dynamics would be preserved there it's
threshold that you start to get the only when things start to hit that
compressor kicking in the other way threshold that you start to get the
around you've got the compressor kicking compressor kicking in the other way
in way more because your thresholds all around you've got the compressor kicking
the way down here now so even small in way more because your thresholds all
variances in volume are registering some the way down here now so even small
compression so essentially you gain the variances in volume are registering some
same output in terms of how much gain compression so essentially you gain the
reduction there is but you get a very same output in terms of how much gain
different source sound you get dynamic reduction there is but you get a very
control of much softer information different source sound you get dynamic
that's going on in the track so that's control of much softer information
something which you can decide based on that's going on in the track so that's
the track that your you're processing something which you can decide based on
what kind of ratio makes sense because the track that your you're processing
say you have a grand piano and you want what kind of ratio makes sense because
to kill some of that attack but you say you have a grand piano and you want
don't really want to affect the soft to kill some of that attack but you
dynamics of what's going on you might don't really want to affect the soft
choose to use a high ratio you might dynamics of what's going on you might
even use a limiter I personally would choose to use a high ratio you might
probably use a limiter for that to even use a limiter I personally would
really cut the the transience of the probably use a limiter for that to
loud hits but actually completely leave really cut the the transience of the
the soft playing untouched and it loud hits but actually completely leave
probably doesn't need any transient the soft playing untouched and it
control because it's not being hit very probably doesn't need any transient
hard so that would be a really good use control because it's not being hit very
of a high ratio a low ratio could be hard so that would be a really good use
very cool on the other hand for I don't of a high ratio a low ratio could be
know something like orchestra or guitars very cool on the other hand for I don't
or something like that where perhaps you know something like orchestra or guitars
actually want to hear the compressor or something like that where perhaps you
doing something and generally squeezing actually want to hear the compressor
the signal all the time but you don't doing something and generally squeezing
want it to be completely destroying it the signal all the time but you don't
with compression and hear too much want it to be completely destroying it
compression artifacts so you know there with compression and hear too much
could be different uses there and compression artifacts so you know there
hopefully with the knowledge which which could be different uses there and
you have about compression you might be hopefully with the knowledge which which
able to make informed decisions on your you have about compression you might be
own about what kind of attack and able to make informed decisions on your
release times you need what kind of own about what kind of attack and
ratio makes sense and with that you're release times you need what kind of
kind of ready to go there's there's not ratio makes sense and with that you're
really very much that's going to throw kind of ready to go there's there's not
you off your stride but that's said really very much that's going to throw
different compressors act differently you off your stride but that's said
they're based a lot of the times now different compressors act differently
they're modeled on Hardware units and they're based a lot of the times now
they don't have these completely they're modeled on Hardware units and
mathematically correct ways of working they don't have these completely
like if you imagine the guy might not be mathematically correct ways of working
pulling the fader down at exactly the like if you imagine the guy might not be
same speed all the way down he might do pulling the fader down at exactly the
the first week with his finger and yet same speed all the way down he might do
like a really cool the first week with his finger and yet
commit a motion on the fader and then like a really cool
have to drag it with his arm and its a commit a motion on the fader and then
bit slower' from there so some have to drag it with his arm and its a
compressors may be a very quick to react bit slower' from there so some
to the first few DB but then slow down compressors may be a very quick to react
other ones might do the opposite they to the first few DB but then slow down
might be quite slow and then suddenly other ones might do the opposite they
get aggressive same thing goes for the might be quite slow and then suddenly
release the ratio might not really be get aggressive same thing goes for the
what it says it is it might even have release the ratio might not really be
what's called an e which is where what it says it is it might even have
instead of a hard threshold the what's called an e which is where
compressor kind of gently starts kicking instead of a hard threshold the
in and the character of that knee is compressor kind of gently starts kicking
going to completely affect the way that in and the character of that knee is
the compressor works on your source going to completely affect the way that
material that's not even getting to the the compressor works on your source
fact that it might have a certain material that's not even getting to the
pre-emphasis it might react more to fact that it might have a certain
certain frequency ranges that's not to pre-emphasis it might react more to
say that it compresses certain frequency certain frequency ranges that's not to
ranges more than others because we're say that it compresses certain frequency
talking about broadband compression here ranges more than others because we're
the whole signal is getting compressed talking about broadband compression here
but it might react let's say more to the the whole signal is getting compressed
low end like one compressor might react but it might react let's say more to the
more to low-end information than another low end like one compressor might react
and then you get to the fact that these more to low-end information than another
hardware units you know the old ones and then you get to the fact that these
maybe have tubes in them and lots of hardware units you know the old ones
them have big transformers in them they maybe have tubes in them and lots of
all have a lot of circuitry going on in them have big transformers in them they
them and that imparts a tone like we all have a lot of circuitry going on in
were discussing at the beginning so you them and that imparts a tone like we
definitely have your work cut out for were discussing at the beginning so you
you if you want to go and experiment definitely have your work cut out for
with all of the compression plugins that you if you want to go and experiment
you have but it's definitely worth the with all of the compression plugins that
time and again get that plugin which I you have but it's definitely worth the
mentioned at the beginning and run some time and again get that plugin which I
tests I've got a say sun-thing for those mentioned at the beginning and run some
of you who want to take your compression tests I've got a say sun-thing for those
hearing to the next level you should of you who want to take your compression
check out URM economy slash enhanced hearing to the next level you should
that is our upper level for nail that check out URM economy slash enhanced
makes we have a library of what we call that is our upper level for nail that
fast tracks which are courses little makes we have a library of what we call
courses on different things like gain fast tracks which are courses little
stage and compression EQ but we have one courses on different things like gain
called hearing compression which Joel stage and compression EQ but we have one
did where he uses a de-stressor to show called hearing compression which Joel
you how to actually identify exactly did where he uses a de-stressor to show
what you're hearing so every single you how to actually identify exactly
concept that nalli just went through in what you're hearing so every single
this fast track Joel shows you exactly concept that nalli just went through in
how to cure a little bit of it a lot of this fast track Joel shows you exactly
it not too much and through various how to cure a little bit of it a lot of
different instruments so that it really it not too much and through various
really trains you to understand what it different instruments so that it really
is that you're hearing which is the most really trains you to understand what it
important thing because once you finally is that you're hearing which is the most
understand what you're hearing coming important thing because once you finally
out of a compressor you're mixing life understand what you're hearing coming
will become a out of a compressor you're mixing life
million times better totally I'm sure will become a
it's a great course I haven't checked it million times better totally I'm sure
out myself but certainly experimenting it's a great course I haven't checked it
and researching about compression and out myself but certainly experimenting
doing these listening tests and and researching about compression and
acclimatizing yourself with what it does doing these listening tests and
is one of the most crucial parts in my acclimatizing yourself with what it does
opinion of of mixing because compression is one of the most crucial parts in my
is not this dark black art that people opinion of of mixing because compression
like to make it out to none at all it's is not this dark black art that people
really not it's just a guy with a fader like to make it out to none at all it's
control with varying amounts of caffeine really not it's just a guy with a fader
in his system just think of it that way control with varying amounts of caffeine
actually there's one more thing which I in his system just think of it that way
can talk about with compression and that actually there's one more thing which I
kind of can be applied to many other can talk about with compression and that
things as well but a sidechaining now kind of can be applied to many other
side-chaining is another thing that things as well but a sidechaining now
people seem to look at with this kind of side-chaining is another thing that
huge amount of mystique around it but people seem to look at with this kind of
all the sidechain is is essentially me huge amount of mystique around it but
lying to the dude with the fader and all the sidechain is is essentially me
saying watch this signal meter and pull lying to the dude with the fader and
it down when it goes above but the saying watch this signal meter and pull
signal that I'm showing him isn't the it down when it goes above but the
signal that actually corresponds to the signal that I'm showing him isn't the
fader he's working on so let's say he's signal that actually corresponds to the
got his fader on the bass track but I'm fader he's working on so let's say he's
showing him the meter for the for the got his fader on the bass track but I'm
kick drum and I'm like no you're totally showing him the meter for the for the
just on the kick drum but actually every kick drum and I'm like no you're totally
time he pulls down the fader is just on the kick drum but actually every
affecting the bass guitar not that's not time he pulls down the fader is
the kick drum that's an example of affecting the bass guitar not that's not
sidechaining so the sidechain input in the kick drum that's an example of
that case is the kick drum sidechaining so the sidechain input in
this guy is mistakenly he well you're that case is the kick drum
cheating the compressor basically in two this guy is mistakenly he well you're
or whatever device you're sidechaining cheating the compressor basically in two
into into reacting to a signal which or whatever device you're sidechaining
isn't actually the signal that is into into reacting to a signal which
affecting now that you can use for a isn't actually the signal that is
huge amount of things from the very affecting now that you can use for a
popular kind of pumping sidechaining huge amount of things from the very
effect that you hear in dance music and popular kind of pumping sidechaining
EDM to also some very creative cool effect that you hear in dance music and
things you can do but a very basic EDM to also some very creative cool
control that a lot of compressors have things you can do but a very basic
these days is simply a high low control that a lot of compressors have
frequency roll-off or a high-pass filter these days is simply a high low
now that filter is not actually in the frequency roll-off or a high-pass filter
audio path so it's essentially like now that filter is not actually in the
you're taking away low-end but just from audio path so it's essentially like
what the compressor is seeing so I'm you're taking away low-end but just from
high passing my signal and showing that what the compressor is seeing so I'm
to my guy with his hand on the meter but high passing my signal and showing that
when he effects when he's moving the to my guy with his hand on the meter but
fader he's affecting the the mix that when he effects when he's moving the
doesn't have the high-pass filter on it fader he's affecting the the mix that
so why is that useful it's because low doesn't have the high-pass filter on it
end has a lot of energy to it low end so why is that useful it's because low
signals will typically set off a loss of end has a lot of energy to it low end
compression where something which is signals will typically set off a loss of
very treble II dozen because a small compression where something which is
waveforms very treble II dozen because a small
so for example on my mixbus as I'm about waveforms
to show you I choose to use a bit of so for example on my mixbus as I'm about
that filter in this case that's this to show you I choose to use a bit of
knob over here and I use it to roll off that filter in this case that's this
just the sub lows of my mix not audibly knob over here and I use it to roll off
you don't hear that but what it prevents just the sub lows of my mix not audibly
is the compressor from ducking too much you don't hear that but what it prevents
every time the kick hits or if it's a is the compressor from ducking too much
sub sub drop in my mix or just generally every time the kick hits or if it's a
the amount of loan content in my mix and sub sub drop in my mix or just generally
it allows the compressor to hear more the amount of loan content in my mix and
the mid-range and top-end meet of my my it allows the compressor to hear more
mix specifically the Senedd run so at the mid-range and top-end meet of my my
that point I need to talk about how I mix specifically the Senedd run so at
compress my mix because the reason why I that point I need to talk about how I
do buss compression it's actually not compress my mix because the reason why I
the reason why most people do it and I do buss compression it's actually not
didn't invent this again in fact I the reason why most people do it and I
picked this up by analysing what a didn't invent this again in fact I
really great engineer Taylor Larson does picked this up by analysing what a
Taylor is the guy who co-produced and really great engineer Taylor Larson does
mixed periphery 2 as well as a whole Taylor is the guy who co-produced and
load of stuff he's just continually mixed periphery 2 as well as a whole
getting better it was a huge inspiration load of stuff he's just continually
to me in terms of his drum tones in getting better it was a huge inspiration
particular and a huge part of how he'd to me in terms of his drum tones in
get his drums to sit in the mix was due particular and a huge part of how he'd
to his buss compressor settings and I get his drums to sit in the mix was due
don't think he even really analyzed too to his buss compressor settings and I
much what he was doing with it but what don't think he even really analyzed too
he's doing and what I do with my mix is much what he was doing with it but what
I used my buss compressor just to duck he's doing and what I do with my mix is
the mix around the snare hit so to be I used my buss compressor just to duck
clear the snare when you see the audio the mix around the snare hit so to be
waveform is a really loud peak above clear the snare when you see the audio
everything else trying to get the snare waveform is a really loud peak above
audible in the mix without it being by everything else trying to get the snare
completely taking over the mix and audible in the mix without it being by
really hurting your eardrums it's kind completely taking over the mix and
of a tricky part of mixing what I'm able really hurting your eardrums it's kind
to do by using a compressor set this way of a tricky part of mixing what I'm able
is have it so that the compressor to do by using a compressor set this way
triggers that say 3 or 4 DB of gain is have it so that the compressor
reduction every time the snare hits and triggers that say 3 or 4 DB of gain
as you can see I've got this set very reduction every time the snare hits and
fast I got my super cocaine and caffeine as you can see I've got this set very
DUP dude fast I got my super cocaine and caffeine
operating this buss compressor so he's DUP dude
able to kill the snare transient a operating this buss compressor so he's
little bit but because he's affecting able to kill the snare transient a
the whole mix is essentially ducking the little bit but because he's affecting
entire mix at that point by 3 or 4 DB so the whole mix is essentially ducking the
if you could just solo what was happened entire mix at that point by 3 or 4 DB so
to the guitars you'd hear them just kind if you could just solo what was happened
of to the guitars you'd hear them just kind
dipping by 3 or 4 DB just for a second of
same thing for the base same thing for dipping by 3 or 4 DB just for a second
everything else in my mix apart from the same thing for the base same thing for
vocals which I don't route through this everything else in my mix apart from the
buss compression the really cool thing vocals which I don't route through this
about doing this is it enables me to buss compression the really cool thing
find the level of the snare above about doing this is it enables me to
everything else without it jumping out find the level of the snare above
of the mix and sounding really blocky everything else without it jumping out
and you'll hear that I'll revisit this a of the mix and sounding really blocky
little bit later once we're actually and you'll hear that I'll revisit this a
mixing because it's a profound little bit later once we're actually
difference the problem I always had mixing because it's a profound
before I started doing buss compression difference the problem I always had
this way as I could get the the snare before I started doing buss compression
drum to sound really cool and it was this way as I could get the the snare
sitting the right way relative to the drum to sound really cool and it was
other instruments but it was just sitting the right way relative to the
attacking my eardrums it just sounded other instruments but it was just
disconnected from the rest of the mix it attacking my eardrums it just sounded
didn't sound smooth they didn't sound disconnected from the rest of the mix it
like the mix was coherent and glued and didn't sound smooth they didn't sound
after I started doing things this way like the mix was coherent and glued and
and that changed everything so these are after I started doing things this way
the exact settings that Taylor was using and that changed everything so these are
he'd actually think he doesn't use this the exact settings that Taylor was using
technique anymore which is interesting he'd actually think he doesn't use this
he's still getting great results in technique anymore which is interesting
other way but for me this is the way he's still getting great results in
that I foresee I'm gonna be doing things other way but for me this is the way
from well as far as this kind of music that I foresee I'm gonna be doing things
as far as I can see into the future I'm from well as far as this kind of music
gonna be doing things this way so I have as far as I can see into the future I'm
the the fast attack time it's not gonna be doing things this way so I have
actually the very fastest is just 0.3 of the the fast attack time it's not
a second how much difference there is actually the very fastest is just 0.3 of
between that and point 1 of a sorry of a second how much difference there is
it yeah ii know anyway it's very fast between that and point 1 of a sorry of
and how much difference there really is it yeah ii know anyway it's very fast
there I'm not too sure but sorry it's and how much difference there really is
point 1 over millisecond that's right there I'm not too sure but sorry it's
isn't it point 3 of a millisecond yeah point 1 over millisecond that's right
it's super fast but for whatever reason isn't it point 3 of a millisecond yeah
point 3 was the one that he always used it's super fast but for whatever reason
and I have just I don't think about it point 3 was the one that he always used
does what it's supposed to do and the and I have just I don't think about it
very fast is the release and that's does what it's supposed to do and the
important because I'm not trying to have very fast is the release and that's
this effect be very audible I don't want important because I'm not trying to have
you to be able to tell that the whole this effect be very audible I don't want
mix is pumped I want the compression to you to be able to tell that the whole
kick in super fast and then go away mix is pumped I want the compression to
super fast as well so that by the time kick in super fast and then go away
the snare drum is just like ringing back super fast as well so that by the time
so that's all right by the time the the snare drum is just like ringing back
snare drum is sustaining to zero so that's all right by the time the
it's the compressions already stopped snare drum is sustaining to zero
happening so it's literally just at the it's the compressions already stopped
point of impact everything ducks happening so it's literally just at the
momentarily then it comes back I can point of impact everything ducks
show you it's probably not gonna work momentarily then it comes back I can
super well because nothing's mixed but show you it's probably not gonna work
if I just bring down my my snare bottom super well because nothing's mixed but
because it's gonna sound very abrasive if I just bring down my my snare bottom
otherwise if I hit play on this I sewers because it's gonna sound very abrasive
oh wait sorry that's just the kick drum otherwise if I hit play on this I sewers
what does we have before we had kick oh wait sorry that's just the kick drum
Whateley drums - yeah I just need to set what does we have before we had kick
the threshold I'm just gonna mess with a Whateley drums - yeah I just need to set
threshold here until it's showing about the threshold I'm just gonna mess with a
the right so I generally get about like threshold here until it's showing about
1 DB of compression on the kick I do the right so I generally get about like
like the kick pumping the mix just a 1 DB of compression on the kick I do
little bit but I'm generating for 3 or 4 like the kick pumping the mix just a
DB of compression on the snare let's see little bit but I'm generating for 3 or 4
what that sounds like DB of compression on the snare let's see
[Music] what that sounds like
[Music]
I've just kind of just messed around of [Music]
the controls a tiny bit there just to I've just kind of just messed around of
get the drum balance the same because the controls a tiny bit there just to
this needs to react to the make drums get the drum balance the same because
like the relative levels of kick and this needs to react to the make drums
snare and everything else are kind of like the relative levels of kick and
important for this to work but I'll just snare and everything else are kind of
show you what happens if i bypass the important for this to work but I'll just
snare drum there so I'll start with the show you what happens if i bypass the
odd and then I'm going to click this snare drum there so I'll start with the
power button that's going to turn it off odd and then I'm going to click this
so I'll show you what that sounds like power button that's going to turn it off
[Music] so I'll show you what that sounds like
so you can hear the snare drum [Music]
completely jumps out to the mix without so you can hear the snare drum
the compressor going on there I'll just completely jumps out to the mix without
show you that again I'll turn off the the compressor going on there I'll just
power from the beginning show you that again I'll turn off the
[Music] power from the beginning
then with the snare drum on the way that
the the compressor is killing and bits then with the snare drum on the way that
of the attacker she's really pleasing the the compressor is killing and bits
it's kind of bringing a little bit of of the attacker she's really pleasing
weirdly a bit of a pop to the snare drum it's kind of bringing a little bit of
making it sound less wood blocky but the weirdly a bit of a pop to the snare drum
important thing is it no longer sounds making it sound less wood blocky but the
like it's completely on top of the mix important thing is it no longer sounds
yet the actual ratio in terms of level like it's completely on top of the mix
of the snare drum to the rest of the mix yet the actual ratio in terms of level
of the guitars and bass is exactly the of the snare drum to the rest of the mix
same the oppressor is bringing of the guitars and bass is exactly the
everything down at that instant so same the oppressor is bringing
essentially what we've achieved is a way everything down at that instant so
of guessing the snare to cut through the essentially what we've achieved is a way
mix without it being really obnoxious of guessing the snare to cut through the
and on top of the mix so that's a huge mix without it being really obnoxious
part of my mix if I just if i bypass and on top of the mix so that's a huge
that compressor at any point during my part of my mix if I just if i bypass
mix it falls apart completely it sounds that compressor at any point during my
terrible yeah do you think this would be mix it falls apart completely it sounds
a good time to do a little Q&A mm-hmm terrible yeah do you think this would be
for absolutely it's a good a good a good time to do a little Q&A mm-hmm
breaking point for this anyway well for absolutely it's a good a good
after that we're gonna take a break yeah breaking point for this anyway well
okay so before we do that let's just after that we're gonna take a break yeah
wrap up the top-down mixing sure so I'm okay so before we do that let's just
just gonna say the next thing in the wrap up the top-down mixing sure so I'm
step that the next steps rather is just just gonna say the next thing in the
this tape machine plugin which is adding step that the next steps rather is just
some further saturation half-inch this tape machine plugin which is adding
two-track Mo's the thirty upsetting some further saturation half-inch
again this is a slate digital plugin and two-track Mo's the thirty upsetting
it just fastens my mix up a little bit again this is a slate digital plugin and
and to me allows the top-end to sound a it just fastens my mix up a little bit
little bit cleaner and more shimmery do and to me allows the top-end to sound a
you ever find at that plug-in if you run little bit cleaner and more shimmery do
it wrong adds a lot of harshness it you ever find at that plug-in if you run
could do it could do but for me it's it it wrong adds a lot of harshness it
works very well like I'm I'll just look could do it could do but for me it's it
how hard do you run it well the meters works very well like I'm I'll just look
don't really respond in time because how hard do you run it well the meters
they model like a real vu meter so you don't really respond in time because
don't actually see the overs when they they model like a real vu meter so you
happen but typically I'm not running it don't actually see the overs when they
very hard okay they're good I'm not happen but typically I'm not running it
using it for distortion there the reason very hard okay they're good I'm not
I'm saying that is because I actually using it for distortion there the reason
really liked that plug-in but we do a I'm saying that is because I actually
lot of mix Chris here and one thing that really liked that plug-in but we do a
I've noticed is a lot of people love lot of mix Chris here and one thing that
this plug-in too but they'll send it on I've noticed is a lot of people love
every single drum track down pind yeah this plug-in too but they'll send it on
that's like dude you are destroying your every single drum track down pind yeah
drums yeah totally so I do actually I do that's like dude you are destroying your
use it pretty aggressively but only on drums yeah totally so I do actually I do
my snare drum and I sometimes use it on use it pretty aggressively but only on
my kick drum but that's about it my snare drum and I sometimes use it on
apart from on the master buss yeah now my kick drum but that's about it
on every single thing apart from on the master buss yeah now
and so I like what that does it kind of on every single thing
it controls the transients a little bit and so I like what that does it kind of
and just sounds great and then the final it controls the transients a little bit
part is my limiting settings which you and just sounds great and then the final
can see right there they've stayed the part is my limiting settings which you
same for a long time can see right there they've stayed the
boosting about 10 DB of gain I might same for a long time
revisit this during the the mix but boosting about 10 DB of gain I might
generally my gain staging is such that revisit this during the the mix but
most of my mixes hit the master buss generally my gain staging is such that
about the same kind of level so I always most of my mixes hit the master buss
just start with a 10 DB boost there I'm about the same kind of level so I always
generally aiming for somewhere like just start with a 10 DB boost there I'm
minus 10 minus 9 maybe rms which is generally aiming for somewhere like
which is loud but not quite as loud as minus 10 minus 9 maybe rms which is
masters tend to be these days but for me which is loud but not quite as loud as
that allows me to judge how the masters tend to be these days but for me
transience of my mix are sitting and that allows me to judge how the
what's gonna translate well so I transience of my mix are sitting and
actually have a question sorry yeah yeah what's gonna translate well so I
so what is it that you like about that actually have a question sorry yeah yeah
limiter because there I feel like which so what is it that you like about that
limiter people like is a hot topic and I limiter because there I feel like which
like that one a lot limiter people like is a hot topic and I
but I've also gotten mixed results with like that one a lot
it at times and I know people who swear but I've also gotten mixed results with
by it I've announced I'm just wondering it at times and I know people who swear
why that's your your your dude I just by it I've announced I'm just wondering
lied to me it sounds very transparent I why that's your your your dude I just
actually turn like it you can have like lied to me it sounds very transparent I
this crazy viewing mode where you can actually turn like it you can have like
see like the signal coming in this crazy viewing mode where you can
that scares the hell out of me I never see like the signal coming in
want to see that because if I see that that scares the hell out of me I never
that's gonna make me actually not use want to see that because if I see that
the limiter properly because the thing that's gonna make me actually not use
is it's so transparent that actually it the limiter properly because the thing
can be crushing your mix pretty hard and is it's so transparent that actually it
the only real thing you'll hear if you can be crushing your mix pretty hard and
push it too hard is your snare punch the only real thing you'll hear if you
going but that's not really a fault of push it too hard is your snare punch
the limiter that just is what happens going but that's not really a fault of
when you clip your mix yeah but I feel the limiter that just is what happens
like it doesn't get harsh I feel like it when you clip your mix yeah but I feel
doesn't affect the tonal quality of my like it doesn't get harsh I feel like it
mix it does have a few different styles doesn't affect the tonal quality of my
here and there worth experimenting with mix it does have a few different styles
they do actually have a slightly here and there worth experimenting with
different character dynamic I do my they do actually have a slightly
mixes are not particularly dynamic so I different character dynamic I do my
don't know why I like that one the most mixes are not particularly dynamic so I
like you'd think that may be transparent don't know why I like that one the most
or punchy would be the coolest for me like you'd think that may be transparent
for metal in general maybe dynamic I or punchy would be the coolest for me
would imagine was meant more for like for metal in general maybe dynamic I
folk music or something like that but would imagine was meant more for like
for whatever reason in my folk music or something like that but
experimentation that's the one that I for whatever reason in my
kind of gravitated to subtle differences experimentation that's the one that I
but it's definitely worth checking out kind of gravitated to subtle differences
and then you do have like actually a few but it's definitely worth checking out
more controls that you can mess with and then you do have like actually a few
there I love it since I got it I haven't more controls that you can mess with
really thought about it ever again like there I love it since I got it I haven't
it's just my limiter that I use but a really thought about it ever again like
lot of the time in general my preference it's just my limiter that I use but a
is to outsource for mastering and I know lot of the time in general my preference
that particularly I mean the guy that is to outsource for mastering and I know
mastered p3 and a lot of other things I that particularly I mean the guy that
do I know he doesn't use this he tends mastered p3 and a lot of other things I
to use like most mastering engineer is a do I know he doesn't use this he tends
kind of hybrid approach of clipping to use like most mastering engineer is a
converters and maybe ozone even seems to kind of hybrid approach of clipping
still get a lot of use but kind of converters and maybe ozone even seems to
staged loudness which I just don't have still get a lot of use but kind of
the time or patience for especially staged loudness which I just don't have
during mixing I just want a one-stop the time or patience for especially
solution and Pro L seems to be that for during mixing I just want a one-stop
me so cool yeah let's hit some questions solution and Pro L seems to be that for
because I think that should wrap us up me so cool yeah let's hit some questions
on top-down mixing and allow us to get because I think that should wrap us up
into the meat of the actual song when we on top-down mixing and allow us to get
come back from the break okay great into the meat of the actual song when we
one second here let me get these come back from the break okay great
questions in front of me we have quite a one second here let me get these
few and let me just tell you guys out questions in front of me we have quite a
there in the audience if we don't get few and let me just tell you guys out
your to your question now don't worry there in the audience if we don't get
you don't need to repeat the question we your to your question now don't worry
have them all here in a document we're you don't need to repeat the question we
gonna get to every single one that we have them all here in a document we're
can and we see your question and we love gonna get to every single one that we
you so first question is a can and we see your question and we love
from Alex Johnson and nollie I'm very you so first question is a
interested in how you created the mono from Alex Johnson and nollie I'm very
room slam track and how you used it in interested in how you created the mono
the mix let me just preface that by room slam track and how you used it in
saying if you feel like something it's the mix let me just preface that by
just gonna be covered anyways later on saying if you feel like something it's
we can skip that question sure but we just gonna be covered anyways later on
don't have to skip it because actually we can skip that question sure but we
the truth is I didn't use it in the mix don't have to skip it because actually
in general I don't really like mono room the truth is I didn't use it in the mix
mics I don't really like mono things on in general I don't really like mono room
anything that's trying to pick up like a mics I don't really like mono things on
whole drum kit because to me that's anything that's trying to pick up like a
narrowing the information considerably whole drum kit because to me that's
and especially if it's heavily narrowing the information considerably
compressed it has a totally different and especially if it's heavily
envelope to the rest of the drums and I compressed it has a totally different
find that for example if I brought up envelope to the rest of the drums and I
that fader in the mix you'd hear the find that for example if I brought up
drums sustaining and it would be cool that fader in the mix you'd hear the
but he'll be really focused down the drums sustaining and it would be cool
middle of the mix and it wouldn't really but he'll be really focused down the
correspond to what's happening on the middle of the mix and it wouldn't really
side so that that mic was a wild-card correspond to what's happening on the
mic which is fun to throw up during side so that that mic was a wild-card
sessions and yeah it sounds really cool mic which is fun to throw up during
and there are a couple of places where I sessions and yeah it sounds really cool
thought it was gonna be cool for the and there are a couple of places where I
record like on the song catch fire as a thought it was gonna be cool for the
break that has like really crushed drum record like on the song catch fire as a
sound and I thought cool we'll just break that has like really crushed drum
record that and that's gonna be great sound and I thought cool we'll just
but the main use that actually had record that and that's gonna be great
during recording was simply as talkback but the main use that actually had
it being limited so hard well to talk during recording was simply as talkback
about what it was it was a it's a it's a it being limited so hard well to talk
it's a ribbon mic a Golden Age ribbon about what it was it was a it's a it's a
mic and it's sitting just in front of it's a ribbon mic a Golden Age ribbon
the drum kit a little bit to the left if mic and it's sitting just in front of
you're sitting behind the drum kit kind the drum kit a little bit to the left if
of pointed in towards the snare under you're sitting behind the drum kit kind
the high hats and the kick being a of pointed in towards the snare under
ribbon mic it's figure eight so it's the high hats and the kick being a
also getting the reflections that are ribbon mic it's figure eight so it's
coming like back at it from the back also getting the reflections that are
wall so you get this really long amount coming like back at it from the back
of reverb because the sound has to wall so you get this really long amount
travel all the way to the back of the of reverb because the sound has to
room and reflect back but that was travel all the way to the back of the
running into a focus right I search and room and reflect back but that was
strip with the limiter setting on it running into a focus right I search and
just crushing it and as you can tell strip with the limiter setting on it
it's obliterated it sounds really cool just crushing it and as you can tell
and vibey but like I say the mono thing it's obliterated it sounds really cool
just doesn't really work for me I and vibey but like I say the mono thing
recorded it and I gave you guys the just doesn't really work for me I
option to use it because maybe you'll recorded it and I gave you guys the
find a cool use for it but for me on the option to use it because maybe you'll
fast stuff it's just too crushed and on find a cool use for it but for me on the
the on any parts where it might be used fast stuff it's just too crushed and on
for actually for me I'd get way more out the on any parts where it might be used
of simply crushing the stereo mid mic for actually for me I'd get way more out
which is also a ribbon mic it's a of simply crushing the stereo mid mic
slightly different position but just to which is also a ribbon mic it's a
show you really quickly if I just stick slightly different position but just to
for my favorite plug in fact she just show you really quickly if I just stick
like destroying something is this devil for my favorite plug in fact she just
lock plug-in bye-bye sound toys and like destroying something is this devil
check this out I'm gonna have to pull lock plug-in bye-bye sound toys and
down the game control a little bit check this out I'm gonna have to pull
because it adds a lot of volume so I'm down the game control a little bit
just gonna give myself like -10 DB on because it adds a lot of volume so I'm
that so yeah check out what happens if I just gonna give myself like -10 DB on
just crush this to me that gets me the that so yeah check out what happens if I
same kind of vibe except it's stereo so just crush this to me that gets me the
this is the mono room slam if I unmute same kind of vibe except it's stereo so
that and if anything that the snares this is the mono room slam if I unmute
like less ratty sounding because it's that and if anything that the snares
not kind of pointed at the bottom of the like less ratty sounding because it's
snare I'll just give it a little bit not kind of pointed at the bottom of the
more volume so you can enjoy how gross snare I'll just give it a little bit
that sounds so yeah for me if I really more volume so you can enjoy how gross
wanted to destroy something like a room that sounds so yeah for me if I really
mic in this mixer that's the one out of wanted to destroy something like a room
use so in this mix it just stays muted mic in this mixer that's the one out of
you can see the audio files muted there use so in this mix it just stays muted
and actually the same thing happens with you can see the audio files muted there
the Amana overhead I didn't have a use and actually the same thing happens with
for that in the mixer I didn't need it the Amana overhead I didn't have a use
so I didn't use it great here's one from for that in the mixer I didn't need it
gar bomb which is why use the trim plug so I didn't use it great here's one from
and dot put down the fader um a few gar bomb which is why use the trim plug
reasons could be what I don't it's just and dot put down the fader um a few
neat for me to use the trim plug-in I reasons could be what I don't it's just
don't really want to have my faders set neat for me to use the trim plug-in I
really wild positions Joey does that too don't really want to have my faders set
he likes to have them at zero and does really wild positions Joey does that too
everything on the trim for the most part he likes to have them at zero and does
I did an album like that recently everything on the trim for the most part
actually I did an album for woven war I did an album like that recently
and one that I love those guys yeah actually I did an album for woven war
super nice guys and it's a very cool and one that I love those guys yeah
album on that mix I kind of it was a bit super nice guys and it's a very cool
over the top really but I'd make my album on that mix I kind of it was a bit
fader adjustments until the the mix was over the top really but I'd make my
level and then I put a trim plug-in on fader adjustments until the the mix was
the back end of level and then I put a trim plug-in on
every channel and just mimics to what the back end of
the fader was doing then reset the fader every channel and just mimics to what
to zero which was kind of cool because the fader was doing then reset the fader
if you want to import from one session to zero which was kind of cool because
to another like one song to another you if you want to import from one session
could just save that channel strip as a to another like one song to another you
preset load it up with the fader at zero could just save that channel strip as a
and you'd know that it would correspond preset load it up with the fader at zero
to what was in the other song that was and you'd know that it would correspond
kind of cool but there's a few reasons to what was in the other song that was
one is like if you record things really kind of cool but there's a few reasons
hot and I typically don't hopefully you one is like if you record things really
can see here that the files are not hot and I typically don't hopefully you
super crush the loudest things probably can see here that the files are not
the snare top maybe the toms too but super crush the loudest things probably
generally things are a respectable the snare top maybe the toms too but
levels but if you do have really hot generally things are a respectable
signals going along going on hitting levels but if you do have really hot
your plugins too hard can definitely signals going along going on hitting
have a negative effect on the sound your plugins too hard can definitely
quality especially the analog modeled have a negative effect on the sound
ones which are kind of going to react quality especially the analog modeled
dynamic not dynamically but they're ones which are kind of going to react
gonna have saturation character or dynamic not dynamically but they're
clipping character which kicks in if you gonna have saturation character or
actually hit the front end too hot so clipping character which kicks in if you
there's that aspect so I think you have actually hit the front end too hot so
to be abusing them quite a lot for that there's that aspect so I think you have
to really be a problem but yeah it's to be abusing them quite a lot for that
just it's just neatness really it's the to really be a problem but yeah it's
ability to keep especially if you're just it's just neatness really it's the
working with compressors to be able to ability to keep especially if you're
have more flexibility with your working with compressors to be able to
threshold control to not have the have more flexibility with your
threshold at like zero and still have threshold control to not have the
too much compression going on and it's threshold at like zero and still have
just generally good practice for me like too much compression going on and it's
if I want like before we start working just generally good practice for me like
on the guitars and probably can use a if I want like before we start working
trim plug-in to level them roughly in on the guitars and probably can use a
the mix and then do my processing from trim plug-in to level them roughly in
there just so I'm kind of processing the mix and then do my processing from
them at a nice level and I don't really there just so I'm kind of processing
need to think about the fader too much them at a nice level and I don't really
and then when I come to do automation need to think about the fader too much
it's kind of easier to see how much in and then when I come to do automation
each direction I'm going when I make my it's kind of easier to see how much in
moves cuz I'm not going from like minus each direction I'm going when I make my
27 to minus 24 it's just kind of like moves cuz I'm not going from like minus
going from 0 to 3 all these little 27 to minus 24 it's just kind of like
workflow enhancements add up over time going from 0 to 3 all these little
oh like that just that little thing of workflow enhancements add up over time
not having to do the mental gymnastics oh like that just that little thing of
of well this one's at minus 25 would go not having to do the mental gymnastics
to minus 14 so everything just being at of well this one's at minus 25 would go
zero and it goes up a little or down a to minus 14 so everything just being at
little whatever it's just so much easier zero and it goes up a little or down a
yeah yeah no so totally so I used trim little whatever it's just so much easier
plugins and also like for example some yeah yeah no so totally so I used trim
of the EQ so I use are not autogain they plugins and also like for example some
don't have like an auto gain feature so of the EQ so I use are not autogain they
you know boosting something on that EQ don't have like an auto gain feature so
is gonna make it louder and sometimes you know boosting something on that EQ
they have like an output volume that's is gonna make it louder and sometimes
just like a basically a trim control so they have like an output volume that's
I like to compensate for my moves when I just like a basically a trim control so
make them that it makes it a lot easier I like to compensate for my moves when I
as well to be able to bypass to say you make them that it makes it a lot easier
know like an EQ plug-in bypass it not as well to be able to bypass to say you
have this crazy volume difference happen know like an EQ plug-in bypass it not
and really be able to objectively say have this crazy volume difference happen
like okay this is working or this isn't and really be able to objectively say
working so yeah I don't know it's just like okay this is working or this isn't
I'm not saying it's gonna reinvent your working so yeah I don't know it's just
mixes or anything like that but to me I'm not saying it's gonna reinvent your
it's just neater neater and it just mixes or anything like that but to me
appeals to my mind I don't know if it's just neater neater and it just
that's just all humans or if it's just appeals to my mind I don't know if
my mind but it makes things easier makes that's just all humans or if it's just
things smoother it makes me feel like I my mind but it makes things easier makes
know what I'm doing when I mix which is things smoother it makes me feel like I
very important I would say that that's know what I'm doing when I mix which is
major yeah so here's one from max very important I would say that that's
Stratman which is nollie have you major yeah so here's one from max
noticed any difference in running the Stratman which is nollie have you
Neve before the custom EQ versus the noticed any difference in running the
custom EQ before the Neve I haven't Neve before the custom EQ versus the
honestly done that test but you've got a custom EQ before the Neve I haven't
point there because the the at least the honestly done that test but you've got a
saturation character of the drive point there because the the at least the
control on the Neva hue is not reacting saturation character of the drive
to that high-end now whether that would control on the Neva hue is not reacting
really have a distinct difference or not to that high-end now whether that would
I don't know but you know when I moved really have a distinct difference or not
from the fabfilter plug-in to using that I don't know but you know when I moved
little accommodation of eq's I think from the fabfilter plug-in to using that
that was the first way that I loaded little accommodation of eq's I think
this up and I was like well this sounds that was the first way that I loaded
great and didn't really think about it this up and I was like well this sounds
so I don't know we should try and see if great and didn't really think about it
maybe I'm missing something maybe my so I don't know we should try and see if
mixes would increase in listen ability maybe I'm missing something maybe my
if I did things that way around but it mixes would increase in listen ability
could be to be honest I think it's gonna if I did things that way around but it
be a subtle difference but no I haven't could be to be honest I think it's gonna
tried is he on set well here's one from be a subtle difference but no I haven't
Justine which is nalli why are using the tried is he on set well here's one from
headset instead of monitors a couple of Justine which is nalli why are using the
reasons one this is an unfamiliar headset instead of monitors a couple of
unfamiliar room for me so it's a great reasons one this is an unfamiliar
room and it's very nice Jenna like unfamiliar room for me so it's a great
monitors here that I could use I'm not room and it's very nice Jenna like
entirely in the best mix position for monitors here that I could use I'm not
them anyway we could have moved the entirely in the best mix position for
monitors for that but more importantly them anyway we could have moved the
actually I've been just you know I'm monitors for that but more importantly
here in Florida now for this session and actually I've been just you know I'm
a jet-lagged so I spent a lot of time in here in Florida now for this session and
my hotel room doing a jet-lagged so I spent a lot of time in
and I'm mixing just messing around with my hotel room doing
stuff experimenting preparing myself for and I'm mixing just messing around with
the session so I don't come across like stuff experimenting preparing myself for
a fool and I don't think you could the session so I don't come across like
possibly come well I don't know I don't a fool and I don't think you could
know I don't think that's in the car possibly come well I don't know I don't
well thank you know I don't think that's in the car
the point is I've been doing a lot of well thank you
listening and mixing on these headphones the point is I've been doing a lot of
for the last 48 hours so instead of listening and mixing on these headphones
trying to adjust my ears and your ears for the last 48 hours so instead of
are just pretty quickly but instead of trying to adjust my ears and your ears
having to make any adjustment I just are just pretty quickly but instead of
thought you know what why don't I come having to make any adjustment I just
in and do this and the other thing is I thought you know what why don't I come
thought it could be a cool like I think in and do this and the other thing is I
a although it was kind of kind of funny thought it could be a cool like I think
really and cool to show that you can get a although it was kind of kind of funny
really good results without using really and cool to show that you can get
monitors well the thing is we and we really good results without using
talked about this we talked about this monitors well the thing is we and we
on the podcast and not to repeat talked about this we talked about this
ourselves but we do encourage people to on the podcast and not to repeat
mix with monitors and to take their room ourselves but we do encourage people to
treatment seriously but at the same time mix with monitors and to take their room
we want you to see what we pride treatment seriously but at the same time
ourselves on showing you how stuff gets we want you to see what we pride
done in real life and nalli has mixed ourselves on showing you how stuff gets
lots of stuff in real life that you done in real life and nalli has mixed
listen to on headphones because of how lots of stuff in real life that you
his life is gone you know touring and listen to on headphones because of how
all that you can't set up a perfect room his life is gone you know touring and
while on the road so you know you have all that you can't set up a perfect room
to you got to do what you got to do and while on the road so you know you have
so we want to show you that even though to you got to do what you got to do and
the conventional wisdom is don't mix in so we want to show you that even though
headphones that doesn't mean you can't the conventional wisdom is don't mix in
obviously you can however on the flip headphones that doesn't mean you can't
side just because you're seeing him obviously you can however on the flip
mixing headphones here that doesn't in side just because you're seeing him
any way shape or form and validate the mixing headphones here that doesn't in
argument that you should learn on any way shape or form and validate the
monitors first and try to treat your argument that you should learn on
room and really dial in your hearing monitors first and try to treat your
because once you get to a certain point room and really dial in your hearing
and we discussed this on the podcast and because once you get to a certain point
last night at dinner and it just then and we discussed this on the podcast and
then you need less information to be last night at dinner and it just then
able to the right booth then you need less information to be
yeah that was something we spoke about able to the right booth
and I do think that that's true actually yeah that was something we spoke about
like the more experience you have the and I do think that that's true actually
more time you spend mixing and like the more experience you have the
engineering and getting used to what more time you spend mixing and
Ross engineering and getting used to what
sound like and what to expect and just Ross
doing it you start to pick up you get sound like and what to expect and just
the cues a little bit more easily when doing it you start to pick up you get
you hear things you kind of your brain the cues a little bit more easily when
knows what to do very quickly with what you hear things you kind of your brain
you're doing and I do believe at that knows what to do very quickly with what
point you start to be start to be able you're doing and I do believe at that
to work around less than ideal point you start to be start to be able
situations now yeah maybe I'm stupid for to work around less than ideal
not using the monitors for this session situations now yeah maybe I'm stupid for
but yeah just having worked on these not using the monitors for this session
specific headphones are a lot for the but yeah just having worked on these
last 48 hours I thought instead of specific headphones are a lot for the
changing everything why not continue as last 48 hours I thought instead of
I started now when I go back home to my changing everything why not continue as
studio am I gonna continue mixing on I started now when I go back home to my
these now I'm definitely gonna listen on studio am I gonna continue mixing on
my monitors and enjoy that greatly but these now I'm definitely gonna listen on
for now I'm gonna do this reference and my monitors and enjoy that greatly but
see how it goes so here's one from Chris for now I'm gonna do this reference and
hard which is I guess back to what we see how it goes so here's one from Chris
were talking to with the previous hard which is I guess back to what we
question about the gain staging and were talking to with the previous
where you like your faders Chris Hart is question about the gain staging and
wondering at what point do you go about where you like your faders Chris Hart is
setting the basic levels for the tracks wondering at what point do you go about
with the faders or how do you go about setting the basic levels for the tracks
it like what's your process for when you with the faders or how do you go about
do actually start moving faders what's it like what's your process for when you
the how do you approach that or what's do actually start moving faders what's
your thinking behind it so I kind of the how do you approach that or what's
have this thing going on where I have my your thinking behind it so I kind of
mix buss compression that I showed you have this thing going on where I have my
which reacts to the snare I typically mix buss compression that I showed you
start the mix with the snare or with a which reacts to the snare I typically
kick or the snare and basically I leave start the mix with the snare or with a
my snare at zero I get the plug-in chain kick or the snare and basically I leave
that I have going to make the snare my snare at zero I get the plug-in chain
sound good and I gain stage that so that that I have going to make the snare
that hits my master buss or my mix buss sound good and I gain stage that so that
compression so that I get about three or that hits my master buss or my mix buss
four DB of reduction at that point I compression so that I get about three or
know that's my nominal level so my snare four DB of reduction at that point I
drum fader is at zero know that's my nominal level so my snare
I mean this much compression on the mix drum fader is at zero
bus that means I know that the gain I mean this much compression on the mix
staging going to the output is all bus that means I know that the gain
correct and that it's gonna be probably staging going to the output is all
quite coherent with any other mix that correct and that it's gonna be probably
I've done in the last like a four years quite coherent with any other mix that
or however long I've been using this I've done in the last like a four years
kind of setup so that's my general point or however long I've been using this
of reference then I start bringing in kind of setup so that's my general point
the other things and I'll typically work of reference then I start bringing in
on instruments in solo which we'll get the other things and I'll typically work
to and I know some on instruments in solo which we'll get
people say that's the worst thing in the to and I know some
world I don't just do that but for me people say that's the worst thing in the
I'm gonna do both man you got to do both world I don't just do that but for me
yeah and maybe later on in the process I'm gonna do both man you got to do both
starts to make sense doing things with yeah and maybe later on in the process
the other instruments playing but the starts to make sense doing things with
way I work I really want to hear every the other instruments playing but the
detail of the sound that I'm listening way I work I really want to hear every
to I don't want to not notice some detail of the sound that I'm listening
annoying hiss or noise or Rumble just to I don't want to not notice some
because it's obscured by the rest of the annoying hiss or noise or Rumble just
track and and you know run into problems because it's obscured by the rest of the
that way so I generally work in solid track and and you know run into problems
but then when I unsolo and level that that way so I generally work in solid
instrument in the mix everything's kind but then when I unsolo and level that
of working around that snare drum really instrument in the mix everything's kind
then maybe towards the end of the mix of working around that snare drum really
maybe I maybe I've misjudged things and then maybe towards the end of the mix
instead of pulling all the faders around maybe I maybe I've misjudged things and
maybe I will I'll adjust the snare fader instead of pulling all the faders around
relative to everything else like maybe maybe I will I'll adjust the snare fader
the snare is too loud I'll bring it down relative to everything else like maybe
on the fader or maybe adjust the gain the snare is too loud I'll bring it down
staging at that point but for the for on the fader or maybe adjust the gain
the most part the snare is my my staging at that point but for the for
lighthouse in the mix that's what I'm the most part the snare is my my
looking to further for the the level of lighthouse in the mix that's what I'm
how everything should be set and yeah looking to further for the the level of
you'll see pretty quickly I'm guessing how everything should be set and yeah
like once I mean cueing things I'm gonna you'll see pretty quickly I'm guessing
be trying to get it at a volume where it like once I mean cueing things I'm gonna
sits and the mix to be able to judge be trying to get it at a volume where it
whether what I've done works or not sits and the mix to be able to judge
great all right so let's take a 15 whether what I've done works or not
minute break guys this is your chance to great all right so let's take a 15
piss drink walk around go train some minute break guys this is your chance to
animals whatever you need to do in these piss drink walk around go train some
15 minutes to be totally focused when animals whatever you need to do in these
you get back go do that when we get back 15 minutes to be totally focused when
gonna get into drums am i right yeah you get back go do that when we get back
yeah awesome and then we'll also be gonna get into drums am i right yeah
announcing the winners of the mix yeah awesome and then we'll also be
competition so anyways guys enjoy your announcing the winners of the mix
15 minute break and we will be back with competition so anyways guys enjoy your
you very soon are you a fan of bands 15 minute break and we will be back with
like 5 seconds of summer Paramore New you very soon are you a fan of bands
Found Glory your state champs well this like 5 seconds of summer Paramore New
month over at nailed a mix com Found Glory your state champs well this
we have the one and only mr. Kyle black month over at nailed a mix com
who's worked with all of those bands we have the one and only mr. Kyle black
he's gonna come on nail the mix here at who's worked with all of those bands
the end of the month and he's going to he's gonna come on nail the mix here at
mix the song secrets by stage chance you the end of the month and he's going to
can get all of the stems for secrets and mix the song secrets by stage chance you
enter the mix competition for a chance can get all of the stems for secrets and
to win over $1,000 in Phil Kyle audio enter the mix competition for a chance
gear and you can watch Kyle mix the song to win over $1,000 in Phil Kyle audio
from gear and you can watch Kyle mix the song
all the way to the end the winner of our from
mixing competition this month is gonna all the way to the end the winner of our
win a pair of faux kal-el ear headphones mixing competition this month is gonna
which are retailing thousand dollars to win a pair of faux kal-el ear headphones
our fantastic pair of headphones which are retailing thousand dollars to
I love focal audio stuff as you can see our fantastic pair of headphones
behind me I rock the twins love them I love focal audio stuff as you can see
great speakers and the second-place behind me I rock the twins love them
winner is going to get a pair of bow great speakers and the second-place
hell sphere earbuds which are worth winner is going to get a pair of bow
about 150 bucks and that is a pretty hell sphere earbuds which are worth
awesome prize as well so if you want to about 150 bucks and that is a pretty
watch Kyle Black come in mix a state awesome prize as well so if you want to
champ song to show you guys how to do it watch Kyle Black come in mix a state
from scratch as well as get those stems champ song to show you guys how to do it
on your computer and learn how to be a from scratch as well as get those stems
master of pop pong click the link below on your computer and learn how to be a
sign up for nail mix today get started master of pop pong click the link below
[Music] sign up for nail mix today get started
[Music]
every producer in metal has their go-to
samples whether or not they admit it is every producer in metal has their go-to
just the truth everyone has their go-to samples whether or not they admit it is
samples it's really really important in just the truth everyone has their go-to
my opinion that you updating your go-to samples it's really really important in
samples or you just start sounding dated my opinion that you updating your go-to
you're still using this same go-to samples or you just start sounding dated
samples in the 2014/2015 as you were in you're still using this same go-to
2006 well you're gonna sound like you're samples in the 2014/2015 as you were in
that guy from 2006 I always try to keep 2006 well you're gonna sound like you're
my my go twos updated and so far none of that guy from 2006 I always try to keep
my go-to s have ever come from somebody my my go twos updated and so far none of
else's virtual drum library I've my go-to s have ever come from somebody
actually tried to do that before but it else's virtual drum library I've
just not my thing it's kind of like actually tried to do that before but it
downloading somebody else's profile on a just not my thing it's kind of like
guitar and trying them for myself it downloading somebody else's profile on a
just never works for me it might work guitar and trying them for myself it
for other people but not for me I've just never works for me it might work
always had to make my own stuff so my go for other people but not for me I've
two's been defeating things that I always had to make my own stuff so my go
recorded in my drum room and then two's been defeating things that I
processed to become samples so the drum recorded in my drum room and then
Forge library was the first time that I processed to become samples so the drum
actually found some drawers made by Forge library was the first time that I
other people that were good enough for actually found some drawers made by
me to actually be able to process to other people that were good enough for
make my own go to one of the coolest me to actually be able to process to
things about drum Forge is when you go make my own go to one of the coolest
to Advanced Options and sustain seems things about drum Forge is when you go
like that's a really simple little thing to Advanced Options and sustain seems
but it's actually probably one of the like that's a really simple little thing
most powerful I guess features I've seen but it's actually probably one of the
yet in a virtual drum library I've seen most powerful I guess features I've seen
other ways of doing that they all kind yet in a virtual drum library I've seen
of have something like that but this one other ways of doing that they all kind
is probably the best one and that's of have something like that but this one
super important because depending on the is probably the best one and that's
speed of the music that right there can super important because depending on the
mean everything between a sample being speed of the music that right there can
usable and not the range of options go mean everything between a sample being
from having multiple microphones to usable and not the range of options go
full-lengths of decay on the drum and to from having multiple microphones to
me that's everything full-lengths of decay on the drum and to
[Music] me that's everything
hey you yes you do you want to learn how [Music]
to be a better mixer I want your songs hey you yes you do you want to learn how
to sound better so check out my creative to be a better mixer I want your songs
live course where I show you techniques to sound better so check out my creative
that I've developed over the last 10 live course where I show you techniques
years I want to give you the tools you that I've developed over the last 10
need to create great mixes years I want to give you the tools you
[Music] need to create great mixes
are you a fan of bands like 5 seconds of
summer Paramore New Found Glory or state are you a fan of bands like 5 seconds of
champs well this month over at nail to summer Paramore New Found Glory or state
mix calm we have the one and only mr. champs well this month over at nail to
Kyle black who's worked with all of mix calm we have the one and only mr.
those bands he's gonna come on nail the Kyle black who's worked with all of
mix here at the end of the month and those bands he's gonna come on nail the
he's going to mix the song secrets by mix here at the end of the month and
stage chance you can get all of the he's going to mix the song secrets by
stems for secrets and enter the mix stage chance you can get all of the
competition for a chance to win over stems for secrets and enter the mix
$1,000 in Phil Kyle audio gear and you competition for a chance to win over
can watch Kyle mix the song from scratch $1,000 in Phil Kyle audio gear and you
all the way to the end the winner of our can watch Kyle mix the song from scratch
mixing competition this month is gonna all the way to the end the winner of our
win a pair of folk al al ear headphones mixing competition this month is gonna
which are retailed at $1,000 to our win a pair of folk al al ear headphones
fantastic pair of headphones which are retailed at $1,000 to our
I love focal audio stuff as you can see fantastic pair of headphones
behind me I rock the twins love them I love focal audio stuff as you can see
great speakers and the second-place behind me I rock the twins love them
winner is going to get a pair of faux great speakers and the second-place
hell sphere earbuds which are worth winner is going to get a pair of faux
about 150 bucks and that is a pretty hell sphere earbuds which are worth
awesome prize as well so if you want to about 150 bucks and that is a pretty
watch Kyle Black come in mix a state awesome prize as well so if you want to
champ song to show you guys how to do it watch Kyle Black come in mix a state
from scratch as well as get those stems champ song to show you guys how to do it
on your computer and learn how to be a from scratch as well as get those stems
master of pop punk click the link below on your computer and learn how to be a
sign up for nail mix today get started master of pop punk click the link below
[Music] sign up for nail mix today get started
[Music]
[Applause]
[Music]
every producer in metal has their go-to
samples whether or not they admit it every producer in metal has their go-to
it's just the truth everyone has their samples whether or not they admit it
go-to samples it's really really it's just the truth everyone has their
important in my opinion to keep updating go-to samples it's really really
your go-to samples or you just start important in my opinion to keep updating
sounding dated if you're still using your go-to samples or you just start
this same go-to samples in the 2014/2015 sounding dated if you're still using
as you were in 2006 well you're gonna this same go-to samples in the 2014/2015
sound like you're that guy from 2006 I as you were in 2006 well you're gonna
always try to keep my my go twos updated sound like you're that guy from 2006 I
and so far none of my goat cheese have always try to keep my my go twos updated
ever come from somebody else's virtual and so far none of my goat cheese have
drum library I've actually tried to do ever come from somebody else's virtual
that before but it's just not my thing drum library I've actually tried to do
it's kind of like downloading somebody that before but it's just not my thing
else's profile on guitar and trying them it's kind of like downloading somebody
for myself it just never works for me it else's profile on guitar and trying them
might work for other people but not for for myself it just never works for me it
me I've always had to make my own stuff might work for other people but not for
so my goats use Brenda being things that me I've always had to make my own stuff
I recorded in my drum room and then so my goats use Brenda being things that
processed to become samples so the drum I recorded in my drum room and then
Forge library is the first time that I processed to become samples so the drum
actually found some bras made by other Forge library is the first time that I
people that were good enough for me to actually found some bras made by other
actually be able to process to make my people that were good enough for me to
own go to as well one of the coolest actually be able to process to make my
things about drum forage is when you go own go to as well one of the coolest
to Advanced Options and sustain seems things about drum forage is when you go
like that's a really simple little thing to Advanced Options and sustain seems
but it's actually probably one of the like that's a really simple little thing
most powerful I guess features I've seen but it's actually probably one of the
yet in a virtual drum library I've seen most powerful I guess features I've seen
other ways of doing that they all kind yet in a virtual drum library I've seen
of have something like that but this one other ways of doing that they all kind
is probably the best one and that's of have something like that but this one
super important because depending on the is probably the best one and that's
speed of the music that right there can super important because depending on the
mean everything between a sample being speed of the music that right there can
usable and not the range of options go mean everything between a sample being
from having multiple microphones to usable and not the range of options go
multiple lengths of decay on the drum from having multiple microphones to
and to me that's everything multiple lengths of decay on the drum
[Music] and to me that's everything
hey you yes you do you want to learn how [Music]
to be a better mixer hello guys I hope hey you yes you do you want to learn how
that uh your break was as good as my to be a better mixer hello guys I hope
break was and to answer your questions that uh your break was as good as my
from the chat no I did not see CS during break was and to answer your questions
the break rock star energy so uh with from the chat no I did not see CS during
that we're gonna get into talking about the break rock star energy so uh with
drums and I'm gonna hand it over to sir that we're gonna get into talking about
nollie cool all right well I just drums and I'm gonna hand it over to sir
knighted you by the way that's that's nollie cool all right well I just
amazing I'm an American night now there knighted you by the way that's that's
yeah that's great amazing I'm an American night now there
yeah well let's just get straight stock yeah that's great
straight in I guess and as we mentioned yeah well let's just get straight stock
before if there's specific questions straight in I guess and as we mentioned
that come up while I'm going then hail before if there's specific questions
will hit me up with those so that we can that come up while I'm going then hail
make sure everyone's concerns are met will hit me up with those so that we can
right make sure everyone's concerns are met
so as I also mentioned just before the right
break the snare kind of forms the so as I also mentioned just before the
underpinning of my mix and it's what I break the snare kind of forms the
kind of gained everything else around underpinning of my mix and it's what I
it's what I build basically everything kind of gained everything else around
around in terms of like the intensity of it's what I build basically everything
the mixer like I don't know why the around in terms of like the intensity of
snare is just so important you know mix the mixer like I don't know why the
for me but like if I hear a mix where snare is just so important you know mix
everything is killer but the snare so for me but like if I hear a mix where
it's like the mix sucks to me I don't everything is killer but the snare so
know why it's such an important thing in it's like the mix sucks to me I don't
the mix but it just it really is here it know why it's such an important thing in
is I feel like I mean I'm just gonna the mix but it just it really is here it
repeat exactly what you said but that's is I feel like I mean I'm just gonna
one there's certain things like repeat exactly what you said but that's
sometimes I can get over a kick I could one there's certain things like
get over guitars but snare no way yeah sometimes I can get over a kick I could
happening yeah it's so tricky because get over guitars but snare no way yeah
it's it's about making it so it's not as happening yeah it's so tricky because
dynamic is it is when it's recorded it's it's about making it so it's not as
because they tend to be very kind of dynamic is it is when it's recorded
pokey and well I mean even just terrible because they tend to be very kind of
sounding in the close mics so kind of pokey and well I mean even just terrible
killing some of that transient but sounding in the close mics so kind of
retaining punch and coaxing the right killing some of that transient but
character of the attack so let's dive retaining punch and coaxing the right
straight in and those of you that character of the attack so let's dive
familiar with my mixing style will not straight in and those of you that
be particularly surprised to see some of familiar with my mixing style will not
the things which I'm doing but if we be particularly surprised to see some of
start with the snare the things which I'm doing but if we
top microphone now something worth start with the snare
mentioning is I'm embossing the top and top microphone now something worth
bottom microphones through a bus here mentioning is I'm embossing the top and
this one right here and I'm gonna be bottom microphones through a bus here
processing for the most part both this one right here and I'm gonna be
together but there's just a couple of processing for the most part both
things that I do before I start together but there's just a couple of
processing the two together to get my things that I do before I start
sound right at the source now you have processing the two together to get my
noticed that the snare drum had a lot of sound right at the source now you have
top-end in the snare top and that's noticed that the snare drum had a lot of
because ie hewed it that way on the way top-end in the snare top and that's
and through the API 550 B which I used because ie hewed it that way on the way
during tracking and the great thing and through the API 550 B which I used
about that is there's way less ehue during tracking and the great thing
needed to get the snare drum to sound about that is there's way less ehue
good in the mix but the downside is it's needed to get the snare drum to sound
brought up the cymbal bleed the track good in the mix but the downside is it's
using a shure beta 57 which really kills brought up the cymbal bleed the track
a lot of the cymbal bleed which is which using a shure beta 57 which really kills
there would be if i'd have done this a lot of the cymbal bleed which is which
with a regular sm57 it would have been there would be if i'd have done this
insane but I have this very neat trick with a regular sm57 it would have been
for getting rid of the bleed and insane but I have this very neat trick
essentially what it is is I gate the for getting rid of the bleed and
high frequencies only in other words the essentially what it is is I gate the
gate opens whenever the snare hits but high frequencies only in other words the
in between hits it cuts high end from my gate opens whenever the snare hits but
snare drum track rather than cutting the in between hits it cuts high end from my
whole signal to silence and I achieve snare drum track rather than cutting the
that by using this plugin the fabfilter whole signal to silence and I achieve
pro-mb and i use it on every mix that i that by using this plugin the fabfilter
do to the point that i have a preset pro-mb and i use it on every mix that i
setup for it there now I'll go through do to the point that i have a preset
how when you set it up for this because setup for it there now I'll go through
it's kind of a technical exercise for how when you set it up for this because
one you have to have it in expand mode it's kind of a technical exercise for
rather than compress this is a multiband one you have to have it in expand mode
compressor it's not really really really rather than compress this is a multiband
designed to do what I'm doing with it I compressor it's not really really really
mean I guess they added this designed to do what I'm doing with it I
functionality so that you could but in mean I guess they added this
its default state it's gonna be set to functionality so that you could but in
compress mode which means it's going to its default state it's gonna be set to
compress the dynamic range of as we compress mode which means it's going to
discussed earlier it could do the compress the dynamic range of as we
opposite but anyway compress and just discussed earlier it could do the
that that band but instead I want to opposite but anyway compress and just
expand which is the opposite that's that that band but instead I want to
there's gating essentially and I set the expand which is the opposite that's
attack and release really fast and the there's gating essentially and I set the
reason for this is what I want to happen attack and release really fast and the
is I want at the moment the snare drum reason for this is what I want to happen
strikes to hear the full frequency range is I want at the moment the snare drum
I when I hear all that top and strikes to hear the full frequency range
information but as soon as that initial I when I hear all that top and
transients passed away I want the top information but as soon as that initial
end to go away because it's not really transients passed away I want the top
very much useful high-end end to go away because it's not really
in the snare top mic after the the hit very much useful high-end
and that's when the cymbal beads going in the snare top mic after the the hit
to kill you so I set my release very and that's when the cymbal beads going
fast at my attack as fast as it can to kill you so I set my release very
possibly go the ratio controllers we fast at my attack as fast as it can
discussed earlier with the snare drum is possibly go the ratio controllers we
gonna be kind of important to do with discussed earlier with the snare drum is
whether you want the House sleep how gonna be kind of important to do with
steep you want the roll-off of high end whether you want the House sleep how
to be on the kind of in-between hits the steep you want the roll-off of high end
ones that don't fully trigger the gate to be on the kind of in-between hits the
to open and I do have a tiny bit of a ones that don't fully trigger the gate
look ahead there which is essentially if to open and I do have a tiny bit of a
we go back to our guy operating the look ahead there which is essentially if
fader it means that he's seeing the the we go back to our guy operating the
events happen a little bit in advance so fader it means that he's seeing the the
he's got time to react so he can events happen a little bit in advance so
essentially open the gate at exactly the he's got time to react so he can
moment he's supposed to he can open the essentially open the gate at exactly the
gate at exactly the time he's supposed moment he's supposed to he can open the
to rather than it taking him even just a gate at exactly the time he's supposed
couple of milliseconds to open that gate to rather than it taking him even just a
might be too long for us no time you couple of milliseconds to open that gate
might finally start to lose some of that might be too long for us no time you
initial punch so that's how I set up the might finally start to lose some of that
other thing which I'm doing is I'm I initial punch so that's how I set up the
love this plug-in because you can do so other thing which I'm doing is I'm I
many complicated things but love this plug-in because you can do so
unfortunately makes the description many complicated things but
sight things more complicated but unfortunately makes the description
basically the gate is looking at this sight things more complicated but
area of the audio spectrum here which is basically the gate is looking at this
kind of them it's like from what is it area of the audio spectrum here which is
like 180 up to one and a half K ish so kind of them it's like from what is it
that's where the snare drum is most like 180 up to one and a half K ish so
active for you can see wise I guess that's where the snare drum is most
without having too much overlap with active for you can see wise I guess
other instruments so that's gonna enable without having too much overlap with
this to gate very effectively I'll hit other instruments so that's gonna enable
play now on the controllers I'm going to this to gate very effectively I'll hit
adjust as the threshold and on this play now on the controllers I'm going to
threshold you see you can kind of see adjust as the threshold and on this
the amount of signal it lights up around threshold you see you can kind of see
the edge and I want the threshold to be the amount of signal it lights up around
set pretty close to the top of that the edge and I want the threshold to be
signal so that the in between the hits set pretty close to the top of that
we're guessing or like the full amount signal so that the in between the hits
of reduction that we should get so this we're guessing or like the full amount
is what that sounds like of reduction that we should get so this
sorry I didn't have that in solar so I'm is what that sounds like
now gonna solar this no top and do that sorry I didn't have that in solar so I'm
yeah so if I have this set to low you now gonna solar this no top and do that
can see the blade level is setting it yeah so if I have this set to low you
off as we get up you start to get kind can see the blade level is setting it
of choppy things going on as we get off as we get up you start to get kind
there we get a very clean reduction of of choppy things going on as we get
the high end so there's gonna bypass there we get a very clean reduction of
that because I didn't show you what it the high end so there's gonna bypass
sounded like before but it's pretty that because I didn't show you what it
shocking how much difference that makes sounded like before but it's pretty
so this is it bypassed so that move shocking how much difference that makes
right there big difference has earned me so this is it bypassed so that move
a lot of money but about like in terms right there big difference has earned me
of my ability to mix that move changed a lot of money but about like in terms
everything because suddenly you can use of my ability to mix that move changed
a natural snare drum track and you can everything because suddenly you can use
EQ and compress it aggressively and not a natural snare drum track and you can
run into issues with bleach so that EQ and compress it aggressively and not
trick right there is and I can't stress run into issues with bleach so that
enough how much of a lifesaver that is trick right there is and I can't stress
again I'll just show you before and enough how much of a lifesaver that is
after now you can still hear the attack again I'll just show you before and
has the top-end that it should have after now you can still hear the attack
maybe the body of the snare has been has the top-end that it should have
dulled a little bit well we know that it maybe the body of the snare has been
has it's how much we can perceive that dulled a little bit well we know that it
but of course I also miked the bottom of has it's how much we can perceive that
the snare which is picking up the sizzle but of course I also miked the bottom of
II sound from the snare wires themselves the snare which is picking up the sizzle
and I'm not going to process that with II sound from the snare wires themselves
the same processing that's why I don't and I'm not going to process that with
do this on the whole snare bus I just do the same processing that's why I don't
this to the snare top because what that do this on the whole snare bus I just do
means is the sustain of the snare wires this to the snare top because what that
is gonna have all the top-end it should means is the sustain of the snare wires
have which should mean that when you put is gonna have all the top-end it should
the two together you're never gonna know have which should mean that when you put
that that bit of processing existed so the two together you're never gonna know
this is what the snare bottom sounds that that bit of processing existed so
like now that was using this bizarre old this is what the snare bottom sounds
Sony microphone it's a small diaphragm like now that was using this bizarre old
condenser but the capsule sits in this Sony microphone it's a small diaphragm
really quite big mesh and if just from condenser but the capsule sits in this
looking at you'd think it had a huge really quite big mesh and if just from
diaphragm but especially a tiny one in looking at you'd think it had a huge
the middle there it's called a c500 and diaphragm but especially a tiny one in
I guess it was developed for orchestral the middle there it's called a c500 and
recording it was Sony's flagship mic I guess it was developed for orchestral
back in the 70s and for some reason recording it was Sony's flagship mic
middle farm studio has a couple of those back in the 70s and for some reason
so we took that under the snare and it middle farm studio has a couple of those
sounds awesome as you guys can hear if so we took that under the snare and it
you might bottom snare before you sounds awesome as you guys can hear if
probably find it to be like a really you might bottom snare before you
ratty probably find it to be like a really
lo-fi sounding thing this has loads of ratty
body it's got a really lovely top-end lo-fi sounding thing this has loads of
because it's a small diaphragm condenser body it's got a really lovely top-end
it's getting like a really nice flat because it's a small diaphragm condenser
neutral top-end it's getting like a really nice flat
but it's almost a bit too pretty so I'm neutral top-end
gonna do a couple of things to the snare but it's almost a bit too pretty so I'm
boss so I'm gonna start by eating a gonna do a couple of things to the snare
little bit more more kind of grit into boss so I'm gonna start by eating a
it I guess when I hear that it's just a little bit more more kind of grit into
bit too pretty there and there's a great it I guess when I hear that it's just a
plugin for doing that it's again from bit too pretty there and there's a great
this slate custom series and it's like a plugin for doing that it's again from
two knob solution one for top and one this slate custom series and it's like a
for bottom end you know it's always a two knob solution one for top and one
debatable thing about how write or how for bottom end you know it's always a
professional it is to use these plugins debatable thing about how write or how
which are kind of slightly shrouded in professional it is to use these plugins
mystery about what they do but I do know which are kind of slightly shrouded in
it's a it's a parallel a hue essentially mystery about what they do but I do know
and between the two settings you can see it's a it's a parallel a hue essentially
I've got like options of present and and between the two settings you can see
silky for the top-end the present is I've got like options of present and
more of an upper mid thing silky is silky for the top-end the present is
actually not really high-end if you just more of an upper mid thing silky is
told me silky I think real high end it's actually not really high-end if you just
still upper mid but focused a bit higher told me silky I think real high end it's
I'm gonna choose that just to bring out still upper mid but focused a bit higher
a bit more yeah just a bit more I'm gonna choose that just to bring out
aggression from them like something a bit more yeah just a bit more
which would be a bit close to what you aggression from them like something
get to a dynamic Michael we still got which would be a bit close to what you
the body on top and extension that you get to a dynamic Michael we still got
get from from that original choice of the body on top and extension that you
microphone so here's what that sounds get from from that original choice of
like microphone so here's what that sounds
[Music]
so you know what actually I prefer how
the present is sounding there is so you know what actually I prefer how
bringing out like I don't know like how the present is sounding there is
much complicated stuff there is going bringing out like I don't know like how
beneath the hood but for me that's just much complicated stuff there is going
sounds like a nice upper me like a broad beneath the hood but for me that's just
upper mid lift so that's cool sounds like a nice upper me like a broad
I'm gonna do that and then the other upper mid lift so that's cool
thing is I actually want to extend the I'm gonna do that and then the other
sizzle of the snare wires a little bit thing is I actually want to extend the
and in this mix as I said I'm not sizzle of the snare wires a little bit
necessarily trying to recreate the and in this mix as I said I'm not
original mix that that I did for the necessarily trying to recreate the
album and for the original mix I didn't original mix that that I did for the
do this stage I kind of kept the snare album and for the original mix I didn't
sounding a bit tighter and I had the do this stage I kind of kept the snare
wires kind of more of a tight sound but sounding a bit tighter and I had the
why not in this case why don't we go for wires kind of more of a tight sound but
something which is perhaps a little bit why not in this case why don't we go for
more akin to like a sample that's no something which is perhaps a little bit
we're not gonna use a snare sample but more akin to like a sample that's no
something which has got more of like the we're not gonna use a snare sample but
the kind of white noise factor to it something which has got more of like the
which which is a cool sound too I like the kind of white noise factor to it
to so a good trick for that like I could which which is a cool sound too I like
use a fast attack fast release to so a good trick for that like I could
compressor something like an 1176 can be use a fast attack fast release
great for that but what it would do compressor something like an 1176 can be
though is even out the dynamics too much great for that but what it would do
and we'd start to get this disparity though is even out the dynamics too much
where the soft hits the ghost notes and we'd start to get this disparity
would probably find the snare bottom is where the soft hits the ghost notes
too loud because it's a less dynamic would probably find the snare bottom is
signal once you've compressed it so it too loud because it's a less dynamic
kind of becomes this difficult thing of signal once you've compressed it so it
leveling it properly relative to the top kind of becomes this difficult thing of
mic but a really cool way that we could leveling it properly relative to the top
do this which doesn't affect the dynamic mic but a really cool way that we could
range is to use a transient designer so do this which doesn't affect the dynamic
I'm gonna go to my SPL transient range is to use a transient designer so
designer here I'm sure everybody here I'm gonna go to my SPL transient
has used the transient designer before designer here I'm sure everybody here
dude you know how we were talking has used the transient designer before
yesterday about selling gear and dude you know how we were talking
regretting it right oh one of the only yesterday about selling gear and
pieces of gear that I actually regret regretting it right oh one of the only
selling and I've sold a lot of gear in pieces of gear that I actually regret
my life the original hardware SPL selling and I've sold a lot of gear in
transient designers I had eight channels my life the original hardware SPL
you know I don't know why on earth I transient designers I had eight channels
sold it so good for tracking drums yeah you know I don't know why on earth I
I can imagine sold it so good for tracking drums yeah
well with eight you can do kick snare I can imagine
and tones like yeah you could do the well with eight you can do kick snare
whole and it's just phenomenal and and tones like yeah you could do the
I forever regret that move but actually whole and it's just phenomenal and
I've just realized I'm not gonna use I forever regret that move but actually
this one I've just realized I'm not gonna use
that's very cool never mind I hated it this one
no no no just kidding that's very cool never mind I hated it
I just remembered and this is funny no no no just kidding
because I feel like in the podcast and I just remembered and this is funny
this people are gonna think that I'm because I feel like in the podcast and
just trying to plug Joey's stuff because this people are gonna think that I'm
he's involved in the mix but actually just trying to plug Joey's stuff because
Joey's made a multiband transient he's involved in the mix but actually
designer just while you were talking Joey's made a multiband transient
dare I was thinking wouldn't it be cool designer just while you were talking
if I could extend the length of the dare I was thinking wouldn't it be cool
snare wires but leave the punch of the if I could extend the length of the
of the low end of that mic intact well snare wires but leave the punch of the
that was the idea behind trance fi so of the low end of that mic intact well
totally cool to do that and this okay we that was the idea behind trance fi so
were talking earlier about plugins which totally cool to do that and this okay we
are bypassed and you kind of you're were talking earlier about plugins which
adjusting them and without realizing you are bypassed and you kind of you're
know what I mean we were talking about adjusting them and without realizing you
like getting duped by stuff first time I know what I mean we were talking about
use the set totally happened I said wow like getting duped by stuff first time I
this is really subtle but I like it use the set totally happened I said wow
because you have to click the on this is really subtle but I like it
switches the default state doesn't have because you have to click the on
the Bands activated so I was like doing switches the default state doesn't have
some extreme stuff with me I was like the Bands activated so I was like doing
yeah I think I know what this is doing some extreme stuff with me I was like
this right it's really subtle and then yeah I think I know what this is doing
later I was like oh god I wasn't doing this right it's really subtle and then
anything later I was like oh god I wasn't doing
I was just twiddling knobs and nothing anything
was happening so um let's try this out I was just twiddling knobs and nothing
I'm gonna grab I guess these top two was happening so um let's try this out
bands then the mid seems to actually be I'm gonna grab I guess these top two
pretty high to be honest like the low bands then the mid seems to actually be
mid bottoms out it at 1k so let's try pretty high to be honest like the low
you kind of have to set the crossover mid bottoms out it at 1k so let's try
properly with these things so let's just you kind of have to set the crossover
try increasing the sustain on the mid properly with these things so let's just
and treble controls and see what happens try increasing the sustain on the mid
I haven't done this before so we'll see and treble controls and see what happens
what happens that's not really doing I haven't done this before so we'll see
anything that's cool what happens that's not really doing
[Music] anything that's cool
so I just want actually a be that with [Music]
the transit designer I like what it's so I just want actually a be that with
doing but my problem actually I have the transit designer I like what it's
with some plugins where they're really doing but my problem actually I have
useful like really complicated is that with some plugins where they're really
sometimes you can wonder whether useful like really complicated is that
actually you're just complicating things sometimes you can wonder whether
and maybe just a simple solution to do actually you're just complicating things
better so let's just a B that I've and maybe just a simple solution to do
turned off the the jst plug-in in this better so let's just a B that I've
case I'm actually gonna have to say I turned off the the jst plug-in in this
prefer the SPL it's so yeah it's kind of case I'm actually gonna have to say I
it's bringing out I think I'd like prefer the SPL it's so yeah it's kind of
actually hearing it I think I like the it's bringing out I think I'd like
effect of hearing the body of the snare actually hearing it I think I like the
drawn out that bit more as well effect of hearing the body of the snare
so anyway by using this plug-in drawn out that bit more as well
basically to go back to why I'm using it so anyway by using this plug-in
I'm gonna make the snare wires sound basically to go back to why I'm using it
like they have more sustain and like I'm gonna make the snare wires sound
we're getting just yeah just the longer like they have more sustain and like
character underneath the snare drum so we're getting just yeah just the longer
I'm gonna do that with my snare bottom character underneath the snare drum so
and then let's put that next to my snare I'm gonna do that with my snare bottom
top and I'm gonna pull down on the fader and then let's put that next to my snare
on the snare bottom until it's sitting top and I'm gonna pull down on the fader
right guys I'm gonna start with it on the snare bottom until it's sitting
nothing I bring it up say that's about right guys I'm gonna start with it
right yeah there's like a point where nothing I bring it up say that's about
the snare bottom might becomes really right yeah there's like a point where
obvious and you back it off from that the snare bottom might becomes really
and you're like oh I can't really hear obvious and you back it off from that
the snare bottom anymore and then you and you're like oh I can't really hear
mute it or you unsolo it and it's the snare bottom anymore and then you
suddenly like wow I didn't realize how mute it or you unsolo it and it's
much it was doing so that's kind of suddenly like wow I didn't realize how
where I'm at right there I think much it was doing so that's kind of
probably about -10 is gonna be perfect where I'm at right there I think
like I'm not hearing the snare bottom probably about -10 is gonna be perfect
mic overloading anything there but once like I'm not hearing the snare bottom
I can mute it it's like my snare sounds mic overloading anything there but once
totally different yeah absolutely I can mute it it's like my snare sounds
cool so that's my kind of balancing done totally different yeah absolutely
for the snare drum there oh yeah and cool so that's my kind of balancing done
then the fader is actually at plus 3 for the snare drum there oh yeah and
from the stuff I was doing before then the fader is actually at plus 3
my next step is I'm going to gate it so from the stuff I was doing before
having done some processing just to the my next step is I'm going to gate it so
top mic I've really killed a lot of that having done some processing just to the
bleed like that's him wailing on the top mic I've really killed a lot of that
open hi-hat which typically would be a bleed like that's him wailing on the
nightmare or for anything that we're open hi-hat which typically would be a
doing but I can still get a little bit nightmare or for anything that we're
more out of it I'm not going to try and doing but I can still get a little bit
gate it completely and again I kind of more out of it I'm not going to try and
have a preset that I've kind of built up gate it completely and again I kind of
over time and as you can see it's not have a preset that I've kind of built up
really gating it's cutting the range I over time and as you can see it's not
guess by about 13 DB but I'm using a really gating it's cutting the range I
very shallow ratio so these kind of guess by about 13 DB but I'm using a
fall-off in volume rather than just very shallow ratio so these kind of
getting gated as they fall beneath so by fall-off in volume rather than just
setting the threshold I should be able getting gated as they fall beneath so by
to get this to a point where I'm getting setting the threshold I should be able
an additional amount of headroom there to get this to a point where I'm getting
so let's hear what that sounds like just an additional amount of headroom there
serve it up so without so the so let's hear what that sounds like just
interesting thing is like you know what serve it up so without so the
I could do would be like what most interesting thing is like you know what
people do with a gate which is that and I could do would be like what most
I could get away with that but I think people do with a gate which is that and
it's so much nicer when you can actually I could get away with that but I think
hear a little bit what's going on in the it's so much nicer when you can actually
background it starts to sound way less hear a little bit what's going on in the
noticeable yet at the same time we're background it starts to sound way less
getting a huge amount of isolation there noticeable yet at the same time we're
on this snare and even with that open getting a huge amount of isolation there
higher being played simultaneously on this snare and even with that open
you're not hearing that like sudden zing higher being played simultaneously
of cymbal coming through so that's you're not hearing that like sudden zing
pretty killer I'm very happy now with of cymbal coming through so that's
the amount of reduction I managed to get pretty killer I'm very happy now with
him bleed there so I know there's a the amount of reduction I managed to get
couple of questions about people asking him bleed there so I know there's a
what to do and saying there's a lot of couple of questions about people asking
bleep going on in the snare track to me what to do and saying there's a lot of
actually that was a very small amount of bleep going on in the snare track to me
bleed really but what was happening with actually that was a very small amount of
with the amount high-end boost which I bleed really but what was happening with
applied on the EQ on the way in it was with the amount high-end boost which I
just kind of obnoxious sounding but applied on the EQ on the way in it was
actually in terms of like signal to just kind of obnoxious sounding but
bleed ratio we were we were gold in actually in terms of like signal to
there because if you did look at the bleed ratio we were we were gold in
tracking photos which I think we're there because if you did look at the
linked on the page for the nail the mix tracking photos which I think we're
thing you can see that I used the bt 57 linked on the page for the nail the mix
mic I also built this kind of built a thing you can see that I used the bt 57
zoom makes it sound way more glamorous mic I also built this kind of built a
than it was I taped a whole load of foam zoom makes it sound way more glamorous
to a pop filter thy place between the than it was I taped a whole load of foam
snare mic and the hi-hat and that's to a pop filter thy place between the
something which I do typically on my snare mic and the hi-hat and that's
my sessions to get even more high-end something which I do typically on my
reduction of the hi-hats in there and it my sessions to get even more high-end
definitely works like you can hear on reduction of the hi-hats in there and it
this snare track that's probably definitely works like you can hear on
annoyingly playing under my voice at the this snare track that's probably
moment either I turned it down oh really annoyingly playing under my voice at the
nice I got you um yeah so you can moment either I turned it down oh really
hopefully hear that at this point like nice I got you um yeah so you can
we're good to go we can do anything to hopefully hear that at this point like
that snare pretty much and loot isn't we're good to go we can do anything to
gonna be an issue so with that said that snare pretty much and loot isn't
let's do some stuff to it next stage for gonna be an issue so with that said
me is gonna be EQ so we haven't actually let's do some stuff to it next stage for
touched any hue during the mix yet in me is gonna be EQ so we haven't actually
the past I've again made a lot of use of touched any hue during the mix yet in
that fabfilter pro-q 2 plugin which is the past I've again made a lot of use of
an amazing equalizer with an amazing that fabfilter pro-q 2 plugin which is
graphical display and I've mentioned an amazing equalizer with an amazing
also how I'd like to use that to analyze graphical display and I've mentioned
the frequency response of the snare drum also how I'd like to use that to analyze
and how I've used that in the past to the frequency response of the snare drum
kind of figure out what the general and how I've used that in the past to
curves the sound pleasing to me are for kind of figure out what the general
basically every instrument in the mix curves the sound pleasing to me are for
and that's awesome it's very very cool basically every instrument in the mix
and I highly urge you guys to do the and that's awesome it's very very cool
same I think you could there's a lot of and I highly urge you guys to do the
mileage that can be had there the recent same I think you could there's a lot of
I've also been enjoying just having fun mileage that can be had there the recent
with like letting my ears I've also been enjoying just having fun
take me away they want to take me and with like letting my ears
then using that as a kind of a check take me away they want to take me and
after having done some moves to see if then using that as a kind of a check
see if what I've done with my ears after having done some moves to see if
actually corresponds to something good see if what I've done with my ears
and if it sounds great but it looks a actually corresponds to something good
little bit weird on the analyzer I'm not and if it sounds great but it looks a
too fussed but if something looks way little bit weird on the analyzer I'm not
off like I see a very huge imbalance too fussed but if something looks way
that I know is gonna be unbalanced in my off like I see a very huge imbalance
ears it's just kind of a bit confused that I know is gonna be unbalanced in my
what my monitoring is weird in a certain ears it's just kind of a bit confused
situation or even just my mind's not what my monitoring is weird in a certain
there because some some days it's like situation or even just my mind's not
that there because some some days it's like
you know that that is a kind of check that
routine that I can do so I'm recently a you know that that is a kind of check
very huge fan of a plug-in made by khush routine that I can do so I'm recently a
audio IC called the Elektra equalizer very huge fan of a plug-in made by khush
and the funny thing is actually own the audio IC called the Elektra equalizer
hardware one of this equalizer and I and the funny thing is actually own the
just listed it for sale online except hardware one of this equalizer and I
that I'm about to not list it for sale just listed it for sale online except
because I wrote I got a guy I got you a that I'm about to not list it for sale
old kind of who was like you sure you because I wrote I got a guy I got you a
want to sell that and then last night I old kind of who was like you sure you
spent a whole later time messing with want to sell that and then last night I
the plug-in which is admittedly is spent a whole later time messing with
pretty similar to the plug-in sorry to the plug-in which is admittedly is
the to the hardware version pretty similar to the plug-in sorry to
and it's really really cool I have to the to the hardware version
say so so I'm gonna use that and the and it's really really cool I have to
cool thing with this equalizer is it's say so so I'm gonna use that and the
called the electric as I guess it's cool thing with this equalizer is it's
supposed to be like electrified called the electric as I guess it's
transient enhancer or something is like supposed to be like electrified
what he's saying it's not it is an EQ transient enhancer or something is like
there's no transient enhancement going what he's saying it's not it is an EQ
on but what it does have is a very there's no transient enhancement going
special bell shape to the to the to the on but what it does have is a very
the boosts and cuts re to the band's the special bell shape to the to the to the
mid bands in specific they have like a the boosts and cuts re to the band's the
from what I understand quite a wide mid bands in specific they have like a
skirt but a very specifically tight Q at from what I understand quite a wide
the very tip which enables you to kind skirt but a very specifically tight Q at
of hone in on exactly where the best the very tip which enables you to kind
transient information lies and boost it of hone in on exactly where the best
and I found this to be super cool on transient information lies and boost it
snare and I've just been like last 48 and I found this to be super cool on
hours to say I've been doing a whole it snare and I've just been like last 48
of mixing just in my in my hotel room hours to say I've been doing a whole it
and this this plugin has been featured a of mixing just in my in my hotel room
lot and maybe I'm gonna keep going back and this this plugin has been featured a
to it during this mix too so the first lot and maybe I'm gonna keep going back
thing I'm gonna do I'm hearing this to it during this mix too so the first
snare drum it's bright it's good but thing I'm gonna do I'm hearing this
it's not quite bright enough for me so snare drum it's bright it's good but
I'm gonna use this top-end shelf which it's not quite bright enough for me so
is an awesome shelf sound it actually I'm gonna use this top-end shelf which
sounds awesome because it's very shallow is an awesome shelf sound it actually
and it's more like just a general sounds awesome because it's very shallow
brightness control which is sweet and it's more like just a general
instead of being very focused in on a brightness control which is sweet
certain area but it's also quite silky instead of being very focused in on a
smooth it's not gonna make things sound certain area but it's also quite silky
too harsh so you can kind of adjust the smooth it's not gonna make things sound
frequencies up here and it's too harsh so you can kind of adjust the
deliberately very vague it tells you the frequencies up here and it's
beginning and end points but they both deliberately very vague it tells you the
like all the controls span a huge beginning and end points but they both
frequency range and that's not like all the controls span a huge
necessarily a huge amount of help so I frequency range and that's not
actually kind of like just leaving it necessarily a huge amount of help so I
the default 3.8 K which i think with the actually kind of like just leaving it
long slope it has actually extending the default 3.8 K which i think with the
quite a bit further down than that and long slope it has actually extending
just boosting that up so let's see what quite a bit further down than that and
that sounds like just boosting that up so let's see what
[Music]
so without [Music]
so without
maybe about there is and I feel like [Music]
this that's even that is bringing out a maybe about there is and I feel like
nice bit of transient it's not just this that's even that is bringing out a
bringing out the the snare bottom it's nice bit of transient it's not just
not making it sound ratty it's just a bringing out the the snare bottom it's
really nice sound actually but the next not making it sound ratty it's just a
bands gonna be where I feel like this really nice sound actually but the next
that this EQ really excels because I'm bands gonna be where I feel like this
gonna sweep they're kind of upper range that this EQ really excels because I'm
which if I had to guess would be gonna sweep they're kind of upper range
somewhere between like 1 up to 4 K I which if I had to guess would be
guess like the kind of the this area I'd somewhere between like 1 up to 4 K I
typically wouldn't go all the way up to guess like the kind of the this area I'd
the top but maybe I maybe I would in typically wouldn't go all the way up to
this case we'll see but what I'm the top but maybe I maybe I would in
searching for is a certain point where I this case we'll see but what I'm
feel like the transient is just sounds searching for is a certain point where I
great like I'm picking up the stick feel like the transient is just sounds
attack of the snare very clearly and great like I'm picking up the stick
it's weird like it sounds very vague but attack of the snare very clearly and
I think when you use this EQ and and I it's weird like it sounds very vague but
guess you can get a similar effect with I think when you use this EQ and and I
other recuse too but this one seems to guess you can get a similar effect with
be great for doing specifically this other recuse too but this one seems to
you'll find there's just certain points be great for doing specifically this
where the transients come to life where you'll find there's just certain points
the stick attack sounds great but it where the transients come to life where
doesn't sound harsh and weird so I'm the stick attack sounds great but it
gonna make a boost and then I'm gonna doesn't sound harsh and weird so I'm
shift I'm gonna jog the the hue value gonna make a boost and then I'm gonna
around the frequency value around until shift I'm gonna jog the the hue value
I find something which I like around the frequency value around until
[Music] I find something which I like
[Music]
so I keep coming back to this little [Music]
range here a bit higher seems to bring so I keep coming back to this little
out the rat enos in the bottom snare range here a bit higher seems to bring
sound and lowers just kind of not really out the rat enos in the bottom snare
interesting to me but around here sound and lowers just kind of not really
there's like a cool thing going on like interesting to me but around here
I can hear the stick of attack stick there's like a cool thing going on like
attack of the snare coming out but it's I can hear the stick of attack stick
not exaggerating the snare wires too attack of the snare coming out but it's
much I think that's really cool I'm just not exaggerating the snare wires too
gonna listen a bit and I'm gonna reduce much I think that's really cool I'm just
this boost this is a really long start gonna listen a bit and I'm gonna reduce
making there it is it's like right there this boost this is a really long start
isn't it can people hear that I think so making there it is it's like right there
yeah they can are you hearing that isn't it can people hear that I think so
transient thing happening it's very cool yeah they can are you hearing that
they got and I think they can i I mean transient thing happening it's very cool
they could earlier when you did the they got and I think they can i I mean
before and after on the on the Neve they they could earlier when you did the
heard it let's we're so awesome awesome before and after on the on the Neve they
um yeah they're saying sounds amazing heard it let's we're so awesome awesome
yes cool yes you're just about to get um yeah they're saying sounds amazing
eight thousand yeses alright so yeah not yes cool yes you're just about to get
to be a commercial for this company but eight thousand yeses alright so yeah not
this EQ like a lots of use I kind of to be a commercial for this company but
feel like a interchangeable like this EQ like a lots of use I kind of
especially the more kind of digital feel like a interchangeable like
sounding ones and it's more to do with especially the more kind of digital
the GUI and how functional it is but I sounding ones and it's more to do with
feel like this really has something cool the GUI and how functional it is but I
and unique going on so again thank you feel like this really has something cool
for for advising me or questioning my and unique going on so again thank you
decision too seldom because I think I'm for for advising me or questioning my
gonna blow it again something I feel decision too seldom because I think I'm
like that would be a unit that might gonna blow it again something I feel
cross my mind to sell and I would like that would be a unit that might
probably regret it yeah it just feels cross my mind to sell and I would
like that like and I like I said last probably regret it yeah it just feels
night I almost would have bought it off like that like and I like I said last
you right like I was like about night I almost would have bought it off
ninety-nine point nine about to make you you right like I was like about
an offer ninety-nine point nine about to make you
Wow well yeah I mean the thing for me is an offer
my workflow at this point is completely Wow well yeah I mean the thing for me is
in the box so I think that was kind of my workflow at this point is completely
affecting my decision but I've certainly in the box so I think that was kind of
got enough projects coming up like affecting my decision but I've certainly
tracking projects I think to track drums got enough projects coming up like
and to put your snare through this on tracking projects I think to track drums
the way in or whatever and to put your snare through this on
be amazing like to commit to that and the way in or whatever
know you're bringing out like the really be amazing like to commit to that and
best qualities in the snare drum on the know you're bringing out like the really
way in and kick to or episodes to best qualities in the snare drum on the
channels on the unit so anyway that's way in and kick to or episodes to
all by-the-by so with that said a channels on the unit so anyway that's
typical thing to do with snares is to all by-the-by so with that said a
bring out some body like some weight in typical thing to do with snares is to
the low-end and we're gonna do the same bring out some body like some weight in
thing in the lower and just kind of the low-end and we're gonna do the same
sweep around what I guess is gonna be thing in the lower and just kind of
it's a kind of similar point I think sweep around what I guess is gonna be
like around here I found in with the it's a kind of similar point I think
snares when I've worked on this because like around here I found in with the
this goes from 30 Hertz up to 7:30 I snares when I've worked on this because
think around here we're dealing with this goes from 30 Hertz up to 7:30 I
like maybe 150 up to about 300 300 would think around here we're dealing with
be a bit higher but somewhere between like maybe 150 up to about 300 300 would
100 to 200 is generally where you're be a bit higher but somewhere between
gonna find like a nice character for 100 to 200 is generally where you're
that stick attack so I'm gonna do the gonna find like a nice character for
same thing I mean a boost I'm gonna that stick attack so I'm gonna do the
sweep it until I'm feeling like I'm same thing I mean a boost I'm gonna
getting I'm finding the spot where they sweep it until I'm feeling like I'm
actual like the transient of the snare getting I'm finding the spot where they
is jumping out and making it sound full actual like the transient of the snare
so I said great choice like the sweater is jumping out and making it sound full
oh yeah yeah the sweater the great so I said great choice like the sweater
choice with the EQ oh you're not alike oh yeah yeah the sweater the great
great choice oh yeah yeah gotta make choice with the EQ oh you're not alike
great choices so that's getting a bit great choice oh yeah yeah gotta make
too my you can see it's kind of getting great choices so that's getting a bit
a bit like goggly sounding bit right too my you can see it's kind of getting
round there it's great I don't know if a bit like goggly sounding bit right
you guys are hearing that but it's like round there it's great I don't know if
it's bringing out the like the you guys are hearing that but it's like
bounciness in the low end of the snare I it's bringing out the like the
don't know how to describe it any other bounciness in the low end of the snare I
way don't know how to describe it any other
so that's pretty cool I think there's way
three moves are working pretty well and so that's pretty cool I think there's
it does have a high-pass filter which three moves are working pretty well and
I'm gonna engage now it's all very vague it does have a high-pass filter which
I don't really want to commit to using I'm gonna engage now it's all very vague
the filter and fine I'm going to high I don't really want to commit to using
but I'm just gonna bring that up until the filter and fine I'm going to high
it's doing something because I did but I'm just gonna bring that up until
actually like on the top on the snare it's doing something because I did
top with the API EQ I did boost the actually like on the top on the snare
bottom end as well but with a shelf so I top with the API EQ I did boost the
probably brought up something like noise bottom end as well but with a shelf so I
underneath that I don't need and and probably brought up something like noise
generally it's a good idea to high-pass underneath that I don't need and and
you on your track so here we go generally it's a good idea to high-pass
[Music] you on your track so here we go
they were pretty safe down there we're [Music]
not affecting the sound so that's some they were pretty safe down there we're
pretty cool stuff we've done to the not affecting the sound so that's some
snare right there I should just bypassed pretty cool stuff we've done to the
the whole EQ and we'll do it before and snare right there I should just bypassed
after so before so before and after I the whole EQ and we'll do it before and
think we're sitting pretty good they're after so before so before and after I
actually sounding nice to me so what I think we're sitting pretty good they're
could do now actually is I'm gonna check actually sounding nice to me so what I
out just out of interest what that looks could do now actually is I'm gonna check
like on the spectrum analyzer of pro-q - out just out of interest what that looks
so like I mentioned this like a couple like on the spectrum analyzer of pro-q -
of different curves that I might look so like I mentioned this like a couple
for and there's like to me there's like of different curves that I might look
two ways that I like to present a snare for and there's like to me there's like
in terms of EQ one is a slightly more two ways that I like to present a snare
scooped kind of sound which I feel like in terms of EQ one is a slightly more
is what we've got going on here and I scooped kind of sound which I feel like
mean by that that we've got a dip going is what we've got going on here and I
on kind of in the like somewhere between mean by that that we've got a dip going
800 to 1k like when you see on a on kind of in the like somewhere between
spectrum analyzer we're gonna see like 800 to 1k like when you see on a
the the low-end bump and then we're spectrum analyzer we're gonna see like
gonna see this dip and then it's gonna the the low-end bump and then we're
see it rise back up again into the gonna see this dip and then it's gonna
top-end and typically the stick attack see it rise back up again into the
portion is gonna be somewhere up like 5 top-end and typically the stick attack
or 6 K and maybe we'll get some stuff portion is gonna be somewhere up like 5
going on a bit higher than that for the or 6 K and maybe we'll get some stuff
real white noisy things like side of the going on a bit higher than that for the
sound that's one way of presenting a real white noisy things like side of the
snare and that to me is more in the vein sound that's one way of presenting a
of like the kind of sample Eastern air snare and that to me is more in the vein
sound that you might hear which is cool of like the kind of sample Eastern air
I really like that sound actually I tend sound that you might hear which is cool
to shy away from it or have tended to I really like that sound actually I tend
shy away from it just just out of pure to shy away from it or have tended to
ego I kind of want people I guess to shy away from it just just out of pure
know that I'm not using samples and be ego I kind of want people I guess to
like no this is like a representative of know that I'm not using samples and be
smeii this is me but the other thing like no this is like a representative of
which I do also like is kind of how I smeii this is me but the other thing
have been doing things which is to have which I do also like is kind of how I
something which is way flashier across have been doing things which is to have
the frequency spectrum which has that something which is way flashier across
mid-range information around the kind of the frequency spectrum which has that
800 to 1k area which is where those kind mid-range information around the kind of
of like squanchy kind of mid-range 800 to 1k area which is where those kind
resonances in the snare drum live and I of like squanchy kind of mid-range
like that because to me that's more resonances in the snare drum live and I
representative of what a real snare drum like that because to me that's more
sound representative of what a real snare drum
like it's just kind of made it's it's sound
it's like like I don't just like it's like it's just kind of made it's it's
like a kind of exaggerated version of it's like like I don't just like it's
reality that way by the time I've done like a kind of exaggerated version of
all my processing to it yet it retains reality that way by the time I've done
like a real character it sounds like a all my processing to it yet it retains
snare being hit in a room and the other like a real character it sounds like a
thing with that is that mid range does snare being hit in a room and the other
help it cut through the mix so if you're thing with that is that mid range does
going from or scoopy snare sound I think help it cut through the mix so if you're
that the difficulty can be make it not going from or scoopy snare sound I think
sound soft in the mix and again that's that the difficulty can be make it not
where something like the cush EQ can sound soft in the mix and again that's
come into play in fact I was messing where something like the cush EQ can
around exactly this on a different come into play in fact I was messing
session last night kind of trying out around exactly this on a different
this more scoopy snare sound which I session last night kind of trying out
haven't kind of used for a long time and this more scoopy snare sound which I
my first thing was like oh damn this haven't kind of used for a long time and
doesn't have any punch in the mix and my first thing was like oh damn this
then I went and tried using the cushy doesn't have any punch in the mix and
hue and with the transient information I then I went and tried using the cushy
was able to bring out with that EQ it hue and with the transient information I
suddenly sounded really cool it brought was able to bring out with that EQ it
back some of that hardness while still suddenly sounded really cool it brought
keeping the scooped character so again back some of that hardness while still
that eq's super cool anyway let's check keeping the scooped character so again
out what we've got on this frequency that eq's super cool anyway let's check
analyzer when I hit play well yeah so out what we've got on this frequency
that's kind of what I would expect to analyzer when I hit play well yeah so
see for a more spooky snare you can see that's kind of what I would expect to
like this area around 1k we've got this see for a more spooky snare you can see
kind of v-shaped dip going on there we like this area around 1k we've got this
go if I just hold that on there you can kind of v-shaped dip going on there we
see the frequency spectrum gradually go if I just hold that on there you can
filling out it gets a bit weird after a see the frequency spectrum gradually
while but you can see that we've got the filling out it gets a bit weird after a
low bump like down here is where we while but you can see that we've got the
brought out the stick attack like the low bump like down here is where we
low end of the snare you see up here is brought out the stick attack like the
the kind of presence region on the snare low end of the snare you see up here is
in the middle we've got this scooped the kind of presence region on the snare
information here if I were just to boost in the middle we've got this scooped
that bit up that's the kind of information here if I were just to boost
information I'm talking about which that bit up that's the kind of
yields a more real snare sound but might information I'm talking about which
not be desirable if that's not what yields a more real snare sound but might
you're after so the way that the snare not be desirable if that's not what
drum sounds on p3 is probably more akin you're after so the way that the snare
to this with this boost right here but drum sounds on p3 is probably more akin
why not do something different for this to this with this boost right here but
session why not do something different for this
no that's let's enjoy this a bit of session
experimentation cool so I'm actually not no that's let's enjoy this a bit of
going to use that you hear I'm just experimentation cool so I'm actually not
going to get rid of going to use that you hear I'm just
now that I've kind of scoped it out a going to get rid of
little bit I'm gonna move on to now that I've kind of scoped it out a
compression and there's a whole lot of little bit I'm gonna move on to
cool compressors out there for compression and there's a whole lot of
compressing drums and you know we spoke cool compressors out there for
a bit about compression all the compressing drums and you know we spoke
differences that you can get from from a bit about compression all the
trying different compression compressors differences that you can get from from
and the various things that they might trying different compression compressors
impart one of my favorite compressors is and the various things that they might
always going to be the the fabfilter impart one of my favorite compressors is
procede - now this is like a multimode always going to be the the fabfilter
compressor it it does everything like in procede - now this is like a multimode
the under this clean compressor it it does everything like in
sorry unders this menu here these are the under this clean
all completely different compressor sorry unders this menu here these are
topologies which you could access from all completely different compressor
like one that's specifically designed topologies which you could access from
for pumping up room mics one that's like one that's specifically designed
designed to retain more more more punch for pumping up room mics one that's
mastering I don't I don't really know designed to retain more more more punch
necessarily what the difference is with mastering I don't I don't really know
some of these are classic I'm guessing necessarily what the difference is with
is something that's gonna impart a bit some of these are classic I'm guessing
of coloration so what I love about the is something that's gonna impart a bit
fabfilter designs they don't try and of coloration so what I love about the
look like some vintage piece of gear fabfilter designs they don't try and
you're not being dissipated you're not look like some vintage piece of gear
being convinced because sometimes you you're not being dissipated you're not
open a plug it in this got like bakelite being convinced because sometimes you
knobs and cool funky looking distressing open a plug it in this got like bakelite
all over it and your ears are knobs and cool funky looking distressing
immediately influenced by your eyes at all over it and your ears are
that point into thinking that something immediately influenced by your eyes at
sounds vintage oh and maybe it doesn't that point into thinking that something
or you know maybe it doesn't that final sounds vintage oh and maybe it doesn't
woodgrain right exactly so what I like or you know maybe it doesn't that final
about these and the ability to switch woodgrain right exactly so what I like
these modes this way is I think you tend about these and the ability to switch
to have the wall pulled a little bit these modes this way is I think you tend
less over your eyes by the GUI the same to have the wall pulled a little bit
time it's super usable and the less over your eyes by the GUI the same
compressor style that I've been using a time it's super usable and the
lot recently has been the bus mode I was compressor style that I've been using a
way into the punch mode which has got lot recently has been the bus mode I was
like a crazy amount of attack which is way into the punch mode which has got
cool but the bus mode is a little bit like a crazy amount of attack which is
thicker sounding to me and I really like cool but the bus mode is a little bit
what that does so as we discussed thicker sounding to me and I really like
earlier about attack and release times a what that does so as we discussed
slightly slower attack time is what's earlier about attack and release times a
going to exaggerate the transient of the slightly slower attack time is what's
drum which is what I'm gonna try and do going to exaggerate the transient of the
now I want it to really pop so something drum which is what I'm gonna try and do
around 30 milliseconds is just like the now I want it to really pop so something
standard go to setting and I very rarely around 30 milliseconds is just like the
used something other than like the range standard go to setting and I very rarely
of 25 up to 30 milliseconds on on drums used something other than like the range
to exaggerate the attack and then a of 25 up to 30 milliseconds on on drums
release of about 100 250 is gonna be to exaggerate the attack and then a
fast enough that it's gonna react in release of about 100 250 is gonna be
time for the next hit but it's also not fast enough that it's gonna react in
gonna get too much like an upswell which time for the next hit but it's also not
can sound weird on the body of the drum gonna get too much like an upswell which
like can sound weird on the body of the drum
this can go super fast a 10 millisecond like
release is stupidly fast and if you if this can go super fast a 10 millisecond
you're not careful with that then you release is stupidly fast and if you if
kind of hear the body of the snare you're not careful with that then you
swelling back up again because it's kind of hear the body of the snare
releasing so quickly and that's not a swelling back up again because it's
particularly pleasant sound kind of releasing so quickly and that's not a
works against the compression character particularly pleasant sound kind of
that you want I'm using a typical ratio works against the compression character
4 to 1 nothing strange about that that you want I'm using a typical ratio
I pretty much the media compression is 4 to 1 nothing strange about that
typically like 4 to 1 or limited I pretty much the media compression is
basically you like I don't really mess typically like 4 to 1 or limited
around with different ratios too much I basically you like I don't really mess
kind of maybe that's the wrong way of around with different ratios too much I
doing it but I kind of like that kind of maybe that's the wrong way of
approach to whatever works for you yeah doing it but I kind of like that
and I think I think there's plenty of approach to whatever works for you yeah
guys that are that way like you're and I think I think there's plenty of
either limiting something more like guys that are that way like you're
compressing it with a really high ratio either limiting something more like
to kill transients or whatever all you compressing it with a really high ratio
want just like general compression to kill transients or whatever all you
duties 4 to 1 just never fails really want just like general compression
for me so I'm gonna bring the threshold duties 4 to 1 just never fails really
down I'm gonna compress this pretty for me so I'm gonna bring the threshold
pretty aggressively this is gonna be down I'm gonna compress this pretty
very spanky by the time it's done I'm pretty aggressively this is gonna be
gonna aim for about 9 10 DB of reduction very spanky by the time it's done I'm
is typical for me so I'm gonna start gonna aim for about 9 10 DB of reduction
with the threshold not doing anything so is typical for me so I'm gonna start
there you go we've got like kind of with the threshold not doing anything so
stupid punch going on on the snare there there you go we've got like kind of
it's a it's definitely smashing very stupid punch going on on the snare there
hard that would be kind of what I'd aim it's a it's definitely smashing very
for typically though these days I've hard that would be kind of what I'd aim
actually been enjoying using a mix for typically though these days I've
control on compressor which a lot of actually been enjoying using a mix
them have and I typically haven't used control on compressor which a lot of
them so much but I actually think there them have and I typically haven't used
is something pretty cool to to blending them so much but I actually think there
in a bit of the dry signal especially is something pretty cool to to blending
when you're compressing as hard as I am in a bit of the dry signal especially
there it can bring back a little bit of when you're compressing as hard as I am
the body and get more of the sustain of there it can bring back a little bit of
that snare bottom because the fingers the body and get more of the sustain of
we're exaggerating the transients so that snare bottom because the fingers
much that the sustain portion of the we're exaggerating the transients so
snare has really been attenuated a lot much that the sustain portion of the
and having gone to the work of trying to snare has really been attenuated a lot
bring out a bit of a longer snare rattle and having gone to the work of trying to
or sizzle thing going on it seems kind bring out a bit of a longer snare rattle
of a shame to just compress that to or sizzle thing going on it seems kind
oblivion anyway so I'm gonna bring this of a shame to just compress that to
this mix control back down so at the oblivion anyway so I'm gonna bring this
moment 100% I'm gonna bring it back to this mix control back down so at the
to bring in some of the the weight yeah moment 100% I'm gonna bring it back to
yeah sorry bring it back to some of the to bring in some of the the weight yeah
the dry science I was reading that yeah sorry bring it back to some of the
because I was trying to figure out if it the dry science I was reading that
actually wasn't a mix knob but like a because I was trying to figure out if it
threshold multiplied a bit no it isn't actually wasn't a mix knob but like a
anyway cool that's cool around like 50% threshold multiplied a bit no it isn't
he's still hearing a bunch of anyway cool that's cool around like 50%
compression happening but it's just a he's still hearing a bunch of
little bit more sustained to it compression happening but it's just a
that's super cool so at that point my little bit more sustained to it
snares already starting to to take on that's super cool so at that point my
the shape that I like it's got the the snares already starting to to take on
kind of sonic character that I like and the shape that I like it's got the the
it's got compression character that I kind of sonic character that I like and
like there's one really important piece it's got compression character that I
what there's multiple important pieces like there's one really important piece
of the puzzle missing at the moment and what there's multiple important pieces
that is parallel compression now I have of the puzzle missing at the moment and
used for several years now exactly the that is parallel compression now I have
same parallel compression bus and I'm used for several years now exactly the
not ashamed of that to me that's just same parallel compression bus and I'm
like I've got an outboard rack with not ashamed of that to me that's just
certain pieces of hardware that are just like I've got an outboard rack with
hard patched into a certain bus for an certain pieces of hardware that are just
effect and my parallel compressor of hard patched into a certain bus for an
choice is the soft tube fet compressor effect and my parallel compressor of
and I have tried substituting it with choice is the soft tube fet compressor
other compressors it's based on an 1176 and I have tried substituting it with
there's a ton of different emulations of other compressors it's based on an 1176
1176 is out there and some of them are there's a ton of different emulations of
super cool but none of them on parallel 1176 is out there and some of them are
drums do exactly what this does which super cool but none of them on parallel
seems to be that it can really maintain drums do exactly what this does which
a very strong a very limited level like seems to be that it can really maintain
the output seems kind of squashed yet a very strong a very limited level like
maintains some transient stuff going on the output seems kind of squashed yet
as well and what I'm using this for is maintains some transient stuff going on
I'm using almost faster almost as fast as well and what I'm using this for is
it can go I'm using almost faster almost as fast
attack the fastest release and my idea it can go
is I'm trying to kind of crush the attack the fastest release and my idea
transient of the of the snare and is I'm trying to kind of crush the
enhance the sustain so I'm kind of transient of the of the snare and
undoing a little bit of what I just did enhance the sustain so I'm kind of
but I'm creating my own new kind of undoing a little bit of what I just did
envelope for the snare by doing this the but I'm creating my own new kind of
reason why I haven't brought this in envelope for the snare by doing this the
just yet is because for it to sound reason why I haven't brought this in
right in context I need to feed multiple just yet is because for it to sound
things to it so I feed every channel of right in context I need to feed multiple
my drums through the busses to this things to it so I feed every channel of
parallel compression by do it in varying my drums through the busses to this
amounts and in the end I kind of get parallel compression by do it in varying
this pumpy aggressive liquidy sounding amounts and in the end I kind of get
drum mix that is blended in under my this pumpy aggressive liquidy sounding
dryer drum mix that creates a huge drum mix that is blended in under my
amount of excitement and sustain and dryer drum mix that creates a huge
it's a massive difference really in the amount of excitement and sustain and
mix so like I mentioned before my snare it's a massive difference really in the
is always my kind of lighthouse in terms mix so like I mentioned before my snare
of gain staging and I always send it at is always my kind of lighthouse in terms
zero DB to my parallel compression and of gain staging and I always send it at
then everything else has kind of figured zero DB to my parallel compression and
out around that so I'm just going to then everything else has kind of figured
show you what happens with and without out around that so I'm just going to
that you're gonna hear the bleed come up show you what happens with and without
hugely when I put the bus in place it's that you're gonna hear the bleed come up
a slightly misleading thing because when hugely when I put the bus in place it's
when the in between the hits essentially a slightly misleading thing because when
this compressor is bringing up all of when the in between the hits essentially
that background information but by the this compressor is bringing up all of
time I feed the other things to it it's that background information but by the
gonna be reacting to let's say the kick time I feed the other things to it it's
drum in the room and the the overheads gonna be reacting to let's say the kick
it's never gonna react quite as drum in the room and the the overheads
aggressively back it's never gonna bring it's never gonna react quite as
up that noise ratio quite as much so aggressively back it's never gonna bring
that's what I mean when I say that it up that noise ratio quite as much so
necessary it's having multiple things that's what I mean when I say that it
flowing to it for it to sound right so necessary it's having multiple things
the bleed is not going to be quite as flowing to it for it to sound right so
brutal as it sounds just with the snare the bleed is not going to be quite as
so loud but here's my snare without the brutal as it sounds just with the snare
parallel compression that I'm gonna so loud but here's my snare without the
bring it in so free you can hear that's parallel compression that I'm gonna
bringing out a ton of sustain in the bring it in so free you can hear that's
drum there it's making it sound more bringing out a ton of sustain in the
explosive you're hearing the the hi-hat drum there it's making it sound more
come up a ton too and that's that's explosive you're hearing the the hi-hat
unfortunately a bit like I say that's come up a ton too and that's that's
not gonna be the case what's everything unfortunately a bit like I say that's
else is going on it's it's not helping not gonna be the case what's everything
with the bleed like it's gonna be a bit else is going on it's it's not helping
worse than it was before but it's not with the bleed like it's gonna be a bit
gonna be terrible like that if I solo worse than it was before but it's not
the parallel compression just so you can gonna be terrible like that if I solo
hear what that's doing on its own and it the parallel compression just so you can
sounds like this so it's a really hear what that's doing on its own and it
smashed sound going on there sounds like this so it's a really
and I found that I was always bringing smashed sound going on there
my fader back about like 10 DB 12 DB and I found that I was always bringing
when and when I was using this to the my fader back about like 10 DB 12 DB
point that I kind of set it up as a when and when I was using this to the
preset which automatically has a trim point that I kind of set it up as a
plug-in bringing the fader like bringing preset which automatically has a trim
the volume down 11 DB out of the plug-in plug-in bringing the fader like bringing
and so that my fader just sits in there the volume down 11 DB out of the plug-in
and I never even think about it so and so that my fader just sits in there
that's my bit of parallel compression and I never even think about it so
I'm doing there I'm also going to send that's my bit of parallel compression
it to a reverb and again I've used this I'm doing there I'm also going to send
reverb for the longest time it to a reverb and again I've used this
it's the stilwell verbiage plug-in it's reverb for the longest time
not a pretty sounding reverb at all it's it's the stilwell verbiage plug-in it's
kind of grainy it's not supposed to not a pretty sounding reverb at all it's
model the beautiful sounding space or kind of grainy it's not supposed to
anything like that and I just haven't model the beautiful sounding space or
found anything else out there that does anything like that and I just haven't
what this does it's kind of ratty found anything else out there that does
sounding but it's got just the right what this does it's kind of ratty
amount of I don't know just the right sounding but it's got just the right
character to it's so difficult to put amount of I don't know just the right
into words I've tried so many different character to it's so difficult to put
reverbs and even on p3 I used a into words I've tried so many different
different reverb into that sound Troy reverbs and even on p3 I used a
that sound always was a called devil different reverb into that sound Troy
lock that I showed you earlier on that that sound always was a called devil
stereo room tract tried some new sound lock that I showed you earlier on that
like some really crazy compressed sound stereo room tract tried some new sound
for my my reverb decay and that was cool like some really crazy compressed sound
but I also didn't like some of the for my my reverb decay and that was cool
things that that did so in this case I'm but I also didn't like some of the
going to revert to using verbiage so things that that did so in this case I'm
I'll show you what that sounds like going to revert to using verbiage so
sorry keeps all of this so we're cranked I'll show you what that sounds like
[Music]
so you can see my settings right there [Music]
if you want to screenshot it I'll give so you can see my settings right there
you a couple of seconds to do that right if you want to screenshot it I'll give
now if you want to see them so yeah you a couple of seconds to do that right
there's nothing special take note of now if you want to see them so yeah
these density switches up at the top there's nothing special take note of
they really affect the sound of the these density switches up at the top
reverb I like the number five the moment they really affect the sound of the
well I say at the moment I don't think reverb I like the number five the moment
I've ever bothered to change since I well I say at the moment I don't think
found the settings that highlight so I've ever bothered to change since I
again I'm not even ashamed of that found the settings that highlight so
that's just me finding something that I again I'm not even ashamed of that
like and that to me is like I'm treating that's just me finding something that I
it like hardware like if I had a like and that to me is like I'm treating
hardware reverb I know so many studios it like hardware like if I had a
that do this they just have it set on hardware reverb I know so many studios
one preset and the producer just goes that do this they just have it set on
cool I want my I want that thing patched one preset and the producer just goes
in and it's just like that's the sound cool I want my I want that thing patched
of that reverb and you know what you're in and it's just like that's the sound
gonna get so there's something cool of that reverb and you know what you're
about doing that with plugins too I gonna get so there's something cool
think about doing that with plugins too I
so that's my snare sound pretty close to think
done but there's a couple more elements so that's my snare sound pretty close to
that I want to bring in and we talked done but there's a couple more elements
about killing the transient on drums a that I want to bring in and we talked
little bit and this is where for me about killing the transient on drums a
bringing some analog modeling and can be little bit and this is where for me
really cool I typically have always have bringing some analog modeling and can be
used the slate tape machine for this really cool I typically have always have
because it has a cool setting if you set used the slate tape machine for this
it to 15 hips mode it kind of rounds the because it has a cool setting if you set
top end off a little bit which is nice it to 15 hips mode it kind of rounds the
Holly did you hear that what was that top end off a little bit which is nice
that was thunder for about some really Holly did you hear that what was that
you heard that I heard that bye because that was thunder for about some really
I thought your mic was just rumbling no you heard that I heard that bye because
no no that was that was the sky talking I thought your mic was just rumbling no
to us Wow all right sorry no no that was that was the sky talking
so my typical use for this plug-in is to us Wow all right sorry
actually to rinse it really hard so what so my typical use for this plug-in is
I would typically do would be something actually to rinse it really hard so what
like this so freely letting it clip and I would typically do would be something
kind of enjoying the fatness that we get like this so freely letting it clip and
from doing that this 15 inch mode gives kind of enjoying the fatness that we get
us a slightly darker tonality and it's from doing that this 15 inch mode gives
cool I like it let's I'll just show you us a slightly darker tonality and it's
again what that sounds like pro system cool I like it let's I'll just show you
bypass sorry I'll show you by bus and again what that sounds like pro system
then person bypass sorry I'll show you by bus and
hopefully you can hear how much fatness
that's bringing to the snare I really hopefully you can hear how much fatness
love that effect since we mentioned it that's bringing to the snare I really
earlier I'm gonna try this waves and a love that effect since we mentioned it
less channel just to see what happens if earlier I'm gonna try this waves and a
I like it I'll use it if not then I went less channel just to see what happens if
but I was liking the the mic mode which I like it I'll use it if not then I went
I guess is based on old like EMI desc but I was liking the the mic mode which
[Music]
certainly making a bit louder something [Music]
I'm getting weird there is it seems to certainly making a bit louder something
be shifting it in the stereo field I I'm getting weird there is it seems to
guess cuz this is a stereo instance it's be shifting it in the stereo field I
got some kind of unbalanced thing going guess cuz this is a stereo instance it's
on there which I don't know how I feel got some kind of unbalanced thing going
about but um maybe you guys can hear on there which I don't know how I feel
that too I'm just gonna switch between about but um maybe you guys can hear
that kind of weird yeah like it was that too I'm just gonna switch between
definitely kind of shifting it over to that kind of weird yeah like it was
one side um I'm just gonna kind of definitely kind of shifting it over to
bypass like go between the two of them one side um I'm just gonna kind of
to see which one I prefer right now so bypass like go between the two of them
I'm gonna keep this one bypassed yeah to see which one I prefer right now so
for me this the tape machine is still I'm gonna keep this one bypassed yeah
winning it doesn't sound as crunchy it's for me this the tape machine is still
just fat and really nice I like that a winning it doesn't sound as crunchy it's
lot just fat and really nice I like that a
the more I hear this sorry I'm with you lot
on that one yeah I like that one I kind the more I hear this sorry I'm with you
of feel like I want to bring a little on that one yeah I like that one I kind
bit more topping into the snare as well of feel like I want to bring a little
just from hearing it going around around bit more topping into the snare as well
and around so let's see what sorry just from hearing it going around around
[Music] and around so let's see what sorry
cool and then with our parallel stuff [Music]
going on and in fact something which I cool and then with our parallel stuff
haven't done in this mix that I always going on and in fact something which I
do is I send this reverb to to the haven't done in this mix that I always
parallel compression so it's reacting a do is I send this reverb to to the
little bit there that might affect my parallel compression so it's reacting a
level that kind of is gonna create this little bit there that might affect my
ducking effect where the reverb swells level that kind of is gonna create this
up after the snare hits so it doesn't ducking effect where the reverb swells
obscure the hit it's a cool little trick up after the snare hits so it doesn't
some people like to use pre delay to do obscure the hit it's a cool little trick
that for me some reverb have a kind of some people like to use pre delay to do
percussive transient to them that sounds that for me some reverb have a kind of
bad like a kind of slap back when you percussive transient to them that sounds
set the pre delay I don't know something bad like a kind of slap back when you
about free delay that I don't really set the pre delay I don't know something
like at least on percussive things so I about free delay that I don't really
do have a tiny bit of free delay on that like at least on percussive things so I
reverb but this trick feeding it into do have a tiny bit of free delay on that
the parallel compression means that it reverb but this trick feeding it into
kind of gets ducked down in the parallel the parallel compression means that it
bus as the snare hits and then swells kind of gets ducked down in the parallel
back up again on the other side of it bus as the snare hits and then swells
and should mean as well that once the back up again on the other side of it
rest of the mix is going it's not gonna and should mean as well that once the
be as audible during fast passages but rest of the mix is going it's not gonna
then when there's space for it you're be as audible during fast passages but
gonna hear that reverb bloom or because then when there's space for it you're
it's not being kind of pinned down by gonna hear that reverb bloom or because
the other things that are passing it's not being kind of pinned down by
through that parallel bus so that's the other things that are passing
another really cool trick it's almost through that parallel bus so that's
like a bit of automation then that's one another really cool trick it's almost
of the reasons why I send my room mics like a bit of automation then that's one
as well to the parallel busses they kind of the reasons why I send my room mics
of have this automated volume control as well to the parallel busses they kind
where if the kicks going crazy that room of have this automated volume control
sound and reverb is gonna be kind of where if the kicks going crazy that room
kept down a little bit by the kick which sound and reverb is gonna be kind of
is also going to be going through the kept down a little bit by the kick which
parallel compression bus and then when is also going to be going through the
the kicks more open you've got more time parallel compression bus and then when
for the snare to expand so it's a cool the kicks more open you've got more time
little trick I'm all for automated for the snare to expand so it's a cool
automation if there's like things which little trick I'm all for automated
do stuff for me without me really having automation if there's like things which
to think about it so with that we're do stuff for me without me really having
pretty much done with snare are there to think about it so with that we're
any questions about the snare before I pretty much done with snare are there
move on good question let me pull up any questions about the snare before I
these questions and we'll get right to move on good question let me pull up
some snare questions let's see here if these questions and we'll get right to
anyone listening about the tracking of some snare questions let's see here if
the snare or anything like that as well anyone listening about the tracking of
one second here let me just find some the snare or anything like that as well
good ones cuz we have a lot of questions one second here let me just find some
think here's a good one Josey is asking good ones cuz we have a lot of questions
knowledge think here's a good one Josey is asking
believe in the Ailes beard do I believe knowledge
in his beard believe in the Ailes beard do I believe
yes do you believe in um I'm gonna have in his beard
to say yes thank you thank you thank you yes do you believe in um I'm gonna have
I think that would be something very to say yes thank you thank you thank you
weird going on in my head if I didn't or I think that would be something very
a very strange outlook on life and I weird going on in my head if I didn't or
would tend to believe that we're not in a very strange outlook on life and I
a simulation and indeed I am would tend to believe that we're not in
experiencing your beard in person right a simulation and indeed I am
now so I'm gonna say I believe in it all experiencing your beard in person right
right here's here's one um and forgive now so I'm gonna say I believe in it all
me have you covered this do you EQ the right here's here's one um and forgive
snare reverb no with some reverb so I me have you covered this do you EQ the
guess you really have to do that okay snare reverb no with some reverb so I
it's not completely true because there's guess you really have to do that okay
a filtering section within the reverb it's not completely true because there's
I'm sorry within the reverb plug-in a filtering section within the reverb
itself so I am using the high-pass I'm sorry within the reverb plug-in
filter that's built in and actually itself so I am using the high-pass
boosting the high shelf a bit so I guess filter that's built in and actually
Henry I am cueing it but I'm not like boosting the high shelf a bit so I guess
adding an extra EQ after it so tracks Henry I am cueing it but I'm not like
I'm being quite aggressive there with adding an extra EQ after it so tracks
the high-pass filter to make sure it's I'm being quite aggressive there with
not too kind of wooly sounding and wet the high-pass filter to make sure it's
I want my reverb to be bright and zingy not too kind of wooly sounding and wet
and not kind of hide behind the mix I want my reverb to be bright and zingy
that's the problem I have with most of and not kind of hide behind the mix
the really nice reverb since they're that's the problem I have with most of
just dark and warm and lush but they're the really nice reverb since they're
not explosive and they don't cut through just dark and warm and lush but they're
the mix so yeah if you tried to use not explosive and they don't cut through
another reverb and you're having the mix so yeah if you tried to use
difficulty with that then certainly another reverb and you're having
cutting some low-end is gonna help and difficulty with that then certainly
volatile productions just ask in what cutting some low-end is gonna help and
level is too reverb at and that's really volatile productions just ask in what
just by ear at the moment I don't want level is too reverb at and that's really
it to be super obvious in the mix but I just by ear at the moment I don't want
might well tailor that once we start it to be super obvious in the mix but I
mixing everything together but for me might well tailor that once we start
I'd yeah I mean I could just kind of mixing everything together but for me
know from having done this this many I'd yeah I mean I could just kind of
times with this exact set of bike know from having done this this many
factors the snare with that same reverb times with this exact set of bike
I kind of know this F like the volume factors the snare with that same reverb
yeah I want to hear like when I hear the I kind of know this F like the volume
snare I don't want to hear it like yeah I want to hear like when I hear the
I want to hear that going on and at the snare I don't want to hear it like
same time like if it's too low it's not I want to hear that going on and at the
really doing anything that's just to me same time like if it's too low it's not
that's just like an obvious sweet spot really doing anything that's just to me
where it's like cool that's a snare and that's just like an obvious sweet spot
that's a reverb and they're working well where it's like cool that's a snare and
together so I know I'll find that volume that's a reverb and they're working well
again though you like just do it in together so I know I'll find that volume
front of you so you can hear it bow that again though you like just do it in
for me sounds about right in a one more front of you so you can hear it bow that
thing about URM enhanced that we have a for me sounds about right in a one more
FasTrak about reverb and one about delay thing about URM enhanced that we have a
where there's a section on setting FasTrak about reverb and one about delay
levels and they'll just a quick little where there's a section on setting
way if you're not familiar with this levels and they'll just a quick little
confuses you a good way to do it at the way if you're not familiar with this
beginning before it becomes more like confuses you a good way to do it at the
second nature's to turn the fader all beginning before it becomes more like
the way down like turn have it at zero second nature's to turn the fader all
and then gradually bring the reverb or the way down like turn have it at zero
the delay up until it's not they and and then gradually bring the reverb or
with everything playing mind you this is the delay up until it's not they and
not in solo this have you bring it up with everything playing mind you this is
gradually until the source that your not in solo this have you bring it up
reverb iing starts to just glue to the gradually until the source that your
mix a little bit more it's not you don't reverb iing starts to just glue to the
turn it up so loud that suddenly you're mix a little bit more it's not you don't
hearing reverb like crazy like he just turn it up so loud that suddenly you're
showed you not in the example of how he hearing reverb like crazy like he just
likes it but how he doesn't like it like showed you not in the example of how he
you don't turn it up so loud that you're likes it but how he doesn't like it like
hearing the reverb you're listening more you don't turn it up so loud that you're
for how the how the actual instrument hearing the reverb you're listening more
your reverb is sitting in the mix and for how the how the actual instrument
it's length yeah so sorry were you about your reverb is sitting in the mix and
to say something no I'm just an it's length yeah so sorry were you about
agreement yeah it's a good trick I think to say something no I'm just an
yeah with the lots of things with agreement yeah it's a good trick I think
levelling in general it's very easy and yeah with the lots of things with
a tunnel vision on the thing that you levelling in general it's very easy and
were just working on yeah bass is the a tunnel vision on the thing that you
worst for that for me if I'm tracking were just working on yeah bass is the
bass already and then trying to put it worst for that for me if I'm tracking
in the mix I I'll be off by like 10 DB I bass already and then trying to put it
should you know like anyway yeah so yeah in the mix I I'll be off by like 10 DB I
bringing things back to zero and then should you know like anyway yeah so yeah
bring them up again is it's a great way bringing things back to zero and then
of doing it and then just hearing how bring them up again is it's a great way
it's affecting the bigger picture yeah of doing it and then just hearing how
so Federico is it's affecting the bigger picture yeah
asking he'll let us hear the snare with so Federico is
all plugins engaged and then bypassed asking he'll let us hear the snare with
certainly do you want like mr. Lee all plugins engaged and then bypassed
everything he was saying just a quick certainly do you want like mr. Lee
overall before and after of the snare everything he was saying just a quick
sound alright alright so here's the raw overall before and after of the snare
sound and then I brought in this plugin sound alright alright so here's the raw
and I'm gonna have to kind of pause it sound and then I brought in this plugin
every now and then because these plugins and I'm gonna have to kind of pause it
introduce latency sometimes like as in every now and then because these plugins
logic has to stop and hit play again to introduce latency sometimes like as in
account for the latency in the plug-in logic has to stop and hit play again to
so you'd hear the flamming between the account for the latency in the plug-in
two mics if I just engage this from so you'd hear the flamming between the
nothing so here's the the snare mics two mics if I just engage this from
without the multiband trick on the top nothing so here's the the snare mics
and then I'll stop it and bring it back without the multiband trick on the top
in again with the thing that's me and then I'll stop it and bring it back
engaging the extra processing head on in again with the thing that's me
the snare bottom engaging the extra processing head on
[Music] the snare bottom
if I can do something extra few just [Music]
duplicate those tracks just for a second if I can do something extra few just
oh yeah going the extra mile yeah it's duplicate those tracks just for a second
kind of interesting you know oh yeah going the extra mile yeah it's
so yep here's the snare raw so yeah
that's a fairly categorical I think so yep here's the snare raw so yeah
David's asking do you not use the room that's a fairly categorical I think
to get your snare sound no I used the David's asking do you not use the room
room to get the room sound and like the to get your snare sound no I used the
decay of the snare for short and I do room to get the room sound and like the
have a snare room sample that I'm going decay of the snare for short and I do
to talk about to if I was like I guess I have a snare room sample that I'm going
could talk about that right now because to talk about to if I was like I guess I
that's kind of like having a reverb but could talk about that right now because
to me it's also very linked with room that's kind of like having a reverb but
mics so the room we track the drums in to me it's also very linked with room
sounds awesome you guys can hear that mics so the room we track the drums in
map here amazingly so the snare is sounds awesome you guys can hear that
really loud in them it's not got a map here amazingly so the snare is
problem with cutting above the cymbals really loud in them it's not got a
yet still if you want to get the kind of problem with cutting above the cymbals
sound that we're used to hearing or the yet still if you want to get the kind of
sound that I really like that super sound that we're used to hearing or the
explosive room kind of decay on the sound that I really like that super
snare it's very difficult to do with a explosive room kind of decay on the
live room track even with like the best snare it's very difficult to do with a
room unless maybe they're just playing live room track even with like the best
post high hats or something but anything room unless maybe they're just playing
with washi cymbals is so difficult to post high hats or something but anything
bring that out without also destroying with washi cymbals is so difficult to
the overhead sound of your your kit and bring that out without also destroying
bringing up like really junky sounding the overhead sound of your your kit and
cymbals so that's where using a room bringing up like really junky sounding
sound sample can come in handy and this cymbals so that's where using a room
is a sample that I printed this is from sound sample can come in handy and this
get your drums which is the drum sample is a sample that I printed this is from
company which Matt and I started and get your drums which is the drum sample
Misha and theirs from Missha from company which Matt and I started and
periphery and deaths from guitar also Misha and theirs from Missha from
involved in and we've sampled Matt's periphery and deaths from guitar also
snares and and his snare and kits and involved in and we've sampled Matt's
Tom's and everything in really high snares and and his snare and kits and
detail in a mazing live room in Tom's and everything in really high
Baltimore which has just got this huge detail in a mazing live room in
decay so I printed the high tune sneer Baltimore which has just got this huge
room sound which actually corresponds decay so I printed the high tune sneer
exactly to the tuning that I used for room sound which actually corresponds
this song in the studio even though we exactly to the tuning that I used for
did in a different studio I printed that this song in the studio even though we
down from trigger to an audio region and did in a different studio I printed that
you can hear it here I'll process it in down from trigger to an audio region and
fact no opera is it now why not press it you can hear it here I'll process it in
now fact no opera is it now why not press it
just to cover that while we're on it so now
here's what it sounds like raw so just to cover that while we're on it so
straight where you can hear that's a here's what it sounds like raw so
pretty cool sounding room I think you straight where you can hear that's a
can hear it's got a bit of like kind of pretty cool sounding room I think you
weird resonance in the low mids but it's can hear it's got a bit of like kind of
got a beautiful sounding decay to it so weird resonance in the low mids but it's
first thing I'm going to do is I'm going got a beautiful sounding decay to it so
to set it up so it's actually sorry if I first thing I'm going to do is I'm going
just hit the microphone and that was to set it up so it's actually sorry if I
really loud um I'm gonna send it to the just hit the microphone and that was
parallel compression a little bit and really loud um I'm gonna send it to the
I'm really not very scientific about parallel compression a little bit and
these things so I'm sorry if I don't I'm really not very scientific about
really care so much about exactly how these things so I'm sorry if I don't
much of this I'm sending to the parallel really care so much about exactly how
compression but I'm gonna send some just much of this I'm sending to the parallel
so I don't forget because like I compression but I'm gonna send some just
mentioned with the reverb I want this to so I don't forget because like I
interact with us now and I also don't mentioned with the reverb I want this to
want to overcook the compression too interact with us now and I also don't
much because I am going to compress this want to overcook the compression too
directly then it's going to get some much because I am going to compress this
additional compression from the parallel directly then it's going to get some
bus so I kind of want to be able to hear additional compression from the parallel
it with that and let's pull up bus so I kind of want to be able to hear
Slate's virtual mix rack because there's it with that and let's pull up
basically no end of cool processing I Slate's virtual mix rack because there's
can do using this so I kind of want to basically no end of cool processing I
find that sound that's going on in there can do using this so I kind of want to
it's kind of the resonance of the of the find that sound that's going on in there
room so I'm gonna use this lobe and it's kind of the resonance of the of the
[Music] room so I'm gonna use this lobe and
it's actually pretty low I might might
do better with the low shelf of this it's actually pretty low I might might
yeah so yeah a combination of that low do better with the low shelf of this
shelf cut and the high pass has really yeah so yeah a combination of that low
done what I wanted there so before we shelf cut and the high pass has really
don't need that low end on there really done what I wanted there so before we
I want this to be airy and like don't need that low end on there really
impactful and cool and let's use this I want this to be airy and like
top-end boost I know I mention in the impactful and cool and let's use this
beginning it's kind of harsh but it's top-end boost I know I mention in the
cool there's a general presence control beginning it's kind of harsh but it's
sometimes so they see what that sounds cool there's a general presence control
like sometimes so they see what that sounds
hmm it's cool but it's also bringing out
quite a lot of the snare rattle which I hmm it's cool but it's also bringing out
don't know if I like so much but that's quite a lot of the snare rattle which I
cool let's just a be that with using don't know if I like so much but that's
this old thing that I was using before cool let's just a be that with using
we'll try both the present and silky this old thing that I was using before
mode yeah I feel like this has got a we'll try both the present and silky
really nice character actually I like mode yeah I feel like this has got a
that silky yeah I think I like that really nice character actually I like
silky mode East it is bringing out a bit that silky yeah I think I like that
of snow wise but it's doing it in a way silky mode East it is bringing out a bit
that sounds kind of nicer than the other of snow wise but it's doing it in a way
one was and then the next piece of the that sounds kind of nicer than the other
puzzle is gonna be to compress I really one was and then the next piece of the
like this plugin from the new 1176 puzzle is gonna be to compress I really
series they came out with it has an like this plugin from the new 1176
attack time that goes a lot slower which series they came out with it has an
can be pretty cool on some sources I attack time that goes a lot slower which
like the ability to to compress this and can be pretty cool on some sources I
actually have a bit of like to Thea tack like the ability to to compress this and
to the snare even in the room mic so actually have a bit of like to Thea tack
let's see what that sounds like I'm to the snare even in the room mic so
gonna use I'm gonna stick with four to let's see what that sounds like I'm
one actually and just see where we go gonna use I'm gonna stick with four to
right around there was a bit too much
kind of attack on the front when the right around there was a bit too much
attack was too slow so yeah let's hear kind of attack on the front when the
that with and without person that's attack was too slow so yeah let's hear
sounding pretty slamming let's hear the that with and without person that's
snare drum now and then I'm gonna bring sounding pretty slamming let's hear the
in that sample underneath it it's really snare drum now and then I'm gonna bring
loud one sec here's where I might use my in that sample underneath it it's really
trim control that's doing something loud one sec here's where I might use my
pretty cool there I have to say cool so trim control that's doing something
I think that system that snare oh yeah pretty cool there I have to say cool so
questions questions any more questions I think that system that snare oh yeah
oh yeah we've we've definitely got questions questions any more questions
questions you already answered which mic oh yeah we've we've definitely got
was used yeah on the snare the beta 57 questions you already answered which mic
right yep I'm a Sony c500 underneath yep was used yeah on the snare the beta 57
all right and are you gonna cover ghost right yep I'm a Sony c500 underneath yep
notes later uh nope that setting is all right and are you gonna cover ghost
gonna work really well for everything to notes later uh nope that setting is
be honest like okay so the parallel gonna work really well for everything to
compression is bringing up a lot that be honest like okay so the parallel
low-level information and that's gonna compression is bringing up a lot that
help us hear the ghost that's really low-level information and that's gonna
Keeley that's another reason why as well help us hear the ghost that's really
when I did the gating I didn't just have Keeley that's another reason why as well
it set with like a really steep fall when I did the gating I didn't just have
away I kind of have it gradually taper it set with like a really steep fall
off so if I if I allowed the ghost notes away I kind of have it gradually taper
to come through fully on the gate and off so if I if I allowed the ghost notes
then go through the parallel compression to come through fully on the gate and
they'd end up just about as loud as the then go through the parallel compression
loud hits which sounds weird and I've they'd end up just about as loud as the
been guilty of that in the past and then loud hits which sounds weird and I've
if I were to get too hard he just been guilty of that in the past and then
wouldn't hear them at all so that kind if I were to get too hard he just
of gate setting is designed to allow wouldn't hear them at all so that kind
them to be audible but not to dominate of gate setting is designed to allow
too much here's one from Clifton miles them to be audible but not to dominate
and he said just to clarify are you too much here's one from Clifton miles
sending your snare bus and all of the and he said just to clarify are you
instruments into the instrument bus with sending your snare bus and all of the
the compression and EQ and then that's instruments into the instrument bus with
getting the compression and EQ and then that's
fed into the master fader with the getting
limiter on it exactly yeah so my snare fed into the master fader with the
here is feeding to this track over here limiter on it exactly yeah so my snare
which says drums and the plugin on that here is feeding to this track over here
is just a game down to D because my which says drums and the plugin on that
drums are quite hot on this session also is just a game down to D because my
the parallel compression and reverb drums are quite hot on this session also
buses are sending to this bus here buss the parallel compression and reverb
13 then this is going to bus 50 which is buses are sending to this bus here buss
this instrumental bus here ignore this 13 then this is going to bus 50 which is
send which is just for you guys to hear this instrumental bus here ignore this
then that's going all the way over here send which is just for you guys to hear
to my stereo output here and again this then that's going all the way over here
is the output that you guys are hearing to my stereo output here and again this
but those two are exactly the same and is the output that you guys are hearing
that's how it goes so my vocals in the but those two are exactly the same and
exception they're going straight to the that's how it goes so my vocals in the
vocal out which doesn't have the EQ nor exception they're going straight to the
does it have the compression on it and vocal out which doesn't have the EQ nor
that goes directly to the master buss so does it have the compression on it and
it just hits the tape and the limiter that goes directly to the master buss so
and the reason for that is the vocals it just hits the tape and the limiter
really upset the balance of the and the reason for that is the vocals
instruments and what that mix buss really upset the balance of the
compressor sees this one over here if instruments and what that mix buss
the vocals start going through there compressor sees this one over here if
because they're quite loud on top of the vocals start going through there
everything else you start getting gain because they're quite loud on top of
reduction all the time it becomes less everything else you start getting gain
focused on the snare the drum sound kind reduction all the time it becomes less
of falls apart a little bit that's focused on the snare the drum sound kind
something which I figured out more of falls apart a little bit that's
recently and started doing even though something which I figured out more
it's a bit more of a pain in terms of recently and started doing even though
routing previously I used to have this it's a bit more of a pain in terms of
all just on my master buss and things routing previously I used to have this
would sound awesome all just on my master buss and things
and then the vocals would come in it would sound awesome
would still sound good but there's and then the vocals would come in it
definitely something extra to be gained would still sound good but there's
I found by bypassing that stage and also definitely something extra to be gained
in general I found that that EQ curve I found by bypassing that stage and also
that I was applying here doesn't in general I found that that EQ curve
necessarily sound that great on vocals that I was applying here doesn't
it might work fine but I kind of necessarily sound that great on vocals
preferred starting from fresh with the it might work fine but I kind of
vocals and especially on this this preferred starting from fresh with the
session where we're dealing with vocals vocals and especially on this this
that have already been eq'd and session where we're dealing with vocals
compressed and sound great already I that have already been eq'd and
don't necessarily want to add especially compressed and sound great already I
that 5k presence band to them so yeah don't necessarily want to add especially
that's that's why Michael Judd is asking that 5k presence band to them so yeah
maybe I missed this but I've seen a lot that's that's why Michael Judd is asking
of people cut around the 500 Hertz range maybe I missed this but I've seen a lot
on their snare and you don't seem to of people cut around the 500 Hertz range
what are your thoughts on this I mean on their snare and you don't seem to
essentially I'm creating a similar what are your thoughts on this I mean
result by by simply boosting the top and essentially I'm creating a similar
bottom so if you're boosting the top and result by by simply boosting the top and
bottom you're scooping the mids bottom so if you're boosting the top and
now I guess he was talking more about bottom you're scooping the mids
5-hundred than like the kind of 800 now I guess he was talking more about
thing which I was talking about that I'm 5-hundred than like the kind of 800
not afraid of mids in my snare really thing which I was talking about that I'm
like 500 I I get why you might want to not afraid of mids in my snare really
cut it but I also don't want to have like 500 I I get why you might want to
something which sounds like a garbage cut it but I also don't want to have
can being hit which is kind of the issue something which sounds like a garbage
I start to scoop all of the the real can being hit which is kind of the issue
meat of the snare drum away like I start to scoop all of the the real
actually like four to five hundred is meat of the snare drum away like
probably where you get most of the actually like four to five hundred is
information like if you put a mic if you probably where you get most of the
look at a snare drum in an overhead mic information like if you put a mic if you
for example if you feet away by far the look at a snare drum in an overhead mic
biggest spike is around like four to for example if you feet away by far the
five hundred Hertz that's where a loss biggest spike is around like four to
of the snare drum energy is now the five hundred Hertz that's where a loss
really the point is though it doesn't of the snare drum energy is now the
matter what moves someone's doing it really the point is though it doesn't
matters what the end curve is and I'm matter what moves someone's doing it
not talking about like the ends justify matters what the end curve is and I'm
the means which some people like to talk not talking about like the ends justify
about with with processing I just mean the means which some people like to talk
that maybe someone cuts 500 Hertz but about with with processing I just mean
the source tone might be different from that maybe someone cuts 500 Hertz but
one person to another and they might use the source tone might be different from
a completely different process but still one person to another and they might use
end up with the same frequency response a completely different process but still
to somebody else from doing different end up with the same frequency response
moves so that's why I think it's very to somebody else from doing different
cool to analyze stuff on a frequency moves so that's why I think it's very
analyzer and figure out the best way of cool to analyze stuff on a frequency
getting from A to B or allow your ears analyzer and figure out the best way of
to lead you as I've been doing here and getting from A to B or allow your ears
then and then yeah check out what it's to lead you as I've been doing here and
what it looks like on the analyzer and then and then yeah check out what it's
figure out why it sounds good and how what it looks like on the analyzer and
you can replicate that kyriakos is figure out why it sounds good and how
asking and I feel like you covered this you can replicate that kyriakos is
but maybe he maybe there's something asking and I feel like you covered this
additional here so let's ask you how do but maybe he maybe there's something
you tame the brightness in terms of additional here so let's ask you how do
bleed what the Hat I understand it'll you tame the brightness in terms of
gel with the rooms and overheads and the bleed what the Hat I understand it'll
question just disappeared off my screen gel with the rooms and overheads and the
okay and I mean that that's basically question just disappeared off my screen
the whole multi band trick yeah we went okay and I mean that that's basically
over that's that is the lifesaver though the whole multi band trick yeah we went
without that I don't think like I mean over that's that is the lifesaver though
yeah I just just wouldn't work very like without that I don't think like I mean
if I maybe he just needs to wasn't doing yeah I just just wouldn't work very like
it right maybe I'll just very quickly if I maybe he just needs to wasn't doing
play my snare then bypass just this so it right maybe I'll just very quickly
you can hear what would happen to that play my snare then bypass just this so
bleed even with the gate in place you can hear what would happen to that
[Music] bleed even with the gate in place
pretty brutal and that's with the gate
still there so that multiband trick is pretty brutal and that's with the gate
really a huge lifesaver then Andrew still there so that multiband trick is
Brown is asking what heads were used of really a huge lifesaver then Andrew
the snare that is an Evans heavyweight Brown is asking what heads were used of
on the top which is quite a thick head the snare that is an Evans heavyweight
really just through a necessity because on the top which is quite a thick head
Matt it's really hard I do like how it really just through a necessity because
sounds as well in the thick head does Matt it's really hard I do like how it
tend to have more low-end it can sound a sounds as well in the thick head does
bit boxy but that's another reason why tend to have more low-end it can sound a
it was nice to do some hearing on the bit boxy but that's another reason why
way in the bottom head is hazy 300 and it was nice to do some hearing on the
we're using pure sound pro brass wires way in the bottom head is hazy 300 and
24 strand which are my favorites a we're using pure sound pro brass wires
little bit more bite than your regular 24 strand which are my favorites a
20 strands and kind of helps offset the little bit more bite than your regular
the thick top head that we're using 20 strands and kind of helps offset the
there but I do really like that the the thick top head that we're using
other thing is we did use the die cast there but I do really like that the
hoop on the top which is not what that other thing is we did use the die cast
signature snare ships with I checked to hoop on the top which is not what that
the die cast who from one of my other signature snare ships with I checked to
snares onto it and I do feel like that the die cast who from one of my other
helps give it a bit more life an attack snares onto it and I do feel like that
which helps when you're using a helps give it a bit more life an attack
figurehead like that for sure which helps when you're using a
in general I preferred die costumes for figurehead like that for sure
lots of reasons all over Moors asking in general I preferred die costumes for
how far away do you put the close mics lots of reasons all over Moors asking
on your drums um kind of normal how far away do you put the close mics
positions I mean like I've messed around on your drums um kind of normal
with that stuff and it makes a positions I mean like I've messed around
difference for sure and there's always with that stuff and it makes a
gonna be like a great place to put a mic difference for sure and there's always
on a drum but I'm pretty pretty standard gonna be like a great place to put a mic
and how I do things on a drum but I'm pretty pretty standard
I told you to check out the session and how I do things
photos perhaps yeah and the nail the mix I told you to check out the session
page you'll see they're really the photos perhaps yeah and the nail the mix
positions of like every mic there so page you'll see they're really the
that's totally yeah you'll you'll see positions of like every mic there so
much better than I can describe without that's totally yeah you'll you'll see
my mic in a drum to hand vial prayer is much better than I can describe without
asking did you record the drums my mic in a drum to hand vial prayer is
throughout bordick used just the kick in asking did you record the drums
too and the snare top both those went throughout bordick used just the kick in
through API 550 bees and I did quite a too and the snare top both those went
lot to them as you know the bottom as through API 550 bees and I did quite a
well went through this Harrison channel lot to them as you know the bottom as
that has a built-in EQ and I think I well went through this Harrison channel
might boost a little bit of body into it that has a built-in EQ and I think I
so it does have a lot of body I think might boost a little bit of body into it
the mic didn't so it does have a lot of body I think
have quite as much as that and I think the mic didn't
ya know that that's pretty much at the have quite as much as that and I think
Tom's I think I printed when I edited ya know that that's pretty much at the
them I printed them through and in the Tom's I think I printed when I edited
box EQ it's just cut a tiny bit of mids them I printed them through and in the
but they still need plenty more mate box EQ it's just cut a tiny bit of mids
reduction before that good to go in the but they still need plenty more mate
mix I am gonna totally butcher this name reduction before that good to go in the
so I'm now you're gonna try it so here's mix I am gonna totally butcher this name
one one more question so I'm now you're gonna try it so here's
what about gating the snare signal a lot one one more question
that goes into the reverb what did that what about gating the snare signal a lot
take away the nasty stuff in the Meriva that goes into the reverb what did that
I get I mean I don't really have that take away the nasty stuff in the Meriva
problem personally what do you mean the I get I mean I don't really have that
one that's going to the parallel problem personally what do you mean the
compression perhaps he said reverb so I one that's going to the parallel
don't know I think well you know one compression perhaps he said reverb so I
thing is some guys just use a sample of don't know I think well you know one
driver reverb for instance and not thing is some guys just use a sample of
natural snare maybe it's based off of driver reverb for instance and not
that kind of idea maybe well I don't natural snare maybe it's based off of
know fully what he means there but I that kind of idea maybe well I don't
don't really have a problem with my know fully what he means there but I
reverb having the level of bleed that don't really have a problem with my
has in there you could gate the snare reverb having the level of bleed that
before the parallel compressor but has in there you could gate the snare
because I'm gonna be sending a lots of before the parallel compressor but
things through that that's gonna get a because I'm gonna be sending a lots of
bit weird I'd have to kind of set up an things through that that's gonna get a
bus from the snare that goes to a gate bit weird I'd have to kind of set up an
and then that goes to the parallel bus from the snare that goes to a gate
compressor and none of the other things and then that goes to the parallel
go through that same gate compressor and none of the other things
it would just be convoluted I don't go through that same gate
really feel like it's an issue for what it would just be convoluted I don't
I'm doing if I want to tighten up the really feel like it's an issue for what
snare a little bit that I might not I'm doing if I want to tighten up the
check out the ringing frequencies of the snare a little bit that I might not
snare in just the parallel bus before check out the ringing frequencies of the
the compressor but I very rarely do that snare in just the parallel bus before
too because I generally tend to track the compressor but I very rarely do that
drums with the amount of sustain that I too because I generally tend to track
like it's more something I do if I'm drums with the amount of sustain that I
mixing somebody else's address okay John like it's more something I do if I'm
steel cool name mixing somebody else's address okay John
what's asking or samples use on the steel cool name
snare for this song and the album or was what's asking or samples use on the
it all this kind of process it was snare for this song and the album or was
basically this just going for a slightly it all this kind of process it was
frequency response I used I think the basically this just going for a slightly
same Y no sorry I used the same room frequency response I used I think the
sample on the album you can hear that on same Y no sorry I used the same room
there that ggd snare room sample but in sample on the album you can hear that on
general the only samples that you're there that ggd snare room sample but in
hearing on the record are the room general the only samples that you're
sample there's some kick sample which hearing on the record are the room
we'll get to next and then with the sample there's some kick sample which
Tom's I did paste in some clean samples we'll get to next and then with the
as I've done on this song to cover over Tom's I did paste in some clean samples
lead with their samples taken from the as I've done on this song to cover over
to kiss and it's not like not using lead with their samples taken from the
trigger to trigger them I literally and to kiss and it's not like not using
pasting in a clean hit where the bleed trigger to trigger them I literally and
is obnoxious Andrew Brown is asking how pasting in a clean hit where the bleed
do you bring in the sample to match is obnoxious Andrew Brown is asking how
every hit of the original track I use do you bring in the sample to match
the slate trigger which is a good it's every hit of the original track I use
got a pretty good detection system the slate trigger which is a good it's
especially with something like the room got a pretty good detection system
a tiny bit of variance in terms of especially with something like the room
timing like if it's off by a few a tiny bit of variance in terms of
milliseconds doesn't really matter timing like if it's off by a few
anyway because it's not going to clash milliseconds doesn't really matter
with the you know we're not talking anyway because it's not going to clash
about layering another snare sample with the you know we're not talking
that's going to hit exactly the same about layering another snare sample
point it's got a built-in delay in it that's going to hit exactly the same
anyway and you're never going to point it's got a built-in delay in it
perceive that but typically that's not a anyway and you're never going to
problem for me like I find that the perceive that but typically that's not a
slate trigger to detects well enough for problem for me like I find that the
my users and then what I might do after slate trigger to detects well enough for
the fact with something like the kick my users and then what I might do after
for example is just go in and make sure the fact with something like the kick
that the transients actually line up for example is just go in and make sure
exactly what you can see there they they that the transients actually line up
do very important yeah okay Luis Flores exactly what you can see there they they
is asking Luis Flores sorry how long did do very important yeah okay Luis Flores
it take you to get the snare sound the is asking Luis Flores sorry how long did
first time you mix the song I think we it take you to get the snare sound the
see because this was a record that I was first time you mix the song I think we
working on for a long time like the see because this was a record that I was
mixing of these drums actually started working on for a long time like the
during tracking because Matt and I were mixing of these drums actually started
tracking remotely in the UK the rest of during tracking because Matt and I were
the band was in there and I was sending tracking remotely in the UK the rest of
bounces to the band everyday what we did the band was in there and I was sending
and I didn't want them to sound lame so bounces to the band everyday what we did
I did some mixing to them like as in I and I didn't want them to sound lame so
would send them these rough mixes the I did some mixing to them like as in I
drums and kind of that became the rough would send them these rough mixes the
mixes that we took into the actual drums and kind of that became the rough
mixing phase and I started from a mixes that we took into the actual
similar point and just refined it from mixing phase and I started from a
there so it was kind of a multi-stage similar point and just refined it from
process but to be honest I could do this there so it was kind of a multi-stage
entire process if I track drums I could process but to be honest I could do this
probably mix them in like probably about entire process if I track drums I could
20 minutes to be if the toms are probably mix them in like probably about
stripped and everything it would 20 minutes to be if the toms are
probably take me about 20 minutes to get stripped and everything it would
to a drum sound that would be like album probably take me about 20 minutes to get
ready although maybe it could still be to a drum sound that would be like album
tweaked a little bit more once ready although maybe it could still be
everything else is in place so I have a tweaked a little bit more once
pretty good workflow going down and the everything else is in place so I have a
best mixers are pretty fast I've noticed pretty good workflow going down and the
perhaps I mean I think in this case it's best mixers are pretty fast I've noticed
just I do have a methodology which I can perhaps I mean I think in this case it's
apply just I do have a methodology which I can
quickly and I know what I'm trying to I apply
know what I'm trying to achieve that say quickly and I know what I'm trying to I
oh as well alright two more questions know what I'm trying to achieve that say
now we're gonna call out the winners oh as well alright two more questions
cool um this is from Taylor now we're gonna call out the winners
they said might be a silly question but cool um this is from Taylor
nollie how do you get your buses and they said might be a silly question but
auxes to show in the arrange window a nollie how do you get your buses and
logic without adding fake automation to auxes to show in the arrange window a
the buses logic without adding fake automation to
you simply right-click them on the mixer the buses
and choose create track all I can see you simply right-click them on the mixer
there's a shortcut right there as well and choose create track all I can see
like whatever though the little arrow there's a shortcut right there as well
thing and tea and just actually before like whatever though the little arrow
you go to a break somebody was asking thing and tea and just actually before
about organizing plugins very simple you you go to a break somebody was asking
just go to preferences plugin manager about organizing plugins very simple you
and then you can just create your own just go to preferences plugin manager
categories down here by pressing that and then you can just create your own
plus sign and drag and drop them from categories down here by pressing that
the whole list that you have of all of plus sign and drag and drop them from
the plugins that you own yeah we've the whole list that you have of all of
actually got a few more questions that I the plugins that you own yeah we've
don't want to skip okay um Cory Bautista actually got a few more questions that I
is asking are you sending the room don't want to skip okay um Cory Bautista
sample to the snare bus or to the room is asking are you sending the room
bus I'm sending that to the drum buss sample to the snare bus or to the room
I'm not I don't want that going through bus I'm sending that to the drum buss
the EQ of the snare and I don't want to I'm not I don't want that going through
go in through the EQ of the real drums the EQ of the snare and I don't want to
the real drum room because I want to be go in through the EQ of the real drums
able to I'm boosting the high end a lot the real drum room because I want to be
more than you'd be able to do with a able to I'm boosting the high end a lot
real drum room because that would bring more than you'd be able to do with a
the cymbals out horribly that needs a real drum room because that would bring
totally different treatment so it has the cymbals out horribly that needs a
ascend to the parallel compression and totally different treatment so it has
then it's fed directly to the drum buss ascend to the parallel compression and
okay cool then it's fed directly to the drum buss
kyriakos is asking can you display how okay cool
you use trigger to get the most accurate kyriakos is asking can you display how
triggering yeah sure um let me see you use trigger to get the most accurate
I mean it's just about fiddling with the triggering yeah sure um let me see
with what's there but let's see if I so I mean it's just about fiddling with the
this is just a new track that I'm gonna with what's there but let's see if I so
monitor here I'm gonna put slate trigger this is just a new track that I'm gonna
on it monitor here I'm gonna put slate trigger
so it's not gonna pass any audio for the
time being I'm just going to choose so it's not gonna pass any audio for the
whatever I'll choose a sample taken from time being I'm just going to choose
p3 actually so this is a room a row of whatever I'll choose a sample taken from
room sample here it seems to be working p3 actually so this is a room a row of
pretty well I mean the snare in doesn't room sample here it seems to be working
have very much bleed on it so like pretty well I mean the snare in doesn't
that's fine I kind of have it set as have very much bleed on it so like
default to load up with the detail set a that's fine I kind of have it set as
bit smaller and the sensitivity a bit default to load up with the detail set a
higher than it does as a default but bit smaller and the sensitivity a bit
this should pick up basically everything higher than it does as a default but
that I need okay great and then the last this should pick up basically everything
one is from volume arden do you ever use that I need okay great and then the last
anything like auto a line to help find one is from volume arden do you ever use
potentially sweeter phase relationships anything like auto a line to help find
rarely but sometimes and I kind of potentially sweeter phase relationships
figured out the phase really well when rarely but sometimes and I kind of
we tracked this session so not worrying figured out the phase really well when
about that but that can definitely be a we tracked this session so not worrying
cool thing like you know you can scoot about that but that can definitely be a
back the snare to match with the cool thing like you know you can scoot
overheads or scoot the overheads forward back the snare to match with the
to match with the snare or you know you overheads or scoot the overheads forward
could do that for everything although to match with the snare or you know you
with Tom is a little bit weird because could do that for everything although
they natural you're going to hit the two with Tom is a little bit weird because
overheads different times because they natural you're going to hit the two
they're not central but yeah that's a overheads different times because
cool plugin it seems to work really well they're not central but yeah that's a
I have messed up it's pretty cool for cool plugin it seems to work really well
guitars I think oh really that's cool I have messed up it's pretty cool for
I get more use for it like when you have guitars I think oh really that's cool
when using like multiple amps mm-hmm not I get more use for it like when you have
the same signal or yeah I find it's more when using like multiple amps mm-hmm not
useful for that than drums mmm great so the same signal or yeah I find it's more
I'm gonna take this moment to talk about useful for that than drums mmm great so
who won the mix competition so first of I'm gonna take this moment to talk about
all once again I want to just tell all who won the mix competition so first of
of you who had the balls to compete that all once again I want to just tell all
congrats for having the balls to compete of you who had the balls to compete that
and that's a big deal because I think a congrats for having the balls to compete
lot of mixers when they're first and that's a big deal because I think a
developing their abilities and even when lot of mixers when they're first
they go pro have developing their abilities and even when
a phobia about sending their work off to they go pro have
get judged and they'll procrastinate a phobia about sending their work off to
that decision and a lot of times one of get judged and they'll procrastinate
the things that holds a mixer back from that decision and a lot of times one of
getting a lot better is they spend too the things that holds a mixer back from
much time on the same material like getting a lot better is they spend too
you'll see amateur mixers spending like much time on the same material like
three months on the same song or six you'll see amateur mixers spending like
months on the same song still working on three months on the same song or six
the same record a year and a half later months on the same song still working on
we're not talking about like when the same record a year and a half later
blink-182 spends nine months in the we're not talking about like when
studio that's a different story we're blink-182 spends nine months in the
talking about like you don't know how to studio that's a different story we're
mix yet you're not confident you're talking about like you don't know how to
afraid to send it off you don't want to mix yet you're not confident you're
get judged and you just keep on grinding afraid to send it off you don't want to
the same song into the ground and so one get judged and you just keep on grinding
of the reasons that we do a different the same song into the ground and so one
song every month is so that it forces of the reasons that we do a different
you to get it done send it in and see song every month is so that it forces
how it does and the reason also that we you to get it done send it in and see
don't impose any rules with these like how it does and the reason also that we
you have to have them at a certain level don't impose any rules with these like
or this or that we just say submit it is you have to have them at a certain level
because in real life if you're doing a or this or that we just say submit it is
test mix for a label for instance you because in real life if you're doing a
don't know who your test mixing against test mix for a label for instance you
generally could be one other guy it don't know who your test mixing against
could be no other guys could be ten generally could be one other guy it
other guys and they never got any could be no other guys could be ten
guidelines so and none of you get other guys and they never got any
guidelines like the label won't tell you guidelines so and none of you get
I need it at this level and in this guidelines like the label won't tell you
format you just submit and if they like I need it at this level and in this
it enough you get the gig and that's it format you just submit and if they like
so we want to kind of go by those same it enough you get the gig and that's it
purely subjective submission guidelines so we want to kind of go by those same
which is when we pick the top 20 we pick purely subjective submission guidelines
what we like best and that's it that's which is when we pick the top 20 we pick
all there is to it nothing deeper than what we like best and that's it that's
that be Joey and Joel pick the top 20 all there is to it nothing deeper than
and if we like it it's in there and you that be Joey and Joel pick the top 20
guys don't have to agree but just like and if we like it it's in there and you
when you do a test mix for a label you guys don't have to agree but just like
don't have to agree with their decision when you do a test mix for a label you
either but their decision is their don't have to agree with their decision
decision also since we have the voting either but their decision is their
randomized and anonymous the idea is for decision also since we have the voting
you guys to just vote for randomized and anonymous the idea is for
what you think sounds best without you guys to just vote for
getting too crazy about it should be what you think sounds best without
there's so many mixes that you should be getting too crazy about it should be
judging based off of first impressions there's so many mixes that you should be
and do you like it or not end a story so judging based off of first impressions
with that long ash spiel let's call our and do you like it or not end a story so
out our winners first place Congrats with that long ash spiel let's call our
with mixed number 379 is Mike had a lack out our winners first place Congrats
yeah buddy
so uh you want yourself an affix channel yeah buddy
that is a badass prize nice yeah so and so uh you want yourself an affix channel
second-place mr. Carlos Amy as number that is a badass prize nice yeah so and
157 wow I know I'm so good at partying second-place mr. Carlos Amy as number
Congrats dude that's a badass at 157 wow I know I'm so good at partying
headphone amp so you got the head pod Congrats dude that's a badass at
for from effects use it in good health headphone amp so you got the head pod
and prosper with it and now let's talk for from effects use it in good health
about the secondary poll because we we and prosper with it and now let's talk
realize that when you're dealing with about the secondary poll because we we
hundreds of entries it's not there's realize that when you're dealing with
gonna be good mixes there may be more hundreds of entries it's not there's
good mixes than just the top twenty so gonna be good mixes there may be more
we want to give everybody the chance to good mixes than just the top twenty so
get noticed and that's why we have the we want to give everybody the chance to
secondary polls as well and what you get noticed and that's why we have the
guys are gonna win first place in second secondary polls as well and what you
place are two drum Forge or jst plugins guys are gonna win first place in second
of your choice and if you already own place are two drum Forge or jst plugins
all of the jst and drum force plugins of your choice and if you already own
these can count towards future plugins all of the jst and drum force plugins
that we release so I know that in the these can count towards future plugins
past people have wanted to just get like that we release so I know that in the
the next version of something so just past people have wanted to just get like
letting you know that that is an option the next version of something so just
for you so first place number 253 is letting you know that that is an option
Lukas lecompt for you so first place number 253 is
score and okay and second place with mix Lukas lecompt
number 100 is Matias cleverness which I score and okay and second place with mix
was laughing directly into the
microphone and and we love him already was laughing directly into the
mister second place because he does our microphone and and we love him already
he's cool enough to do our play-by-play mister second place because he does our
timing every single month for these he's cool enough to do our play-by-play
because you know these sessions are can timing every single month for these
go up to ten hours long and he'll sit because you know these sessions are can
there and give us the links the timed go up to ten hours long and he'll sit
links for everything so you know we're there and give us the links the timed
talking about snares at three minutes I links for everything so you know we're
mean three hours and 23 minutes talking about snares at three minutes I
he makes links to that so you guys mean three hours and 23 minutes
should all love him and congrats on the he makes links to that so you guys
prizes guys and congrats for winning and should all love him and congrats on the
all of you who competed rule and with prizes guys and congrats for winning and
that we're gonna take a 15-minute break all of you who competed rule and with
and when we continue I guess we're gonna that we're gonna take a 15-minute break
get two kicks alright guys I'm gonna go and when we continue I guess we're gonna
train it off in and have fun see you in get two kicks alright guys I'm gonna go
15 minutes are you a fan of bands like 5 train it off in and have fun see you in
seconds of summer Paramore New Found 15 minutes are you a fan of bands like 5
Glory or the state champs well this seconds of summer Paramore New Found
month over at nailed a mix calm we have Glory or the state champs well this
the one and only mr. Kyle black who's month over at nailed a mix calm we have
worked with all of those bands he's the one and only mr. Kyle black who's
gonna come on nail the mix here at the worked with all of those bands he's
end of the month and he's going to mix gonna come on nail the mix here at the
the song secrets by stage chance you can end of the month and he's going to mix
get all of the stems for secrets and the song secrets by stage chance you can
enter the mix competition for a chance get all of the stems for secrets and
to win over a thousand dollars in Phil enter the mix competition for a chance
Kyle audio gear and you can watch Kyle to win over a thousand dollars in Phil
mix the song from scratch all the way to Kyle audio gear and you can watch Kyle
the end the winner of our mixing mix the song from scratch all the way to
competition this month is gonna win a the end the winner of our mixing
pair of faux kal-el ear headphones which competition this month is gonna win a
are retail than thousand dollars to our pair of faux kal-el ear headphones which
fantastic pair of headphones are retail than thousand dollars to our
I love focal audio stuff as you can see fantastic pair of headphones
behind me I rock the twins love them I love focal audio stuff as you can see
great speakers and the second-place behind me I rock the twins love them
winner is going to get a pair of faux great speakers and the second-place
hell sphere earbuds which are worth winner is going to get a pair of faux
about 150 bucks and that is a pretty hell sphere earbuds which are worth
awesome prize as well about 150 bucks and that is a pretty
so if you want to watch Kyle Black come awesome prize as well
in mix a state champ song show you guys so if you want to watch Kyle Black come
how to do it from scratch as well as get miksa state champ song to show you guys in mix a state champ song show you guys so if you want to watch Kyle Black come
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[Music] get started
[Music]
every producer in metal has their go-to
samples whether or not they admit it every producer in metal has their go-to
it's just the truth everyone has their samples whether or not they admit it
go-to samples it's really really it's just the truth everyone has their
important in my opinion to keep updating go-to samples it's really really
your go-to samples or you just start important in my opinion to keep updating
sounding dated if you're still using the your go-to samples or you just start
same go-to samples in the 2014/2015 as sounding dated if you're still using the
you were in 2006 well you're gonna sound same go-to samples in the 2014/2015 as
like you're that guy from 2006 I always you were in 2006 well you're gonna sound
try to keep my my go twos updated and so like you're that guy from 2006 I always
far none of my goat cheese have ever try to keep my my go twos updated and so
come from somebody else's virtual drum far none of my goat cheese have ever
library I've actually tried to do that come from somebody else's virtual drum
before but it just not my thing it's library I've actually tried to do that
kind of like downloading somebody else's before but it just not my thing it's
profile on guitar and trying them for kind of like downloading somebody else's
myself it just never works for me it profile on guitar and trying them for
might work for other people but not for myself it just never works for me it
me I've always had to make my own stuff might work for other people but not for
so my goats who's been defeating things me I've always had to make my own stuff
that I recorded in my drum room and then so my goats who's been defeating things
processed to become samples so the drum that I recorded in my drum room and then
Forge library is the first time that I processed to become samples so the drum
actually found some bras made by other Forge library is the first time that I
people that were good enough for me to actually found some bras made by other
actually be able to process to make my people that were good enough for me to
own go to as well one of the coolest actually be able to process to make my
things about drum forage is when you go own go to as well one of the coolest
to Advanced Options and sustain seems things about drum forage is when you go
like that's a really simple little thing to Advanced Options and sustain seems
but it's actually probably one of the like that's a really simple little thing
most powerful I guess features I've seen but it's actually probably one of the
yet in a virtual drum library I've seen most powerful I guess features I've seen
other ways of doing that they all kind yet in a virtual drum library I've seen
of have something like that but this one other ways of doing that they all kind
is probably the best one and that's of have something like that but this one
super important because depending on the is probably the best one and that's
speed of the music that right there can super important because depending on the
mean everything between a sample being speed of the music that right there can
usable and not the range of options go mean everything between a sample being
from at a multiple microphone to usable and not the range of options go
multiple from at a multiple microphone to
lengths of decay on the drum and to me multiple
that's everything lengths of decay on the drum and to me
[Music] that's everything
hey you yes you do you wanna learn how [Music]
to be a better mixer hey you yes you do you wanna learn how
[Music] to be a better mixer
I want your songs to sound better so
check out my creative life course where I want your songs to sound better so
I show you techniques that I've check out my creative life course where
developed over the last ten years I want I show you techniques that I've
to give you the tools you need to create developed over the last ten years I want
great mixes to give you the tools you need to create
[Music] great mixes
are you a fan of bands like 5 seconds of
summer Paramore New Found Glory or state are you a fan of bands like 5 seconds of
champs well this month over at nailed a summer Paramore New Found Glory or state
mix calm we have the one and only mr. champs well this month over at nailed a
Kyle black who's worked with all of mix calm we have the one and only mr.
those bands he's gonna come on nail the Kyle black who's worked with all of
mix here at the end of the month and those bands he's gonna come on nail the
he's going to mix the song secrets by mix here at the end of the month and
stage chance you can get all of the he's going to mix the song secrets by
stems for secrets and enter the mix stage chance you can get all of the
competition for a chance to win over stems for secrets and enter the mix
$1,000 in Phil Cal audio gear and you competition for a chance to win over
can watch Kyle mix the song from scratch $1,000 in Phil Cal audio gear and you
all the way to the end the winner of our can watch Kyle mix the song from scratch
mixing competition this month is gonna all the way to the end the winner of our
win a pair of folk al al ear headphones mixing competition this month is gonna
which are retailing thousand dollars to win a pair of folk al al ear headphones
our fantastic pair of headphones which are retailing thousand dollars to
I love folk aisle audio stuff as you can our fantastic pair of headphones
see behind me I rock the twins love them I love folk aisle audio stuff as you can
great speakers and the second-place see behind me I rock the twins love them
winner is going to get a pair of bow great speakers and the second-place
hell sphere earbuds which are worth winner is going to get a pair of bow
about 150 bucks and that is a pretty hell sphere earbuds which are worth
awesome prize as well so if you want to about 150 bucks and that is a pretty
watch Kyle black come in mix a state awesome prize as well so if you want to
champ song show you guys how to do it watch Kyle black come in mix a state
from scratch as well as get those stems champ song show you guys how to do it
on your computer and learn how to be a from scratch as well as get those stems
master of pop pong on your computer and learn how to be a
click the link below sign up for nailed master of pop pong
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[Music] mix today get started
[Music]
every producer in metal as their go-to
samples whether or not they admit it every producer in metal as their go-to
it's just the truth everyone has their samples whether or not they admit it
go-to samples it's really really it's just the truth everyone has their
important in my opinion to keep updating go-to samples it's really really
your go-to samples or you just start important in my opinion to keep updating
sounding dated if you're still using the your go-to samples or you just start
same go-to samples in the 2014/2015 as sounding dated if you're still using the
you were in 2006 well you're gonna sound same go-to samples in the 2014/2015 as
like you're that guy from 2006 I always you were in 2006 well you're gonna sound
try to keep my my go twos updated and so like you're that guy from 2006 I always
far none of my go twos have ever come try to keep my my go twos updated and so
from somebody else's virtual drum far none of my go twos have ever come
library I've actually tried to do that from somebody else's virtual drum
before but it's just not my thing it's library I've actually tried to do that
kind of like downloading somebody else's before but it's just not my thing it's
profile on guitar and trying them for kind of like downloading somebody else's
myself it just never works for me it profile on guitar and trying them for
might work for other people but not for myself it just never works for me it
me I've always had to make my own stuff might work for other people but not for
so my go-to is wind up being things that me I've always had to make my own stuff
I recorded in my drum rim and then so my go-to is wind up being things that
processed to become samples so the drum I recorded in my drum rim and then
Forge library is the first time that I processed to become samples so the drum
actually found some bras made by other Forge library is the first time that I
people that were good enough for me to actually found some bras made by other
actually be able to process to make my people that were good enough for me to
own go-to as well one of the coolest actually be able to process to make my
things about drum Forge is when you go own go-to as well one of the coolest
to advanced options and sustain seems things about drum Forge is when you go
like that's a really simple little thing to advanced options and sustain seems
but it's actually probably one of the like that's a really simple little thing
most powerful I guess features I've seen but it's actually probably one of the
yet in a virtual drum library I've seen most powerful I guess features I've seen
other ways of doing that they all kind yet in a virtual drum library I've seen
of have something like that but this one other ways of doing that they all kind
is probably the best one and that's of have something like that but this one
super important because depending on the is probably the best one and that's
speed of the music that right there can super important because depending on the
mean everything between a sample being speed of the music that right there can
usable and not the range of options go mean everything between a sample being
from having multiple microphones to usable and not the range of options go
multiple lengths of decay on the drum from having multiple microphones to
and to me that's everything multiple lengths of decay on the drum
[Music] and to me that's everything
hey you yes you do you wanna learn how [Music]
to be a better mixer hey guys welcome hey you yes you do you wanna learn how
back from the break I hope it was well to be a better mixer hey guys welcome
used I'm gonna just recap our winners back from the break I hope it was well
for those of you who missed it first of used I'm gonna just recap our winners
all big congrats to everyone who for those of you who missed it first of
participated bigger congrats to those of all big congrats to everyone who
you who won first place number 379 is my participated bigger congrats to those of
Cadillac you who won first place number 379 is my
you won a FX channel Congrats Cadillac
second-place mr. Carlos Anya's number you won a FX channel Congrats
157 and that's a FX head pod for and second-place mr. Carlos Anya's number
then first place of the secondary poll 157 and that's a FX head pod for and
is mixed number 253 Lucas lecompt and then first place of the secondary poll
second place this mixed number 100 is mixed number 253 Lucas lecompt and
Mattias claw Phineas and both of you second place this mixed number 100
guys won to jst or drum forged plugins Mattias claw Phineas and both of you
of your choice whether they exist now or guys won to jst or drum forged plugins
are gonna exist in the future of your choice whether they exist now or
totally up to you we just covered are gonna exist in the future
top-down mixing and how nollie covers totally up to you we just covered
snares I hope you guys enjoyed the shit top-down mixing and how nollie covers
out of it we're gonna move on to kicks snares I hope you guys enjoyed the shit
now and with that over to you nollie out of it we're gonna move on to kicks
cool so yeah hopefully that snare now and with that over to you nollie
processing bit made some sense for you cool so yeah hopefully that snare
guys a long time but I feel like we're processing bit made some sense for you
also covering some ground that's going guys a long time but I feel like we're
to be you know same informations gonna also covering some ground that's going
come up later and we don't spend so much to be you know same informations gonna
time on it about just generally the come up later and we don't spend so much
tools that I'm using and how so yeah oh time on it about just generally the
yeah tools that I'm using and how so yeah oh
cool alright so kick drum as I mention
in the beginning I printed a sample to cool alright so kick drum as I mention
go with the kick now you know working in the beginning I printed a sample to
without using any samples is a really go with the kick now you know working
cool approach to use and I think it's without using any samples is a really
it's a great goal cool approach to use and I think it's
I do think personally that for metal it's a great goal
styles to have the impact there all the I do think personally that for metal
time a bit of a sample being blended in styles to have the impact there all the
there is a good idea time a bit of a sample being blended in
and I really have no kind of there is a good idea
philosophical issue with doing that so I and I really have no kind of
blend it in the sample this one is taken philosophical issue with doing that so I
from a Yamaha recording custom the blend it in the sample this one is taken
iron.i sampled a while ago and really from a Yamaha recording custom the
liked how the sample came out I've used iron.i sampled a while ago and really
it in quite a few of my mixes I printed liked how the sample came out I've used
it down using trigger again and and I've it in quite a few of my mixes I printed
kind of lined it in with the natural it down using trigger again and and I've
kick track so just to show you what it kind of lined it in with the natural
sounds like in isolation it sounds like kick track so just to show you what it
this so it's a pretty kind of dead kind sounds like in isolation it sounds like
of thug sounding kick drum it's got a this so it's a pretty kind of dead kind
nice low into it as well and in context of thug sounding kick drum it's got a
with the rest of the drum of the the nice low into it as well and in context
tracks is going to sound cool now I'm with the rest of the drum of the the
not gonna use it super loud in there I'm tracks is going to sound cool now I'm
just gonna just level this a little bit not gonna use it super loud in there I'm
we don't need so much kick sub in the just gonna just level this a little bit
mix it's gonna sound crazy if I leave we don't need so much kick sub in the
that on full bit I'll just show you like mix it's gonna sound crazy if I leave
with and without the kick sample before that on full bit I'll just show you like
I even show you the other track so these with and without the kick sample before
are that the other mics leveled as they I even show you the other track so these
would be close enough to and I'm gonna are that the other mics leveled as they
bring in the kick sample just until it would be close enough to and I'm gonna
sounds good bring in the kick sample just until it
[Music]
so in no way is that kind of killing the
natural kicks character to my ears I so in no way is that kind of killing the
feel like you still can hear plenty of natural kicks character to my ears I
alternating hits you can hear Matt's feel like you still can hear plenty of
footwork at play there for sure but alternating hits you can hear Matt's
that's going to give us a consistency to footwork at play there for sure but
the kick drum as well in some of the that's going to give us a consistency to
other points like where Matt is hitting the kick drum as well in some of the
softer hits with one foot like perhaps other points like where Matt is hitting
around here you can see there's like softer hits with one foot like perhaps
quite a lot of variation in the kick around here you can see there's like
intensity over here but it's not quite a lot of variation in the kick
completely obliterating the dynamics intensity over here but it's not
that are of the natural kick so I'm completely obliterating the dynamics
pretty happy with that personally and I that are of the natural kick so I'm
as I said I don't have any philosophical pretty happy with that personally and I
issue with learning a kick even though I as I said I don't have any philosophical
do like to try not to use samples issue with learning a kick even though I
wherever I can so first thing we do is I do like to try not to use samples
really send some to the parallel wherever I can so first thing we do is I
compression because that's really you really send some to the parallel
know to the envelope of the kick drum compression because that's really you
it's going to add a nice bloom and I know to the envelope of the kick drum
just want to be able to judge my kick it's going to add a nice bloom and I
drum with that in place the whole time just want to be able to judge my kick
so I'm not really gonna do any drum with that in place the whole time
processing to these tracks individually so I'm not really gonna do any
as I said the sub it would just be like processing to these tracks individually
really overbearing if I have it louder as I said the sub it would just be like
so I'll just pulled it down a rough really overbearing if I have it louder
amount but I'm now gonna go and level it so I'll just pulled it down a rough
with everything else until I feel like amount but I'm now gonna go and level it
I'm hearing the subs the way I want them with everything else until I feel like
and then I'm gonna start processing the I'm hearing the subs the way I want them
actual kick as a whole on this kick and then I'm gonna start processing the
channel over here so I'm just gonna mess actual kick as a whole on this kick
with this kicks channel over here so I'm just gonna mess
[Music]
cool that's kind of doing what I wanted [Music]
to do cool that's kind of doing what I wanted
of course we've kind of got a sub with to do
like three kick in the signals of course we've kind of got a sub with
essentially so it's not past as low as I like three kick in the signals
might have if it was just like a sub and essentially so it's not past as low as I
one kick in Mike but these three are might have if it was just like a sub and
probably adding up to quite a lot of one kick in Mike but these three are
level coming in with more of the probably adding up to quite a lot of
attackee sound the needs balancing with level coming in with more of the
the sub there so that's kind of my attackee sound the needs balancing with
starting point for the kick and now I'm the sub there so that's kind of my
going to start purchasing it so the starting point for the kick and now I'm
first thing minute is I'm gonna gate to going to start purchasing it so the
the kick drum and one of the benefits of first thing minute is I'm gonna gate to
having the sample track is I can use the kick drum and one of the benefits of
that as the key input to the gate and having the sample track is I can use
not have to worry about any of the bleed that as the key input to the gate and
like especially the snare drum coming not have to worry about any of the bleed
through in the kick in Mike can be kind like especially the snare drum coming
of distracting for the gate it can make through in the kick in Mike can be kind
it difficult to set the level and I of distracting for the gate it can make
actually just find that the default it difficult to set the level and I
settings on this fabfilter gate when you actually just find that the default
open it up and have a really good kind settings on this fabfilter gate when you
of envelope that's great for the kick open it up and have a really good kind
drum I'm just right off the bat so first of envelope that's great for the kick
thing I'm gonna do is I'm gonna open I'm drum I'm just right off the bat so first
gonna set this kick sample to be the thing I'm gonna do is I'm gonna open I'm
sidechain input and then I'm gonna set gonna set this kick sample to be the
the sidechain to external here so like I sidechain input and then I'm gonna set
mentioned before now my gate is going to the sidechain to external here so like I
be reacting to just the sample kick drum mentioned before now my gate is going to
but the effect of the gate is going to be reacting to just the sample kick drum
be on the whole signal there so I'm just but the effect of the gate is going to
now gonna affect the threshold when I be on the whole signal there so I'm just
find a part where it's more spaced out now gonna affect the threshold when I
because obviously where there's lots of find a part where it's more spaced out
kicks in close succession you're not because obviously where there's lots of
gonna really hit the gate closed kicks in close succession you're not
properly so now I'm just gonna judge gonna really hit the gate closed
threshold until I'm getting the kick properly so now I'm just gonna judge
drum nicely that's working well for me threshold until I'm getting the kick
right there no no fuss at all the next drum nicely that's working well for me
thing which I tend to do on my kick right there no no fuss at all the next
drums is use this very cool tool called thing which I tend to do on my kick
drum leveler by sound radix this is drums is use this very cool tool called
designed to essentially level out every drum leveler by sound radix this is
hit within a certain percentage of your designed to essentially level out every
target level it's very cool for just hit within a certain percentage of your
making sure that all of your hits sound target level it's very cool for just
really even they still maintain the making sure that all of your hits sound
character so when Matt it's a soft kick really even they still maintain the
of course it's not going to register as character so when Matt it's a soft kick
much it's not gonna have the same kind of course it's not going to register as
of frequency content it's a really hard much it's not gonna have the same kind
kick however having them equal in volume of frequency content it's a really hard
at least means that the low kick however having them equal in volume
and is gonna react the right way and at least means that the low
you're gonna hear it so in this in and is gonna react the right way and
combination with the kick sample should you're gonna hear it so in this in
mean that our kicks are audible at all combination with the kick sample should
times so again I've kind of got this mean that our kicks are audible at all
load it's kind of loads up with default times so again I've kind of got this
settings that I've chosen that I find to load it's kind of loads up with default
work quite well so there one important settings that I've chosen that I find to
thing is to make sure that the low work quite well so there one important
threshold doesn't catch the snare thing is to make sure that the low
because otherwise it's going to start threshold doesn't catch the snare
expanding the level of the snare not because otherwise it's going to start
expanding so it's gonna start rate level expanding the level of the snare not
of the snare to to get it close to this expanding so it's gonna start rate level
target level which is going to sound of the snare to to get it close to this
horrible because that's just the snare target level which is going to sound
believe coming through on the kick track horrible because that's just the snare
so I'm just gonna adjust this control believe coming through on the kick track
basically until I feel like the kick is so I'm just gonna adjust this control
is being affected properly but the snare basically until I feel like the kick is
isn't getting caught in there so that is being affected properly but the snare
would be if I had it set badly you could isn't getting caught in there so that
see there it would be catching the would be if I had it set badly you could
snares as well so there we go now we've see there it would be catching the
got a really nice even kick track to snares as well so there we go now we've
start processing so my first dish is got a really nice even kick track to
gonna be some compare some EQ rather and start processing so my first dish is
this is got loads of low-end I guess gonna be some compare some EQ rather and
like with with sub track and with the this is got loads of low-end I guess
way that I process and the other tracks like with with sub track and with the
on the way in we've got loads of top way that I process and the other tracks
loads of low ends so really the main on the way in we've got loads of top
part of this for me is going to be loads of low ends so really the main
enhancing the high end and getting the part of this for me is going to be
click of the drum coming through I just enhancing the high end and getting the
downloaded the demo of this EQ I think click of the drum coming through I just
it's very cool just from me messing downloaded the demo of this EQ I think
around it's based on a two designs so an it's very cool just from me messing
8a designs hammer equalizer which is around it's based on a two designs so an
like a mastering grade bass equalizer 8a designs hammer equalizer which is
but you know what it's in the plug-in like a mastering grade bass equalizer
world I don't need to worry about using but you know what it's in the plug-in
Hardware piece for this when perhaps it world I don't need to worry about using
could be best utilized elsewhere in the Hardware piece for this when perhaps it
signal chain so I'm gonna use this and could be best utilized elsewhere in the
like a typical thing for me is like 8 to signal chain so I'm gonna use this and
10 K is where the really nice click of a like a typical thing for me is like 8 to
kick drum tends to live I feel like I've 10 K is where the really nice click of a
got to bring out a good deal of that and kick drum tends to live I feel like I've
then the next area I'm gonna look it's got to bring out a good deal of that and
probably between like 1 and 2 K where then the next area I'm gonna look it's
you can get nice clack sound from your probably between like 1 and 2 K where
kick and between those two things you can get nice clack sound from your
hopefully we're gonna bring up the kick and between those two things
presence without it becoming too thin hopefully we're gonna bring up the
sounding or become too plastically so presence without it becoming too thin
first of all 10 K is my first port of sounding or become too plastically so
call first of all 10 K is my first port of
dude yeah what I have never seen that call
plug-in before it's very new I think dude yeah what I have never seen that
it's like about a couple of weeks old plug-in before it's very new I think
okay do you know the hardware unit no I it's like about a couple of weeks old
don't it's like a cube equalizer that's okay do you know the hardware unit no I
like it's supposed to be like a kind of don't it's like a cube equalizer that's
alternative to your poor tech or your like it's supposed to be like a kind of
manly passive is like a super high most alternative to your poor tech or your
high quality master and great compressor manly passive is like a super high most
but it's kind of limited in it only has high quality master and great compressor
you know three Brad three bands and the but it's kind of limited in it only has
the stepped frequency controls as well you know three Brad three bands and the
the high frequency band is very famous the stepped frequency controls as well
for being very smooth I guess and the the high frequency band is very famous
low band is supposedly got a very nice for being very smooth I guess and the
to be character to it as well but to be low band is supposedly got a very nice
honest I don't think we're gonna use to be character to it as well but to be
much of that on this kick drum because honest I don't think we're gonna use
it's got a ton of low-end already so I much of that on this kick drum because
see what we go knife it looks beautiful it's got a ton of low-end already so I
let's see if it sounds good too so first see what we go knife it looks beautiful
thing it's gonna be this 10k band let's let's see if it sounds good too so first
see what we can get to straight away thing it's gonna be this 10k band let's
that's giving me something I really like see what we can get to straight away
it's missing something a bit lower down that's giving me something I really like
and like a bit of presence lower down it's missing something a bit lower down
but that's bringing out the air really and like a bit of presence lower down
nicely for me again that's quite a lot but that's bringing out the air really
of boost there but I feel like we're nicely for me again that's quite a lot
still got a good ratio going on with of of boost there but I feel like we're
top-end so bottom end and that's the still got a good ratio going on with of
kind of the important thing with kick top-end so bottom end and that's the
for me is I'm looking for the right kind of the important thing with kick
balance of click to low end because for me is I'm looking for the right
that's when you can level it easily in balance of click to low end because
the mix if your kick has that good that's when you can level it easily in
balance then when you can hear the click the mix if your kick has that good
of the the kick drum properly when it's balance then when you can hear the click
near the attack the low end is doing of the the kick drum properly when it's
exactly what he wanted to do it's not near the attack the low end is doing
too thin sounding in the mixer and it's exactly what he wanted to do it's not
not overbearing so really that's what too thin sounding in the mixer and it's
I'm looking for is just balanced and by not overbearing so really that's what
that you can see it quite literally on a I'm looking for is just balanced and by
frequency analyzer as well like if I do that you can see it quite literally on a
a similar thing to what we did to the frequency analyzer as well like if I do
snare if I cut up the pro-q to analyzer a similar thing to what we did to the
I kind of generally should be seeing the snare if I cut up the pro-q to analyzer
attack portion and the high end peaking I kind of generally should be seeing the
right around the same level as the low attack portion and the high end peaking
end and I don't know if that's too right around the same level as the low
reductionist in thinking but there seems end and I don't know if that's too
to work pretty well for me reductionist in thinking but there seems
so I've got my ten k-band kind of dialed to work pretty well for me
in there let's see like maybe this 11.8 so I've got my ten k-band kind of dialed
is it eight or six eight and two bands in there let's see like maybe this 11.8
maybe are gonna one of those I'm sure is is it eight or six eight and two bands
going to bring the kind of lacking maybe are gonna one of those I'm sure is
character that an artist let's hear that going to bring the kind of lacking
they got like that one point two quite a
lot actually they got like that one point two quite a
so we've got some pretty heavy
processing there that's before that's so we've got some pretty heavy
also definitely done a lot there on the processing there that's before that's
kick drum also definitely done a lot there on the
EQ wise and just to check that we're not kick drum
too far off I don't know that's me it EQ wise and just to check that we're not
still sounds good it can be pretty the too far off I don't know that's me it
dressing hue stuff when you bypass it still sounds good it can be pretty the
can be kind of disorientating but I feel dressing hue stuff when you bypass it
good about that can be kind of disorientating but I feel
in terms of the low end to the plan so good about that
let's see what that's gonna actually in terms of the low end to the plan so
look like on a frequency analyzer just let's see what that's gonna actually
to see what we're at and hopefully I can look like on a frequency analyzer just
demonstrate kind of what I was just to see what we're at and hopefully I can
talking about and yeah there you go demonstrate kind of what I was just
and what do you have it there's pretty talking about and yeah there you go
much exactly what I was talking about and what do you have it there's pretty
the top end here is peaking at a similar much exactly what I was talking about
point to the low end here although we the top end here is peaking at a similar
are getting a bit more low-end I think point to the low end here although we
they could actually do stuff a little are getting a bit more low-end I think
bit more of a 10k BAM they could actually do stuff a little
yeah now this does have quite a lot of
mid-range information as well it's not yeah now this does have quite a lot of
too typical I don't mind that it sounds mid-range information as well it's not
kind of cool but let's push this a too typical I don't mind that it sounds
little bit more metal and I'm gonna do kind of cool but let's push this a
that I'm actually gonna use this EQ little bit more metal and I'm gonna do
since we have ever put in there's no that I'm actually gonna use this EQ
more bands left on the other one I'm since we have ever put in there's no
gonna kind of dip out some mids there more bands left on the other one I'm
and they've got some coffee yeah thank gonna kind of dip out some mids there
you Nick for bringing us coffee in our and they've got some coffee yeah thank
time of need you Nick for bringing us coffee in our
hey guys thank you that's a huge coffee time of need
this guy Nick pilota PIL OTT a he's in hey guys thank you that's a huge coffee
the URM group you guys should all get on this guy Nick pilota PIL OTT a he's in
there and call him week zero for the URM group you guys should all get on
bringing us this coffee light roast there and call him week zero for
yeah yeah he's a hero Nicoletta yeah bringing us this coffee light roast
yeah could you put it on like 72 yeah
thanks hero yeah could you put it on like 72 yeah
just doing my hands up cuz it's really thanks hero
getting cold just off great second two just doing my hands up cuz it's really
computer yeah anyway now about heroes getting cold just off great second two
wear capes as we all know yeah dude computer yeah anyway now about heroes
okay so yeah I'm gonna scoop a bit of wear capes as we all know yeah dude
this low-mid I'm just gonna look again okay so yeah I'm gonna scoop a bit of
on the frequency analyzer and see what this low-mid I'm just gonna look again
we're seeing so well the good thing for on the frequency analyzer and see what
me is like this low-end is definitely we're seeing so well the good thing for
focused quite far down but the trouble me is like this low-end is definitely
area could be like this area here this focused quite far down but the trouble
kind of pillowy region around 250 to 300 area could be like this area here this
it can be a real problem with with kick kind of pillowy region around 250 to 300
drums in just by microphone choice in it can be a real problem with with kick
the hewing that i did on the way and i drums in just by microphone choice in
think i managed to eliminate a loss of the hewing that i did on the way and i
that already so we're not worrying about think i managed to eliminate a loss of
it but it would not be unheard of at all that already so we're not worrying about
to have to take care of some of that in it but it would not be unheard of at all
the mix if you saw this low-end region to have to take care of some of that in
extending a lot further above this line the mix if you saw this low-end region
here that you know it's 100 200 Hertz so extending a lot further above this line
i think we're in pretty good stead there here that you know it's 100 200 Hertz so
but i'm just gonna do a little bit more i think we're in pretty good stead there
shaping i'm gonna also high-pass it but i'm just gonna do a little bit more
because the other thing is we've got shaping i'm gonna also high-pass it
quite a little sub content which is because the other thing is we've got
extending all the way down to like below quite a little sub content which is
20 from this sub mic that can be extending all the way down to like below
filtered out without any any problem so 20 from this sub mic that can be
just going to do a little bit more EQ on filtered out without any any problem so
this just going to do a little bit more EQ on
so I'll just use the bypass in here this
is Whitney here without subtle so I'll just use the bypass in here this
difference actually I could probably is Whitney here without subtle
even push this a bit more just makes the difference actually I could probably
kick sound a bit deeper and cleaner to even push this a bit more just makes the
me if we wanted to go really methylate kick sound a bit deeper and cleaner to
probably cut something up here as well me if we wanted to go really methylate
like this kind of area but then I probably cut something up here as well
probably also wouldn't have boosted it like this kind of area but then I
so much in the first place with the probably also wouldn't have boosted it
previous EQ maybe I did overcook that so much in the first place with the
just a touch so that's sitting pretty previous EQ maybe I did overcook that
good for me that EQ hopefully that just a touch so that's sitting pretty
doesn't sound too weird to most people good for me that EQ hopefully that
so I've got a punchy thing going on I doesn't sound too weird to most people
want to mention that the kick drum I so I've got a punchy thing going on I
nice and crunchy want to mention that the kick drum I
yeah real punchy the the kick sample and nice and crunchy
blending with the mics and I'm kind of yeah real punchy the the kick sample and
treating it like it's just another mic blending with the mics and I'm kind of
track I'm not blending any hue further treating it like it's just another mic
down the sorry I'm not blending a sample track I'm not blending any hue further
further down the line that's kind of my down the sorry I'm not blending a sample
preferred way of working if I am going further down the line that's kind of my
to blend a sample with a kick or snare I preferred way of working if I am going
want to integrate it with the sound I to blend a sample with a kick or snare I
want to make sure I'm blending a sound want to integrate it with the sound I
that doesn't sound totally out of place want to make sure I'm blending a sound
with the actual kit and then I'm gonna that doesn't sound totally out of place
process those together as one and really with the actual kit and then I'm gonna
I guess the sample is kind of just like process those together as one and really
a parallel EQ almost really how I'm I guess the sample is kind of just like
using it there but they're all getting a parallel EQ almost really how I'm
printed together they're getting using it there but they're all getting
homogenized they're getting eq'd and printed together they're getting
compressed together hopefully the end homogenized they're getting eq'd and
result isn't going to sound like a compressed together hopefully the end
really weird one-shot death metal kick I result isn't going to sound like a
was question for you on this yeah your really weird one-shot death metal kick I
personal opinion we all know that Matt's was question for you on this yeah your
one of the best drummers in the in the personal opinion we all know that Matt's
game so you know I've worked with one of the best drummers in the in the
drummers on his level and when working game so you know I've worked with
with guys that good yeah you you know drummers on his level and when working
you can do things like this um and you with guys that good yeah you you know
should because they're good enough and you can do things like this um and you
it you know you should do it because it should because they're good enough and
sounds better but most guys aren't good it you know you should do it because it
enough in my opinion to to warrant sounds better but most guys aren't good
national kick or whatever so would you enough in my opinion to to warrant
take the same approach say with let's national kick or whatever so would you
say be level like say that Matt's at a a take the same approach say with let's
plus right for like a route Alex ruining say be level like say that Matt's at a a
dura and a like one of the you know one plus right for like a route Alex ruining
of those guys who's just a plus level dura and a like one of the you know one
say a B or a sea level of those guys who's just a plus level
drummer no it would be impossible to be say a B or a sea level
honest I'd be using samples probably drummer no it would be impossible to be
fully replacing Tom's because drummers honest I'd be using samples probably
that aren't that good tend not to hit fully replacing Tom's because drummers
the drums consistently and hard like the that aren't that good tend not to hit
Tom stones you just get lost in bleed the drums consistently and hard like the
it's very difficult to get the attack Tom stones you just get lost in bleed
out of them and the right EQ curve it's very difficult to get the attack
without them just having loads of cymbal out of them and the right EQ curve
bleed so I've done a couple of sessions without them just having loads of cymbal
within the last year and a half where bleed so I've done a couple of sessions
it's just fully replaced Tom's even with within the last year and a half where
me engineering and tuning them and it's just fully replaced Tom's even with
everything the snare is gonna need me engineering and tuning them and
sample replacement just like everything everything the snare is gonna need
else unfortunately when you do that and sample replacement just like everything
same thing with a kick anything up to else unfortunately when you do that and
like hundred percent kick even with that same thing with a kick anything up to
case but what I don't like is completely like hundred percent kick even with that
static one-shot kick samples which yes I case but what I don't like is completely
don't really agree that's a sound and static one-shot kick samples which yes I
yeah I know people aren't trying to fool don't really agree that's a sound and
anyone with it either but for me I like yeah I know people aren't trying to fool
the variation between kicks I want to anyone with it either but for me I like
hear a real kick and in fact in one the variation between kicks I want to
session that I'm thinking of right now hear a real kick and in fact in one
that I had to do a ton of sample session that I'm thinking of right now
augmentation with all the samples I did that I had to do a ton of sample
were taken from the kit itself there augmentation with all the samples I did
were multi sampled round robins that we were taken from the kit itself there
sample and actually I did I'm not a were multi sampled round robins that we
drummer but I can at least well you hit sample and actually I did I'm not a
the drum I can hit drummer I can hit a drummer but I can at least well you hit
drum pretty well I'm not super the drum I can hit drummer I can hit a
consistent at all so I've done that yeah drum pretty well I'm not super
like so I saw and pulled the guys kit consistent at all so I've done that yeah
and then triggered the fuck out of it like so I saw and pulled the guys kit
basically so this is definitely a and then triggered the fuck out of it
pleasure to me this is also the way it basically so this is definitely a
should be pleasure to me this is also the way it
oh I totally agree it's it bums me out should be
that only the it I look at it as in it oh I totally agree it's it bums me out
shouldn't be special it should be well that only the it I look at it as in it
their job is to be the drummer so being shouldn't be special it should be well
the drummer like play the part that's their job is to be the drummer so being
your job but it really is only a the drummer like play the part that's
minority of the guys who can really your job but it really is only a
really do it this well so yeah you're minority of the guys who can really
right and I will say like Matt is really do it this well so yeah you're
phenomenal German but even like kicks right and I will say like Matt is
are not his strength he worked on them phenomenal German but even like kicks
super hard before this album and he's are not his strength he worked on them
gotten so much more consistent in super hard before this album and he's
general in the studio in terms of like gotten so much more consistent in
the amplitude of his hits but there's general in the studio in terms of like
other guys I mean guys like like Rudy or the amplitude of his hits but there's
Mike Malian in the UK Oh Mike just my other guys I mean guys like like Rudy or
robotic robotic level in terms of how Mike Malian in the UK Oh Mike just my
consistently hit and how hard they hit robotic robotic level in terms of how
it's amazing but matt has other consistently hit and how hard they hit
strengths of those guys maybe don't have it's amazing but matt has other
although mike is an absolute freak like strengths of those guys maybe don't have
incredible feel to but Matt's feel although mike is an absolute freak like
Matt's natural variation like the way he incredible feel to but Matt's feel
plays the cymbals way he plays is Matt's natural variation like the way he
flowing in a way that some of the other plays the cymbals way he plays is
drummers who are very consistent sound flowing in a way that some of the other
too rigid so yeah that's the interesting drummers who are very consistent sound
thing with Matt I'm in no way knocking too rigid so yeah that's the interesting
him at all but it's interesting to know thing with Matt I'm in no way knocking
there's probably another level above him at all but it's interesting to know
this of KITT consistency which you could there's probably another level above
get and some of those guys I wasn't this of KITT consistency which you could
wondering Mike malian is the original get and some of those guys I wasn't
monument's drummer he is yeah before wondering Mike malian is the original
Anna was in for a little while yeah and monument's drummer he is yeah before
he filled in Ashley format on a tour Anna was in for a little while yeah and
when Matt dislocated his shoulder right he filled in Ashley format on a tour
before we started he played about a week when Matt dislocated his shoulder right
of shows with us and it was pretty before we started he played about a week
ridiculous playing with Manning it was of shows with us and it was pretty
like playing with it sounds bad if I say ridiculous playing with Manning it was
it was like playing with a drum machine like playing with it sounds bad if I say
but because it wasn't it wasn't robotic it was like playing with a drum machine
but it was like it was the kicks were but because it wasn't it wasn't robotic
what unreal I've never heard someone hit but it was like it was the kicks were
that hard that consistently like no what unreal I've never heard someone hit
matter of speed we don't have super fast that hard that consistently like no
stuff going on but it was like it was matter of speed we don't have super fast
pretty pretty nuts stuff going on but it was like it was
he also and he doesn't do the one-footed pretty pretty nuts
doubles as much like matt does like for he also and he doesn't do the one-footed
example whereas a good one for a double doubles as much like matt does like for
for you to see on the screen here I can example whereas a good one for a double
there there you go that's two kicks but for you to see on the screen here I can
see how weak that first one is before there there you go that's two kicks but
the second one if I mute the sample well see how weak that first one is before
that's a bad way of distanced rating the second one if I mute the sample well
basically that's cuz Matt's playing all that's a bad way of distanced rating
of this with one foot which is amazing basically that's cuz Matt's playing all
like he's got amazing speed and control of this with one foot which is amazing
and groove with one foot but like some like he's got amazing speed and control
of the other guys would choose to use and groove with one foot but like some
the double pedal of the other guys would choose to use
which actually often makes things less the double pedal
groovy feeling but to get the same which actually often makes things less
consistency with both hits so anyway groovy feeling but to get the same
that's by the by like math strumming consistency with both hits so anyway
performance on this album was ridiculous that's by the by like math strumming
and you guys have all probably enjoyed performance on this album was ridiculous
mixing this I'm sure if if you've worked and you guys have all probably enjoyed
with live drums that are being tracked mixing this I'm sure if if you've worked
by lesser drummers when you step up to with live drums that are being tracked
this level it's a huge difference and by lesser drummers when you step up to
you don't really want to go down from this level it's a huge difference and
there to be honest that's kind of the you don't really want to go down from
level that we all hold ourselves to it there to be honest that's kind of the
for a free and the standard musicians level that we all hold ourselves to it
that I want to work with is that like for a free and the standard musicians
that's really how you get good results that I want to work with is that like
with these methods Oh totally it it that's really how you get good results
can't be emphasized enough that to get with these methods Oh totally it it
a-plus results a plus musicians can't be emphasized enough that to get
certainly go a long way yep so we've a-plus results a plus musicians
tackled this EQ moves and the leveling certainly go a long way yep so we've
aspects of it it's a few more things tackled this EQ moves and the leveling
that I want to do so compression is aspects of it it's a few more things
obviously gonna be part of the equation that I want to do so compression is
I say obviously but for me compression obviously gonna be part of the equation
is where we start to really get that I say obviously but for me compression
squishy wet fuckee is where we start to really get that
kind of sound from the kick which I love squishy wet fuckee
personally and my favorite new squeeze kind of sound from the kick which I love
for kick is this wonderful plug-in by personally and my favorite new squeeze
plan helm is called MJ you see and it for kick is this wonderful plug-in by
models basically three different very plan helm is called MJ you see and it
new compressors a very mu compressor is models basically three different very
a compressor that doesn't have a fixed new compressors a very mu compressor is
ratio the ratio is kind of continuously a compressor that doesn't have a fixed
changing based on the source material ratio the ratio is kind of continuously
based on like what it's seeing and they changing based on the source material
go from the mark one I guess they're based on like what it's seeing and they
kind of supposed to go from very vintage go from the mark one I guess they're
to modern this one doesn't really have kind of supposed to go from very vintage
precise timing controls for attack and to modern this one doesn't really have
release it just has these preset modes precise timing controls for attack and
offer different combinations of attack release it just has these preset modes
and release mark to is starting to get offer different combinations of attack
to like I think this is modeled on the and release mark to is starting to get
predecessor to the 1176 the 176 and this to like I think this is modeled on the
actually does have a ratio control that predecessor to the 1176 the 176 and this
you can adjust and the mark 3 is getting actually does have a ratio control that
to something way more modern which I you can adjust and the mark 3 is getting
like a lot and it has this punch control to something way more modern which I
over here which seems to be very like a lot and it has this punch control
pleasing indeed now something with this over here which seems to be very
plug-in is the meter definitely does not pleasing indeed now something with this
read correctly what's happening because plug-in is the meter definitely does not
it would say that it's got like no read correctly what's happening because
reduction happening and it's definitely it would say that it's got like no
compressing so you have to use your ears reduction happening and it's definitely
generally when the needles hitting one compressing so you have to use your ears
or two DB you're compressing quite a lot generally when the needles hitting one
so I tend to like to put in this density or two DB you're compressing quite a lot
in I stage controls which densify the so I tend to like to put in this density
sound and the ice age seems to add an in I stage controls which densify the
extra bit of crazy attack to it there's sound and the ice age seems to add an
also these additional controls down here extra bit of crazy attack to it there's
which can adjust the total balance so also these additional controls down here
I'm going to start just by compressing which can adjust the total balance so
you you raise this compression dial to I'm going to start just by compressing
increase the amount of compression but you you raise this compression dial to
as default this would be off AGC is increase the amount of compression but
automatic gain control so I like to have as default this would be off AGC is
that on because it keeps the game fairly automatic gain control so I like to have
consistent as you start to compress so that on because it keeps the game fairly
the other thing is I'm going to have a consistent as you start to compress so
fairly slow attack and the release the other thing is I'm going to have a
probably around there is going to allow fairly slow attack and the release
the transient through in the way that I probably around there is going to allow
want so this is what it sounds like the transient through in the way that I
so hopefully you can hear what's
happening there you can see that the so hopefully you can hear what's
compression is kicking in even before happening there you can see that the
the needle starts moving like that's compression is kicking in even before
probably most compressor would be the needle starts moving like that's
registering like 3-4 DB of compression I probably most compressor would be
guess for that registering like 3-4 DB of compression I
that's definitely getting to it right guess for that
around there is nicely for me I like that's definitely getting to it right
that a lot but I think which I like around there is nicely for me I like
about this kick especially if this that a lot but I think which I like
compressor especially with the density about this kick especially if this
control is it keeps the little low end compressor especially with the density
there I'll put that back in again it's control is it keeps the little low end
nice stems and this can be a cool this there I'll put that back in again it's
tumbler adjustment between like dark and nice stems and this can be a cool this
hi-fi kind of adjusts the high frequency tumbler adjustment between like dark and
content of the signal so you can hear hi-fi kind of adjusts the high frequency
that brings out a bit more air and the content of the signal so you can hear
kicked on the Fogo that way or you can that brings out a bit more air and the
go the other way and get more of like a kicked on the Fogo that way or you can
rock kick sound so I liked it around the go the other way and get more of like a
flat to be honest I don't know if I need rock kick sound so I liked it around the
anything from that and it has a drive flat to be honest I don't know if I need
control which is cool as well now drive anything from that and it has a drive
on a kick drum because it has a lot of control which is cool as well now drive
low frequencies gonna be a very cool way on a kick drum because it has a lot of
of thickening sound of the kick drum low frequencies gonna be a very cool way
we're gonna generate harmonics to of thickening sound of the kick drum
thicken the low end instead of just we're gonna generate harmonics to
using EQ and this is gonna be kind of thicken the low end instead of just
the finalizing than my kick sound this using EQ and this is gonna be kind of
one may be another stage of saturation the finalizing than my kick sound this
so let's see what happens as we distort one may be another stage of saturation
this so let's see what happens as we distort
so hopefully you can hear that so this
is completely clean completely driven I so hopefully you can hear that so this
like that and you can see just from the
meter here that it's definitely hitting like that and you can see just from the
like a hard clear point because it's the meter here that it's definitely hitting
exaggerated there so we're definitely like a hard clear point because it's the
clipping some sweet moment but the final exaggerated there so we're definitely
thing which I could do is actually blend clipping some sweet moment but the final
but some of the dry sitting on back in thing which I could do is actually blend
again see what that sounds like what I but some of the dry sitting on back in
might do actually here is compress a bit again see what that sounds like what I
more and then blend I like that might do actually here is compress a bit
so to bypass this plugin that's kind of more and then blend I like that
hard and upfront which isn't a bad sound so to bypass this plugin that's kind of
but to me that's not gonna sit in the hard and upfront which isn't a bad sound
mix nicely as I put the power switch but to me that's not gonna sit in the
back on again you'll hear it start to mix nicely as I put the power switch
soften a little bit but it's pleasing back on again you'll hear it start to
that's how I like my kicks to sound so
that's our compression stage on the kick that's how I like my kicks to sound so
and then let's see if we can't just coax that's our compression stage on the kick
a little bit of extra warmth out of here and then let's see if we can't just coax
I'm gonna do a similar thing to what I a little bit of extra warmth out of here
did on the the snare by comparing the I'm gonna do a similar thing to what I
virtual tape machines and the waves nls did on the the snare by comparing the
so I like the 15 hits mode and if you virtual tape machines and the waves nls
put this into the half inch tape you get so I like the 15 hits mode and if you
loads more low-end actually but with a put this into the half inch tape you get
roll-off underneath it which is nice loads more low-end actually but with a
it's like a bump and then a roll-off in roll-off underneath it which is nice
the low end so I'm not gonna drive this it's like a bump and then a roll-off in
hard like I drove this now because the low end so I'm not gonna drive this
that's gonna sound horrible on the kick hard like I drove this now because
so without with instant fatness in fact that's gonna sound horrible on the kick
I'm not even gonna bother trying the nls so without with instant fatness in fact
that to me is the kick that's that's how I'm not even gonna bother trying the nls
I like to in my kick and just typically that to me is the kick that's that's how
I've always used the virtual tape I like to in my kick and just typically
machine there with those exact settings I've always used the virtual tape
that's kind of how I finalize my kick machine there with those exact settings
sound so just to show you I'll take I'll that's kind of how I finalize my kick
leave like the the drum leveler and the sound so just to show you I'll take I'll
gate in place but I'll show you what leave like the the drum leveler and the
happens as I gradually bring in all of gate in place but I'll show you what
these stages of processing so starting happens as I gradually bring in all of
with the E Hughes compression and these stages of processing so starting
saturation with the E Hughes compression and
so we've got a pretty aggressive Kicks
down there and I think it's also coming so we've got a pretty aggressive Kicks
in kind of hot I can see that the meat down there and I think it's also coming
is going for your high and that's after in kind of hot I can see that the meat
I'm trimming some level so I'm gonna is going for your high and that's after
bring down the the gain here bring it up I'm trimming some level so I'm gonna
a little bit here to compensate let's bring down the the gain here bring it up
see how our drum buss is sounding at a little bit here to compensate let's
this point in a pretty good place given see how our drum buss is sounding at
that we've literally only processed the this point in a pretty good place given
kick and snare so far so yeah that's my that we've literally only processed the
kick sound are there any specific kick and snare so far so yeah that's my
questions about kick let me uh pop in to kick sound are there any specific
my questions page and we'll ask you some questions about kick let me uh pop in to
questions and yeah that would be a good my questions page and we'll ask you some
time for you guys to start submitting questions and yeah that would be a good
Kip questions if you haven't already we time for you guys to start submitting
can always move on and come back if you Kip questions if you haven't already we
want we can do like we could move on to can always move on and come back if you
some of the other drums and then come want we can do like we could move on to
back and do that questions and all of some of the other drums and then come
that if you feel like you want time for back and do that questions and all of
everyone to get their questions in there that if you feel like you want time for
they're starting to come in but there everyone to get their questions in there
weren't a huge amount about the kicks they're starting to come in but there
it's so maybe yeah maybe a little move weren't a huge amount about the kicks
on and we'll come back to it cool so the it's so maybe yeah maybe a little move
next place I'm gonna go to is the on and we'll come back to it cool so the
overheads actually and the first thing next place I'm gonna go to is the
I'm gonna do is just bring all of these overheads actually and the first thing
spot mics down in volume a lot I'm even I'm gonna do is just bring all of these
going to just delete this mono overhead spot mics down in volume a lot I'm even
track because it's just cluttering going to just delete this mono overhead
things up so for my overhead like my track because it's just cluttering
cymbals I'm mainly relying on the actual things up so for my overhead like my
overhead tracks themselves I just want cymbals I'm mainly relying on the actual
these individual tracks to fill out the overhead tracks themselves I just want
sound a little bit but the overheads are these individual tracks to fill out the
really where it's at let's listen to the sound a little bit but the overheads are
overhead track and the other thing I'm really where it's at let's listen to the
going to do perhaps is while it's overhead track and the other thing I'm
playing is I'll bring in some of the going to do perhaps is while it's
parallel compression so you can hear playing is I'll bring in some of the
what that's doing it's gonna bring out parallel compression so you can hear
some of the low-level information what that's doing it's gonna bring out
doesn't make a huge difference but it some of the low-level information
will make a difference to what the doesn't make a huge difference but it
parallel compression bus is seeing will make a difference to what the
it's a little bit of extra bloom to the
symbols a bit of extra sustain on there it's a little bit of extra bloom to the
which is cool now overheads for me symbols a bit of extra sustain on there
there's this perpetual problem with with which is cool now overheads for me
crashes crashes just always have a huge there's this perpetual problem with with
bump of energy between about like well crashes crashes just always have a huge
centered around like 6 or 7 K they're bump of energy between about like well
kind of starting around 4 and maybe centered around like 6 or 7 K they're
going a bit higher than that so almost kind of starting around 4 and maybe
every overhead track I've ever processed going a bit higher than that so almost
involves cutting in that region and this every overhead track I've ever processed
is where a spectrum analyzer can be involves cutting in that region and this
really useful actually so I'm just going is where a spectrum analyzer can be
to use this analyzer and let's see I'll really useful actually so I'm just going
find a place where the crashes are to use this analyzer and let's see I'll
playing it was actually playing so see find a place where the crashes are
this bump of energy right here that's playing it was actually playing so see
what I'm talking about that's kind of my this bump of energy right here that's
first step all the time is putting a what I'm talking about that's kind of my
bump down there I'm kind of it's first step all the time is putting a
actually bit lower than often that's bump down there I'm kind of it's
about like 5 K instead of 7 so doing actually bit lower than often that's
that straightaway smooth those cymbals about like 5 K instead of 7 so doing
out a ton but I'm also going to now that straightaway smooth those cymbals
high-pass the track is there's some out a ton but I'm also going to now
unneeded information down there just high-pass the track is there's some
want a bit of the meat of a snare but I unneeded information down there just
don't want anything lower than that want a bit of the meat of a snare but I
that's sounding kind of cool to me what
I would like to do now actually is that's sounding kind of cool to me what
probably just add some more kind of I would like to do now actually is
creative gloss to the to the overhead probably just add some more kind of
track so let's see I like this slate creative gloss to the to the overhead
bundle for for doing a lot of different track so let's see I like this slate
things let's maybe use the top band of bundle for for doing a lot of different
this EQ which is really nice and smooth things let's maybe use the top band of
I'm gonna put it to 15k as high as it this EQ which is really nice and smooth
can go and just boost a little bit more I'm gonna put it to 15k as high as it
hair into there without with that's nice can go and just boost a little bit more
I like what that's doing and I'd also hair into there without with that's nice
like to look at the idea of doing some I like what that's doing and I'd also
compression so something which I've like to look at the idea of doing some
started doing in more recent times as compression so something which I've
compressing my overheads quite a lot started doing in more recent times as
actually I like what that does it brings compressing my overheads quite a lot
out some of the levels out the cymbals actually I like what that does it brings
versus the drums a little bit obviously out some of the levels out the cymbals
adds some sustain and just general vibe versus the drums a little bit obviously
which I like a lot so favorite adds some sustain and just general vibe
compressors on that tend to be like an which I like a lot so favorite
1176 style compress or something quite compressors on that tend to be like an
fast or I also quite like to use that 1176 style compress or something quite
same SSL buss compressor that I use on fast or I also quite like to use that
my mix buss but since we've got this mix same SSL buss compressor that I use on
rack open I'm just gonna go to one of my mix buss but since we've got this mix
the one of the 1176 models and I like rack open I'm just gonna go to one of
this modern one it has very little the one of the 1176 models and I like
coloration like this vintage one is this modern one it has very little
awesome but it really focuses in on the coloration like this vintage one is
mids and doesn't have quite as high fire awesome but it really focuses in on the
presentation so I like this one a lot mids and doesn't have quite as high fire
I'm gonna just leave it in four to one presentation so I like this one a lot
but I'm gonna use a much faster attack I'm gonna just leave it in four to one
just to try and clamp down on the snare but I'm gonna use a much faster attack
a little bit and get things sounding big just to try and clamp down on the snare
and voluptuous so I'm just gonna bring a little bit and get things sounding big
out my input until it's sounding good and voluptuous so I'm just gonna bring
[Music]
so actually mentions again state gain
that pretty accurately that's that's so actually mentions again state gain
very similar in volume with and without that pretty accurately that's that's
and hopefully what you can hear is we're very similar in volume with and without
getting like a nice kind of poppy sound and hopefully what you can hear is we're
from the snare just a tiny bit of getting like a nice kind of poppy sound
transient coming through there but we're from the snare just a tiny bit of
getting a more even presentation we're transient coming through there but we're
hearing the cymbals pump a little bit getting a more even presentation we're
with that compressor and I like that hearing the cymbals pump a little bit
vibe that works really well for me so with that compressor and I like that
I'll just bypass this this whole stage vibe that works really well for me so
I've done this EQ and compression so you I'll just bypass this this whole stage
can hear what I've done without I've done this EQ and compression so you
so that's working pretty well for me
something that you can also do this kind so that's working pretty well for me
of fun is distort the overheads a little something that you can also do this kind
bit I like these these preamp models the of fun is distort the overheads a little
slate came out with quite a lot I know bit I like these these preamp models the
some people seem to really hate on them slate came out with quite a lot I know
they're pretty subtle really but this some people seem to really hate on them
Neve start pre out model if you drive it they're pretty subtle really but this
hard it does bring out some nice kind of Neve start pre out model if you drive it
shimmery stuff going on it brings out a hard it does bring out some nice kind of
bit of extra body and it's also going to shimmery stuff going on it brings out a
flatten that snare down a little bit bit of extra body and it's also going to
more so maybe I'm actually gonna do that flatten that snare down a little bit
before the compressor as well so the more so maybe I'm actually gonna do that
compressor is reacting to this so I'm before the compressor as well so the
gonna drive the output from this plug-in compressor is reacting to this so I'm
a little bit harder like give it maybe gonna drive the output from this plug-in
cool just change the screen set by a little bit harder like give it maybe
mistake maybe go 3 DB up there and then cool just change the screen set by
minus 3 DB here just so I don't need to mistake maybe go 3 DB up there and then
crank this as hard to get the minus 3 DB here just so I don't need to
that's giving it a bit of extra kind of
gnarliness I like to actually yeah like that's giving it a bit of extra kind of
it's softening the cymbals a little bit gnarliness I like to actually yeah like
which I like actually I feel like maybe it's softening the cymbals a little bit
I can boost a tiny bit more top-end into which I like actually I feel like maybe
it because I can hear the top-end is I can boost a tiny bit more top-end into
kind of getting a bit softer through it because I can hear the top-end is
this I'm it's kind of a weird thing to kind of getting a bit softer through
do actually I don't really know if other this I'm it's kind of a weird thing to
people do this it's something I've only do actually I don't really know if other
been doing more recently but kind of people do this it's something I've only
distorting the overheads like that to been doing more recently but kind of
bring out a bit more turn distorting the overheads like that to
cool and I might allow a bit more body
in here as well make it to this steeper cool and I might allow a bit more body
to get the kick out but not take out in here as well make it to this steeper
some snow down cool let's take a listen to get the kick out but not take out
just to our mix our drum exciplex some snow down cool let's take a listen
[Music]
so I definitely need a bit more level [Music]
coming out of here but there's something so I definitely need a bit more level
else that we need to do as well can you coming out of here but there's something
give those ringing frequencies in the else that we need to do as well can you
cymbal there's all those kind of weird give those ringing frequencies in the
whistling phase those are always going cymbal there's all those kind of weird
to be a problem and they it's always the whistling phase those are always going
the main crash that poses the most to be a problem and they it's always the
difficulty there a lot of the other the main crash that poses the most
symbols aren't being struck enough or difficulty there a lot of the other
written on in the same way to where it symbols aren't being struck enough or
really matters china's tend to have like written on in the same way to where it
a way more white noisy sound that really matters china's tend to have like
doesn't really get impacted by that a way more white noisy sound that
anyway so I'm just gonna scoot around a doesn't really get impacted by that
some kind of notching filters to try and anyway so I'm just gonna scoot around a
eliminate those a little bit and then some kind of notching filters to try and
once I'm done with that I'm going to eliminate those a little bit and then
come I'm gonna copy that over to my room once I'm done with that I'm going to
track as well because those have got come I'm gonna copy that over to my room
plenty of symbol in them too and the track as well because those have got
same resonance is going to exist there plenty of symbol in them too and the
so I'm gonna do this actually I'm gonna same resonance is going to exist there
need to stop Blodgett EQ and I'm gonna so I'm gonna do this actually I'm gonna
do it before of the compression because need to stop Blodgett EQ and I'm gonna
the compression is only making that do it before of the compression because
worse so maybe I could have started with the compression is only making that
this but for whatever reason now I have worse so maybe I could have started with
the compressor going that coming out a this but for whatever reason now I have
lot more obviously so the compressor going that coming out a
[Music] lot more obviously so
here that guy right there is that and
there's one a bit lower as well cool so here that guy right there is that and
checking those out and finding them is a there's one a bit lower as well cool so
pretty refined art I'm not gonna lie checking those out and finding them is a
that's something which takes a bit of pretty refined art I'm not gonna lie
experience and you can do the same thing that's something which takes a bit of
with guitars and one of the problems experience and you can do the same thing
actually is once you start identifying with guitars and one of the problems
those nodes you feel like you have to actually is once you start identifying
get rid of every single one that you can those nodes you feel like you have to
hear and like really not out but you end get rid of every single one that you can
up with very weird sounding results if hear and like really not out but you end
you do that so I'm trying not to cut too up with very weird sounding results if
much and this EQ is actually kind of bad you do that so I'm trying not to cut too
for it because these are very powerful much and this EQ is actually kind of bad
like it goes up to 24 DB and it's quite for it because these are very powerful
easy to do like a 10 DB adjustment like it goes up to 24 DB and it's quite
without really meaning to so if I were easy to do like a 10 DB adjustment
to exaggerate these you'd see what I without really meaning to so if I were
mean getting that kind of not G sound to exaggerate these you'd see what I
there so backing these off to like kind mean getting that kind of not G sound
of 5 DB or so it's probably doing the there so backing these off to like kind
trick something I really like about the of 5 DB or so it's probably doing the
stock logic compressor logic EQ sorry is trick something I really like about the
it has very narrow bands actually this stock logic compressor logic EQ sorry is
100 Q setting that you can set it to is it has very narrow bands actually this
perfect for notching sometimes it's even 100 Q setting that you can set it to is
too thin so on occasions maybe if a perfect for notching sometimes it's even
shallow cut isn't doing enough instead too thin so on occasions maybe if a
of increasing the gain reduction I might shallow cut isn't doing enough instead
make the the thing a bit wider but for of increasing the gain reduction I might
now I'm pretty pleased with that let's make the the thing a bit wider but for
just listen again to before and after now I'm pretty pleased with that let's
still hearing that guy there we go well
let's try doing what I just spoke about still hearing that guy there we go well
which is to make this fit why don't let's try doing what I just spoke about
that's cool which is to make this fit why don't
it's kind of having a bit of a softening that's cool
effect but the important thing is I'm it's kind of having a bit of a softening
trying to equalize I'm not trying to effect but the important thing is I'm
eliminate those frequencies I'm just trying to equalize I'm not trying to
trying to bring them down so that eliminate those frequencies I'm just
they're not sitting really weirdly trying to bring them down so that
against everything else they're not they're not sitting really weirdly
really jumping out but I'm not trying to against everything else they're not
completely cut them either because then really jumping out but I'm not trying to
you get like a kind of comb filtering completely cut them either because then
sounding result which is not very very you get like a kind of comb filtering
pleasing so like I said now that I've sounding result which is not very very
done that I'm actually just gonna copy pleasing so like I said now that I've
that over to the room tracks before I done that I'm actually just gonna copy
forget so that those have the same thing that over to the room tracks before I
and I'll just show you what that sounds forget so that those have the same thing
like on the room tracks even though we and I'll just show you what that sounds
haven't done anything with those yet so like on the room tracks even though we
[Music] haven't done anything with those yet so
there's a pretty effective over there as
well as you can hear so yeah that's there's a pretty effective over there as
overheads a huge and compressed and well as you can hear so yeah that's
actually distort a little bit as well I overheads a huge and compressed and
don't typically do more than that on my actually distort a little bit as well I
e on my overheads they're just gonna sit don't typically do more than that on my
there quite happily and all see as we go e on my overheads they're just gonna sit
through the sections of the song if I there quite happily and all see as we go
have to do anything in particular with through the sections of the song if I
these spot mics which I've got my gut have to do anything in particular with
tells me I probably don't this tends to these spot mics which I've got my gut
work pretty nicely for me I like this tells me I probably don't this tends to
process as well as of not treating them work pretty nicely for me I like this
very separately to the other so the main process as well as of not treating them
overheads I like this just kind of very separately to the other so the main
gentle filling out of information so for overheads I like this just kind of
the most part that's what I do with my gentle filling out of information so for
small - that's the completion of it the most part that's what I do with my
that's everything so let's take a look small - that's the completion of it
at Toms now tongs are one thing that I that's everything so let's take a look
do using a frequency analyzer very at Toms now tongs are one thing that I
heavily but man I feel like toms or a do using a frequency analyzer very
drum that just need a shitload of EQ heavily but man I feel like toms or a
always they kind of do but I have to say drum that just need a shitload of EQ
these these Josephson likes to do help a always they kind of do but I have to say
little bit I've never used a Josephson these these Josephson likes to do help a
my bass and I said I did do a little bit little bit I've never used a Josephson
of EQ on these on the way in but not my bass and I said I did do a little bit
much and this is what they sound like of EQ on these on the way in but not
they don't have that very kind of dull much and this is what they sound like
like boxy sound that you get with 421 so they don't have that very kind of dull
they forward twenty ones are great to do like boxy sound that you get with 421 so
I hate for twenty really so much they forward twenty ones are great to do
you're gonna ain't me but I like D sixes I hate for twenty really so much
but the reason I like these sixes is you're gonna ain't me but I like D sixes
because they're already pretty queued but the reason I like these sixes is
yeah it kind of be well sometimes they because they're already pretty queued
sound like shit and they get bleed yeah it kind of be well sometimes they
problems so yeah so it depends on the sound like shit and they get bleed
situation but I like that they're problems so yeah so it depends on the
already pretty cute in the way that I situation but I like that they're
want Tom's to sound that's cool I just already pretty cute in the way that I
find them a bit soft like I don't get want Tom's to sound that's cool I just
much transient out them but maybe if you find them a bit soft like I don't get
use that with a transient designer that much transient out them but maybe if you
could be yes definitely use that with a transient designer that
well it also it's one of those things could be yes definitely
either it's gonna be amazing or it's well it also it's one of those things
gonna be terrible right but it sounds either it's gonna be amazing or it's
like these Josephson mics have a really gonna be terrible right but it sounds
nice they're they're beautiful yeah like these Josephson mics have a really
they're very full which is great because nice they're they're beautiful yeah
we use like especially for the 18-inch they're very full which is great because
floors on if you put 421 on that you we use like especially for the 18-inch
kind of lose the note it doesn't doesn't floors on if you put 421 on that you
pick it up very nicely these and Mike's kind of lose the note it doesn't doesn't
just picked out great so what I want to pick it up very nicely these and Mike's
see in a tom is well let's just look on just picked out great so what I want to
a spectral analyzer what we have just see in a tom is well let's just look on
from this rack tom one which should be a a spectral analyzer what we have just
good representation from this rack tom one which should be a
so here's rack tom one so down here we good representation
have them note you can see that there so here's rack tom one so down here we
because I did a pretty good job of have them note you can see that there
tuning it that was a pretty solid little because I did a pretty good job of
clump of frequencies there if it was tuning it that was a pretty solid little
badly if you knew it'd be more difficult clump of frequencies there if it was
to really zero in on that note kind of badly if you knew it'd be more difficult
like a kick drum there I want to see to really zero in on that note kind of
hopefully is the presence peak peaking like a kick drum there I want to see
in a similar place to the to the hopefully is the presence peak peaking
fundamental in but what I do want to see in a similar place to the to the
it's quite a big scoop in the middle fundamental in but what I do want to see
that's what gives you that modern tom it's quite a big scoop in the middle
sound that that's super recognizable now that's what gives you that modern tom
because these are condensed as they do sound that that's super recognizable now
kind of pick up low-end way down and you because these are condensed as they do
can see there's quite a lot of kind of pick up low-end way down and you
information which we don't need can see there's quite a lot of
underneath like again see all of that information which we don't need
stuff going on so what I'm gonna do is underneath like again see all of that
I'm going to start just by high passing stuff going on so what I'm gonna do is
and the nice thing about doing with the I'm going to start just by high passing
frequency analyzer especially on and the nice thing about doing with the
something which is a very melodic frequency analyzer especially on
sounding instrument like this tom is is something which is a very melodic
you can just scoop the high pass filter sounding instrument like this tom is is
up pretty close to that that frequency you can just scoop the high pass filter
and you know you're not ruining up pretty close to that that frequency
think you can kind of do it by eye which and you know you're not ruining
whatever some people are gonna hate me think you can kind of do it by eye which
for doing that but whatever makes my whatever some people are gonna hate me
life easy so first thing I'm gonna do is for doing that but whatever makes my
I'm going to scoot that up to kind of life easy so first thing I'm gonna do is
bracket off the frequencies beneath the I'm going to scoot that up to kind of
fundamental because essentially we don't bracket off the frequencies beneath the
need those what I want from the tom is fundamental because essentially we don't
to hear that fundamental note and I need those what I want from the tom is
don't reading anything below it so the to hear that fundamental note and I
next thing I'm gonna do to further don't reading anything below it so the
highlight that nose I'm gonna bring in a next thing I'm gonna do to further
bell cut above the note so I'm gonna highlight that nose I'm gonna bring in a
create a steeper roll-off above the note bell cut above the note so I'm gonna
and that's gonna kill some of the create a steeper roll-off above the note
harmonics I'm just gonna really focus in and that's gonna kill some of the
on the fundamental it's like here so harmonics I'm just gonna really focus in
I'll just bypass that so you can see how on the fundamental it's like here so
much that's doing that's really I'll just bypass that so you can see how
tightening up on Tom there then I'm much that's doing that's really
gonna maybe do a bit of a boost a bit tightening up on Tom there then I'm
higher up because they're kind of 800 gonna maybe do a bit of a boost a bit
region to 1 K is this cardboard e area higher up because they're kind of 800
it's nowhere near as bad with these mics region to 1 K is this cardboard e area
is with 420 ones but it will create a it's nowhere near as bad with these mics
deeper sounding more exciting drum sound is with 420 ones but it will create a
if I cut there so like this it's not deeper sounding more exciting drum sound
very pleasant there and then the last if I cut there so like this it's not
stage is going to be bringing out some very pleasant there and then the last
top end to counteract well so to bring stage is going to be bringing out some
out the attack now that we've kind of top end to counteract well so to bring
softened it up quite a lot out the attack now that we've kind of
now in this case the Thomas kind of so
melodic that I'm wondering if maybe I now in this case the Thomas kind of so
should even cut a bit of the fundamental melodic that I'm wondering if maybe I
so the frequency is like it's not quite
matching the the top-end is definitely so the frequency is like it's not quite
not peaking quite as high as the bottom matching the the top-end is definitely
end is but it's got a really nice so I not peaking quite as high as the bottom
don't want to get too much of that note end is but it's got a really nice so I
to go away because it's kind of don't want to get too much of that note
beautiful and it's gonna help the drum to go away because it's kind of
to sound lovely in the mix so that's beautiful and it's gonna help the drum
after so I'm gonna quickly go through to sound lovely in the mix so that's
each of these drums each of the toms I'm after so I'm gonna quickly go through
gonna do a very similar process I'm not each of these drums each of the toms I'm
gonna bother to talk you through it gonna do a very similar process I'm not
because I'm just gonna be following the gonna bother to talk you through it
same procedure I just did basically for because I'm just gonna be following the
each of the toms sometimes I just do same procedure I just did basically for
like some global adjustments on the bus each of the toms sometimes I just do
but to be honest the last few projects like some global adjustments on the bus
have gone in on every drum and kind of but to be honest the last few projects
optimize the EQ for that and again this have gone in on every drum and kind of
kind of stuff could take a really long optimize the EQ for that and again this
time by a year and you can get quite kind of stuff could take a really long
confused orally if you do that so I time by a year and you can get quite
really love using the spectrum analyzers confused orally if you do that so I
for stuff like this it very quickly really love using the spectrum analyzers
allows me to zero in on that lovely kind for stuff like this it very quickly
of modern tom curve that I want to see allows me to zero in on that lovely kind
[Music] of modern tom curve that I want to see
so let's listen to those two Tom's so
you can hear straight away those Tom's so let's listen to those two Tom's so
sound like they're living in the same you can hear straight away those Tom's
space which is great let's move to the sound like they're living in the same
floor tom listen to the three Tom's space which is great let's move to the
together so this kind of be queuing and floor tom listen to the three Tom's
using the spectral analyzer really just together so this kind of be queuing and
means that they sound very consistent using the spectral analyzer really just
you get like a very consistent tone means that they sound very consistent
through the Tom's which is ideal so it you get like a very consistent tone
sounding great so far then this floor through the Tom's which is ideal so it
tom to hit which i think is actually sounding great so far then this floor
just a full ensemble that i put in there tom to hit which i think is actually
yep there's nobody down there so it must
be a sample yep there's nobody down there so it must
so all the Tom's together sound like I
[Music] so all the Tom's together sound like I
don't like what that high boost is doing
there all right so that's the kind of don't like what that high boost is doing
basic Tommy cueing done I'm gonna send there all right so that's the kind of
this to some of the parallel compression basic Tommy cueing done I'm gonna send
but not too much it's gonna bring out this to some of the parallel compression
some of the sustain but too much it's but not too much it's gonna bring out
gonna really highlight the bleed and some of the sustain but too much it's
then I'm also going to send it to the gonna really highlight the bleed and
same reverb that I used on the snare and then I'm also going to send it to the
[Music] same reverb that I used on the snare and
the final stage of the puzzle is going
to be taming the transients a little bit the final stage of the puzzle is going
so that we can level them nicely in the to be taming the transients a little bit
mix in my favorite thing to do for that so that we can level them nicely in the
is to use some limiting so let's check mix in my favorite thing to do for that
out the Joey Sturgis limiter the is to use some limiting so let's check
finality limiter out the Joey Sturgis limiter the
which I like a lot I've got this set up finality limiter
as a default to have that auto gain off which I like a lot I've got this set up
because I tend to use this instead of as as a default to have that auto gain off
my master limiter I tend to use this as because I tend to use this instead of as
like a a peak limiter just to get rid of my master limiter I tend to use this as
those transients when I don't want them like a a peak limiter just to get rid of
so let's see what we get meter doesn't those transients when I don't want them
seem too so let's see what we get meter doesn't
[Music] seem too
it's gonna reload that but it appears [Music]
like the there's a malfunction there it's gonna reload that but it appears
with the meter like the there's a malfunction there
[Music]
so just to bypass that with the only [Music]
thing you'll really notice is going to so just to bypass that with the only
be the it's gonna be the attack of the thing you'll really notice is going to
drums being reduced a little bit which be the it's gonna be the attack of the
is going to help us sit that in the mix drums being reduced a little bit which
does this have like an on/off switch is going to help us sit that in the mix
which is the bypass sir just a bad does this have like an on/off switch
person I know so getting a rounder sound which is the bypass sir just a bad
there maybe I'm just gonna allow the mix person I know so getting a rounder sound
to get a little bit oh you know what it there maybe I'm just gonna allow the mix
is though they're the beater bug is it to get a little bit oh you know what it
came with one of the updates it's been is though they're the beater bug is it
fixed but we'll make sure to get you a came with one of the updates it's been
new version no worries cool so yeah fixed but we'll make sure to get you a
that's our Tom's I guess if we listen to new version no worries cool so yeah
that in context with our kick snare and that's our Tom's I guess if we listen to
overheads that in context with our kick snare and
[Music] overheads
the nice thing is when you hear these [Music]
overheads with that compression you can the nice thing is when you hear these
hear a bit of balls being brought out in overheads with that compression you can
the Tom's as well which you can hear in hear a bit of balls being brought out in
there so yeah very cool that's kind of the Tom's as well which you can hear in
how I go about treating Tom's and again there so yeah very cool that's kind of
if I just I'll just bypass all of those how I go about treating Tom's and again
e hues so you can hear before and after if I just I'll just bypass all of those
[Music] e hues so you can hear before and after
[Music]
so that's how I get the modern Tom's
down if you were to choose to scoop a so that's how I get the modern Tom's
little bit less on those you've got a down if you were to choose to scoop a
more vintage ear drum sound or less less little bit less on those you've got a
top-end as well but that to me is like more vintage ear drum sound or less less
the kind of Tom sound that's just gonna top-end as well but that to me is like
work best in this music and then finally the kind of Tom sound that's just gonna
we can move on to the room and I do have work best in this music and then finally
a couple of tricks to share with you we can move on to the room and I do have
guys for that so as I mentioned I'm not a couple of tricks to share with you
using them on a room and so I would like guys for that so as I mentioned I'm not
to do a little bit of compression on using them on a room and so I would like
these these room mics the new the near to do a little bit of compression on
one in particular sounds quite dry these these room mics the new the near
because it's just not being compressed one in particular sounds quite dry
at all but I'm gonna load up my virtual because it's just not being compressed
mix rack here and try let's try this at all but I'm gonna load up my virtual
vintage one mix rack here and try let's try this
I don't mind it being a bit more mid vintage one
focused in that way that I didn't want I don't mind it being a bit more mid
on the overheads so let's try it focused in that way that I didn't want
[Music] on the overheads so let's try it
now this has like a high-pass for the
sidechain kind of like the master busted now this has like a high-pass for the
although it's not not configurable but sidechain kind of like the master busted
that's hopefully going to stop it from although it's not not configurable but
pumping so much with the kick which that's hopefully going to stop it from
would be a good thing cool that's pumping so much with the kick which
working great for me I really like how would be a good thing cool that's
that sounding and using the mix knob working great for me I really like how
gets me a little bit of extra trans in that sounding and using the mix knob
back so the snare is not completely gets me a little bit of extra trans in
obliterated though this Mike's getting back so the snare is not completely
quite a lot of cymbal bleed in it so obliterated though this Mike's getting
there's a few things I could try here quite a lot of cymbal bleed in it so
and actually I'm gonna try something there's a few things I could try here
which I've never really done before and actually I'm gonna try something
which is I'm gonna try and appropriate which I've never really done before
that same thing which I did on the snare which is I'm gonna try and appropriate
for reducing the bleed I'm gonna do it that same thing which I did on the snare
on this track so basically I'm reducing for reducing the bleed I'm gonna do it
the amount of high end between the snare on this track so basically I'm reducing
hits and we'll see how that works so the amount of high end between the snare
then I set my sidechain to be the snare hits and we'll see how that works so
top I've created like a high shelf and I then I set my sidechain to be the snare
set that to expand mode you need to make top I've created like a high shelf and I
sure this is set to external let's see set that to expand mode you need to make
that's pretty cool I never done that
before but that she works pretty nicely that's pretty cool I never done that
I like it by tweaking the attack and before but that she works pretty nicely
release settings or particularly the I like it by tweaking the attack and
release I'm trying to get it so that you release settings or particularly the
don't just hear that the top end release I'm trying to get it so that you
disappear quite so what ibly so that's don't just hear that the top end
cool actually I like that I'm gonna disappear quite so what ibly so that's
start doing that so yeah so the cool actually I like that I'm gonna
sidechain is just seeing the snare like start doing that so yeah so the
if I hit audition but actually yeah I've sidechain is just seeing the snare like
just realized that's actually reading if I hit audition but actually yeah I've
just from the how do I do this oh yeah just realized that's actually reading
it's only reading from the top end of just from the how do I do this oh yeah
that snare in the sidechain so I'm gonna it's only reading from the top end of
create the sidechain so it's actually that snare in the sidechain so I'm gonna
seeing the whole of the symmetric track create the sidechain so it's actually
there that's pretty cool that's actually seeing the whole of the symmetric track
doing quite a lot there I like that look there that's pretty cool that's actually
and let's compress this with a different doing quite a lot there I like that look
compressor one I really love on rooms a and let's compress this with a different
really cool compressor is this cream up compressor one I really love on rooms a
high compressor forest to savile turn me really cool compressor is this cream up
on to this one is a great room high compressor forest to savile turn me
compression it's a similar deal to the on to this one is a great room
MJ you see compressor in the the meter compression it's a similar deal to the
definitely lies or doesn't keep up with MJ you see compressor in the the meter
what's going on so you kind of have to definitely lies or doesn't keep up with
just use your ears like a little bit of what's going on so you kind of have to
movement is going to mean quite a lot of just use your ears like a little bit of
compression movement is going to mean quite a lot of
[Music] compression
so you know yeah Kraemer pie gets a lot
of love on Melba mix War Rooms and drum so you know yeah Kraemer pie gets a lot
buss really that's awesome of love on Melba mix War Rooms and drum
yeah I use it Joey uses it Joel uses it buss really that's awesome
now come to find out you use it too yeah I use it Joey uses it Joel uses it
yeah I love it on that limit mode it's now come to find out you use it too
kind of that's that's exactly how far I yeah I love it on that limit mode it's
said showed me he was like limit modes kind of that's that's exactly how far I
decay time as fast as it can go actually said showed me he was like limit modes
the cool thing is the output gets quite decay time as fast as it can go actually
a lot of saturation too so I'm actually the cool thing is the output gets quite
just gonna crank that up a load but I'm a lot of saturation too so I'm actually
gonna straight away to a again plug in just gonna crank that up a load but I'm
after hit cuz that's gonna be annoyingly gonna straight away to a again plug in
loud that's hopefully gonna guess an after hit cuz that's gonna be annoyingly
extra bit kind of grunge out of it so loud that's hopefully gonna guess an
I've compressed my room mics and I've extra bit kind of grunge out of it so
done that cool MB trick on the on the I've compressed my room mics and I've
far one which is kind of cool it's a done that cool MB trick on the on the
nice little thing to have happened far one which is kind of cool it's a
so I'm now gonna process the two nice little thing to have happened
together on the bus so I've kind of so I'm now gonna process the two
compressed the two they both got some together on the bus so I've kind of
cool life going I want to find a balance compressed the two they both got some
of those two mics one is a bit more drum cool life going I want to find a balance
heavy and the other one's got a bit more of those two mics one is a bit more drum
of a diffused sound those the far mics heavy and the other one's got a bit more
were literally up against the back all of a diffused sound those the far mics
the studio pointed out the wall so were literally up against the back all
they're getting completely diffused the studio pointed out the wall so
sound the other one is this amazing they're getting completely diffused
stereo ribbon made by AEA which sits sound the other one is this amazing
kind of in the middle of the room it's stereo ribbon made by AEA which sits
two ribbon mics 45 degrees sorry ninety kind of in the middle of the room it's
degrees to each other so what you get two ribbon mics 45 degrees sorry ninety
with that is essentially a full 360 degrees to each other so what you get
degrees pickup because they both have a with that is essentially a full 360
figure 8 pattern degrees pickup because they both have a
it's just gets this very very cool figure 8 pattern
representation of the room could sound a it's just gets this very very cool
bit dry until you compress it but it's representation of the room could sound a
just so natural and wonderful sounding bit dry until you compress it but it's
and being a ribbon it has a very smooth just so natural and wonderful sounding
top-end response you can hear the and being a ribbon it has a very smooth
cymbals wind that out of control but top-end response you can hear the
it's not exactly fair to the far mice cymbals wind that out of control but
because they are pointed at Stonewall so it's not exactly fair to the far mice
of course they have a bit more signi because they are pointed at Stonewall so
stuff going on so let's check out these of course they have a bit more signi
two mics together and get balanced going stuff going on so let's check out these
[Music] two mics together and get balanced going
now I'm gonna use the same EQ that I had
here to to get rid of some of the low now I'm gonna use the same EQ that I had
end and a bit of like the pillow enos here to to get rid of some of the low
that I'm hearing there again yeah end and a bit of like the pillow enos
because I just wanted some people wanted that I'm hearing there again yeah
to see that one more time because I just wanted some people wanted
sure yeah so um I've just high-pass to see that one more time
sorry this looks a bit weird because sure yeah so um I've just high-pass
there's this thing you can do at logic sorry this looks a bit weird because
because it goes to 30 DB it's like this there's this thing you can do at logic
thing you can do to basically expand the because it goes to 30 DB it's like this
the lower range kind of make it so it thing you can do to basically expand the
accelerates but it makes the pipe ass the lower range kind of make it so it
look real weird like that which I don't accelerates but it makes the pipe ass
like so I'm just gonna put it back look real weird like that which I don't
so I high-pass up to about hundred and I like so I'm just gonna put it back
cut a little bit of 200 as well so it so I high-pass up to about hundred and I
aims some of the sub on the kick because cut a little bit of 200 as well so it
the the ribbon mic picks up a lot of sub aims some of the sub on the kick because
content actually and then this 200 tip the the ribbon mic picks up a lot of sub
was just kind of like a ringing bit of content actually and then this 200 tip
mud in there that I got rid of and then was just kind of like a ringing bit of
finally I just cut a little bit of top mud in there that I got rid of and then
with the shelf which is smoother than finally I just cut a little bit of top
kind of using a low pass with the shelf which is smoother than
[Music] kind of using a low pass
then we have the three cuts which I
copied over from the from their then we have the three cuts which I
overheads there copied over from the from their
smoothing things out a little bit that overheads there
make sense totally thank you no worries smoothing things out a little bit that
um now comes a really cool trick make sense totally thank you no worries
having compressed the drums they sound um now comes a really cool trick
really aggressive now but we've having compressed the drums they sound
completely lost the snare before the really aggressive now but we've
snare was really poking out on top of completely lost the snare before the
everything which wasn't great we weren't snare was really poking out on top of
getting that kind of glued drum vibe everything which wasn't great we weren't
going on but now the snare is like level getting that kind of glued drum vibe
with the cymbals basically the cymbals going on but now the snare is like level
are really dominating and those in that with the cymbals basically the cymbals
room might track so something which you are really dominating and those in that
can do is use this fabfilter gate in room might track so something which you
upward mode in other words instead of can do is use this fabfilter gate in
making things quieter when it goes upward mode in other words instead of
beneath the threshold it makes sense making things quieter when it goes
louder when they go above the threshold beneath the threshold it makes sense
and I kind of have a preset setup for louder when they go above the threshold
this so the other thing which I need to and I kind of have a preset setup for
do is feed it the actual snare track so this so the other thing which I need to
the idea is every time the snare hits do is feed it the actual snare track so
this is gonna make the tracker louder the idea is every time the snare hits
but just for a moment it's basically this is gonna make the tracker louder
gonna undo the compression in terms of but just for a moment it's basically
the amount of level we've lost on the gonna undo the compression in terms of
snare but we get to have the kind of the amount of level we've lost on the
explosive explosive character that we snare but we get to have the kind of
got from compressing the room ice and explosive explosive character that we
having them all glue and binds in the got from compressing the room ice and
way that we did so I'm feeding it the having them all glue and binds in the
snare top here and you'll see what way that we did so I'm feeding it the
happens quite quickly so I'll have it snare top here and you'll see what
bypassed and the important thing also is happens quite quickly so I'll have it
maybe just to look at this the vu meter bypassed and the important thing also is
over here and you'll see how much extra maybe just to look at this the vu meter
level we're guessing every time the over here and you'll see how much extra
snare hits so this is without it's kind level we're guessing every time the
of just flat really the snares barely snare hits so this is without it's kind
registering of just flat really the snares barely
see that now the snow is really making
it jump up and you can hear that - now see that now the snow is really making
the snares are coming through a lot more it jump up and you can hear that - now
but we're sticking the compressed cool the snares are coming through a lot more
character of the room ice that's pretty but we're sticking the compressed cool
cool I'm also gonna feed this to my character of the room ice that's pretty
parallel drum buss as with everything cool I'm also gonna feed this to my
else and then I want to hear this really parallel drum buss as with everything
in context with the rest of the drum mix else and then I want to hear this really
so at this point we're actually ready to in context with the rest of the drum mix
hear the whole drum mix we've gone so at this point we're actually ready to
through every aspect there so I'm just hear the whole drum mix we've gone
gonna like loop a fairly long section through every aspect there so I'm just
that has some tongs and everything and gonna like loop a fairly long section
listen to just the drums and I'm gonna that has some tongs and everything and
bring the room mics in underneath so I'm listen to just the drums and I'm gonna
gonna do that thing we were talking bring the room mics in underneath so I'm
about earlier where you start with the gonna do that thing we were talking
faders at zero and I'm just gonna about earlier where you start with the
gradually bring it up until it's doing a faders at zero and I'm just gonna
cool thing to the mix gradually bring it up until it's doing a
[Music] cool thing to the mix
that's sounding pretty cool to me I like
that law I might even add a bit more of that's sounding pretty cool to me I like
the parallel compression that law I might even add a bit more of
[Music] the parallel compression
so the balance for me is always trying
to find the point where you're not so the balance for me is always trying
destroying the symbol sound because to find the point where you're not
there's so much extra body that comes up destroying the symbol sound because
in the symbols and they kind of sound a there's so much extra body that comes up
bit ratty with all the compression so I in the symbols and they kind of sound a
don't want to destroy that balance that bit ratty with all the compression so I
we have because we've got a nice simple don't want to destroy that balance that
sound coming from the overheads but I do we have because we've got a nice simple
want to be able to hear the effect of sound coming from the overheads but I do
that room in there I want to hear the want to be able to hear the effect of
mid-range bloom on the on the shelves that room in there I want to hear the
especially and I think the drum room mid-range bloom on the on the shelves
that we use sounds amazing for that it especially and I think the drum room
brings out this organic richness in the that we use sounds amazing for that it
drums that I want to hear but that's brings out this organic richness in the
always going to be our battle so drums that I want to hear but that's
something I'm gonna try doing actually always going to be our battle so
is perhaps boosting in some area tend something I'm gonna try doing actually
into them which is gonna make it sound a is perhaps boosting in some area tend
bit more hi-fi again I want to be into them which is gonna make it sound a
careful not to go and boost the kind of bit more hi-fi again I want to be
problem area of the crashes that we had careful not to go and boost the kind of
with the overhead set kind of 5 to 7 K problem area of the crashes that we had
region so could want to do that where with the overhead set kind of 5 to 7 K
this perhaps this plugin called revival region so could want to do that where
by by Stephen state which is like a top this perhaps this plugin called revival
in the enhancer it's got a low-end by by Stephen state which is like a top
control as well but the shimmer control in the enhancer it's got a low-end
those kind of exactly what it says on control as well but the shimmer control
the tin so what I'm gonna do is make it those kind of exactly what it says on
quite loud in the mix I'm going to the tin so what I'm gonna do is make it
listen to the whole drum mix but I'm quite loud in the mix I'm going to
gonna make them room mics louder than listen to the whole drum mix but I'm
they would be so I can judge their EQ gonna make them room mics louder than
quite well against everything else they would be so I can judge their EQ
[Music] quite well against everything else
what's gonna see if I can cut some of
that presents region a little bit from what's gonna see if I can cut some of
them and see if I can get slightly that presents region a little bit from
clearer sound the problem is as I cut them and see if I can get slightly
that presents region from the room clearer sound the problem is as I cut
tracks I'm also going to make the shells that presents region from the room
of the drum sound thinner so this is tracks I'm also going to make the shells
where the room sample that we talked of the drum sound thinner so this is
about earlier is really going to come in where the room sample that we talked
handy as well about earlier is really going to come in
[Music] handy as well
that's cool I like that it's not taking
too much away from the shells and it's that's cool I like that it's not taking
definitely making those cymbal sound a too much away from the shells and it's
lot more pristine so now I'm going to definitely making those cymbal sound a
try leveling that again once more and it lot more pristine so now I'm going to
should hopefully sit a little bit better try leveling that again once more and it
in the mix with those adjustments that should hopefully sit a little bit better
I've made in the mix with those adjustments that
[Music]
cool [Music]
get into a pretty decent drum mix there cool
the only thing which i don't have is the get into a pretty decent drum mix there
snare sample so don't know pretty great the only thing which i don't have is the
so a fireman yeah I'll bring in that snare sample so don't know pretty great
snare room mic sample so a fireman yeah I'll bring in that
[Music] snare room mic sample
do you feel like I've slightly
overcooked the top end on the overheads do you feel like I've slightly
[Music]
got to be careful with these really [Music]
sweet some news I definitely made that got to be careful with these really
error right there where I was enjoying sweet some news I definitely made that
how pristine those top-end lifts sounded error right there where I was enjoying
then definitely go too far yeah and I how pristine those top-end lifts sounded
totally did that just then on both the then definitely go too far yeah and I
overheads and the room mics so be totally did that just then on both the
careful I guess because I did it on the overheads and the room mics so be
overheads and then I kind of referenced careful I guess because I did it on the
the room ice against the other hands I overheads and then I kind of referenced
was like oh this needs to be way the room ice against the other hands I
brighter and in reality it didn't it was like oh this needs to be way
happens so you want to want to take some brighter and in reality it didn't it
questions or you still got I just want happens so you want to want to take some
to demonstrate how much of a difference questions or you still got I just want
the parallel compression is making sure to demonstrate how much of a difference
so by the way a comment is Jesus that the parallel compression is making sure
drum mix sounds amazing so comment from so by the way a comment is Jesus that
the peanut gallery drum mix sounds amazing so comment from
nice amazing well I'm glad you guys are the peanut gallery
liking it it's a it's different I guess nice amazing well I'm glad you guys are
to the album but it's gonna sit quite liking it it's a it's different I guess
similarly because of the way that I do to the album but it's gonna sit quite
things the way I use the parallel similarly because of the way that I do
compression the way that I use the mix things the way I use the parallel
buss compression as well and actually at compression the way that I use the mix
this point I should probably even just buss compression as well and actually at
look at what's going on here because this point I should probably even just
what I want to see is the kick look at what's going on here because
triggering about one DB of compression what I want to see is the kick
and the snare triggering about three or triggering about one DB of compression
four so let's see if we're in that area and the snare triggering about three or
[Music] four so let's see if we're in that area
I think I can actually afford to make [Music]
the snare a little bit louder I'm gonna I think I can actually afford to make
use the the output level here this is we the snare a little bit louder I'm gonna
were talking earlier about gain staging use the the output level here this is we
and just know part of me wants to move were talking earlier about gain staging
that fader above zero on the snare which and just know part of me wants to move
is ridiculous because there's totally that fader above zero on the snare which
Headroom to do it but if I get the same is ridiculous because there's totally
way I don't know I don't like doing it Headroom to do it but if I get the same
either way I don't know I don't like doing it
[Music]
and there we are we're seeing basically
exactly what I'm looking for which is a and there we are we're seeing basically
tiny bit of compression on the kick and exactly what I'm looking for which is a
about three or four DB on the snare and tiny bit of compression on the kick and
you're really going to hear that about three or four DB on the snare and
difference once you put in the guitars you're really going to hear that
and bass so actually before I even show difference once you put in the guitars
you the parallel compression I'm just and bass so actually before I even show
gonna bring in the guitars and bass if you the parallel compression I'm just
you haven't yet done anything - and see gonna bring in the guitars and bass if
what the difference is once we actually you haven't yet done anything - and see
use this this buss compressor when I what the difference is once we actually
bypass it you're gonna see my drum makes use this this buss compressor when I
kind of falls apart or at least my snare bypass it you're gonna see my drum makes
falls apart now as we discussed earlier kind of falls apart or at least my snare
that means my mix sucks so here it is falls apart now as we discussed earlier
with drums and with guitars and bass that means my mix sucks so here it is
[Music]
cool so is sitting pretty pretty there [Music]
now check out what happens when I bypass cool so is sitting pretty pretty there
this now check out what happens when I bypass
[Music] this
everything falls apart doesn't it the [Music]
snare sounds like a shadow of its former everything falls apart doesn't it the
self and it's just like totally not snare sounds like a shadow of its former
sitting right not glued like the self and it's just like totally not
relationship between the top and bottom sitting right not glued like the
mics on the snare sounds different relationship between the top and bottom
they're hearing way more than Raffel mics on the snare sounds different
coming through yeah dude and that's they're hearing way more than Raffel
that's one of my pet peeves with mixes coming through yeah dude and that's
is when I hear the wrong amount of that's one of my pet peeves with mixes
bottom snare mic he's like God just fix is when I hear the wrong amount of
that yeah so I mean you can hear it loud bottom snare mic he's like God just fix
and clear though oh yeah and then let's that yeah so I mean you can hear it loud
take this one step further I'm gonna and clear though oh yeah and then let's
bypass the parallel compression on the take this one step further I'm gonna
drums so first of all just the drums in bypass the parallel compression on the
solo drums so first of all just the drums in
[Music] solo
so much more vibe that way I'll show you
actually what the parallel compression - so much more vibe that way I'll show you
Owen sounds like so that's that kind of actually what the parallel compression -
mess that I've been talking about that Owen sounds like so that's that kind of
that happens in the in the bus there may mess that I've been talking about that
be a little bit less of the room ice and that happens in the in the bus there may
stuff there again the snare comes so be a little bit less of the room ice and
much shorter and less interesting stuff there again the snare comes so
sounding without it and then check out much shorter and less interesting
once that's in with the guitars and bass sounding without it and then check out
how much that that's doing so once that's in with the guitars and bass
[Music] how much that that's doing so
it's like there's no energy there and I
did actually have a chance to listen to it's like there's no energy there and I
a couple of your guys's mixes of the did actually have a chance to listen to
songs and they did sound really cool a couple of your guys's mixes of the
like really good job to the people that songs and they did sound really cool
did one they sound actually really close like really good job to the people that
to the album it's like a good something did one they sound actually really close
which I definitely felt could be to the album it's like a good something
improved was that feeling of air and which I definitely felt could be
decay around the drums and particularly improved was that feeling of air and
the snare like I felt like the snares decay around the drums and particularly
came across quite dry I don't know the snare like I felt like the snares
exactly what it was maybe you want maybe came across quite dry I don't know
you are sticking purely snow samples and exactly what it was maybe you want maybe
you didn't want to bring in a room a you are sticking purely snow samples and
sample for the snail like I did here you didn't want to bring in a room a
because of course that's doing quite sample for the snail like I did here
lost in my mix but the parallel because of course that's doing quite
compression if you're not doing it this lost in my mix but the parallel
way and you're not doing it the right compression if you're not doing it this
way we're not doing it at all is going way and you're not doing it the right
to bring out a huge amount more kind of way we're not doing it at all is going
resonance and air and vibe and pump and to bring out a huge amount more kind of
all of these words mojo that we could resonance and air and vibe and pump and
use that hard to pin down hard to define all of these words mojo that we could
but give your drum so much more length use that hard to pin down hard to define
in the in the mix without them sounding but give your drum so much more length
kind of weird and and woodblock you like in the in the mix without them sounding
this so check out okay if I play that kind of weird and and woodblock you like
same mix now no parallel compression no this so check out okay if I play that
mix buss compression let's see what same mix now no parallel compression no
that's not mix buss compression let's see what
[Music] that's not
pretty huge difference right massive [Music]
huge huge difference that cool let's pretty huge difference right massive
take some questions you you already huge huge difference that cool let's
explained this one but I guess some take some questions you you already
people came in late so maybe it's real explained this one but I guess some
quick people came in late so maybe it's real
von bonbon asked are your kick samples quick
one shot no they're a round-robin it's von bonbon asked are your kick samples
not a huge amount I think it's about one shot no they're a round-robin it's
like four four samples and it's wrote not a huge amount I think it's about
about five dynamic levels I am NOT I'm like four four samples and it's wrote
deliberately making it less dynamic than about five dynamic levels I am NOT I'm
the real kick because kind of what I deliberately making it less dynamic than
want just to help fill out the dynamic the real kick because kind of what I
range but it's not the same here and you want just to help fill out the dynamic
can even just see visually that they range but it's not the same here and you
walk down from a different shape there can even just see visually that they
so yeah I don't really like the one shot walk down from a different shape there
sounds for first name okay why are you so yeah I don't really like the one shot
not using our base on kick sub like you sounds for first name okay why are you
did on creative life because on the not using our base on kick sub like you
creative live session I didn't use a sub did on creative life because on the
actually I use the microphone that had creative live session I didn't use a sub
quite a lot of low-end but it still actually I use the microphone that had
didn't generate quite enough low-end to quite a lot of low-end but it still
be completely satisfying as a sub mic I didn't generate quite enough low-end to
love that mic the e 602 great mic and I be completely satisfying as a sub mic I
would never hesitate to use it but love that mic the e 602 great mic and I
contrary to what I said in the creative would never hesitate to use it but
live session I kind of went away from contrary to what I said in the creative
that and went back to trying us up again live session I kind of went away from
and found I really liked it so the sub that and went back to trying us up again
particularly a middle farm studio where and found I really liked it so the sub
we tracked is kind of cool it's like particularly a middle farm studio where
this huge great big sub from from a car we tracked is kind of cool it's like
like system it's a big wolf fur it's not this huge great big sub from from a car
the hennas ten thing and that doesn't like system it's a big wolf fur it's not
necessarily mean that it's better the hennas ten thing and that doesn't
because the kick sub doesn't necessarily necessarily mean that it's better
work in the way that people think it because the kick sub doesn't necessarily
does but it does have a very cool sound work in the way that people think it
to it I really enjoy using it so there's does but it does have a very cool sound
just no need that that track has so much to it I really enjoy using it so there's
sub already it's kind of ridiculous so just no need that that track has so much
putting our bass on there would have sub already it's kind of ridiculous so
been a bit of a bit of a joke putting our bass on there would have
Justin Earth is asking I may have missed been a bit of a bit of a joke
this but what is your feeling on the Justin Earth is asking I may have missed
amount of bleed in the kick mic that this but what is your feeling on the
doesn't bother me at all like especially amount of bleed in the kick mic that
with the with the sample there but to be doesn't bother me at all like especially
honest even without the sample that with the with the sample there but to be
wouldn't have been a problem just simple honest even without the sample that
gating like I did wouldn't have been a problem just simple
would would have eliminated that and if gating like I did
you really have a problem with it you would would have eliminated that and if
can try a similar thing to what I do you really have a problem with it you
with snap like gating just the high can try a similar thing to what I do
frequencies and you're probably going to with snap like gating just the high
get a great response that way but yeah frequencies and you're probably going to
no issues with that for me at all get a great response that way but yeah
stretch Oren and his asking what's the no issues with that for me at all
biggest mistake you see people make with stretch Oren and his asking what's the
EQ and kicks mmm I think it's just not biggest mistake you see people make with
having balance sounding kicks is really EQ and kicks mmm I think it's just not
all I can say I think people I agree having balance sounding kicks is really
with you on that people are afraid of all I can say I think people I agree
the like clique for some reason people with you on that people are afraid of
sing a clicky kick drum it seems to make the like clique for some reason people
people think of these people that are sing a clicky kick drum it seems to make
trying to not be metal feel like they're people think of these people that are
doing something dirty when they have a trying to not be metal feel like they're
clicky kick drum they they don't want to doing something dirty when they have a
push the top end as much as you have to clicky kick drum they they don't want to
but just don't be afraid of it really push the top end as much as you have to
like you need that stuff for it to sound but just don't be afraid of it really
good at least to my ears I want to hear like you need that stuff for it to sound
that sound I want to hear the attack I good at least to my ears I want to hear
don't want it to be just like a hard that sound I want to hear the attack I
like upper-mid thing without the air on don't want it to be just like a hard
the top that air is really important to like upper-mid thing without the air on
me of course you have to have you have the top that air is really important to
to start with a well-tuned kick a good me of course you have to have you have
kick with good appropriate head choice to start with a well-tuned kick a good
and appropriate mic choice but if you kick with good appropriate head choice
have like a good sounding kick then you and appropriate mic choice but if you
can boost that stuff and isn't gonna have like a good sounding kick then you
sound bad I think on the flip side like can boost that stuff and isn't gonna
it could be people scooping their kicks sound bad I think on the flip side like
out too much which is fine it's not it could be people scooping their kicks
really gonna have a negative effect on out too much which is fine it's not
the mix but I don't really like how that really gonna have a negative effect on
sounds I like to have a bit of mids in the mix but I don't really like how that
there and yeah just not judging the sounds I like to have a bit of mids in
low-end right which is which is tricky there and yeah just not judging the
across the whole mix really like bass low-end right which is which is tricky
and kick are gonna be the things which across the whole mix really like bass
give everybody the most difficulty when and kick are gonna be the things which
you're mixing just cuz you're trying to give everybody the most difficulty when
figure out what's going on those you're mixing just cuz you're trying to
frequencies and they're really really figure out what's going on those
far down there so if you don't have good frequencies and they're really really
monitoring or you're not experienced or far down there so if you don't have good
you're not referencing you can end up monitoring or you're not experienced or
with something which is way too boomy or you're not referencing you can end up
in the opposite direction way too thin with something which is way too boomy or
okay a metal funny that you were talking
about the clicky sound a metal guitarist okay a metal funny that you were talking
what's the best way to not have about the clicky sound a metal guitarist
basketball sounding kicks mic choice and what's the best way to not have
tuning really is the big thing there for basketball sounding kicks mic choice and
me but yeah be careful in that kind of tuning really is the big thing there for
like 800 to one and a half K area you me but yeah be careful in that kind of
can get all sorts of weird swanky like 800 to one and a half K area you
frequencies going there if you do have a can get all sorts of weird swanky
basketball the sound and kick and frequencies going there if you do have a
there's nothing you can do about it it basketball the sound and kick and
tracking like you've just got this to there's nothing you can do about it it
mix you can try notching out the tracking like you've just got this to
frequencies ringing out just like we mix you can try notching out the
kind of did with the cymbals because frequencies ringing out just like we
they are there it's gonna be like a kind of did with the cymbals because
fairly narrow narrow band of frequencies they are there it's gonna be like a
that are ringing out and giving it that fairly narrow narrow band of frequencies
kind of basket bully sustain so if you that are ringing out and giving it that
can find those and notch them you'll be kind of basket bully sustain so if you
in good stead and yeah I don't know like can find those and notch them you'll be
you kind of want to fix the source if it in good stead and yeah I don't know like
sounds like a basketball like if you you kind of want to fix the source if it
didn't put any muffling in your drum you sounds like a basketball like if you
might find that it's basketball a sound didn't put any muffling in your drum you
I don't actually like to use very much might find that it's basketball a sound
muffling in my kicks I don't like the I don't actually like to use very much
overly dead fluid sound but there was a muffling in my kicks I don't like the
sweet spot there and then you know if overly dead fluid sound but there was a
you're tuning your head's too high or sweet spot there and then you know if
you're just not tuning it well or it's you're tuning your head's too high or
not a good kick drum or the head choice you're just not tuning it well or it's
is bad you're probably gonna hear loads not a good kick drum or the head choice
of that kind of basketball this stuff is bad you're probably gonna hear loads
going on especially if you use an AKG of that kind of basketball this stuff
d12 d112 sorry on the kick that is kind going on especially if you use an AKG
of renowned for sounding like a d12 d112 sorry on the kick that is kind
basketball on the right I hate the way of renowned for sounding like a
it sounds for the most part I mean on basketball on the right I hate the way
the right kick it can sound awesome and it sounds for the most part I mean on
I did a session at the same studio with the right kick it can sound awesome and
the band called good tiger where we used I did a session at the same studio with
a beats 91 and D 112 and that was the the band called good tiger where we used
best sounding I've heard a d112 sound a beats 91 and D 112 and that was the
actually so it can be done but but yeah best sounding I've heard a d112 sound
that unfortunates coming down to the actually so it can be done but but yeah
source really there and you're gonna that unfortunates coming down to the
have to do some some turd polishing if source really there and you're gonna
you want to get rid of that a Jay Larson have to do some some turd polishing if
I don't understand this question do the you want to get rid of that a Jay Larson
birds help with finding the air in the I don't understand this question do the
kick sound so they could Joe question or birds help with finding the air in the
I guess he's talking about my sweater ah kick sound so they could Joe question or
okay I guess he's talking about my sweater ah
no got it no that's not how it works okay
I'm sorry I did I know you're trying to no got it no that's not how it works
make a joke that was not a good one well I'm sorry I did I know you're trying to
we'll we'll give kudos for good good make a joke that was not a good one well
questions okay for good jokes will do we'll we'll give kudos for good good
you ever feel the need to process the questions okay for good jokes will do
kicks individually or do you just prefer you ever feel the need to process the
to process them as a group at this point kicks individually or do you just prefer
I've got my microphone selection down to to process them as a group at this point
where each of the mice kind I've got my microphone selection down to
does a bit of what I want so I don't where each of the mice kind
need to worry so much about doing them does a bit of what I want so I don't
separately it's kind of just I use the need to worry so much about doing them
faders like any hue kind of control I separately it's kind of just I use the
can blend in between those sounds the faders like any hue kind of control I
kick 1 the beta has a real snappy attack can blend in between those sounds the
2 is a bit more of that kind of rock kick 1 the beta has a real snappy attack
sound but not as snappy and then the sub 2 is a bit more of that kind of rock
of course provides that low end and by sound but not as snappy and then the sub
blending between this sounds I get kind of course provides that low end and by
of what I want really so so now I blending between this sounds I get kind
generally don't have to do very much I of what I want really so so now I
do me Q a bit on the way in like that generally don't have to do very much I
kick in - Mike was going through an API do me Q a bit on the way in like that
which I was using to boost up the top kick in - Mike was going through an API
end a bit and do some hellos and which I was using to boost up the top
generally get it a bit closer to the end a bit and do some hellos and
ballpark of the kick sound but then with generally get it a bit closer to the
that done I didn't really have to do ballpark of the kick sound but then with
anything more when it came to the mix so that done I didn't really have to do
that's the way it rolls hey guys please anything more when it came to the mix so
don't repeat the questions like we said that's the way it rolls hey guys please
before we are notating we're copying all don't repeat the questions like we said
your questions into a document and going before we are notating we're copying all
through all of them if I haven't read your questions into a document and going
your questions yet don't worry you don't through all of them if I haven't read
need to keep repeating it so alright your questions yet don't worry you don't
this one is from Raphael can you do a need to keep repeating it so alright
comparison of the full drum bus with and this one is from Raphael can you do a
without the kick sample yeah sure I mean comparison of the full drum bus with and
I'd have done slightly different EQ if without the kick sample yeah sure I mean
the bus wasn't there but let's see I'd have done slightly different EQ if
[Music] the bus wasn't there but let's see
you can hear the sample but the
character of the cake remains intact you can hear the sample but the
without it really it's not it's not character of the cake remains intact
eating away at anything to be honest I I without it really it's not it's not
feel pretty good about that all right eating away at anything to be honest I I
let's see here slightly off topic but II feel pretty good about that all right
when Edgar is asking what model MacBook let's see here slightly off topic but II
is that and would you recommend it for when Edgar is asking what model MacBook
mixing on throw it I guess the question is that and would you recommend it for
the answer would be yes considering you mixing on throw it I guess the question
used it on the road for mixing there you the answer would be yes considering you
go there's the specs mid-2012 but it used it on the road for mixing there you
does have the i7 chip it's got 16 gig of go there's the specs mid-2012 but it
ram yeah so pretty spectacle of does have the i7 chip it's got 16 gig of
revisions of the MacBook since at this ram yeah so pretty spectacle of
point okay revisions of the MacBook since at this
Nicolas Alexander do you send Tom's to point okay
parallel compression maybe I missed that Nicolas Alexander do you send Tom's to
part I do but not too much because what parallel compression maybe I missed that
tends to happen is you get like a weird part I do but not too much because what
like swell of sustain that sounds a bit tends to happen is you get like a weird
kind of distorted and gross if there's like swell of sustain that sounds a bit
too much going through there so just kind of distorted and gross if there's
enough to give them a bit of extra too much going through there so just
length smooth them out a little bit but enough to give them a bit of extra
too much and doesn't sound good I used length smooth them out a little bit but
to send more and that was kind of a too much and doesn't sound good I used
mistake it also brings up the bleed a to send more and that was kind of a
lot on the trails of the note sir do you mistake it also brings up the bleed a
see what okay is asking why the change lot on the trails of the note sir do you
why did you treat the Tom's individually see what okay is asking why the change
instead of treating them all in the Tom why did you treat the Tom's individually
bus because as you can see from the instead of treating them all in the Tom
compression that I did I kind of did bus because as you can see from the
drastically different moves not a compression that I did I kind of did
drastically different but the drastically different moves not a
frequencies are really quite different drastically different but the
from one to the other because they're frequencies are really quite different
all tuned to individual notes and have from one to the other because they're
you know the mic placement might be all tuned to individual notes and have
affected might be affecting things and you know the mic placement might be
whatnot so you can see I'm kind of doing affected might be affecting things and
a similar thing a high pass to mid cuts whatnot so you can see I'm kind of doing
and a treble boost but they're in a similar thing a high pass to mid cuts
different places and different amounts and a treble boost but they're in
and different cues that's just between different places and different amounts
the rack Tom's I mean if you compare and different cues that's just between
what's happening on the floor tom to the rack Tom's I mean if you compare
it's completely different with say rack what's happening on the floor tom to
1 it's completely different with say rack
but that's just kind of what's necessary 1
to get them all sounding like they but that's just kind of what's necessary
belong in the same place cool cool to get them all sounding like they
here's one strat Orion is asking nalli belong in the same place cool cool
how would you define transients how do i here's one strat Orion is asking nalli
define trance yeah I guess he's looking how would you define transients how do i
for a nollie description a transient is define trance yeah I guess he's looking
the portion for a nollie description a transient is
it's the ascending portion of the wave the portion
at the beginning of the signal that's it's the ascending portion of the wave
pretty much all it is so it's just it's at the beginning of the signal that's
going from zero to whatever it goes to pretty much all it is so it's just it's
at the beginning of a sound that's the going from zero to whatever it goes to
transient ready all right cool at the beginning of a sound that's the
so it's from Sean DeLong and and I think transient ready all right cool
I know what he's getting at but saying so it's from Sean DeLong and and I think
how do you get logics EQ to not boost I know what he's getting at but saying
gain when trying to notch I find that my how do you get logics EQ to not boost
ears hurt after searching for gain when trying to notch I find that my
frequencies to not boost gain ears hurt after searching for
I think that he's probably hurt like frequencies to not boost gain
ruining his hearing by like boosting I think that he's probably hurt like
frequencies for too long and listening ruining his hearing by like boosting
to like really sharp high mids yeah I frequencies for too long and listening
mean just bear in mind that the sorry to like really sharp high mids yeah I
that's the wrong EQ that these very mean just bear in mind that the sorry
quickly go to like 24 DB which is an that's the wrong EQ that these very
absurd amount of boost so try boosting quickly go to like 24 DB which is an
more like 10 it's still are gonna be absurd amount of boost so try boosting
very pleasant but you'll preserve your more like 10 it's still are gonna be
hearing a bit longer and definitely make very pleasant but you'll preserve your
use of the bypass button as well after hearing a bit longer and definitely make
you if you yeah if you took a huge notch use of the bypass button as well after
out and you bypass it and you're gonna you if you yeah if you took a huge notch
hear that whistling frequency so loud out and you bypass it and you're gonna
that you're gonna be sure that you did hear that whistling frequency so loud
the right thing in in cutting it but if that you're gonna be sure that you did
you just do more moderate moves and use the right thing in in cutting it but if
the bypass quite a lot you'll find that you just do more moderate moves and use
you can figure out how much you need the bypass quite a lot you'll find that
without completely mangling the signal you can figure out how much you need
Kevin one two three four three two without completely mangling the signal
mm-hmm s when mixing do you typically Kevin one two three four three two
start with just a drum solo like you are mm-hmm s when mixing do you typically
today yeah everything I'm doing is kind start with just a drum solo like you are
of what I would do just with you guys today yeah everything I'm doing is kind
watching and me of what I would do just with you guys
I'm doing so I mean this whole thing watching and me
would have taken a far far shorter time I'm doing so I mean this whole thing
if I wasn't explaining but essentially would have taken a far far shorter time
once I got the drum mix up and going I if I wasn't explaining but essentially
started bringing the other instruments once I got the drum mix up and going I
but I disappoint no I at this point know started bringing the other instruments
very clearly what I want my drums to but I disappoint no I at this point know
sound like and the relative levels are very clearly what I want my drums to
pretty close like within a couple of DB sound like and the relative levels are
for each instrument probably of what pretty close like within a couple of DB
they need to be once I throw in the for each instrument probably of what
other instruments so yeah again like they need to be once I throw in the
maybe working in solo is something which other instruments so yeah again like
people look down upon but having a maybe working in solo is something which
workflow having a way that you operate people look down upon but having a
is very important because it allows you workflow having a way that you operate
to make quick decisions it allows you to is very important because it allows you
work and know that everything is being to make quick decisions it allows you to
taken care of the way it should be work and know that everything is being
instead of having weird gain staging and taken care of the way it should be
unknown factors which are really gonna instead of having weird gain staging and
affect each other once you start unknown factors which are really gonna
throwing in other instruments so I can affect each other once you start
work this way because I've been working throwing in other instruments so I can
this way for several years at this point work this way because I've been working
and I really understand every aspect this way for several years at this point
that's going on beyond even the drum and I really understand every aspect
buss the pad like the the mix buss that's going on beyond even the drum
compression it makes plus EQ the master buss the pad like the the mix buss
buss tape compression tape saturation compression it makes plus EQ the master
compression and the limiting I know buss tape compression tape saturation
what's happening there it's not an compression and the limiting I know
unknown variable so I can make my what's happening there it's not an
decisions with security and I know I'm unknown variable so I can make my
not paid painting myself into a corner decisions with security and I know I'm
that I can't get out of so you don't not paid painting myself into a corner
have to do things my way but I would that I can't get out of so you don't
urge you to find a way that you can work have to do things my way but I would
with in which that you can be urge you to find a way that you can work
experimental but still kind of keeping with in which that you can be
some factors the same so that you can experimental but still kind of keeping
keep you can keep yourself sane to be some factors the same so that you can
honest because you can drive yourself keep you can keep yourself sane to be
nuts otherwise for sure so this this honest because you can drive yourself
question I'm going to answer Tiago nuts otherwise for sure so this this
mesquita is asking how did you get to question I'm going to answer Tiago
convince your band periphery to start mesquita is asking how did you get to
mixing their stuff in Tiago we did a convince your band periphery to start
podcast with Mali that you can find on mixing their stuff in Tiago we did a
your nail the mix account or on iTunes podcast with Mali that you can find on
or on you are MDOT Academy like where we your nail the mix account or on iTunes
asked this question and nolle gave a or on you are MDOT Academy like where we
really really good answer so just go asked this question and nolle gave a
listen to the podcast and that is really really good answer so just go
answered there how do you feel about listen to the podcast and that is
taking a 15 minute break I'm good yes answered there how do you feel about
okay taking a 15 minute break I'm good yes
no more questions need answering well okay
we've got a ton of questions but I think no more questions need answering well
it's been about 90 minutes and I feel we've got a ton of questions but I think
like that people need a piss yeah me too it's been about 90 minutes and I feel
I kind of need to so yeah so guys go like that people need a piss yeah me too
piss get a drink I kind of need to so yeah so guys go
CCS and we'll see you guys in 15 minutes
all right are you a fan of bands like 5 CCS and we'll see you guys in 15 minutes
seconds of summer Paramore New Found all right are you a fan of bands like 5
Glory your state champs well this month seconds of summer Paramore New Found
over at nail to mix calm we have the one Glory your state champs well this month
and only mr. Kyle black who's worked over at nail to mix calm we have the one
with all of those bands he's gonna come and only mr. Kyle black who's worked
on nail the mix here at the end of the with all of those bands he's gonna come
month and he's going to mix the song on nail the mix here at the end of the
secrets by stage chance you can get all month and he's going to mix the song
of the stems for secrets and enter the secrets by stage chance you can get all
mix competition for a chance to win over of the stems for secrets and enter the
$1,000 in Phil Kyle audio gear and you mix competition for a chance to win over
can watch Kyle mix the song from scratch $1,000 in Phil Kyle audio gear and you
all the way to the end the winner of our can watch Kyle mix the song from scratch
mixing competition this month is gonna all the way to the end the winner of our
win a pair of folk al al ear headphones mixing competition this month is gonna
which are retailing thousand dollars to win a pair of folk al al ear headphones
our fantastic pair of headphones I love which are retailing thousand dollars to
polka audio stuff as you can see behind our fantastic pair of headphones I love
me I rock the twins love them great polka audio stuff as you can see behind
speakers and second place winner is me I rock the twins love them great
going to get a pair of faux hell sphere speakers and second place winner is
earbuds which are worth about 150 bucks going to get a pair of faux hell sphere
and that is a pretty awesome prize as earbuds which are worth about 150 bucks
well so if you want to watch Kyle black and that is a pretty awesome prize as
come in mix a state champ song show you well so if you want to watch Kyle black
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[Music] mix today get started
[Music]
[Applause]
[Music]
every producer in metal has their go-to
samples whether or not they admit it every producer in metal has their go-to
it's just the truth everyone has their samples whether or not they admit it
go-to samples it's really really it's just the truth everyone has their
important in my opinion to keep updating go-to samples it's really really
your go-to samples or you just start important in my opinion to keep updating
sounding dated if you're still using the your go-to samples or you just start
same go-to samples in 2014-2015 as you sounding dated if you're still using the
were in 2006 well you're gonna sound same go-to samples in 2014-2015 as you
like you're that guy from 2006 I always were in 2006 well you're gonna sound
try to keep my my go twos updated and so like you're that guy from 2006 I always
far none of my go twos have ever come try to keep my my go twos updated and so
from somebody else's virtual drum far none of my go twos have ever come
library I've actually tried to do that from somebody else's virtual drum
before but it just not my thing it's library I've actually tried to do that
kind of like downloading somebody else's before but it just not my thing it's
profile on guitar and trying them for kind of like downloading somebody else's
myself it just never works for me it profile on guitar and trying them for
might work for other people but not for myself it just never works for me it
me I've always had to make my own stuff might work for other people but not for
so my go-to is Bend up being things that me I've always had to make my own stuff
I recorded in my drum room and then so my go-to is Bend up being things that
processed to become samples so the drum I recorded in my drum room and then
Forge library is the first time that I processed to become samples so the drum
actually found some bras made by other Forge library is the first time that I
people that were good enough for me to actually found some bras made by other
actually be able to process to make my people that were good enough for me to
own go to so one of the coolest things actually be able to process to make my
about drum Forge is when you go to own go to so one of the coolest things
advanced options and sustain seems like about drum Forge is when you go to
that's a really simple little thing but advanced options and sustain seems like
it's actually probably one of the most that's a really simple little thing but
powerful I guess features I've seen yet it's actually probably one of the most
in a virtual drum library I've seen powerful I guess features I've seen yet
other ways of doing that they all kind in a virtual drum library I've seen
of have something like that but this one other ways of doing that they all kind
is probably the best one and that's of have something like that but this one
super important because depending on the is probably the best one and that's
speed of the music that right there can super important because depending on the
mean everything between a sample being speed of the music that right there can
usable and not the range of options mean everything between a sample being
go from having multiple microphones to usable and not the range of options
multiple lengths of decay on the drum go from having multiple microphones to
and to me that's everything multiple lengths of decay on the drum
[Music] and to me that's everything
hey you yes you do you want to learn how [Music]
to be a better mixer I want your songs hey you yes you do you want to learn how
to sound better so check out my creative to be a better mixer I want your songs
live course where I show you techniques to sound better so check out my creative
that I've developed over the last 10 live course where I show you techniques
years I want to give you the tools you that I've developed over the last 10
need to create great mixes years I want to give you the tools you
[Music] need to create great mixes
are you a fan of bands like 5 seconds of
summer Paramore New Found Glory your are you a fan of bands like 5 seconds of
state champs well this month over at summer Paramore New Found Glory your
nail to mix calm we have the one and state champs well this month over at
only mr. Kyle black who's worked with nail to mix calm we have the one and
all of those bands he's gonna come on only mr. Kyle black who's worked with
nail the mix here at the end of the all of those bands he's gonna come on
month and he is going to mix the song nail the mix here at the end of the
secrets by stage chance you can get all month and he is going to mix the song
of the stems for secrets and enter the secrets by stage chance you can get all
mix competition for a chance to win over of the stems for secrets and enter the
a thousand dollars in folk al audio gear mix competition for a chance to win over
and you can watch Kyle mix the song from a thousand dollars in folk al audio gear
scratch all the way to the end the and you can watch Kyle mix the song from
winner of our mixing competition this scratch all the way to the end the
month who's gonna win a pair of folk al winner of our mixing competition this
al ear headphones which are retailing month who's gonna win a pair of folk al
thousand dollars to our fantastic pair al ear headphones which are retailing
of headphones thousand dollars to our fantastic pair
I love focal audio stuff as you can see of headphones
behind me I rock the twins love them I love focal audio stuff as you can see
great speakers and the second-place behind me I rock the twins love them
winner is going to get a pair of faux great speakers and the second-place
hell sphere earbuds which are worth winner is going to get a pair of faux
about 150 bucks and that is a pretty hell sphere earbuds which are worth
awesome prize as well so if you want to about 150 bucks and that is a pretty
watch Kyle Black come in mix a state awesome prize as well so if you want to
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click the link below sign up for nail master of pop pong
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[Music] mix today to get started
[Music]
every producer in metal has their go-to
samples whether or not they admit it every producer in metal has their go-to
it's just the truth everyone has their samples whether or not they admit it
go-to samples it's really really it's just the truth everyone has their
important in my opinion to keep updating go-to samples it's really really
your go-to samples or you just start important in my opinion to keep updating
sounding dated if you're still using your go-to samples or you just start
this same go-to samples in the 2014/2015 sounding dated if you're still using
as you were in 2006 well you're gonna this same go-to samples in the 2014/2015
sound like you're that guy from 2006 I as you were in 2006 well you're gonna
always try to keep my my go twos updated sound like you're that guy from 2006 I
and so far none of my goat cheese have always try to keep my my go twos updated
ever come from somebody else's virtual and so far none of my goat cheese have
drum library I've actually tried to do ever come from somebody else's virtual
that before but it's just not my thing drum library I've actually tried to do
it's kind of like downloading somebody that before but it's just not my thing
else's profile on guitar and trying them it's kind of like downloading somebody
for myself it just never works for me it else's profile on guitar and trying them
might work for other people but not for for myself it just never works for me it
me I've always had to make my own stuff might work for other people but not for
so my goat cheese vendor being excited me I've always had to make my own stuff
recorded in my drum room and then so my goat cheese vendor being excited
processed to become samples so the drum recorded in my drum room and then
Forge library is the first time that I processed to become samples so the drum
actually found some bras made by other Forge library is the first time that I
people that were good enough for me to actually found some bras made by other
actually be able to process to make my people that were good enough for me to
own go to one of the coolest things actually be able to process to make my
about drum forage is when you go to own go to one of the coolest things
Advanced Options and there's sustain about drum forage is when you go to
seems like that's a really simple little Advanced Options and there's sustain
thing but it's actually probably one of seems like that's a really simple little
the most powerful I guess features I've thing but it's actually probably one of
seen yet another virtual drum library the most powerful I guess features I've
I've seen other ways of doing that they seen yet another virtual drum library
all kind of have something like that but I've seen other ways of doing that they
this one is probably the best one and all kind of have something like that but
that's super important because depending this one is probably the best one and
on the speed of the music that right that's super important because depending
there can mean everything between a on the speed of the music that right
sample being usable and not the range of there can mean everything between a
options go from adding multiple sample being usable and not the range of
microphones to multiple lengths of decay options go from adding multiple
on the drum and to me that's everything microphones to multiple lengths of decay
[Music] on the drum and to me that's everything
hey you yes you do you want to learn how [Music]
to be a better man hey guys hope your hey you yes you do you want to learn how
break was awesome because ours sure as to be a better man hey guys hope your
hell was Rask break was awesome because ours sure as
maybe the best break I've ever had in my hell was Rask
entire life you think yeah I can tell maybe the best break I've ever had in my
you you just you are awesome on this entire life you think yeah I can tell
break alright well we're back and hope you you just you are awesome on this
you guys have been learning a ton about break alright well we're back and hope
mixing drums top-down mixing and how you guys have been learning a ton about
awesome nollie is if you didn't know mixing drums top-down mixing and how
already which I'm sure you did awesome nollie is if you didn't know
thank you for everything so far nollie already which I'm sure you did
sounding incredible thanks man thank you for everything so far nollie
thanks I'm happy without sounding and I sounding incredible thanks man
hope everyone's finding some useful thanks I'm happy without sounding and I
content in there and I gotta say the the hope everyone's finding some useful
nollie explanations are we've been content in there and I gotta say the the
getting a lot of comments and I agree nollie explanations are we've been
they're super articulate and I really getting a lot of comments and I agree
love your metaphors for things I find they're super articulate and I really
that metaphors like proper love your metaphors for things I find
well-thought-out metaphors make audio that metaphors like proper
stuff really much easier to understand well-thought-out metaphors make audio
because talking about sound is tough stuff really much easier to understand
sometimes I mean we we kind of hit off because talking about sound is tough
pika comparing Frank versus too good sometimes I mean we we kind of hit off
quality sausages yeah we're gonna get pika comparing Frank versus too good
back no but wait to people that miss quality sausages yeah we're gonna get
that yeah but the thing is you got to back no but wait to people that miss
appreciate what happened because it that yeah but the thing is you got to
happened to Brian you got to be thankful appreciate what happened because it
for those things and not lament that happened to Brian you got to be thankful
they'll never happen again for those things and not lament that
right so and with that said I think they'll never happen again
you're gonna go on to base now eh yeah I right so and with that said I think
guess we're gonna go on to base now so you're gonna go on to base now eh yeah I
you guys obviously had a couple of
different tracks to work with for the you guys obviously had a couple of
base you had my di and then you have my different tracks to work with for the
processed bass amp sound which is base you had my di and then you have my
basically it was like a plug-in chain processed bass amp sound which is
that was like for starters I was basically it was like a plug-in chain
tracking through a dark glass b7 cave that was like for starters I was
just doing some light tone shaping and tracking through a dark glass b7 cave
then it was a plug-in chain that was just doing some light tone shaping and
kind of involved and very unlike me in then it was a plug-in chain that was
that it kind of just ended up with me kind of involved and very unlike me in
throwing bug enough to plug in onto it that it kind of just ended up with me
because throwing bug enough to plug in onto it
essentially the monitoring environment because
and Mischa's place we were mixing wasn't essentially the monitoring environment
really that great or at least I didn't and Mischa's place we were mixing wasn't
find it very easy to judge what was really that great or at least I didn't
going on and kind of just kept adding find it very easy to judge what was
more and more things on to the plug-in going on and kind of just kept adding
chain to kind of patch it up and it more and more things on to the plug-in
ended up somewhere cool but there's no chain to kind of patch it up and it
way in hell that I'd be able to recreate ended up somewhere cool but there's no
it and with that in mind I kind of just way in hell that I'd be able to recreate
bounced it down that way when I came to it and with that in mind I kind of just
mixing the album I didn't want to have bounced it down that way when I came to
like a 12 plug-in long chain active on mixing the album I didn't want to have
my bass I thought I'm just going to like a 12 plug-in long chain active on
commit to that if you like we can look my bass I thought I'm just going to
at a little bit about how I would create commit to that if you like we can look
that public plugin Jenks I kind of at a little bit about how I would create
remember the main constituent components that public plugin Jenks I kind of
so what I'm gonna do just to start with remember the main constituent components
is take this di and show you some of the so what I'm gonna do just to start with
moves that I might have made to get a is take this di and show you some of the
bass sound in case you didn't want to moves that I might have made to get a
work with my amp sound or if you want bass sound in case you didn't want to
some cool ideas for for creating cool work with my amp sound or if you want
bass tracks in the mix lots of cool some cool ideas for for creating cool
things that I just talked about so if we bass tracks in the mix lots of cool
listen to the bass di kind of sounds things that I just talked about so if we
like my thing wall which is cool I love listen to the bass di kind of sounds
how that bass sounds and I did see a few like my thing wall which is cool I love
comments about how good the bass di how that bass sounds and I did see a few
sounds it really is a kind of special comments about how good the bass di
sounding instrument so we'll just listen sounds it really is a kind of special
to that again just remind you guys sounding instrument so we'll just listen
oh wait the fade is real low sir so it's
a pretty fat sounding di it's cool if I oh wait the fade is real low sir so it's
was going to do some processing to this a pretty fat sounding di it's cool if I
something I'd want to do is bring out was going to do some processing to this
the treble frequencies a little bit I something I'd want to do is bring out
didn't really boost treble on the bass I the treble frequencies a little bit I
kind of like to leave that for later didn't really boost treble on the bass I
sometimes especially since I wasn't too kind of like to leave that for later
confident making decisions that meet sometimes especially since I wasn't too
this place so let's use this hammer EQ confident making decisions that meet
why not let's just throw like another this place so let's use this hammer EQ
$5,000 equalizer on this bring out a bit why not let's just throw like another
more of the stringiness in the top-end $5,000 equalizer on this bring out a bit
using that same top that kind of 10k more of the stringiness in the top-end
boost which which like I talked about using that same top that kind of 10k
when we were dealing with a kick has a boost which which like I talked about
very pleasing sound with this particular when we were dealing with a kick has a
equalizer so see what we get if we boost very pleasing sound with this particular
out equalizer so see what we get if we boost
kind of prefer the seven and a half
actually it's wait you know what I'm kind of prefer the seven and a half
cueing there on the the bus I'm going to actually it's wait you know what I'm
do this just directly onto this base cueing there on the the bus I'm going to
together same thing just in a different do this just directly onto this base
place so that's kind of done something together same thing just in a different
for the sound there and then the next place so that's kind of done something
step might be to do some compression and for the sound there and then the next
typically if I'm compressing a bass step might be to do some compression and
guitar its to kind of even out the typically if I'm compressing a bass
playing a little bit although I did try guitar its to kind of even out the
and play quite evenly when when I playing a little bit although I did try
recorded this let's take this styled and play quite evenly when when I
1176 model and let's use a pretty quick recorded this let's take this styled
attack and compress it with a four to 1176 model and let's use a pretty quick
one ratio seal what we end up with you attack and compress it with a four to
can very clearly hear the difference one ratio seal what we end up with you
that happens once that takest the very can very clearly hear the difference
fastest the transient disappears if you that happens once that takest the very
if you hear that again and as I open it fastest the transient disappears if you
up you're gonna hear the transient if you hear that again and as I open it
starts to come back you hear that kind up you're gonna hear the transient
of wet slap starts to come back you hear that kind
kind of like it sitting around there
wasn't even even looking at the gain kind of like it sitting around there
reduction meter but I just like how wasn't even even looking at the gain
that's sounding it's it's got a bit more reduction meter but I just like how
vibe to it's got a bit more movement not that's sounding it's it's got a bit more
movement actually because it technically vibe to it's got a bit more movement not
has less movement but I don't know it's movement actually because it technically
just got like a cool pumpy thing going has less movement but I don't know it's
on I like so the next stage if I was just got like a cool pumpy thing going
building this in the box would be a on I like so the next stage if I was
distortion stage I have a couple of go building this in the box would be a
twos I like to use one that I really distortion stage I have a couple of go
love and I like to show people because twos I like to use one that I really
it's so cool is using this plugin by love and I like to show people because
fabfilter it's called satin and it's it's so cool is using this plugin by
love it it's amazing we spoke about it fabfilter it's called satin and it's
on the podcast love it it's amazing we spoke about it
it's a multiband saturator that you can on the podcast
kind of choose the bands and do it's a multiband saturator that you can
different things so like these controls kind of choose the bands and do
down here are only affecting the one different things so like these controls
band that it's on so typically what a down here are only affecting the one
lot of people do is they kind of split band that it's on so typically what a
their base off into multiple tracks lot of people do is they kind of split
where they might have I could distort a their base off into multiple tracks
grit track with a high-pass and distort where they might have I could distort a
combined with another track which is grit track with a high-pass and distort
just for the lows or like a clean track combined with another track which is
in there as well the cool thing with just for the lows or like a clean track
this is it allows you to completely face in there as well the cool thing with
coherently distort the mid-range this is it allows you to completely face
all-in-one plugins so instead of coherently distort the mid-range
splitting it across two tracks and all-in-one plugins so instead of
recombining them it all happens in one splitting it across two tracks and
plugin so the saturation most of their recombining them it all happens in one
models range from like clean tape which plugin so the saturation most of their
is or clean tube which is something very models range from like clean tape which
subtle like very gentle warming going on is or clean tube which is something very
to like screaming amp or these weird subtle like very gentle warming going on
ones down here which completely mess up to like screaming amp or these weird
the sound like it I'll just demonstrate ones down here which completely mess up
a few of these speeds here so this is the sound like it I'll just demonstrate
clean too a few of these speeds here so this is
in fact to begin with I'm gonna do it to
the whole frequency spectrum in fact to begin with I'm gonna do it to
so that's not exactly what you're going
forward there bass sound so that's not exactly what you're going
even when it sounds nasty and disgusting forward there bass sound
it sounds amazing even when it sounds nasty and disgusting
yeah not that but no not that anyway so it sounds amazing
so what I discovered is that this heavy yeah not that but no not that anyway so
saturation mode kind of sounds a bit so what I discovered is that this heavy
like a stompbox distortion di which is saturation mode kind of sounds a bit
not a pleasant sound it's like got way like a stompbox distortion di which is
too much top-end but it's kind of like not a pleasant sound it's like got way
having like a nice overdrive pedal on too much top-end but it's kind of like
your amp chain except that you can set having like a nice overdrive pedal on
very clearly where the where it kicks in your amp chain except that you can set
and like frequency wise you can set how very clearly where the where it kicks in
saturated low-end which is a huge tone and like frequency wise you can set how
shaping short at all when it comes to saturated low-end which is a huge tone
guitar and bass so I'll show you what shaping short at all when it comes to
this sounds like on its own and I'll guitar and bass so I'll show you what
also move this crossover frequency this sounds like on its own and I'll
around so you can hear the difference in also move this crossover frequency
tone you get around so you can hear the difference in
[Applause]
down there it's very cozy
[Applause]
so by using this you can actually [Applause]
completely narrow in on the area that so by using this you can actually
you want to distort you can choose how completely narrow in on the area that
fuzzy or tight and gritty you want it to you want to distort you can choose how
be you can choose how much distortion fuzzy or tight and gritty you want it to
there is and you can also this like a be you can choose how much distortion
mix knob as well which I tend to use a there is and you can also this like a
little bit so there is like actually a mix knob as well which I tend to use a
bit of clean mid-range going through in little bit so there is like actually a
there as well and then likewise with the bit of clean mid-range going through in
top-end you can kind of clean up the there as well and then likewise with the
top-end or distort it as you see fit top-end you can kind of clean up the
[Music]
I think in this case I'm actually not
going to have that top and I think it I think in this case I'm actually not
sounds just fine actually distorting the going to have that top and I think it
whole frequency range chart from like sounds just fine actually distorting the
that kind of 300 Hertz ish area so that whole frequency range chart from like
obviously is not a perfect base tone yet that kind of 300 Hertz ish area so that
but if we take that and we throw it obviously is not a perfect base tone yet
through a cabinet sim so I'm just gonna but if we take that and we throw it
load up caps in here oops mix IR is kind through a cabinet sim so I'm just gonna
of a go-to of mine I really like the SVT load up caps in here oops mix IR is kind
cab that's from the red wires big box of a go-to of mine I really like the SVT
I've had this for god knows how long cab that's from the red wires big box
but if we go to the MD 421 which is a I've had this for god knows how long
classic mic to use on bass pretty but if we go to the MD 421 which is a
standard for me is like the cap edge off classic mic to use on bass pretty
model so without and weird standard for me is like the cap edge off
[Applause] model so without and weird
so we're starting to get into what's of
quite dark sounding bass amp territory so we're starting to get into what's of
so the cab sim is completely rolled off quite dark sounding bass amp territory
the top end in a way that's good but now so the cab sim is completely rolled off
it's kind of too dark and also got some the top end in a way that's good but now
unpleasant spiky frequency is going on a it's kind of too dark and also got some
bit like we had with the cymbals so unpleasant spiky frequency is going on a
let's try taming those bit like we had with the cymbals so
[Music] let's try taming those
you guys hear those as two nodes very
close to each other kind of like a very you guys hear those as two nodes very
dissonant thing going on there and close to each other kind of like a very
that's probably like yeah it's typical dissonant thing going on there and
in any kind of mic top guitar cab or that's probably like yeah it's typical
bass cab you said to get those ringing in any kind of mic top guitar cab or
frequencies you can probably also hear bass cab you said to get those ringing
this is starting to take on my bass tone frequencies you can probably also hear
a little bit because this is kind of my this is starting to take on my bass tone
go-to chain that I would use so a little bit because this is kind of my
hopefully there's something cool in go-to chain that I would use so
there let's actually compare that with hopefully there's something cool in
the bass amp that I have obviously there let's actually compare that with
there's a ton more mid-range going on on the bass amp that I have obviously
this currently the the bass amp tone if there's a ton more mid-range going on on
anything is actually a bit too scooped this currently the the bass amp tone if
that I provided you with anything is actually a bit too scooped
having scooped that out the next thing I
want to do is bring up the presents having scooped that out the next thing I
quite considerably so maybe let's try want to do is bring up the presents
the virtual mix rack let's see what that quite considerably so maybe let's try
lift thing can do I don't know I don't the virtual mix rack let's see what that
think I use this on the on the album lift thing can do I don't know I don't
that's actually pretty awesome
[Music]
I'm also hearing a kind of I don't know
not very pleasant low-mid thing going on I'm also hearing a kind of I don't know
there not very pleasant low-mid thing going on
[Music] there
let's try making the low-end a little
bit bigger too let's try making the low-end a little
[Music]
but then hi passing it here just to to [Music]
rein it in so I feel like we're getting but then hi passing it here just to to
to a kind of cool spot here I mean still rein it in so I feel like we're getting
pretty different to what we had before I to a kind of cool spot here I mean still
feel like it could generally also use pretty different to what we had before I
more top-end still which as I say that feel like it could generally also use
that IR is very dark sounding so don't more top-end still which as I say that
be too shot it's kind of shocking that IR is very dark sounding so don't
sometimes just how much top-end you need be too shot it's kind of shocking
to run into it like I'm cranking their sometimes just how much top-end you need
presence control there but let's try to run into it like I'm cranking their
doing something with this n EQ I could presence control there but let's try
use the SSL but this has got such an doing something with this n EQ I could
aggressive kind of upper mid top-end use the SSL but this has got such an
thing going on that it might work great aggressive kind of upper mid top-end
[Music]
so we're starting to get to a kind of [Music]
cool base turn there and we've we're now so we're starting to get to a kind of
six plugins deep which is generally more cool base turn there and we've we're now
than I like to put in a row but well I six plugins deep which is generally more
guess we've got six on the kick so we've than I like to put in a row but well I
still got that to beat but yeah you can guess we've got six on the kick so we've
do it and do it you know we can totally still got that to beat but yeah you can
do it near you yeah at this point that's do it and do it you know we can totally
kind of what I would maybe mix down I do it near you yeah at this point that's
might bounce that down as like this is kind of what I would maybe mix down I
you know a bass amp tone in fact I'm might bounce that down as like this is
going to do exactly that I'm going to you know a bass amp tone in fact I'm
bounce this down in place a bass NTM going to do exactly that I'm going to
winging it so I'm just gonna bounce bounce this down in place a bass NTM
thing this down in place and logic so winging it so I'm just gonna bounce
that I'm basically committing to that thing this down in place and logic so
sound which it's also an important part that I'm basically committing to that
of my workflow you notice that you sound which it's also an important part
didn't get D is for the guitars you of my workflow you notice that you
notice that that bass amp was kind of didn't get D is for the guitars you
printed down you notice that I committed notice that that bass amp was kind of
to certain moves on the drums I didn't printed down you notice that I committed
commit to the moves on the vocals but I to certain moves on the drums I didn't
like to work with stuff that's been commit to the moves on the vocals but I
committed to and this is kind of part of like to work with stuff that's been
the way that I like to work I like to committed to and this is kind of part of
get crazy with my moves or you know just the way that I like to work I like to
have fun with what I'm doing and then get crazy with my moves or you know just
afterwards kind of reel it in a little have fun with what I'm doing and then
bit and and apply myself to that because afterwards kind of reel it in a little
the the the kind of guest works been bit and and apply myself to that because
taken out there so I'm just gonna the the the kind of guest works been
completely like that that track is now taken out there so I'm just gonna
inactive I'm just gonna work with this completely like that that track is now
bass di track here which wait sorry inactive I'm just gonna work with this
needs to rename this it's taken the same bass di track here which wait sorry
name real quick could you define needs to rename this it's taken the same
bouncing down for Shawn here oh yeah so name real quick could you define
that's just exported it through those bouncing down for Shawn here oh yeah so
through those plugins and re imported it that's just exported it through those
into the session so unfortunate has made through those plugins and re imported it
it a stereo track but that's fine so into the session so unfortunate has made
this essentially is exactly where I just it a stereo track but that's fine so
was with the processed chain it's just this essentially is exactly where I just
now all printed down to a single audio was with the processed chain it's just
file and you know what why don't we just now all printed down to a single audio
roll with this I'm not even gonna look file and you know what why don't we just
at the bass amp track which I gave you roll with this I'm not even gonna look
we've made a new bass tone I think it's at the bass amp track which I gave you
got kind of cool carrots into it so we've made a new bass tone I think it's
sounds pretty monstrous yeah it's got a got kind of cool carrots into it so
cool character to it so let's roll with sounds pretty monstrous yeah it's got a
this see if we can get this working in cool character to it so let's roll with
the mix which is you know we'll see what this see if we can get this working in
happens there so at this point this as I the mix which is you know we'll see what
say is exactly where we happens there so at this point this as I
left off with our six plug-in chain it's say is exactly where we
just been printed into the audio now and left off with our six plug-in chain it's
I have a free just been printed into the audio now and
I have no plugins being used now on this I have a free
track and I can kind of treat this like I have no plugins being used now on this
this is coming off an amp and I made track and I can kind of treat this like
some really aggressive EQ moves on the this is coming off an amp and I made
way in and this isn't that my amp sound some really aggressive EQ moves on the
so let's listen to it once more but I'm way in and this isn't that my amp sound
gonna pull up my my cue to analyze like so let's listen to it once more but I'm
to use because in a similar way to the gonna pull up my my cue to analyze like
kick drum and the Tom's I think to use because in a similar way to the
something with the bass that I find kick drum and the Tom's I think
helps me find the right balance is something with the bass that I find
looking for the presence region to be helps me find the right balance is
roughly balanced in level with with a looking for the presence region to be
low end of the instrument so let's look roughly balanced in level with with a
at what it looks like on a spectrum low end of the instrument so let's look
analyzer as well as listening to it and at what it looks like on a spectrum
what would you know that's actually analyzer as well as listening to it and
pretty balanced if I do say so myself what would you know that's actually
maybe a little bit more though and as pretty balanced if I do say so myself
needed and the only thing that's maybe a little bit more though and as
concerning me a little bit is that the needed and the only thing that's
low-end does drop off very sharply if I concerning me a little bit is that the
increase the resolution on this we can low-end does drop off very sharply if I
actually see where it's not too bad but increase the resolution on this we can
essentially we have nothing going on actually see where it's not too bad but
under about 50 Hertz which isn't ideal essentially we have nothing going on
so I'm very pleased with the EQ curve under about 50 Hertz which isn't ideal
that we've achieved there because I am so I'm very pleased with the EQ curve
just kind of winging it as I'm saying that we've achieved there because I am
but in general I feel like we could have
a bit more mids and a bit more low-end but in general I feel like we could have
so first thing I'm going to do is I'm a bit more mids and a bit more low-end
going to go to old friend our bass which so first thing I'm going to do is I'm
is going to generate some sub harmonic going to go to old friend our bass which
content but I don't want to be too kind is going to generate some sub harmonic
of out of control with it I'm just I'm content but I don't want to be too kind
gonna set it pretty low and blend it in of out of control with it I'm just I'm
[Music]
so now we have a much more defined note
going on underneath that that's pretty so now we have a much more defined note
cool again if i bypass that so that's going on underneath that that's pretty
pretty cool and then my next move so you cool again if i bypass that so that's
can see bass just requires so much pretty cool and then my next move so you
processing I'm gonna do even cueing here can see bass just requires so much
admittedly my humans have been split processing I'm gonna do even cueing here
across like four or five different eq's admittedly my humans have been split
and maybe only using one band of an EQ across like four or five different eq's
at a time so perhaps this seems more and maybe only using one band of an EQ
complicated than in reality it is but at a time so perhaps this seems more
this is kind of the way that I work on complicated than in reality it is but
it and I have a little trick here which this is kind of the way that I work on
I find works really well as I say the it and I have a little trick here which
bands on this ehue are kind of special I find works really well as I say the
they're very aggressive and there's bands on this ehue are kind of special
something very cool that you get from they're very aggressive and there's
boosting mid-range on especially bass something very cool that you get from
with this EQ so I find that somewhere boosting mid-range on especially bass
around the 750 area brings out this with this EQ so I find that somewhere
honky frequency that isn't necessarily around the 750 area brings out this
very pleasing on its own but when we honky frequency that isn't necessarily
blend that with the guitars it's gonna very pleasing on its own but when we
encourage this binding effect that that blend that with the guitars it's gonna
my band and I like to talk about quite a encourage this binding effect that that
lot in terms of like making the the bass my band and I like to talk about quite a
and guitars kind of create this gelled lot in terms of like making the the bass
v-shape between between the speakers I'm and guitars kind of create this gelled
not even listening to the speakers but v-shape between between the speakers I'm
you know somewhere in the middle of my not even listening to the speakers but
head I'm gonna imagine that this is yeah you know somewhere in the middle of my
so the drugs are kicking in yeah what is head I'm gonna imagine that this is yeah
it what time is it in England right now so the drugs are kicking in yeah what is
inside well it's 1920 here that's a good it what time is it in England right now
asset so yeah I guess it's like it's inside well it's 1920 here that's a good
it's 20 midnight which isn't super late asset so yeah I guess it's like it's
but I'm not exactly adjusted to the time it's 20 midnight which isn't super late
over here so if things get a bit wacky but I'm not exactly adjusted to the time
for now I know what's happening cool so over here so if things get a bit wacky
let's see what that does like that's 750 for now I know what's happening cool so
boost I don't like to have these kind of let's see what that does like that's 750
things which I do for no real reason boost I don't like to have these kind of
like be like Oh boost this frequency on things which I do for no real reason
this for this reason but for some reason like be like Oh boost this frequency on
the 750 thing just keeps coming back and this for this reason but for some reason
Misha loves to do it and I have to be the 750 thing just keeps coming back and
gradually admit that as much as I don't Misha loves to do it and I have to be
like that kind of gradually admit that as much as I don't
like sticking to a certain frequency for like that kind of
every project it does sound kind of cool like sticking to a certain frequency for
so let's see what happens if I do that every project it does sound kind of cool
[Music]
pretty gnarly there isn't it's cool I'm
gonna bring in just a very gentle pretty gnarly there isn't it's cool I'm
high-pass to prevent the our base from gonna bring in just a very gentle
exciting things to low down maybe about high-pass to prevent the our base from
there you know why don't we use this exciting things to low down maybe about
drive control that we're using on the there you know why don't we use this
whole mix because that's got a really drive control that we're using on the
nice way of tightening and thickening whole mix because that's got a really
the sound without overly coloring it so nice way of tightening and thickening
maybe there's something cool that we can the sound without overly coloring it so
generate from there maybe there's something cool that we can
[Music]
I hate that Steven slate why when I
unclick that does it go back to zero I hate that Steven slate why when I
that's annoying unclick that does it go back to zero
Steven oh I dunno why actually I know that's annoying
why because that control with the drive Steven oh I dunno why actually I know
unengaged is like the game it's like the why because that control with the drive
output control so it would suddenly be unengaged is like the game it's like the
like 12 DB louder now remind Steven it's output control so it would suddenly be
all good it's good but there should be like 12 DB louder now remind Steven it's
another outlet that's what should happen all good it's good but there should be
that's this bass guitar is sounding
pretty earth-shaking at this point that's this bass guitar is sounding
sounds great so there's still some kind pretty earth-shaking at this point
of unruly frequencies going on that I'm sounds great so there's still some kind
not too keen on maybe we'll use a of unruly frequencies going on that I'm
surgical EQ this isn't super surgical not too keen on maybe we'll use a
but if I use the narrows cue setting I surgical EQ this isn't super surgical
might be able to find that like but if I use the narrows cue setting I
[Music]
and maybe I'm going to compensate by [Music]
boosting a little bit higher and maybe I'm going to compensate by
[Music]
[Applause] [Music]
[Applause]
screw that there seems to be a job for [Music]
this EQ again screw that there seems to be a job for
[Music]
[Applause] [Music]
[Applause]
so without [Music]
and with so at this point we're getting [Music]
close I mean so this would be this would and with so at this point we're getting
be nine plugins of processing down at close I mean so this would be this would
this point and let's start processing it be nine plugins of processing down at
on the bus just to I don't know in a way this point and let's start processing it
I'd like to do this thing I don't know on the bus just to I don't know in a way
why it bothers me to have so many I'd like to do this thing I don't know
plugins in a row but I kind of feel like why it bothers me to have so many
I'm ready for what I'd consider to be plugins in a row but I kind of feel like
bus processing on this so I might I'm ready for what I'd consider to be
consider doing some multiband bus processing on this so I might
compression so as the bass notes move consider doing some multiband
around certain notes are gonna set off a compression so as the bass notes move
lot of multi of resonance in the low-end around certain notes are gonna set off a
and using this is going to hopefully lot of multi of resonance in the low-end
kind of pin the low-end in place so I and using this is going to hopefully
love this multiband compressor kind of pin the low-end in place so I
compressor because when it loads up is love this multiband compressor
completely blank like that like you compressor because when it loads up is
don't have all these bands preset in completely blank like that like you
place this is the fabfilter pro-mb and i don't have all these bands preset in
can just kind of choose my band right place this is the fabfilter pro-mb and i
there so let's see where this that's our can just kind of choose my band right
real note down there I'm gonna set a there so let's see where this that's our
release quite quick and then I'm gonna real note down there I'm gonna set a
fiddle with this threshold release quite quick and then I'm gonna
[Music]
so I've used a combination thereof of
compressing it to kill the level of the
low-end dynamically and then boosting compressing it to kill the level of the
that band back to get the low-end back low-end dynamically and then boosting
to the same level it was before but it that band back to get the low-end back
should be now way more consistent so to the same level it was before but it
basically our low end should be pinned should be now way more consistent so
in place let's see what that sounds like basically our low end should be pinned
[Music]
so now our important check is let's
listen to our kick drum and bass guitar so now our important check is let's
together and see if we've got a mess listen to our kick drum and bass guitar
going on together and see if we've got a mess
[Music]
I don't really feel like we have too [Music]
much overlap going there but there's a I don't really feel like we have too
cool thing that I can do with this much overlap going there but there's a
fabfilter EQ which is to set the kick cool thing that I can do with this
drum to be my side chain and it will fabfilter EQ which is to set the kick
allow me to kind of overlay what I'm drum to be my side chain and it will
viewing on the kick I just need to see allow me to kind of overlay what I'm
the kick is boss one because for some viewing on the kick I just need to see
reason logic doesn't show the bus names the kick is boss one because for some
there on the side chain list so now I'm reason logic doesn't show the bus names
actually gonna see the bass guitar and there on the side chain list so now I'm
the kick drum on one EQ let's do it so actually gonna see the bass guitar and
the red is my kick drum and perhaps the kick drum on one EQ let's do it so
something we can do just to create a the red is my kick drum and perhaps
little bit of extra room there something we can do just to create a
it's kind of dip out a little bit of the
base around the fundamentals of the kick it's kind of dip out a little bit of the
which is going to be around like 60 ish base around the fundamentals of the kick
[Music]
and maybe if we revisit our kik I might [Music]
kind of take out a little bit of this and maybe if we revisit our kik I might
100 150 region which is kind of kind of take out a little bit of this
overlapping with the base so kind of 100 150 region which is kind of
seeing whether it's to overlap is a is a overlapping with the base so kind of
pretty useful thing to be able to see on seeing whether it's to overlap is a is a
a spectrum analyzer I'm working here on pretty useful thing to be able to see on
headphones to be honest I can't actually a spectrum analyzer I'm working here on
hear with an incredible amount of data headphones to be honest I can't actually
what's going on on the low-end there so hear with an incredible amount of data
I'm aware of that and I'm gonna use the what's going on on the low-end there so
spectrum analyzers to help me and I'm aware of that and I'm gonna use the
hopefully the end results gonna be spectrum analyzers to help me and
something that works so let's see how hopefully the end results gonna be
that bass sits with the whole drum mix something that works so let's see how
[Music]
cool one last stage for the bass I like [Music]
to do just to really pin it in level is cool one last stage for the bass I like
to take the voices sorry I'm just to do just to really pin it in level is
noticing this is like quite quiet in my to take the voices sorry I'm just
ears no nothing's changed nothing's noticing this is like quite quiet in my
changed I'm just imagining it um like I ears no nothing's changed nothing's
said dude it's the ass should kick in changed I'm just imagining it um like I
yeah yeah totally now if what your voice said dude it's the ass should kick in
really loud in my aerial that's great yeah yeah totally now if what your voice
that's what you want right yeah just really loud in my aerial that's great
whispering generally like this so the that's what you want right yeah just
final stage for me I can whisper in whispering generally like this so the
Spanish the final stage is a little bit final stage for me I can whisper in
of limiting and this is just gonna pin Spanish the final stage is a little bit
our signal in place completely so I'm of limiting and this is just gonna pin
gonna use Joey's plug-in here the our signal in place completely so I'm
finality what I like with this in gonna use Joey's plug-in here the
comparison with perhaps the waves l1 finality what I like with this in
which is kind of my other go-to limiter comparison with perhaps the waves l1
as it doesn't seem to affect the low-end which is kind of my other go-to limiter
too much I believe he did that as it doesn't seem to affect the low-end
quite specifically so I'll just pull the too much I believe he did that
threshold down and so I'm getting a bit quite specifically so I'll just pull the
of limiting and you'll be able to see threshold down and so I'm getting a bit
straight away that the signal and the of limiting and you'll be able to see
bass bus is just pinned basically oh I'm straight away that the signal and the
putting that on the wrong channel okay bass bus is just pinned basically oh I'm
my bad putting that on the wrong channel okay
so you can see now that fader is just
completely stuck in place so you can see now that fader is just
we can talk about a couple of other cool
things we could do in base if we wanted we can talk about a couple of other cool
something which I'm not averse to doing things we could do in base if we wanted
and this is kind of a bit off the wall something which I'm not averse to doing
is how you to reverb on the bass I and this is kind of a bit off the wall
really don't see many people where you is how you to reverb on the bass I
got my attention it's just a bit of life really don't see many people where you
and coolness to it and I use a very got my attention it's just a bit of life
short kind of like ganky room sound and and coolness to it and I use a very
I love this preset and space designer so short kind of like ganky room sound and
much that kind of saved it outside there I love this preset and space designer so
but if you go to small spaces rooms yes much that kind of saved it outside there
there's 0.3 of a second wooden chamber I but if you go to small spaces rooms yes
love to use this just for making things there's 0.3 of a second wooden chamber I
sound like they're in a space I like to love to use this just for making things
do this - guitars - maybe not so much sound like they're in a space I like to
with periphery but with some bands that do this - guitars - maybe not so much
I work with and certainly some parts with periphery but with some bands that
where the bass is exposed it can be cool I work with and certainly some parts
like I know people seem to freak out where the bass is exposed it can be cool
about the tone on Absalon for my new like I know people seem to freak out
album it's the same bass tone is on the about the tone on Absalon for my new
rest of the record but just the album it's the same bass tone is on the
beginning of the song the bass is rest of the record but just the
isolated I actually choose to distort it beginning of the song the bass is
a little bit extra with Decapitator isolated I actually choose to distort it
which is a cool plug-in to make it kind a little bit extra with Decapitator
of a bit gnarly and out of control which is a cool plug-in to make it kind
sounding and I used a bit of reverb on of a bit gnarly and out of control
it as well to kind of place you in the sounding and I used a bit of reverb on
room with it so I'll show you what that it as well to kind of place you in the
actually sounds like I'll show you what room with it so I'll show you what that
the wet reverb sounds like so this is actually sounds like I'll show you what
full fully wet reverb on our bass the wet reverb sounds like so this is
it's kind of cool right it's yeah like
that extra sounds a lot cooler than I it's kind of cool right it's yeah like
was expecting that extra sounds a lot cooler than I
right and then I blend in the dry and I was expecting
wouldn't ever use this much but I'll right and then I blend in the dry and I
kind of I'll bring it back down again wouldn't ever use this much but I'll
you hear that like when I guess when I
bring it in it's like just a bit of you hear that like when I guess when I
extra life a bit of realism to it so bring it in it's like just a bit of
yeah let's leave it in place why not so extra life a bit of realism to it so
with the help is very mono and center yeah let's leave it in place why not so
there it's got a little bit more bloom
like you can hear the low end you can do there it's got a little bit more bloom
the reverb on the low end actually kind like you can hear the low end you can do
of extending the tail a little bit so the reverb on the low end actually kind
that space designer that space designer of extending the tail a little bit so
which is a logic okay that's why but you that space designer that space designer
know what really with it there's another which is a logic okay that's why but you
preset which actually Misha showed me know what really with it there's another
that he likes cuz he works in in Cubase preset which actually Misha showed me
and he doesn't have space designer allow that he likes cuz he works in in Cubase
a room if you go to presets rooms tiled and he doesn't have space designer allow
room which I generally make a little bit a room if you go to presets rooms tiled
shorter but it's got a similar thing room which I generally make a little bit
it's a bit more Phase II sounding
if I compare like the 1% wet versions of
this that's the Valhalla if I compare like the 1% wet versions of
it's definitely nowhere near as full this that's the Valhalla
I've never actually directly compared it's definitely nowhere near as full
those have you ever tried of Valhalla I've never actually directly compared
shimmer I have tried the demo and to be those have you ever tried of Valhalla
honest I don't know why I find shimmer I have tried the demo and to be
crystallizer effects are really hard to honest I don't know why I find
use because they just make me think of crystallizer effects are really hard to
the fractal like the axe effects because use because they just make me think of
that was like when it came out everyone the fractal like the axe effects because
was using those oh really that was like when it came out everyone
crystallize their effects and they're was using those oh really
cool by just fine they really pop out I crystallize their effects and they're
mean there's the the soundtoys cool by just fine they really pop out I
crystallizer I have because I have the mean there's the the soundtoys
whole soundToys bundle and I never use crystallizer I have because I have the
it but but I hear amazing things about whole soundToys bundle and I never use
the shimmer I just I find it you it but but I hear amazing things about
disguise all the thing is I think the the shimmer I just I find it you
problem is I know your time out I love disguise all the thing is I think the
both of them I think most people go way problem is I know your time out I love
too far with them yeah and they use them both of them I think most people go way
too like they use them to create like a too far with them yeah and they use them
pseudo synth almost I like those I've too like they use them to create like a
found really cool subtle ways to use pseudo synth almost I like those I've
those to where they do just they had a found really cool subtle ways to use
really awesome texture to things but those to where they do just they had a
they're not like overtly in your face really awesome texture to things but
like shamisen pseudo synth I'd like to they're not like overtly in your face
check it out I have yeah from the like shamisen pseudo synth I'd like to
Valhalla ones I think I just have the check it out I have yeah from the
way come on what's going on here I just Valhalla ones I think I just have the
have those three I have the plate the way come on what's going on here I just
room and the vintage verb is incredible have those three I have the plate the
though I love that I don't honestly use room and the vintage verb is incredible
the other two so much vintage herb was though I love that I don't honestly use
the first one I got and they're kind of the other two so much vintage herb was
not too expensive so when plate came out the first one I got and they're kind of
50 bucks not too expensive so when plate came out
yeah like plates awesome but I don't 50 bucks
know I didn't tend to use it so much the yeah like plates awesome but I don't
other reverb that I really love that we know I didn't tend to use it so much the
can talk about later is this guy the other reverb that I really love that we
quantumly spaces is a really amazing can talk about later is this guy the
reverb so yeah let's roll with that quantumly spaces is a really amazing
space designer on there so reverb so yeah let's roll with that
so that's a bit of a weird one really I
don't think many people know that words so that's a bit of a weird one really I
dad is really cool and it works on don't think many people know that words
guitars too it's kind of cool when dad is really cool and it works on
you're doing things all in the box or guitars too it's kind of cool when
when you're using like amp Sims and you're doing things all in the box or
stuff we're generally that the impulse when you're using like amp Sims and
responses unless you have like a long stuff we're generally that the impulse
length impulse response like I know own responses unless you have like a long
hammer does this 500 millisecond long length impulse response like I know own
impulse responses that capture some of hammer does this 500 millisecond long
the early reflections back in the room impulse responses that capture some of
but especially in the early days of the early reflections back in the room
impulse responses they tended to do very but especially in the early days of
short capture which would just pick up impulse responses they tended to do very
the direct sound with no reflection from short capture which would just pick up
the room and that's not really what the direct sound with no reflection from
happens when you re amp guitars the room and that's not really what
especially in a live room like if we happens when you re amp guitars
chucked some guitars in that room even especially in a live room like if we
with the treatment in there you would chucked some guitars in that room even
hear some earlier reflections coming with the treatment in there you would
back into the mics and it's kind of part hear some earlier reflections coming
of the life of the tone now that's not back into the mics and it's kind of part
saying that it has to be stereo and of of the life of the tone now that's not
course you kind of have two stereo mic saying that it has to be stereo and of
that to make it work in fact what course you kind of have two stereo mic
happens if we monetize that if I if I that to make it work in fact what
just literally turn that into mono I can happens if we monetize that if I if I
do that with this yeah just literally turn that into mono I can
it's not quite school
not really
now it kind of gets all phase II
sounding so there you go that's now it kind of gets all phase II
something I tried and never going to try sounding so there you go that's
again something I tried and never going to try
so yeah that's pretty cool and I'm sure again
loads of preset bundles like loads of so yeah that's pretty cool and I'm sure
reverb scum with presets that are loads of preset bundles like loads of
similar to that look for like just a reverb scum with presets that are
short room but preferably one that's similar to that look for like just a
kind of like a wood room kind of sound short room but preferably one that's
something's got a bit of low mids to it kind of like a wood room kind of sound
and just a short kind of zine not sorry something's got a bit of low mids to it
not zingy like kind of short reflection and just a short kind of zine not sorry
really this that's going on there so see not zingy like kind of short reflection
ya that's a cool bass tone I'm happy really this that's going on there so see
with that sure I didn't know how that ya that's a cool bass tone I'm happy
was going to go and I didn't actually with that sure I didn't know how that
intend on creating a bass tone from was going to go and I didn't actually
scratch for you guys but I think that's intend on creating a bass tone from
pretty representative of how I do things scratch for you guys but I think that's
and I like that result a lot of course pretty representative of how I do things
it remains to be seen how that she and I like that result a lot of course
sounds with the guitars so just before it remains to be seen how that she
we put a finish on the gauntlet I'm just sounds with the guitars so just before
gonna bring the guitars and even with we put a finish on the gauntlet I'm just
them being kind of unprocessed and see gonna bring the guitars and even with
how that was no that's awesome there's them being kind of unprocessed and see
definitely nothing to worry about there how that was no that's awesome there's
it'll be fine definitely nothing to worry about there
cool there any questions about base maps it'll be fine
or should we move on we pull up my cool there any questions about base maps
question document and I am sure that or should we move on we pull up my
there are questions about bass let me question document and I am sure that
just scroll on down to those dave is there are questions about bass let me
asking would you still use track spacer just scroll on down to those dave is
on base side chain from kick I don't and asking would you still use track spacer
the reason why is track spacer seems to on base side chain from kick I don't and
not play nice with the latest versions the reason why is track spacer seems to
of logic maybe I just haven't downloaded not play nice with the latest versions
the update for it and to be honest I of logic maybe I just haven't downloaded
just haven't missed the plug-in enough the update for it and to be honest I
to do that but I found that it was it just haven't missed the plug-in enough
introduced the latency on anything when to do that but I found that it was it
he once you actually set the sidechain introduced the latency on anything when
up so I just started using it have you he once you actually set the sidechain
ever felt like like that plug-in was up so I just started using it have you
really awesome at the first week you got ever felt like like that plug-in was
it and then after that it was like okay really awesome at the first week you got
I don't know I'd like to actually I'd it and then after that it was like okay
like to use it and now that you remind I don't know I'd like to actually I'd
me about I should probably look for a like to use it and now that you remind
fix for it but let's just see actually me about I should probably look for a
like what happens if I load that up on fix for it but let's just see actually
here still got it installed I'm sure like what happens if I load that up on
what the my problem with it was it was here still got it installed I'm sure
such what the my problem with it was it was
CPU hog but I do have a more powerful such
computer now so maybe I mean we've got CPU hog but I do have a more powerful
plenty of CPU left to be honest run so computer now so maybe I mean we've got
let's see if I sidechain that from bus plenty of CPU left to be honest run so
one let's see if I sidechain that from bus
well what do you know that doesn't seem
to be an issue they're cool let's use it well what do you know that doesn't seem
yeah whatever let's truck track spacer
on there can't be doing something bad yeah whatever let's truck track spacer
right awesome so John Agnew is asking on there can't be doing something bad
when you bounce down the base wasn't it right awesome so John Agnew is asking
also going through your other bus and when you bounce down the base wasn't it
doesn't that mean it's not running also going through your other bus and
through that bus twice once when you doesn't that mean it's not running
bounce it down in a second time through that bus twice once when you
afterwards no because the way that it's bounce it down in a second time
set up it just bounces it with the track afterwards no because the way that it's
plugins on it but not through to the set up it just bounces it with the track
master bus if that makes sense I believe plugins on it but not through to the
if I well if that's not the case then it master bus if that makes sense I believe
still sounds pretty rad and that's kind if I well if that's not the case then it
of cool but let's just do a quick a be still sounds pretty rad and that's kind
here to see because maybe I'm wrong of cool but let's just do a quick a be
[Music]
it's definitely the same signal they're [Music]
like you'd hear way more happening if it's definitely the same signal they're
that master bus was being duplicated like you'd hear way more happening if
especially like that 5k bump that you that master bus was being duplicated
get with that Neve EQ is pretty brutal especially like that 5k bump that you
so you'd hear that pretty pretty get with that Neve EQ is pretty brutal
obviously so yeah it just bounces it so you'd hear that pretty pretty
down with what's on the track but no obviously so yeah it just bounces it
further than that down with what's on the track but no
Ryan Kennedy's asking do you make further than that
changes to the bass chunk to better mix Ryan Kennedy's asking do you make
with the guitars yeah and perhaps I changes to the bass chunk to better mix
still will do that yeah I kind of have with the guitars yeah and perhaps I
again like the drums I have a good idea still will do that yeah I kind of have
of what I like and the fact that I can again like the drums I have a good idea
see that on a spectrum analyzer and say of what I like and the fact that I can
well wherever the spectrum analyzer was see that on a spectrum analyzer and say
and say look at that the top end and well wherever the spectrum analyzer was
Bossa man they're pretty even there and say look at that the top end and
we're getting like a similar amount of Bossa man they're pretty even there
response I can see from the analyzer as we're getting like a similar amount of
well that it's not competing too much response I can see from the analyzer as
with the kick like I kind of did a bit well that it's not competing too much
of frequency jogging there to make sure with the kick like I kind of did a bit
there wasn't too much overlap I did the of frequency jogging there to make sure
old 750 trick with an ebq the Mesha there wasn't too much overlap I did the
special which as much as I hate to admit old 750 trick with an ebq the Mesha
it works really well and yeah I feel special which as much as I hate to admit
good about that I've got a good good it works really well and yeah I feel
idea that's gonna work really well in good about that I've got a good good
the mix but yeah I definitely took some idea that's gonna work really well in
trial and error and you know I'm working the mix but yeah I definitely took some
with my own instrument that I've trial and error and you know I'm working
recorded multiple times and working with with my own instrument that I've
my own playing I'm working on a mix that recorded multiple times and working with
I've already done several times so I'm I my own playing I'm working on a mix that
can be pretty cavalier about it it's not I've already done several times so I'm I
just the caffeine or the sausage Ivan's can be pretty cavalier about it it's not
asking why are base and not max bass um just the caffeine or the sausage Ivan's
max bass just has too many functions and asking why are base and not max bass um
it's kind of I don't know it's it's max bass just has too many functions and
great our base is just a stripped down it's kind of I don't know it's it's
version of Mac baked mac space and I great our base is just a stripped down
never feel like I need the extra options version of Mac baked mac space and I
that Mac space has I like the fact that never feel like I need the extra options
our bass you just choose a frequency and that Mac space has I like the fact that
an intensity and you go I mean there's our bass you just choose a frequency and
plenty of other alternatives out there an intensity and you go I mean there's
like brain works makes BX boom in fact plenty of other alternatives out there
yeah it's not really a type of plug-in like brain works makes BX boom in fact
that I really keep track of but I'm sure yeah it's not really a type of plug-in
that most of the major plug-in that I really keep track of but I'm sure
manufacturers have something like that that most of the major plug-in
I'm pretty sure metric halo has manufacturers have something like that
something like that I'm pretty sure metric halo has
it's kind of like transient designers something like that
and stuff like that most of the it's kind of like transient designers
companies that try and have like a and stuff like that most of the
package that covers everything includes companies that try and have like a
some kind of sub harmonic synthesis package that covers everything includes
okay Charlie Monroe I'm not sure if I
missed this but it's not only just using okay Charlie Monroe I'm not sure if I
that one bass di track that you missed this but it's not only just using
distorted or is he cutting and blending that one bass di track that you
with the raw di nope that's the bass di distorted or is he cutting and blending
that I had over here so just to recap I with the raw di nope that's the bass di
put the hammer EQ on it which was that I had over here so just to recap I
boosting a lot of top end into the DI put the hammer EQ on it which was
itself to get a bit more stringiness I boosting a lot of top end into the DI
then compressed it and I used an attack itself to get a bit more stringiness I
time that was just a little bit farther then compressed it and I used an attack
further from the fastest to get a little time that was just a little bit farther
bit of pick attack still coming through further from the fastest to get a little
I then use satin to distort everything bit of pick attack still coming through
from basically 300 and up using the I then use satin to distort everything
heavy saturation mode I did mix in a from basically 300 and up using the
tiny bit of dry on that I don't know how heavy saturation mode I did mix in a
much of a difference that really made tiny bit of dry on that I don't know how
but whatever it made me happy at the much of a difference that really made
time I then used this impulse which is but whatever it made me happy at the
an SVT 421 cap edge one inch from red time I then used this impulse which is
wires I then did a bit of notching an SVT 421 cap edge one inch from red
although I whine other notches to wires I then did a bit of notching
basically be more just like a a high Q although I whine other notches to
cut and then cranked this presence basically be more just like a a high Q
control cut and then cranked this presence
I cut a tiny bit of low mids and I control
boosted some more presence with this I cut a tiny bit of low mids and I
Navy hue at that point I committed to it boosted some more presence with this
and said that's my sound I'm now going Navy hue at that point I committed to it
to process that and said that's my sound I'm now going
then I added our base which was set to to process that
55 Hertz with a fairly low intensity then I added our base which was set to
just trying to bring out some sub there 55 Hertz with a fairly low intensity
then boosted some like 6k and also high just trying to bring out some sub there
passed just to prevent the sub from then boosted some like 6k and also high
doing anything too crazy I also boosted passed just to prevent the sub from
some 750 with this EQ which was kind of doing anything too crazy I also boosted
a trick that I hate to admit that I use some 750 with this EQ which was kind of
also boosted the line amp drive a little a trick that I hate to admit that I use
bit on the EQ to saturate it a little also boosted the line amp drive a little
bit to do all the lovely things that bit on the EQ to saturate it a little
that seems to do just a subtle bit of bit to do all the lovely things that
magic that it brings out I also cut a that seems to do just a subtle bit of
little bit of and kind of not very magic that it brings out I also cut a
pleasant Hisi character around four and little bit of and kind of not very
a half K with a narrow hue pleasant Hisi character around four and
and actually was after that that I added a half K with a narrow hue
my kind of six 6k mousse to bring some and actually was after that that I added
presents back haven't having cast a my kind of six 6k mousse to bring some
little bit there and then I apparently presents back haven't having cast a
just had a blank hue loaded just to little bit there and then I apparently
analyze what was going on then I did just had a blank hue loaded just to
this trick with the multiband I analyze what was going on then I did
compressed the low frequencies and then this trick with the multiband I
boosted them back up again so that the compressed the low frequencies and then
bass frequencies were kind of at the boosted them back up again so that the
same level but they're now pinned in bass frequencies were kind of at the
volume same level but they're now pinned in
I used this instance of pro-q to which I volume
used the sidechain function to be able I used this instance of pro-q to which I
to view the kick EQ in real time and I used the sidechain function to be able
kind of jogged a little bit of stuff to view the kick EQ in real time and I
going on there so the kick wasn't kind of jogged a little bit of stuff
overlapping too much with the kick then going on there so the kick wasn't
limited it then I throw it in a reverb overlapping too much with the kick then
for fun which we ended up liking and limited it then I throw it in a reverb
then I put track spacer on for fun just for fun which we ended up liking and
cuz somebody talked about it and to be then I put track spacer on for fun just
honest I didn't even bother to really cuz somebody talked about it and to be
review if it was doing something good honest I didn't even bother to really
but whatever so that's where where we're review if it was doing something good
at that's my base chain all right but whatever so that's where where we're
Sebastian Senden is asking knowledge I at that's my base chain all right
said face of s bro Sebastian Senden is asking knowledge I
nollie have you tried send a bit of bass said face of s bro
to a wide chorus and caught all the bass nollie have you tried send a bit of bass
frequencies in the bus gives a nice to a wide chorus and caught all the bass
stereo effects and air to the base frequencies in the bus gives a nice
anyway it's loving this verb trick stereo effects and air to the base
thanks for this one cool yeah I've anyway it's loving this verb trick
definitely done that and in fact I'm thanks for this one cool yeah I've
mixing a record for a kind of cynic definitely done that and in fact I'm
esque prog band at the moment where the mixing a record for a kind of cynic
bassist wants actually really prominent esque prog band at the moment where the
chorus on everything and I'm doing bassist wants actually really prominent
exactly that I have a parallel bus with chorus on everything and I'm doing
a high-pass going to a wide chorus exactly that I have a parallel bus with
setting it's not something I would ever a high-pass going to a wide chorus
use on my own track if you want a kind setting it's not something I would ever
of one-stop shop for that actually the use on my own track if you want a kind
wave CLA bass plug-in here of one-stop shop for that actually the
just engaging it has this chorus thing wave CLA bass plug-in here
sorry just engaging it has this chorus thing
[Applause]
but this plugin really affects the sound [Applause]
like even just everything bypassed but this plugin really affects the sound
[Music]
ads like quite a lot of I guess like one [Music]
and a half K and rolls off some talk and ads like quite a lot of I guess like one
does some other stuff that I don't like and a half K and rolls off some talk and
so much so if I'm gonna use that I tend does some other stuff that I don't like
to involve it a bit earlier on because so much so if I'm gonna use that I tend
at this point I'm throwing like a whole to involve it a bit earlier on because
new EQ curve on top of everything which at this point I'm throwing like a whole
I've done but it's pretty cool if you new EQ curve on top of everything which
like that chorus effect that's kind of I I've done but it's pretty cool if you
guess it's like a parallel function like that chorus effect that's kind of I
which they've put in there so if you guess it's like a parallel function
don't want to kind of do it with a bus which they've put in there so if you
you could do it that way cool that's don't want to kind of do it with a bus
cool you could do it that way cool that's
Kennon so adios asking what di did you cool
use that was tracked through so actually Kennon so adios asking what di did you
that wasn't going through the dark glass use that was tracked through so actually
because we had a splitter before that so that wasn't going through the dark glass
that was a radial JD xor j di j DX i because we had a splitter before that so
believe just a very clean di yeah just that was a radial JD xor j di j DX i
that and cadence audio again it's asking believe just a very clean di yeah just
do you do any EQ on the do just very that and cadence audio again it's asking
flat in not on the DI unit I think I do you do any EQ on the do just very
probably boost a bit of low and a bit of flat in not on the DI unit I think I
me and a bit of I tend to boost all probably boost a bit of low and a bit of
three bands on my my bass guitar the me and a bit of I tend to boost all
signature one I have just a little bit three bands on my my bass guitar the
but I was pretty conservative with it signature one I have just a little bit
and then as you saw the first stage of but I was pretty conservative with it
the processing on the DI was I boosted a and then as you saw the first stage of
ton of top-end into it which is kind of the processing on the DI was I boosted a
like you might do on and on board EQ if ton of top-end into it which is kind of
you have that but yeah so that's the like you might do on and on board EQ if
price thing I did to the DI EQ Weiss the you have that but yeah so that's the
bigger kid is asking have you ever tried price thing I did to the DI EQ Weiss the
pitching your bass down and blending bigger kid is asking have you ever tried
that in to fatten up the low-end pitching your bass down and blending
pitching it down yeah like creating a that in to fatten up the low-end
harmonized effect of the day sounds like pitching it down yeah like creating a
something that's not really what I'm harmonized effect of the day sounds like
after at all yes but I was exactly yes something that's not really what I'm
but I did see something I did I didn't after at all yes but I was exactly yes
mean to hit play there something which I but I did see something I did I didn't
did like a lot I'm just gonna bypass mean to hit play there something which I
some of these to use it without it did like a lot I'm just gonna bypass
affecting all of that I just downloaded some of these to use it without it
with like the day before I came here affecting all of that I just downloaded
this EQ by sound radix which I got with like the day before I came here
turned on to by somebody and it's called this EQ by sound radix which I got
the surfer EQ because the bands kind of turned on to by somebody and it's called
can automatically track the pitch of the the surfer EQ because the bands kind of
note something which I can imagine it can automatically track the pitch of the
would be very useful on bass although I note something which I can imagine it
didn't use it in this demonstration but would be very useful on bass although I
let's say I didn't use it in this demonstration but
choose this band like down here for the
low end and I click surf this ban is not choose this band like down here for the
going to magically follow the note of low end and I click surf this ban is not
the bass going to magically follow the note of
[Music]
so it's not tracking it so well I guess
because of all the distortion but so it's not tracking it so well I guess
certainly if I if I maybe I'll take them because of all the distortion but
to one I know if I set up two side chain certainly if I if I maybe I'll take them
from the D I would probably be able to to one I know if I set up two side chain
pick up that notes a lot better but do from the D I would probably be able to
you see how that's actually like that pick up that notes a lot better but do
booth is literally following the note you see how that's actually like that
around that could be a really cool way booth is literally following the note
of bringing out the fundamental on a around that could be a really cool way
base no matter what range is being of bringing out the fundamental on a
played in so guitar - yeah I mean the base no matter what range is being
possibilities for this seem really cool played in so guitar - yeah I mean the
I haven't had a chance to fully possibilities for this seem really cool
experiment with it and this bass di and I haven't had a chance to fully
chain seemed to have no a lot no kind of experiment with it and this bass di and
issue with getting thin in the high chain seemed to have no a lot no kind of
range so didn't really feel a need to do issue with getting thin in the high
it but it's definitely something I can range so didn't really feel a need to do
see myself using in the future if you do it but it's definitely something I can
find yourself using that let me know how see myself using in the future if you do
it goes because like I told you before I find yourself using that let me know how
had the original version it didn't quite it goes because like I told you before I
work as advertised but this version had the original version it didn't quite
seems to be doing exactly that I'm work as advertised but this version
curious because it just sounds like look seems to be doing exactly that I'm
at godsend curious because it just sounds like look
yeah the shame when dealing with so many at godsend
different tunings on guitar I think yeah the shame when dealing with so many
vocals could be very cool what wouldn't different tunings on guitar I think
be cool with that function I don't know vocals could be very cool what wouldn't
like a drum room yeah yeah true very be cool with that function I don't know
true I don't know in the I watched the like a drum room yeah yeah true very
video demo for and this guy Dave what true I don't know in the I watched the
Dan Worrell who does all the product video demo for and this guy Dave what
demos from fabfilter as well he's just Dan Worrell who does all the product
like the best voice best dye for demos from fabfilter as well he's just
describing anything does the best video like the best voice best dye for
kind of demos of stuff he does the one describing anything does the best video
for the surfer EQ and he does a very kind of demos of stuff he does the one
cool trick on this kind of reggae act for the surfer EQ and he does a very
where he you can have the EQ boosts cool trick on this kind of reggae act
follow like MIDI or you can have it where he you can have the EQ boosts
follow the notes from something else and follow like MIDI or you can have it
he has like this reverb effect on the follow the notes from something else and
snare drum literally pitch shift using he has like this reverb effect on the
the hugest by bringing out the harmonics snare drum literally pitch shift using
to follow the melody of the horns of the hugest by bringing out the harmonics
this demonstration and it's really cool to follow the melody of the horns of
I mean it's nothing I'd ever use in this this demonstration and it's really cool
kind of music but it was like wow I I I mean it's nothing I'd ever use in this
actually used the original surfer for kind of music but it was like wow I I
that one Wow actually used the original surfer for
on the monuments record that I did the that one Wow
vocals on I did that on his vocal reverb on the monuments record that I did the
no with his harmony parts on a few songs vocals on I did that on his vocal reverb
where we take the harmonics to create no with his harmony parts on a few songs
the chords with the reverb and I where we take the harmonics to create
actually used the surfer EQ the thing is the chords with the reverb and I
it wasn't actually used the surfer EQ the thing is
following it right so I would have to it wasn't
manually do it met the right automation following it right so I would have to
the whole time see where's it looks like manually do it met the right automation
this one will automatically do it it the whole time see where's it looks like
seems to track pretty well yeah but that this one will automatically do it it
but so that's really cool of it would seems to track pretty well yeah but that
and that would have saved me a good 20 but so that's really cool of it would
hours yeah work right there so all right and that would have saved me a good 20
next question here is is the base group hours yeah work right there so all right
sent to the instrumental bus as well it next question here is is the base group
is yeah so anything which you can see sent to the instrumental bus as well it
going to bus 50 which I know you can't is yeah so anything which you can see
see my mixer all the time I'm not making going to bus 50 which I know you can't
it super obvious but yeah that's going see my mixer all the time I'm not making
to my my instrumental group and just to it super obvious but yeah that's going
show you like this EQ is having a pretty to my my instrumental group and just to
drastic effect on my bass tone like show you like this EQ is having a pretty
let's not underestimate that so if i drastic effect on my bass tone like
bypass that and just play you my bass let's not underestimate that so if i
tone bypass that and just play you my bass
[Music]
that's definitely bringing out a lot in [Music]
my base there so yeah not to be that's definitely bringing out a lot in
underestimated for sure I think I've my base there so yeah not to be
kind of overcooked that reverb a little underestimated for sure I think I've
bit listening back to now maybe just a kind of overcooked that reverb a little
little so want to move on to guitars bit listening back to now maybe just a
totally cool little so want to move on to guitars
so guitars it's not gonna be a totally cool
particularly long topic because to be so guitars it's not gonna be a
honest we got the the tone very close to particularly long topic because to be
what we wanted anyway so it's not really honest we got the the tone very close to
a typical modern metal guitar sound I what we wanted anyway so it's not really
think I wrote on the on the comments on a typical modern metal guitar sound I
the nail the mix page to a couple of think I wrote on the on the comments on
people that were commenting about the the nail the mix page to a couple of
guitar sound like Misha in particular people that were commenting about the
being kind of the visionary guy in the guitar sound like Misha in particular
band about like what he wants especially being kind of the visionary guy in the
guitar wise didn't really want to go band about like what he wants especially
down the typical modern metal route of guitar wise didn't really want to go
like a 5150 with a boost he Ashley has down the typical modern metal route of
been experimenting with a patch he made like a 5150 with a boost he Ashley has
which uses like the the Friedmann model been experimenting with a patch he made
which is like a heavily modded marshall which uses like the the Friedmann model
not really that similar to a marshall which is like a heavily modded marshall
anymore not really that similar to a marshall
with no booster pedal and it's kind of anymore
got this more old-school breakup to it with no booster pedal and it's kind of
and it's not got like the super got this more old-school breakup to it
saturated compressed chug thing going on and it's not got like the super
gone going on with it but it does happen saturated compressed chug thing going on
to sit really nicely in the mix I think gone going on with it but it does happen
that kind of modern Marshall mid-range to sit really nicely in the mix I think
vibe works really well and thankfully that kind of modern Marshall mid-range
that was what I saw some comments vibe works really well and thankfully
talking about was that like the bass that was what I saw some comments
sorry the guitar tone and even though it talking about was that like the bass
didn't necessarily sound like the kind sorry the guitar tone and even though it
of thing that was going to work actually didn't necessarily sound like the kind
sits really well in the mix so that was of thing that was going to work actually
pretty cool see what we what I think sits really well in the mix so that was
just listening to these guitars I think pretty cool see what we what I think
they do kind of suffer from a little bit just listening to these guitars I think
of modeler syndrome to me which is it they do kind of suffer from a little bit
doesn't really have much of an end I of modeler syndrome to me which is it
kind of life to it but it's not bad by doesn't really have much of an end I
any means so we'll just take a listen kind of life to it but it's not bad by
[Music] any means so we'll just take a listen
so I'm kind of hearing this staticky [Music]
kind of like static low-mid thing going so I'm kind of hearing this staticky
on which I don't know I could go on a kind of like static low-mid thing going
whole discourse about my views on on which I don't know I could go on a
impulses I'd use them a ton but I do whole discourse about my views on
think that there's still quite a lot to impulses I'd use them a ton but I do
be gained in terms of movement of the think that there's still quite a lot to
low mids and low-end with guitar tones be gained in terms of movement of the
and to me it's preferable to work with a low mids and low-end with guitar tones
real amp sound I find that a bit easier and to me it's preferable to work with a
to mix but anyway I'm just gonna kind of real amp sound I find that a bit easier
try and nail down this this low-mid to mix but anyway I'm just gonna kind of
thing I'm hearing this kind of I don't try and nail down this this low-mid
know I don't have described it but it's thing I'm hearing this kind of I don't
just uh it's not very pleasant and know I don't have described it but it's
hopefully I'll be able to find it again just uh it's not very pleasant and
using a kind of small Q this SSL style hopefully I'll be able to find it again
EQ is really good for not surgical but using a kind of small Q this SSL style
more pinpointed stuff than perhaps like EQ is really good for not surgical but
the Navy hue that I've been using and more pinpointed stuff than perhaps like
this this custom series EQ I do like to the Navy hue that I've been using and
use but just having like a choice of this this custom series EQ I do like to
only three bands on each thing is not use but just having like a choice of
really enough for most of my users so only three bands on each thing is not
this SSL one's good is a kind of problem really enough for most of my users so
solving EQ this SSL one's good is a kind of problem
it's that right there I don't like that
kind of 250 just weird box and it's no it's that right there I don't like that
you have to be careful because this is a kind of 250 just weird box and it's no
thing like I said I wasn't gonna go into you have to be careful because this is a
it I guess I am real amps are so much thing like I said I wasn't gonna go into
more dynamic that it's like they seems it I guess I am real amps are so much
to be able to have those frequencies as more dynamic that it's like they seems
low mid frequencies those low to be able to have those frequencies as
frequencies in fact notes specifically low mid frequencies those low
real cabinets have so much more movement frequencies in fact notes specifically
that you can get away with having those real cabinets have so much more movement
frequencies there because they're that you can get away with having those
they're far more temporary it's like frequencies there because they're
they kind of they come and go and they they're far more temporary it's like
react to the player I find that with they kind of they come and go and they
impulses I think the next level has to react to the player I find that with
be impulses that have been sampled at impulses I think the next level has to
many different volume levels and you be impulses that have been sampled at
kind of have a dynamic impulse thing many different volume levels and you
going on which I haven't yet seen being kind of have a dynamic impulse thing
done at least not without very heavy CPU going on which I haven't yet seen being
load because you get the same done at least not without very heavy CPU
frequencies that you might get with a load because you get the same
real cab but they're completely static frequencies that you might get with a
so you just get this kind of like real cab but they're completely static
constant honk or a constant mud that so you just get this kind of like
doesn't seem to go away where a real amp constant honk or a constant mud that
has this Evan flow to a real cab has a doesn't seem to go away where a real amp
real has a dynamic aspect to it that for has this Evan flow to a real cab has a
me makes it so much easier to make it real has a dynamic aspect to it that for
sound full because those frequencies me makes it so much easier to make it
that are only there for a kind of short sound full because those frequencies
period of time then they go again so I that are only there for a kind of short
love the axe-fx and I actually think period of time then they go again so I
that we're getting there like the the love the axe-fx and I actually think
latest series of cabs I'm very impressed that we're getting there like the the
for the latest own hammer cabs latest series of cabs I'm very impressed
especially the longer length ones as I for the latest own hammer cabs
as I was mentioning earlier they big especially the longer length ones as I
getting there but they're still not a as I was mentioning earlier they big
dynamic cab so they don't quite have getting there but they're still not a
that aspect to them but this is kind of dynamic cab so they don't quite have
the problem that you run into and the that aspect to them but this is kind of
thing which I'm going to have to be the problem that you run into and the
careful of when I make here in this thing which I'm going to have to be
guitar is not to make it too thin careful of when I make here in this
because if I just take those frequencies guitar is not to make it too thin
out completely it's not going to sound because if I just take those frequencies
like the real cab which maybe would have out completely it's not going to sound
those frequencies but only for a brief like the real cab which maybe would have
period of time so let's see what happens those frequencies but only for a brief
when I cut these frequencies so I'm just period of time so let's see what happens
gonna jump this back when I cut these frequencies so I'm just
[Music] gonna jump this back
so it's not bad it's pretty cool
actually I just not totally in love with so it's not bad it's pretty cool
with the dynamic response of these actually I just not totally in love with
guitars but you know that's what we have with the dynamic response of these
to work with so a cool little thing I'm guitars but you know that's what we have
kind of hearing like a graininess that I to work with so a cool little thing I'm
don't really like so I'm gonna try and kind of hearing like a graininess that I
take that with with some some don't really like so I'm gonna try and
subtractive EQ I find this subtractive take that with with some some
EQ it's something I have to do with subtractive EQ I find this subtractive
guitars quite a lot I tend not to boost EQ it's something I have to do with
as much sometimes I boost but typically guitars quite a lot I tend not to boost
not in the mid-range it tends to be more as much sometimes I boost but typically
about getting more errors the guitars if not in the mid-range it tends to be more
I need to do that about getting more errors the guitars if
[Music] I need to do that
it's that kind of stuff there that I'm [Music]
not really enjoying it's that kind of stuff there that I'm
[Music] not really enjoying
there's something else going on which is [Music]
kind of a typical problem which is that there's something else going on which is
the low ends the low end on the palm kind of a typical problem which is that
mute are bloom by a lot so just to so the low ends the low end on the palm
I'm not being distracted by that because mute are bloom by a lot so just to so
I'm gonna do this anyway further down I'm not being distracted by that because
the line I'm gonna implement the I'm gonna do this anyway further down
multiband trick that a lot of people the line I'm gonna implement the
kind of trace back to Andy Sneap yes multiband trick that a lot of people
everybody does and you know what you kind of trace back to Andy Sneap yes
should do what's that just use the exact everybody does and you know what you
settings he used no matter what like should do what's that just use the exact
everybody else did well I'm not using settings he used no matter what like
his is that it was like a preset for the everybody else did well I'm not using
wave see for basically it's just using a his is that it was like a preset for the
multiband compressor to tame the bass wave see for basically it's just using a
frequencies just as they bloom so you're multiband compressor to tame the bass
not doing a static EQ you're you're just frequencies just as they bloom so you're
taking out when it's needed so I'm gonna not doing a static EQ you're you're just
try and find this range here yes that taking out when it's needed so I'm gonna
stuff right there but the important try and find this range here yes that
thing for me is to to kind of set the stuff right there but the important
ratio quite high and then to let the thing for me is to to kind of set the
threshold just tickle the guitars ratio quite high and then to let the
because I don't want this to be doing threshold just tickle the guitars
too much all the time so because I don't want this to be doing
[Music] too much all the time so
so yeah just by tweaking the ratio the
knee and the threshold you can get it to so yeah just by tweaking the ratio the
a point where it's literally not kicking knee and the threshold you can get it to
in until the the low-end blooms on those a point where it's literally not kicking
permutations in until the the low-end blooms on those
[Music]
now it's not actually doing very much [Music]
either hopefully it's gonna help ya now it's not actually doing very much
that's doing something there you can either hopefully it's gonna help ya
certainly hear that the low ends being that's doing something there you can
flatlined which is great I'm gonna come certainly hear that the low ends being
back to my hearing now because that was flatlined which is great I'm gonna come
kind of annoying me that back to my hearing now because that was
[Music]
so I feel like these guitars are kind of
lacking a bit of bite and I'm just so I feel like these guitars are kind of
trying to think about like the best way lacking a bit of bite and I'm just
to bring that out maybe let's try this trying to think about like the best way
electro EQ because I only really used it to bring that out maybe let's try this
on the snare after talking about how electro EQ because I only really used it
amazing it was on the snare after talking about how
maybe there's something called it can amazing it was
give us this is just experimentation maybe there's something called it can
[Music] give us this is just experimentation
cool so I like well that's done it's
brought in some life but it's also cool so I like well that's done it's
brought up a ton of kind of unwanted brought in some life but it's also
fears on the top end so the next stage brought up a ton of kind of unwanted
is going to be just a simple low pass on fears on the top end so the next stage
the guitar so a 12 DB per octave slope is going to be just a simple low pass on
is probably preferable this is something the guitar so a 12 DB per octave slope
I don't like about the logic EQ is the is probably preferable this is something
the high end low pass filters are set to I don't like about the logic EQ is the
a 24 DB per octave slope as default the high end low pass filters are set to
which is just way too aggressive so a 24 DB per octave slope as default
let's try that and let's bring you down which is just way too aggressive so
to come let's try that and let's bring you down
[Music] to come
still feel like there's a bit of [Music]
unpleasantness which maybe is not being still feel like there's a bit of
helped by what I just did at the Electra unpleasantness which maybe is not being
but let's see if I can nail it with this helped by what I just did at the Electra
[Music] but let's see if I can nail it with this
so this point I kind of want to just
have a reality check on to bypass all of so this point I kind of want to just
that and see what so it's kind of cool have a reality check on to bypass all of
not like it they keep saying cut for K that and see what so it's kind of cool
yeah I know that you don't don't listen not like it they keep saying cut for K
to that yeah I know that you don't don't listen
[Music]
yeah whatever let's sleep on there you [Music]
guys happy you guys happy it doesn't yeah whatever let's sleep on there you
sound bad it wasn't really what I was guys happy you guys happy it doesn't
trying to get rid of you guys happy but sound bad it wasn't really what I was
that's cool we can mix this by y22 trying to get rid of you guys happy but
and uh you know just so we've trained that's cool we can mix this by y22
them to hate 4k but the 4k thing is just and uh you know just so we've trained
a joke yeah developed and it became a them to hate 4k but the 4k thing is just
plug-in and we yeah we actually have a a joke yeah developed and it became a
shirt plug-in called the D suck you plug-in and we yeah we actually have a
later and it literally is a one knob and shirt plug-in called the D suck you
it turns down 4k I mean to be honest I later and it literally is a one knob and
don't I I don't really go near 4k like I it turns down 4k I mean to be honest I
don't don't boost it I don't cut it don't I I don't really go near 4k like I
either it just kind of exists I kind of don't don't boost it I don't cut it
feel the same way about like 300 and 400 either it just kind of exists I kind of
and there's all these frequency ranges feel the same way about like 300 and 400
where to me I just kind of stay away and there's all these frequency ranges
from them and let them do their thing where to me I just kind of stay away
obviously I'm doing loads of boosting from them and let them do their thing
and cutting around them so I guess obviously I'm doing loads of boosting
inadvertently I am affecting the balance and cutting around them so I guess
of how they sound are listed two other inadvertently I am affecting the balance
things but like I don't want to get into of how they sound are listed two other
the habit too much of costing that stuff things but like I don't want to get into
either because that's when you start to the habit too much of costing that stuff
get things that sound way too dull if either because that's when you start to
you're always cussing that presence oh I get things that sound way too dull if
totally agree you're always cussing that presence oh I
someone just said the 4k isn't a joke al totally agree
4k ruins lives but L I'll remind you someone just said the 4k isn't a joke al
guys watching that Joel has boosted 4k 4k ruins lives but L I'll remind you
on guitars on a few of these Nelda mixes guys watching that Joel has boosted 4k
that us thought sounded incredible so on guitars on a few of these Nelda mixes
don't uh don't get too carried away with that us thought sounded incredible so
it it's just a joke yeah so I'm just don't uh don't get too carried away with
gonna try doing it some of the things it it's just a joke yeah so I'm just
what I did on the base I'm gonna bring gonna try doing it some of the things
in this wooden chamber preset and see if what I did on the base I'm gonna bring
that's gonna give us a little bit of in this wooden chamber preset and see if
extra realism - you never know that's gonna give us a little bit of
so see extra realism - you never know
[Music]
that's cool it's subtle but I like it I
can roll with that so we've racked up a that's cool it's subtle but I like it I
few plugins at this point but to be can roll with that so we've racked up a
honest they're all just doing kind of few plugins at this point but to be
small things like look busy humors last honest they're all just doing kind of
3db that's like 2 dB small things like look busy humors last
there's nothing to really get too fussed 3db that's like 2 dB
over these are small moves too that there's nothing to really get too fussed
might undo this boost here is not and over these are small moves too that
this he huge really not doing too much might undo this boost here is not and
either so it's like just lots of little this he huge really not doing too much
little moos building up so this point either so it's like just lots of little
we're getting pretty close i think like little moos building up so this point
let's hear what this sounds like in we're getting pretty close i think like
context i'm just gonna do something let's hear what this sounds like in
which is like hard mute all of these context i'm just gonna do something
tracks so they're not gonna come back which is like hard mute all of these
and bite us because I seem to be having tracks so they're not gonna come back
a lot of solo button fails where I and bite us because I seem to be having
accidentally play the whole mix a lot of solo button fails where I
[Music]
yeah you know what guys I'm taking that [Music]
for 4k cut away it's too dull sounding yeah you know what guys I'm taking that
now yeah for 4k cut away it's too dull sounding
[Music] now yeah
[Music]
so I'm just going through and making a [Music]
few kind of broad adjustments here so I'm just going through and making a
[Music] few kind of broad adjustments here
[Music]
so you're just doing a bit of mixing on
the fly here now that I'm hearing stuff so you're just doing a bit of mixing on
come together the fly here now that I'm hearing stuff
[Music] come together
[Music]
cool [Music]
cool all right yeah we're getting [Music]
somewhere it sounded great dude yeah I cool all right yeah we're getting
don't know it's not quite so quite somewhere it sounded great dude yeah I
gelling the way that I'd like it to like don't know it's not quite so quite
I was very pleased in the end of the gelling the way that I'd like it to like
album process with how things sat I felt I was very pleased in the end of the
like it had a cool aggression and glue album process with how things sat I felt
not quite there with this but you know like it had a cool aggression and glue
I'm kind of mixing from scratch and I not quite there with this but you know
was gonna say do you mix the album in I'm kind of mixing from scratch and I
one day definitely took a fair bit of was gonna say do you mix the album in
trial and error but yeah you know we're one day definitely took a fair bit of
getting there it's cool and I'm happy to trial and error but yeah you know we're
be able to show you guys a little bit of getting there it's cool and I'm happy to
the process because it's definitely be able to show you guys a little bit of
definitely involved some back-and-forth the process because it's definitely
especially when we're doing stuff like definitely involved some back-and-forth
this kind of on the fly cool so we've especially when we're doing stuff like
got that going on something which I'm this kind of on the fly cool so we've
gonna actually bring in kind of closer got that going on something which I'm
to the beginning of this is I'm gonna gonna actually bring in kind of closer
bring in a compressor but I'm gonna to the beginning of this is I'm gonna
bring this in really for for general bring in a compressor but I'm gonna
leveling rather than trying to get a bring this in really for for general
tone like a lot of people ask about leveling rather than trying to get a
compressing heavy guitars I really don't tone like a lot of people ask about
do it just for I don't do it to bring compressing heavy guitars I really don't
anything extra how's the guitars like I do it just for I don't do it to bring
don't think the guitars inherently need anything extra how's the guitars like I
compression compression they're very don't think the guitars inherently need
Undine amick as is when you've got a compression compression they're very
high gain tone but well this is going to Undine amick as is when you've got a
enable me to do is make it so there's a high gain tone but well this is going to
bit of automatic volume drop on the enable me to do is make it so there's a
guitar buss essentially when the lair bit of automatic volume drop on the
guitars come in because we've got two guitar buss essentially when the lair
new guitars coming in the guitars are guitars come in because we've got two
gonna go up in volume but I don't new guitars coming in the guitars are
necessarily want the guitars as a whole gonna go up in volume but I don't
to suddenly come to the front of the mix necessarily want the guitars as a whole
so I'm gonna bring this down and volume to suddenly come to the front of the mix
just a little bit but then I want to set so I'm gonna bring this down and volume
this compressor up so that essentially just a little bit but then I want to set
when those guitars come in you're gonna this compressor up so that essentially
see the compressor start to kick in in a when those guitars come in you're gonna
fairly smooth fashion and then hopefully see the compressor start to kick in in a
kind of let off you know I don't mind fairly smooth fashion and then hopefully
like maybe one DB of compression on the kind of let off you know I don't mind
rhythm guitars but anything more than like maybe one DB of compression on the
that it's kind of pointless to me so I'm rhythm guitars but anything more than
just gonna that it's kind of pointless to me so I'm
[Music] just gonna
you know what that whole rhythm guitar [Music]
you hear the electro is a bad idea you know what that whole rhythm guitar
[Music] you hear the electro is a bad idea
[Music]
cool so that's just gonna help us with a
bit of level control when that rhythm cool so that's just gonna help us with a
guitar comes in we can just maybe do a bit of level control when that rhythm
tiny bit of treatment I actually I guitar comes in we can just maybe do a
exported this with the same setting for tiny bit of treatment I actually I
the Hat on in the mix when I did it exported this with the same setting for
which involves a little bit of delay the Hat on in the mix when I did it
actually and a tiny bit of extra which involves a little bit of delay
saturation so I'm gonna just do a tiny actually and a tiny bit of extra
bit of treatment on this six squeal I'm saturation so I'm gonna just do a tiny
proud of that I like it that's one of bit of treatment on this six squeal I'm
mine fragrant did you play that one yeah proud of that I like it that's one of
it's just really good we got that Zakk mine fragrant did you play that one yeah
Wylde you channeled Zakk Wylde through it's just really good we got that Zakk
I'm happy because it's three pinch Wylde you channeled Zakk Wylde through
harmonics in a row it's dude dude dude I'm happy because it's three pinch
dad that's a pinch harmonic and then a harmonics in a row it's dude dude dude
pinch harmonic and then a third pigeon dad that's a pinch harmonic and then a
Monica on the same note which is you pinch harmonic and then a third pigeon
know sir did we play them all at one all Monica on the same note which is you
in one go yeah yeah I kind of just catch know sir did we play them all at one all
three harmonics play those two last ones in one go yeah yeah I kind of just catch
are the same it's like one Bend and then three harmonics play those two last ones
you move the hand to catch the next note are the same it's like one Bend and then
for the second pick so yeah that's a bit you move the hand to catch the next note
of fun in there but I'm just gonna do I for the second pick so yeah that's a bit
don't know something dumb here I'm gonna of fun in there but I'm just gonna do I
just have it pan from one side to the don't know something dumb here I'm gonna
other as that comes in and get the just have it pan from one side to the
volume I'm sorry nollie this was my bad other as that comes in and get the
I had your the camera over that I didn't volume I'm sorry nollie this was my bad
realize you were writing an automation I had your the camera over that I didn't
do you mind writing that again just so realize you were writing an automation
they can see it do you mind writing that again just so
totally so that was my switch sorry guys they can see it
I switched into logic automation most totally so that was my switch sorry guys
which you just press a and it kind of I switched into logic automation most
overlays the automation there which you just press a and it kind of
I love how automation works in logic overlays the automation there
there's some very cool things you can do I love how automation works in logic
if you have the marquee tool setup which there's some very cool things you can do
is kind of like I mean you can do if you have the marquee tool setup which
everything with this tool from you can is kind of like I mean you can do
select a region and then like hits solo everything with this tool from you can
and for example the weight well they've select a region and then like hits solo
removed that functionality that's crazy and for example the weight well they've
well that makes me look stupid isn't it removed that functionality that's crazy
yeah let's skip over there
let's I've solely safety that's why okay yeah let's skip over there
but using this basically you can do let's I've solely safety that's why okay
things like for example if I if I swipe but using this basically you can do
over that area and then I hold alt and things like for example if I if I swipe
drag I can make a duplicate without even over that area and then I hold alt and
cutting into the original audio and drag I can make a duplicate without even
that's pretty cool or you can cutting into the original audio and
you can just mute that portion without that's pretty cool or you can
having to cut it out all sorts of cool you can just mute that portion without
things you can do with the marquee tool having to cut it out all sorts of cool
the other cool thing is if you select things you can do with the marquee tool
automation it automatically creates two the other cool thing is if you select
points at either end of the marquee automation it automatically creates two
selection you made so you can do like an points at either end of the marquee
instantaneous change like that like selection you made so you can do like an
let's say I wanted this last part of instantaneous change like that like
this to to jump up in volume I could do let's say I wanted this last part of
that right there and that would be a this to to jump up in volume I could do
swift and easy way of doing it however that right there and that would be a
sometimes you want to do something over swift and easy way of doing it however
a longer period or you just don't feel sometimes you want to do something over
like using the marquee tool and a longer period or you just don't feel
something I highly recommend to anyone like using the marquee tool and
using logic and perhaps there's something I highly recommend to anyone
equivalents for other doors to set up a using logic and perhaps there's
keeper command that sets that creates equivalents for other doors to set up a
two automation points and wherever the keeper command that sets that creates
playhead is so I've played just the two automation points and wherever the
number two for logic all the number keys playhead is so I've played just the
actually should switch between like number two for logic all the number keys
different like viewing windows which I actually should switch between like
never use so I thought it so that number different like viewing windows which I
two just creates two points right there never use so I thought it so that number
so I could just be like check that it's two just creates two points right there
pretty cool so I could just be like check that it's
that's definitely saved me a lot of limb pretty cool
when automating things so what I might that's definitely saved me a lot of limb
do I'm gonna go back to my panel when automating things so what I might
automation which is what I was writing do I'm gonna go back to my panel
I'll take away that one that I created automation which is what I was writing
with the marquee tool so what I might do I'll take away that one that I created
is kind of zoom to the front of that with the marquee tool so what I might do
zoom to there I've just created for is kind of zoom to the front of that
automation points and I can quickly zoom to there I've just created for
create a man like that I don't need it automation points and I can quickly
to revert to zero because there's create a man like that I don't need it
nothing else on that track but if there to revert to zero because there's
was anything else happening the cool nothing else on that track but if there
thing is by creating two points nothing was anything else happening the cool
one either side would be affected by thing is by creating two points nothing
those pan automation I did they'd still one either side would be affected by
be at zero or whatever it was beforehand those pan automation I did they'd still
so that's a very quick way of making be at zero or whatever it was beforehand
like a pan automation happen so yeah so that's a very quick way of making
that's what it looks like and that's like a pan automation happen so yeah
what it sounds like so let's maybe just that's what it looks like and that's
do something cool to it we can do is a what it sounds like so let's maybe just
cool way of making a kind of filtering do something cool to it we can do is a
sound okay doing that to have like a cool way of making a kind of filtering
kind of megaphone effect but without sound okay doing that to have like a
using like a plug-in that's just kind of megaphone effect but without
designed to create that I like to do using like a plug-in that's just
this sometimes it's just to create some designed to create that I like to do
fairly narrow boosts in the the worst this sometimes it's just to create some
sounding places you can find fairly narrow boosts in the the worst
[Music]
[Applause] [Music]
maybe a bit higher yeah the idea like [Music]
you that's obviously creating some maybe a bit higher yeah the idea like
whistles but I kind of want that effect you that's obviously creating some
here so there we go we've kind of create whistles but I kind of want that effect
a bit of a low blow fire effect for that here so there we go we've kind of create
little transition there there's a a bit of a low blow fire effect for that
probably still a bit too narrow actually little transition there there's a
kind of here too much for tone there probably still a bit too narrow actually
[Music]
so I just added a bit more top and [Music]
having a date in context so I'm really so I just added a bit more top and
just trial and error in this right now having a date in context so I'm really
but we're getting close I really like just trial and error in this right now
how the base is interacting with the but we're getting close I really like
guitars I'm actually really happy with how the base is interacting with the
that bass tone I think it sounds great guitars I'm actually really happy with
we're getting that kind of clunky grindy that bass tone I think it sounds great
binding effect happening which is which we're getting that kind of clunky grindy
is cool I think one of the things which binding effect happening which is which
we've managed to achieve is I think with is cool I think one of the things which
this pro-mb trick on the far room mic we've managed to achieve is I think with
I've really cleaned up the cymbals to this pro-mb trick on the far room mic
the point where perhaps it's almost too I've really cleaned up the cymbals to
much because I'm not getting that sense the point where perhaps it's almost too
of vibe igloo from the room much because I'm not getting that sense
I don't know I'm maybe I'll just like of vibe igloo from the room
lower the mix a little bit on that I don't know I'm maybe I'll just like
because as cool as it is I think it's lower the mix a little bit on that
kind of creating this disconnect between because as cool as it is I think it's
the cymbals and the rest of the mix kind of creating this disconnect between
[Music]
so another cool thing we could do with [Music]
our guitars is check them through some so another cool thing we could do with
stereo widening which I know is a pretty our guitars is check them through some
popular thing to do get old waves s1 stereo widening which I know is a pretty
comes to the rescue for this popular thing to do get old waves s1
[Music]
you already have to treat it with [Music]
respect though more than a little bit you already have to treat it with
and it's gonna start to sound terrible respect though more than a little bit
yeah let me just point out or just echo and it's gonna start to sound terrible
what you just said notice how little he yeah let me just point out or just echo
just did most of the width and a mix is what you just said notice how little he
gonna come from proper EQ choices and just did most of the width and a mix is
having stuff that doesn't mask anything gonna come from proper EQ choices and
else if you use a Widener like you said having stuff that doesn't mask anything
use it with respect he really used a else if you use a Widener like you said
very small amount a cool trick if you use it with respect he really used a
don't want to use a Widener is to try very small amount a cool trick if you
maybe just applying a bit of a different don't want to use a Widener is to try
EQ to the left and right so the maybe just applying a bit of a different
fabfilter EQ allows you to just EQ for EQ to the left and right so the
example the left get the left side of a fabfilter EQ allows you to just EQ for
stereo file and the right side so a cool example the left get the left side of a
trick could be I don't know let's choose stereo file and the right side so a cool
[Music] trick could be I don't know let's choose
so at this point you hear that just on [Music]
the left so at this point you hear that just on
the actual point barely matters because the left
I'm going to do a very small adjustment the actual point barely matters because
but let's say we boost like kind of up I'm going to do a very small adjustment
here and then maybe on the right side but let's say we boost like kind of up
I'm gonna create another point and have here and then maybe on the right side
it just effect on the right I'm going to I'm gonna create another point and have
dip a little bit in a kind of similar it just effect on the right I'm going to
region but not even exactly the same dip a little bit in a kind of similar
place region but not even exactly the same
[Music] place
maybe you can hear that like the left
side at least I can hear the extra low maybe you can hear that like the left
mids that I'm not cussing on the right side at least I can hear the extra low
and vice versa I can hear a little bit mids that I'm not cussing on the right
of bite on the left that isn't existing and vice versa I can hear a little bit
on the right so it's pretty cool or of bite on the left that isn't existing
maybe we could put them exactly the same on the right so it's pretty cool or
place even that could be could be cool maybe we could put them exactly the same
too place even that could be could be cool
[Music] too
that's definitely creating some
differentiation between the left and that's definitely creating some
right I hope you guys can hear that we differentiation between the left and
could do a combination of both of that right I hope you guys can hear that we
we could do the imager but I would could do a combination of both of that
always tend to put the imager last in we could do the imager but I would
the chain so I'm just reorganizing those always tend to put the imager last in
[Music] the chain so I'm just reorganizing those
cool so I think we've done a fair amount
there on the rhythm guitars and things cool so I think we've done a fair amount
are starting to gel pretty well I'm not there on the rhythm guitars and things
100% stoked on it but it's not bad are starting to gel pretty well I'm not
[Music] 100% stoked on it but it's not bad
yeah I was gonna I was about to say it's
been about 90 minutes so gonna suggest yeah I was gonna I was about to say it's
that we take a 15-minute break come back been about 90 minutes so gonna suggest
do vocals and automations whatever other that we take a 15-minute break come back
tweaks you want to do and then a massive do vocals and automations whatever other
QA and wrap this up tweaks you want to do and then a massive
sounds good to me sounds good all right QA and wrap this up
great so guys 15 minute break this is sounds good to me sounds good all right
gonna be the final 15-minute break of great so guys 15 minute break this is
the night our next session next session gonna be the final 15-minute break of
is gonna be the final one so if you have the night our next session next session
any questions this is gonna be the time is gonna be the final one so if you have
to get them forward we're gonna do a big any questions this is gonna be the time
Q&A at the end and yeah hope to see you to get them forward we're gonna do a big
guys for the end of September nail the Q&A at the end and yeah hope to see you
mix with nolle have a good break guys guys for the end of September nail the
cool guys are you a fan of bands like 5 mix with nolle have a good break guys
seconds of summer Paramore New Found cool guys are you a fan of bands like 5
Glory or state champs well this month seconds of summer Paramore New Found
over at nail to mix calm we have the one Glory or state champs well this month
and only mr. Kyle black who's worked over at nail to mix calm we have the one
with all of those bands he's gonna come and only mr. Kyle black who's worked
on nail the mix here at the end of the with all of those bands he's gonna come
month and he's going to mix the song on nail the mix here at the end of the
secrets my state chant you can get all month and he's going to mix the song
of the stems for secrets enter the mix secrets my state chant you can get all
competition for a chance to win over of the stems for secrets enter the mix
$1,000 in Phil Cal audio gear and you competition for a chance to win over
can watch Kyle mix the song from scratch $1,000 in Phil Cal audio gear and you
all the way to the end the winner of our can watch Kyle mix the song from scratch
mixing competition this month is gonna all the way to the end the winner of our
win a pair of faux kal-el ear headphones mixing competition this month is gonna
which are retailed at $1,000 to our win a pair of faux kal-el ear headphones
fantastic pair of headphones which are retailed at $1,000 to our
I love focal audio stuff as you can see fantastic pair of headphones
behind me I rock the twins love them I love focal audio stuff as you can see
great speakers and the second-place behind me I rock the twins love them
winner is going to get a pair of faux great speakers and the second-place
hell sphere earbuds which are worth winner is going to get a pair of faux
about 150 bucks and that is a pretty hell sphere earbuds which are worth
awesome prize as well so if you want to about 150 bucks and that is a pretty
watch Kyle black come in mix a state awesome prize as well so if you want to
champ song show you guys how to do it watch Kyle black come in mix a state
from scratch as well as get those stems champ song show you guys how to do it
on your computer and learn how to be a from scratch as well as get those stems
master of popov click the link below on your computer and learn how to be a
sign up for mail mix today get started master of popov click the link below
[Music] sign up for mail mix today get started
[Music]
[Applause] [Music]
are you a fan of bands like 5 seconds of
summer Paramore New Found Glory or state are you a fan of bands like 5 seconds of
champs well this month over at nail to summer Paramore New Found Glory or state
mix calm we have the one and only mr. champs well this month over at nail to
Kyle black who's worked with all of mix calm we have the one and only mr.
those bands he's gonna come on nail the Kyle black who's worked with all of
mix here at the end of the month and he those bands he's gonna come on nail the
is going to mix the song secrets by mix here at the end of the month and he
stage chance you can get all of the is going to mix the song secrets by
stems for secrets and enter the mix stage chance you can get all of the
competition for a chance to win over a stems for secrets and enter the mix
thousand dollars in folk al audio gear competition for a chance to win over a
and you can watch Kyle mix the song from thousand dollars in folk al audio gear
scratch all the way to the end the and you can watch Kyle mix the song from
winner of our mixing competition this scratch all the way to the end the
month who's gonna win a pair of folk al winner of our mixing competition this
al ear headphones which are retailing month who's gonna win a pair of folk al
thousand dollars to our fantastic pair al ear headphones which are retailing
of headphones thousand dollars to our fantastic pair
I love focal audio stuff as you can see of headphones
behind me I rock the twins love them I love focal audio stuff as you can see
great speakers and the second-place behind me I rock the twins love them
winner is going to get a pair of faux great speakers and the second-place
hell sphere earbuds which are worth winner is going to get a pair of faux
about a heart and that is a pretty hell sphere earbuds which are worth
awesome prize as well so if you want to about a heart and that is a pretty
watch Kyle Black come in mix a state awesome prize as well so if you want to
champ song show you guys how to do it watch Kyle Black come in mix a state
from scratch as well as get those stems champ song show you guys how to do it
on your computer and learn how to be a from scratch as well as get those stems
master of pop punk click the link below on your computer and learn how to be a
sign up for nail mix today to get master of pop punk click the link below
started sign up for nail mix today to get
[Music] started
[Music]
Oh [Music]
every producer in metal has their go-to
samples whether or not they admit it every producer in metal has their go-to
it's just the truth everyone has their samples whether or not they admit it
go-to samples it's really really it's just the truth everyone has their
important in my opinion to keep updating go-to samples it's really really
your go-to samples or you just start important in my opinion to keep updating
sounding dated if you're still using the your go-to samples or you just start
same go-to samples in the 2014/2015 as sounding dated if you're still using the
you were in 2006 well you're gonna sound same go-to samples in the 2014/2015 as
like you're that guy from 2006 I always you were in 2006 well you're gonna sound
try to keep my my go twos updated and so like you're that guy from 2006 I always
far none of my go Jews have ever come try to keep my my go twos updated and so
from somebody else's virtual drum far none of my go Jews have ever come
library I've actually tried to do that from somebody else's virtual drum
before but it just not my thing it's library I've actually tried to do that
kind of like downloading somebody else's before but it just not my thing it's
profile on guitar and trying them for kind of like downloading somebody else's
myself it just never works for me it profile on guitar and trying them for
might work for other people but not for myself it just never works for me it
me I've always had to make my own stuff might work for other people but not for
so my go-to is wind up being things that me I've always had to make my own stuff
I recorded in my drum rim and then so my go-to is wind up being things that
processed to become samples so the drum I recorded in my drum rim and then
Forge library was the first time that I processed to become samples so the drum
actually found some bras made by other Forge library was the first time that I
people that were good enough for me to actually found some bras made by other
actually be able to process to make my people that were good enough for me to
own go to as well one of the coolest actually be able to process to make my
things about drum Forge is when you go own go to as well one of the coolest
to advanced options and sustain seems things about drum Forge is when you go
like that's a really simple little thing to advanced options and sustain seems
but it's actually probably one of the like that's a really simple little thing
most powerful I guess features I've seen but it's actually probably one of the
yet in a virtual drum library I've seen most powerful I guess features I've seen
other ways of doing that they all kind yet in a virtual drum library I've seen
of have something like that but this one other ways of doing that they all kind
is probably the best one and that's of have something like that but this one
super important because depending on the is probably the best one and that's
speed of the music that right there can super important because depending on the
mean everything between a sample being speed of the music that right there can
usable and not the range of options go mean everything between a sample being
from having multiple microphones to usable and not the range of options go
multiple lengths of decay on the drum from having multiple microphones to
and to me that's everything multiple lengths of decay on the drum
[Music] and to me that's everything
hey you [Music]
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[Music]
[Applause]
[Music]
every producer in metal has their go-to
samples whether or not they admit it every producer in metal has their go-to
it's just the truth everyone has their samples whether or not they admit it
go-to samples it's really really it's just the truth everyone has their
important in my opinion that you go-to samples it's really really
updating your go-to samples or you just important in my opinion that you
start sounding dated you're still using updating your go-to samples or you just
the same go-to samples in the 2014/2015 start sounding dated you're still using
as you were in 2006 well you're gonna the same go-to samples in the 2014/2015
sound like you're that guy from 2006 I as you were in 2006 well you're gonna
always try to keep my my go twos updated sound like you're that guy from 2006 I
and so far none of my go twos have ever always try to keep my my go twos updated
come from somebody else's virtual drum and so far none of my go twos have ever
library I've actually tried to do that come from somebody else's virtual drum
before but it's just not my thing library I've actually tried to do that
it's kind of like downloading somebody before but it's just not my thing
else's profile on guitar and trying them it's kind of like downloading somebody
for myself it just never works for me it else's profile on guitar and trying them
might work for other people but not for for myself it just never works for me it
me I've always had to make my own stuff might work for other people but not for
so my goats who's been to be things that me I've always had to make my own stuff
I recorded in my drum room and then so my goats who's been to be things that
processed to become samples so the drum I recorded in my drum room and then
Forge library was the first time that I processed to become samples so the drum
actually found some bras made by other Forge library was the first time that I
people that were good enough for me to actually found some bras made by other
actually be able to process to make my people that were good enough for me to
own go to as well actually be able to process to make my
one of the coolest things about drum own go to as well
Forge is when you go to advanced options one of the coolest things about drum
and sustain seems like that's a really Forge is when you go to advanced options
simple little thing but it's actually and sustain seems like that's a really
probably one of the most powerful I simple little thing but it's actually
guess features I've seen yet in a probably one of the most powerful I
virtual drum library I've seen other guess features I've seen yet in a
ways of doing that they all kind of have virtual drum library I've seen other
something like that but this one is ways of doing that they all kind of have
probably the best one and that's super something like that but this one is
important because depending on the speed probably the best one and that's super
of the music that right there can mean important because depending on the speed
everything between a sample being usable of the music that right there can mean
and not the range of options go from everything between a sample being usable
having multiple microphones to multiple and not the range of options go from
lengths of decay on the drum and to me having multiple microphones to multiple
that's everything lengths of decay on the drum and to me
[Music] that's everything
hey you yes you do you want to learn how [Music]
to be a better mixer hey guys hey hope hey you yes you do you want to learn how
your break went well we are back and I'm to be a better mixer hey guys hey hope
gonna wrap this up gonna do vocals your break went well we are back and I'm
automation finish up the little details gonna wrap this up gonna do vocals
and some massive QA yeah and how are you automation finish up the little details
feeling nalli I'm good good good move and some massive QA yeah and how are you
out there I think before we get to feeling nalli I'm good good good move
vocals we probably should touch on out there I think before we get to
treatments for some of these like layer vocals we probably should touch on
guitars oh yeah that's right let's do it treatments for some of these like layer
though because I'm not gonna take a huge guitars oh yeah that's right let's do it
amount time to be honest so great um though because I'm not gonna take a huge
yeah we can dive right in and let's do amount time to be honest so great um
it so during the chorus we have these yeah we can dive right in and let's do
melody guitars which kind of pair up it so during the chorus we have these
with the synth mo tracks so I'm gonna melody guitars which kind of pair up
kind of unmute all of those but let's with the synth mo tracks so I'm gonna
just listen to these chorus melody kind of unmute all of those but let's
guitars so these obviously need a bit of just listen to these chorus melody
kind of wellness they obviously to me guitars so these obviously need a bit of
these need some ambience I'd really like kind of wellness they obviously to me
to hear some some delay on there in these need some ambience I'd really like
particular something that's gonna give to hear some some delay on there in
them a bit more of a wet feel particular something that's gonna give
let's try good old sound toys echo boy them a bit more of a wet feel
this is a really great plugin for for let's try good old sound toys echo boy
creating more kind of ambient delays I this is a really great plugin for for
like the the amount of filtering that creating more kind of ambient delays I
you can do and some of the different like the the amount of filtering that
options that they that they afford in you can do and some of the different
fact we can use single I came out here I options that they that they afford in
just kind of want a quarter note thing fact we can use single I came out here I
some of my go-to is in this would be just kind of want a quarter note thing
maybe the memory man or Echoplex units some of my go-to is in this would be
these are tend to have and space echo as maybe the memory man or Echoplex units
well so I'd have a lot of modulation these are tend to have and space echo as
going on in them which is cool because well so I'd have a lot of modulation
it really adds something to the guitars going on in them which is cool because
adds this kind of wobbly stereo thing it really adds something to the guitars
yeah sorry it's kind of behind me very adds this kind of wobbly stereo thing
well yeah it kind of gets this wobbly yeah sorry it's kind of behind me very
stereo thing going on so let's try the well yeah it kind of gets this wobbly
space echo mode it might be a bit too stereo thing going on so let's try the
out there might be a bit too Spacey space echo mode it might be a bit too
let's see it's a little bit too out out there might be a bit too Spacey
there I think let's try the memory man let's see it's a little bit too out
it's kind of pretty filtered sounding
anyway let's let's try to be just using it's kind of pretty filtered sounding
one of the the basic tape things but anyway let's let's try to be just using
filtering it ourselves so I'm just one of the the basic tape things but
applying these directly onto the guitar filtering it ourselves so I'm just
it sounds kind of cool I don't know applying these directly onto the guitar
maybe it needs some of that top-end to it sounds kind of cool I don't know
sound good though maybe it needs some of that top-end to
[Music] sound good though
it's kind of working quite well I'm [Music]
using a surprisingly high amount of mix it's kind of working quite well I'm
there but because they're caught in using a surprisingly high amount of mix
those they're kind of coinciding exactly there but because they're caught in
with the with the guitar pattern so it those they're kind of coinciding exactly
tends to need a little bit more mix with the with the guitar pattern so it
there with something that's more Spacey tends to need a little bit more mix
perhaps you can get away with a lower there with something that's more Spacey
amount of mixer and these as I say have perhaps you can get away with a lower
to pair up with the Moog tracks so the amount of mixer and these as I say have
mobile tracks are there so this is going to pair up with the Moog tracks so the
to be pretty crucial getting the balance mobile tracks are there so this is going
between these two now these I kind of to be pretty crucial getting the balance
pre bounce with some some panning on between these two now these I kind of
them which is what Mischa did during the pre bounce with some some panning on
demo so when he when he exported these them which is what Mischa did during the
for the mix he actually burnt in he demo so when he when he exported these
printed in the panning information he for the mix he actually burnt in he
had and just gave me stereo files so printed in the panning information he
don't even really need to do very much had and just gave me stereo files so
part from probably volume level these don't even really need to do very much
[Music] part from probably volume level these
so those have plenty of asshole yeah
that's that's a hardware move unit and so those have plenty of asshole yeah
Misha was kind of playing with the knobs that's that's a hardware move unit and
while it printed so I gradually got more Misha was kind of playing with the knobs
and more T tuned like you can here to while it printed so I gradually got more
examine stop and more T tuned like you can here to
love it so yeah that's you know
obviously the actual notes being played love it so yeah that's you know
with as its as its printing and we like obviously the actual notes being played
to use these mug things to reinforce with as its as its printing and we like
guitar lines as you've heard probably to use these mug things to reinforce
would that guitar part there it wasn't guitar lines as you've heard probably
played with a ton of gain it's not a would that guitar part there it wasn't
particularly fluid sounding performance played with a ton of gain it's not a
but if you mix it with them over you get particularly fluid sounding performance
this kind of cool combined effect so if but if you mix it with them over you get
we bring these actually back into the this kind of cool combined effect so if
mix and get a level going we bring these actually back into the
[Music] mix and get a level going
that's pretty pretty easygoing like
really with these layers I don't do very that's pretty pretty easygoing like
much I just kind of choose some element really with these layers I don't do very
of processing I didn't even really feel much I just kind of choose some element
like I needed any hue or anything like of processing I didn't even really feel
that like the guitar tones are pretty like I needed any hue or anything like
great from the beginning and when that like the guitar tones are pretty
something doesn't sound like he needs great from the beginning and when
any work I don't do anything - I think something doesn't sound like he needs
that some people get really stuck in any work I don't do anything - I think
this notion of having to process that some people get really stuck in
everything a lot and for me it's just this notion of having to process
not really necessary everything a lot and for me it's just
so these drone guitars perhaps could use not really necessary
some cool treatment just in terms of so these drone guitars perhaps could use
even more ambience and stuff like some cool treatment just in terms of
they're obviously really ambient already
but I know that on the mix of the record they're obviously really ambient already
we used a loss of this van Valhalla but I know that on the mix of the record
vintage reverb just loading it up with a we used a loss of this van Valhalla
default patch is a beautiful sounding vintage reverb just loading it up with a
kind of mod verb sound that could work default patch is a beautiful sounding
great for these kind of mod verb sound that could work
[Music] great for these
so on these I might just choose to cut a [Music]
little bit of low-mids there just so the so on these I might just choose to cut a
reverb it doesn't kind of bring that out little bit of low-mids there just so the
too much so I'm being really kind of reverb it doesn't kind of bring that out
straightforward here I'm putting the too much so I'm being really kind of
reverb directly onto the bus so the straightforward here I'm putting the
guitars are passing directly through it reverb directly onto the bus so the
and then I'm hewing a combination of the guitars are passing directly through it
guitars and the reverb together I'm not and then I'm hewing a combination of the
a hewing the two separately a bit you guitars and the reverb together I'm not
know that's going to work just fine a hewing the two separately a bit you
[Music] know that's going to work just fine
[Music]
so to me there's not really anything [Music]
more needed on those either like this is so to me there's not really anything
all very quick going because essentially more needed on those either like this is
during tracking we made a lot of all very quick going because essentially
commitment to the tones we were using we during tracking we made a lot of
we printed using a lot of effects so commitment to the tones we were using we
those those guitars were done with the we printed using a lot of effects so
axe-fx so would've has probably a delay those those guitars were done with the
and a reverb in front of the amplifier axe-fx so would've has probably a delay
stage and probably a further at least a and a reverb in front of the amplifier
further reverb on the output stage so stage and probably a further at least a
like after the cab on the XFX and I've further reverb on the output stage so
thrown even more delay on them they're like after the cab on the XFX and I've
just purely for textural textural thrown even more delay on them they're
interest really and and really in this just purely for textural textural
part the ideas of the bass should take interest really and and really in this
the focus so while I'm doing this I'm part the ideas of the bass should take
going to just do this very kind of the focus so while I'm doing this I'm
freely as I go I'm just gonna work on going to just do this very kind of
wherever takes it takes my fancy so freely as I go I'm just gonna work on
right now I'm actually gonna do a bit of wherever takes it takes my fancy so
a automation bump on the bass just so it right now I'm actually gonna do a bit of
takes over in this bit a little bit so I a automation bump on the bass just so it
used the shortcut which I just showed takes over in this bit a little bit so I
you guys earlier the number two created used the shortcut which I just showed
two points at either end of that section you guys earlier the number two created
and I can very quickly add that two points at either end of that section
automation and you know what while we're and I can very quickly add that
doing it I'm gonna throw in even more of automation and you know what while we're
that reverb or a bit more of that reverb doing it I'm gonna throw in even more of
just to give it a kind of roomy vibe that reverb or a bit more of that reverb
which i think would be cool for this just to give it a kind of roomy vibe
part it's just me trying to be creative which i think would be cool for this
there so create an automation bump there part it's just me trying to be creative
for that as well so now the bass there so create an automation bump there
[Music]
the bass is really driving that and it's
got a kind of slightly more lo-fi just the bass is really driving that and it's
kind of raw vibe to it with it with the got a kind of slightly more lo-fi just
addition of more reverb there I tend to kind of raw vibe to it with it with the
work very quickly when I do these things addition of more reverb there I tend to
I don't overthink them and I and I keep work very quickly when I do these things
going now this part also has some I don't overthink them and I and I keep
strings so while we're working on this going now this part also has some
part why don't we bring these strings strings so while we're working on this
into play part why don't we bring these strings
these strings are very dry because these into play
were just recorded by a small number of these strings are very dry because these
players so this part could probably use were just recorded by a small number of
wetting up a little bit but I'm also players so this part could probably use
going to compress it a little bit I'm wetting up a little bit but I'm also
gonna choose maybe this mju C plug-in going to compress it a little bit I'm
that's going to do it in a fairly kind gonna choose maybe this mju C plug-in
of pleasing way that's going to do it in a fairly kind
[Music] of pleasing way
so without that compressor these strings
with suddenly get a lot louder at that so without that compressor these strings
point when those when those two extra with suddenly get a lot louder at that
parts come in that's one of the reasons point when those when those two extra
I wanted to use the compressor the other parts come in that's one of the reasons
is just to have something nice and flat I wanted to use the compressor the other
lines like orchestral instruments and is just to have something nice and flat
orchestral players have a lot of lines like orchestral instruments and
dynamics when they play and that's orchestral players have a lot of
amazing it's perfect for what they do dynamics when they play and that's
but in the context of a metal mix they amazing it's perfect for what they do
need to be way less dynamic to be but in the context of a metal mix they
audible at all times so it's very need to be way less dynamic to be
typical for me to use some compression audible at all times so it's very
and/or limiting on the orchestral typical for me to use some compression
elements when they come in this song and/or limiting on the orchestral
doesn't have a ton of that stuff going elements when they come in this song
on so many other songs in the album have doesn't have a ton of that stuff going
a huge amount of orchestration going on on so many other songs in the album have
behind and it was really important to a huge amount of orchestration going on
kind of get rid of a lot of the dynamics behind and it was really important to
in those performances so they could kind of get rid of a lot of the dynamics
still be audible through what the in those performances so they could
guitars are doing because that's gonna still be audible through what the
be the mortal enemy of those instruments guitars are doing because that's gonna
so a bit of compression there I'm be the mortal enemy of those instruments
probably also gonna turtle vvq to just so a bit of compression there I'm
get rid of some that low mids because probably also gonna turtle vvq to just
it's just not necessary and this I am get rid of some that low mids because
going to EQ in the context of the mix it's just not necessary and this I am
[Music]
[Applause]
what kind of did the opposite actually [Applause]
took out some uh permits because once I what kind of did the opposite actually
heard it in context it was like they're took out some uh permits because once I
kind of poking through in that way so heard it in context it was like they're
that's what I decided to go for I'm high kind of poking through in that way so
parsing them quite hard about 150 just that's what I decided to go for I'm high
decided to do that parsing them quite hard about 150 just
[Music] decided to do that
and then the last stage I'm going to do
is I'm going to chuck some reverb on and then the last stage I'm going to do
there and let's try the let's try my is I'm going to chuck some reverb on
favorite ql spaces this is an amazing there and let's try the let's try my
sounding reverb for this kind of stuff favorite ql spaces this is an amazing
it might be a perhaps too nice for this sounding reverb for this kind of stuff
kind of part I've got some presets that it might be a perhaps too nice for this
I've saved that I really like but we can kind of part I've got some presets that
we can have a look through the presets I've saved that I really like but we can
so let's try instrument specific it's we can have a look through the presets
kind of just a way that it searches for so let's try instrument specific it's
reverbs I know that I really like these kind of just a way that it searches for
Hamburg Cathedral reverbs let's see what reverbs I know that I really like these
that sounds like Hamburg Cathedral reverbs let's see what
[Music]
that's nice [Music]
maybe something a bit bigger though that's nice
let's try this San Francisco Hall that's maybe something a bit bigger though
nice let's try this San Francisco Hall that's
[Music] nice
cool so there's just about traited less [Music]
level those in the mix cool so there's just about traited less
[Music]
just brought down some of the elements [Music]
in this gaps I do want there to be a bit just brought down some of the elements
of a dynamic shift and I do feel like in this gaps I do want there to be a bit
the drums getting a tiny bit swamped so of a dynamic shift and I do feel like
I'm even gonna bring them up a DB cool the drums getting a tiny bit swamped so
[Music] I'm even gonna bring them up a DB cool
I'm going pretty quickly through these [Music]
things which is how I'd work in general I'm going pretty quickly through these
but also I want to make sure that we things which is how I'd work in general
have time to cover all the aspects so but also I want to make sure that we
let's get to these robot guitars these have time to cover all the aspects so
are a pretty cool little addition I saw let's get to these robot guitars these
somebody asking how these were created are a pretty cool little addition I saw
and the answer is this is plug-in called somebody asking how these were created
the rainbow machine by Earthquaker and the answer is this is plug-in called
devices sorry not a plug-in it's a pedal the rainbow machine by Earthquaker
guitar pedal that's just nuts I have no devices sorry not a plug-in it's a pedal
idea what it's supposed to do what it guitar pedal that's just nuts I have no
does I like the name it's just nuts it idea what it's supposed to do what it
just turns anything into noise it has does I like the name it's just nuts it
like these weird descending arpeggio just turns anything into noise it has
things it can do like these weird descending arpeggio
what does it like I'm gonna I know look things it can do
at other equals sounds familiar it's what does it like I'm gonna I know look
very cool Devin was using it during the at other equals sounds familiar it's
records that I did with him when he was very cool Devin was using it during the
tracking guitar for some very cool like records that I did with him when he was
it sounded like a whammy pedal dump tracking guitar for some very cool like
effect but it was done with the pedal it sounded like a whammy pedal dump
and it kind of sounded like a pick effect but it was done with the pedal
scrape combined with that and he was and it kind of sounded like a pick
literally just playing your notes I just scrape combined with that and he was
typed it earthquake machine into Google literally just playing your notes I just
and of course I got a bunch of typed it earthquake machine into Google
conspiracy Earthquaker device okay so and of course I got a bunch of
this section was originally supposed to conspiracy Earthquaker device okay so
have a guitar solo on it and Misha and I this section was originally supposed to
went back and forth a long time with have a guitar solo on it and Misha and I
some kind of atonal ideas or more like went back and forth a long time with
kind of record and I'll ask kind of some kind of atonal ideas or more like
stuff which did sound cool and then we kind of record and I'll ask kind of
kind of just hit this brick wall with it stuff which did sound cool and then we
and we thought we'd just see what we had kind of just hit this brick wall with it
around pedals wise Amiga has a bunch of and we thought we'd just see what we had
pedals and we just decided to try and around pedals wise Amiga has a bunch of
create the weirdest sound we could and pedals and we just decided to try and
that's what came out there's two create the weirdest sound we could and
performances literally me sure just that's what came out there's two
messing with the guitar twice in a row performances literally me sure just
with no real afterthought and that messing with the guitar twice in a row
became this robot guitar sound which is with no real afterthought and that
in there on the mix and it's pretty became this robot guitar sound which is
subtle in the mix and it's kind of in there on the mix and it's pretty
supposed to be there just like this subtle in the mix and it's kind of
swelling of of just weird noise supposed to be there just like this
underneath everything so you guys might swelling of of just weird noise
be familiar already with how it sounds underneath everything so you guys might
[Music]
it's pretty funny amazing I'm gonna mess [Music]
it up a little bit more actually I'm it's pretty funny amazing I'm gonna mess
going to I'm gonna make it a bit it up a little bit more actually I'm
grittier and more biting going to I'm gonna make it a bit
[Music] grittier and more biting
[Applause] [Music]
[Applause]
[Music]
[Applause]
[Music]
so I'm just messing with decaf say so [Music]
this is like just a distortion device so I'm just messing with decaf say so
the models over driving certain pieces this is like just a distortion device
of person pieces of gear like that the the models over driving certain pieces
first one is like a tape head then of person pieces of gear like that the
you've got like this weird Neve module first one is like a tape head then
it's not a famous thing it's like a very you've got like this weird Neve module
rare module I figure if it's even a it's not a famous thing it's like a very
preamp or if it's some other bizarre rare module I figure if it's even a
part of a Neve desk and you got like preamp or if it's some other bizarre
some options taken from the triode and part of a Neve desk and you got like
pentode versions of the like modes on some options taken from the triode and
the thermionic culture vulture which is pentode versions of the like modes on
like a destroy like a master in grade the thermionic culture vulture which is
distortion device essentially and yeah I like a destroy like a master in grade
just by messing with this I've just distortion device essentially and yeah I
turned it into some kind of mess of a just by messing with this I've just
sound which hopefully is gonna work in turned it into some kind of mess of a
the mix I'd already know how it's not sound which hopefully is gonna work in
going to work in the mists because it's the mix I'd already know how it's not
supposed to sound really her and listen going to work in the mists because it's
I think I've done a good job of making supposed to sound really her and listen
it sound horrendous so let's see what I think I've done a good job of making
that sounds like it sound horrendous so let's see what
[Music]
it's that ways for me it's pretty soft
in there I probably went a bit too far it's that ways for me it's pretty soft
with brightening it up but it's pretty in there I probably went a bit too far
cool with brightening it up but it's pretty
[Music]
cool that will do for that and all
that's left at this point is the cool that will do for that and all
substract now at the moment I have it that's left at this point is the
grouped in with the miscellaneous other substract now at the moment I have it
things going through this the grouped in with the miscellaneous other
instrumental bus essentially like it's things going through this the
feeding through to bus 50 but what I'm instrumental bus essentially like it's
gonna do is I'm just gonna take it out feeding through to bus 50 but what I'm
of that I'm gonna move it in my session gonna do is I'm just gonna take it out
all together I don't really like where of that I'm gonna move it in my session
it is there I want it in another place I all together I don't really like where
typically have it at the top of my it is there I want it in another place I
session for some reason I typically have typically have it at the top of my
my service anyway what I'm gonna do with session for some reason I typically have
this instead of sending it to the my service anyway what I'm gonna do with
instrumental bus I'm gonna send it this instead of sending it to the
directly to my stereo output and just instrumental bus I'm gonna send it
for you guys I'm going to set up a directly to my stereo output and just
mirror feed to your basis outfit as well for you guys I'm going to set up a
the reason I'm doing that is because I mirror feed to your basis outfit as well
don't want it in any way to affect the the reason I'm doing that is because I
compression the compression that I have don't want it in any way to affect the
going on the mix buss by doing it this compression the compression that I have
way I'm gonna have a way more going on the mix buss by doing it this
transparent effect these subs are not way I'm gonna have a way more
going to compress the whole mix too much transparent effect these subs are not
and it's a good way of being able to get going to compress the whole mix too much
a little bit more impact out of your and it's a good way of being able to get
subs so it's just gonna be a question of a little bit more impact out of your
finding the right volume for me subs so it's just gonna be a question of
[Music] finding the right volume for me
[Music]
that seems to about the right level for
me it's like if you really hear it that seems to about the right level for
kicking in too much that tends to mean me it's like if you really hear it
to me that it's too loud like you wanted kicking in too much that tends to mean
you want to feel it but you don't to me that it's too loud like you wanted
necessarily want to be aware of what's you want to feel it but you don't
going on necessarily want to be aware of what's
I love these sub drops it's I've used going on
this same sample on so many records now I love these sub drops it's I've used
I got it from a sample pack made by Zen this same sample on so many records now
Heiser Zen Heiser has n Heiser yeah it's I got it from a sample pack made by Zen
not spell it's spelled a little bit Heiser Zen Heiser has n Heiser yeah it's
differently to the company the audio not spell it's spelled a little bit
company but they make like loops and differently to the company the audio
beats and mainly stuff for EDM music or company but they make like loops and
just electronic music in general but beats and mainly stuff for EDM music or
they have some cool collections of just just electronic music in general but
hits and sound effects and I think they have some cool collections of just
they're really cool a lot of them aren't hits and sound effects and I think
too useful for what we do a lot of them they're really cool a lot of them aren't
have like kind of wobbly tails to them too useful for what we do a lot of them
where like you get like these reverbs have like kind of wobbly tails to them
flying around and it's cool in an EDM or where like you get like these reverbs
electronic thing you can kind of hear flying around and it's cool in an EDM or
the detail of all of that but with this electronic thing you can kind of hear
it just tends to cloud things for too the detail of all of that but with this
long this particular sample I went it just tends to cloud things for too
through like every single one in the long this particular sample I went
pack I downloaded in this hundreds this through like every single one in the
particular sample has just been the one pack I downloaded in this hundreds this
for me it's got just the right decay to particular sample has just been the one
it and it's got this cool air just to for me it's got just the right decay to
show you what it sounds like so loud I it and it's got this cool air just to
know you've all heard it anyway from show you what it sounds like so loud I
working on it but it's just awesome I know you've all heard it anyway from
love it so hey we've got a Corey from working on it but it's just awesome I
earthquake or in the chat oh yeah hey love it so hey we've got a Corey from
Corey cool how are you doing Corey yeah earthquake or in the chat oh yeah hey
how are you doing Corey Corey p.m. me Corey cool how are you doing Corey yeah
later I want to talk to you about the how are you doing Corey Corey p.m. me
heart-machine and earthquakes I'm later I want to talk to you about the
getting no PM me yeah so that's pretty heart-machine and earthquakes I'm
much all of the other elements dealt getting no PM me yeah so that's pretty
with very quickly now I know I really much all of the other elements dealt
kind of skimmed through that but I'm with very quickly now I know I really
keen to be able to answer as many kind of skimmed through that but I'm
questions as you guys might have so I keen to be able to answer as many
want to make sure that we have time for questions as you guys might have so I
that at the end and if there's anything want to make sure that we have time for
that you want me to go back over towards that at the end and if there's anything
the end more than happy to do that I that you want me to go back over towards
haven't even really listened to this the end more than happy to do that I
this makes as a whole and listen to it haven't even really listened to this
from start to end or anything like that this makes as a whole and listen to it
but I've just kind of tried to roughly from start to end or anything like that
level these things that's the various but I've just kind of tried to roughly
parts come in and out level these things that's the various
so all that's really left now is to parts come in and out
integrate these vocals and to be honest so all that's really left now is to
there's not gonna be too much to do integrate these vocals and to be honest
there either because Spencer did a there's not gonna be too much to do
really great job of tracking them with there either because Spencer did a
with Taylor and they're all nice little really great job of tracking them with
sausages and vocals let me stop you for with Taylor and they're all nice little
a second we talked about this about well sausages and vocals let me stop you for
actually let me stop you before you go a second we talked about this about well
into the vocals um I've been involved in actually let me stop you before you go
mixes where stuff arrives pre-mixed like into the vocals um I've been involved in
this and I've tracked vocals and mixes where stuff arrives pre-mixed like
pre-mixed them for people like when I this and I've tracked vocals and
did Monuments record like there was a pre-mixed them for people like when I
very similar scenario and I've always did Monuments record like there was a
been perfectly cool with it when as long very similar scenario and I've always
as it sounds great when it gets sent to been perfectly cool with it when as long
me this way but so I think some of the as it sounds great when it gets sent to
people here who maybe haven't worked on me this way but so I think some of the
too much stuff which is fine people are people here who maybe haven't worked on
here to learn were thrown off by that too much stuff which is fine people are
because they figured that it's not the here to learn were thrown off by that
real thing if it's not raw but that's because they figured that it's not the
not the case no certainly I mean yeah real thing if it's not raw but that's
obviously if you're working with rule not the case no certainly I mean yeah
vocals as there's some cool things that obviously if you're working with rule
you can do and maybe you can be a bit vocals as there's some cool things that
more specific about what you want but you can do and maybe you can be a bit
ultimately for me mixing is about more specific about what you want but
bringing together elements at any stage ultimately for me mixing is about
and making them work together so for me bringing together elements at any stage
there's not really any cheating in and making them work together so for me
working this way like Spencer has a very there's not really any cheating in
clear vision of what he wants and he working this way like Spencer has a very
worked with someone that's able to bring clear vision of what he wants and he
that across so exactly why shouldn't he worked with someone that's able to bring
provide it to me that way I get maybe if that across so exactly why shouldn't he
you're just you know if you're involved provide it to me that way I get maybe if
in nail the mix and you want to you're just you know if you're involved
specifically have practice mixing vocals in nail the mix and you want to
then at that point you might be like all specifically have practice mixing vocals
okay I don't really have the opportunity then at that point you might be like all
this month to do that and I can okay I don't really have the opportunity
understand that sentiment however this this month to do that and I can
is definitely a real-world example and understand that sentiment however this
for example that Morvan war record that is definitely a real-world example and
i just makes the same deal the Devin for example that Morvan war record that
Allen same deal it did the same thing i just makes the same deal the Devin
where they kind of split off the effects Allen same deal it did the same thing
prints in fact Spencer kind of did a where they kind of split off the effects
naughty thing with this one and he prints in fact Spencer kind of did a
printed the reverbs and delays Darin naughty thing with this one and he
noddy's printed the reverbs and delays Darin
which is not really how I want it and he noddy's
didn't do that on every on every track which is not really how I want it and he
most the tracks on this album actually didn't do that on every on every track
had like another stereo file which was most the tracks on this album actually
just the reverbs in another story but it had like another stereo file which was
was just the delay so the vocals just the reverbs in another story but it
themselves were dry and then you just was just the delay so the vocals
put that other themselves were dry and then you just
getting behind in this that's the put that other
ambience treatment that he he chose getting behind in this that's the
woven warned Devin provided things to me ambience treatment that he he chose
that way and that's great because you woven warned Devin provided things to me
have a bit more control there but for me that way and that's great because you
this is totally cool and it really helps have a bit more control there but for me
my focus as a mixer as well to not be this is totally cool and it really helps
wading through tons and tons of vocal my focus as a mixer as well to not be
tracks and guessing on the relative wading through tons and tons of vocal
levels of all of them like you know the tracks and guessing on the relative
doubles and harmonies the group vocals levels of all of them like you know the
all those things were spread across doubles and harmonies the group vocals
hundreds of tracks in some of the cases all those things were spread across
I believe like or at least like up to a hundreds of tracks in some of the cases
hundred tracks on Taylor's system when I believe like or at least like up to a
they were doing these kind of choir hundred tracks on Taylor's system when
vocals which was like six people they were doing these kind of choir
recorded ten times on five different vocals which was like six people
parts way you've got how many how many recorded ten times on five different
tracks have you got there even they're parts way you've got how many how many
sharing one mic but it's like you've got tracks have you got there even they're
so many tracks being taken up there and sharing one mic but it's like you've got
there's no way in hell I want to be so many tracks being taken up there and
dealing with that in the mix that's there's no way in hell I want to be
totally distracting to me I want to hear dealing with that in the mix that's
things leveled the way that people want totally distracting to me I want to hear
and when clients send me their mixes I things leveled the way that people want
ask them to commit to like effects on and when clients send me their mixes I
guitars if they feel like it's like an ask them to commit to like effects on
integral part of a mix of a tone that guitars if they feel like it's like an
they've done or you know all sorts of integral part of a mix of a tone that
treatments on what they don't like they've done or you know all sorts of
give me your bass amp track as well as treatments on what they don't like
your di keep keep a raw version too just give me your bass amp track as well as
in case in case I need to come back to your di keep keep a raw version too just
that later but I'm really happy when in case in case I need to come back to
people commit to stuff like that because that later but I'm really happy when
that makes my life as a mix engineer way people commit to stuff like that because
way easier but not in the way that I that makes my life as a mix engineer way
kind of feel like is cheating it's just way easier but not in the way that I
like I don't have to guess about the kind of feel like is cheating it's just
creative intent behind what's going on like I don't have to guess about the
exactly and when you're getting tracks creative intent behind what's going on
given you but people on the level of exactly and when you're getting tracks
Taylor Larsen and Spencer like cool given you but people on the level of
right I mean yeah exactly Taylor Larsen and Spencer like cool
and like they went to great lengths with right I mean yeah exactly
everything from like the microphone and like they went to great lengths with
selection to the the outboard gear they everything from like the microphone
ran through on the way into the selection to the the outboard gear they
additional treatment they did this song ran through on the way into the
again it's fairly fairly straightforward additional treatment they did this song
but some of the songs have radically again it's fairly fairly straightforward
different treatments even on just but some of the songs have radically
certain words in there you know like different treatments even on just
using four or five different reverbs all certain words in there you know like
automated for different sections and using four or five different reverbs all
delay treatments and stuff like that to automated for different sections and
where it's like you know I to recreate delay treatments and stuff like that to
that on my own without a lot of very where it's like you know I to recreate
detailed notes from them which it's just that on my own without a lot of very
going to be me trying to recreate what detailed notes from them which it's just
they have in there going to be me trying to recreate what
anyway is it's yeah it's kind of a waste they have in there
of time now of course there's plenty of anyway is it's yeah it's kind of a waste
projects where it's that way and people of time now of course there's plenty of
just want you to make the vocals sound projects where it's that way and people
good and they don't care so much about just want you to make the vocals sound
the the treatments that you're that good and they don't care so much about
you're doing on like a really specific the the treatments that you're that
level maybe they've just got a few ideas you're doing on like a really specific
of effects but they kind of want you to level maybe they've just got a few ideas
do your own thing totally fine too of effects but they kind of want you to
but for me it's it's really great to be do your own thing totally fine too
able to come into a project and just but for me it's it's really great to be
have somebody be like here you go here's able to come into a project and just
some stems of really well recorded have somebody be like here you go here's
vocals and we've leveled them the way some stems of really well recorded
that we want and we've we've treated vocals and we've leveled them the way
them the way we want there's nothing that we want and we've we've treated
wrong with that for me thank you no no them the way we want there's nothing
worries it's all so really I didn't do wrong with that for me thank you no no
very much to the vocals for the record worries it's all so really I didn't do
for the record because they sounded very much to the vocals for the record
great so the first thing I'm going to do for the record because they sounded
is just kind of level them as a whole great so the first thing I'm going to do
and I've already put this little game is just kind of level them as a whole
plug in here because they were really and I've already put this little game
quite loud let's see what happens if I plug in here because they were really
just hit play now with these vocals add quite loud let's see what happens if I
it to the mix just hit play now with these vocals add
[Music] it to the mix
so one things I do feel like they're a
tiny bit sibilant just a little bit and so one things I do feel like they're a
that might be to do with well it tiny bit sibilant just a little bit and
wouldn't be to do with the tape machine that might be to do with well it
really that I have on the most of us oh wouldn't be to do with the tape machine
so I think maybe they would just track really that I have on the most of us oh
that way so I think maybe they would just track
IRA like the fabfilter DSR is very that way
subtle so I'm just going to load that up IRA like the fabfilter DSR is very
and just aim for like a very small subtle so I'm just going to load that up
amount of production there let's see and just aim for like a very small
what we can get so I'm literally doing amount of production there let's see
that on the actual bus there because I what we can get so I'm literally doing
figure if anyway that s has really add that on the actual bus there because I
up between the tracks is just gonna hit figure if anyway that s has really add
that DSR even harder and we'll get rid up between the tracks is just gonna hit
of that but now I need to check that he that DSR even harder and we'll get rid
doesn't sound like he has a lisp of that but now I need to check that he
oh my fuck something I might do is out
just a touch more body to those vocals oh my fuck something I might do is out
actually so there's a cool trick that I just a touch more body to those vocals
like to do on vocals using this custom actually so there's a cool trick that I
series EQ and it's kind of derived from like to do on vocals using this custom
one of the presets that's built into series EQ and it's kind of derived from
into this EQ another one of the vocal one of the presets that's built into
presets but doing a 200 Hertz boost on a into this EQ another one of the vocal
vocal can be a really good way of going presets but doing a 200 Hertz boost on a
out getting some extra body on there but vocal can be a really good way of going
you combine that with a high-pass really out getting some extra body on there but
quite high up so you high-pass up to you combine that with a high-pass really
about 200 and you boost there so it quite high up so you high-pass up to
doesn't bring up too much junk about 200 and you boost there so it
underneath it I just add some body let's doesn't bring up too much junk
see what that sounds like so I'll start underneath it I just add some body let's
with it's pretty subtle but see what that sounds like so I'll start
[Music]
[Applause]
you know in context I'm not really doing [Applause]
how that sounds but I am happy with you know in context I'm not really doing
cutting just a little bit that topic how that sounds but I am happy with
[Music]
so something I did two on-the-record
like really that's about the extent of so something I did two on-the-record
the treatment that I feel like those like really that's about the extent of
vocals need to be honest and one of the the treatment that I feel like those
reasons why I don't have them going vocals need to be honest and one of the
through the instrumental buss EQ kind of reasons why I don't have them going
section is because they're already eq'd through the instrumental buss EQ kind of
really well I don't want to add like a section is because they're already eq'd
five and a half K presence bump on there really well I don't want to add like a
I don't want to really affect the five and a half K presence bump on there
balance of the vocals at all but I don't want to really affect the
something I did do and funnily enough I balance of the vocals at all but
know that that al here is an absolute something I did do and funnily enough I
hater when it comes to this I don't have know that that al here is an absolute
any hate in my heart dude look like a hater when it comes to this I don't have
rider holy shit yeah I think I did you any hate in my heart dude look like a
know cuz I think I heard you talking rider holy shit yeah I think I did you
about it with Dan corner on the podcast know cuz I think I heard you talking
where everybody involved what just went about it with Dan corner on the podcast
on like a bit of a tirade about how lame where everybody involved what just went
plugins like this are which I totally on like a bit of a tirade about how lame
get but what I like about it especially plugins like this are which I totally
when I'm dealing with vocals are already get but what I like about it especially
really compressed like this or you know when I'm dealing with vocals are already
if I'm compressing my vocals on really compressed like this or you know
individual tracks sorry if I'm working if I'm compressing my vocals on
with raw very raw vocals and I'd be individual tracks sorry if I'm working
compressing them on individual tracks so with raw very raw vocals and I'd be
they'd all be kind of compressed compressing them on individual tracks so
separately but you still get a buildup they'd all be kind of compressed
in volume when multiple tracks come in separately but you still get a buildup
like so for example here we've got like in volume when multiple tracks come in
the group vocals you've got the vocal like so for example here we've got like
doubles and you have the lead vocals all the group vocals you've got the vocal
going at the same time so no doubt doubles and you have the lead vocals all
there's gonna be a boost in vocal level going at the same time so no doubt
that perhaps is not necessary at that there's gonna be a boost in vocal level
point you could go through and automate that perhaps is not necessary at that
that stuff and that's totally cool point you could go through and automate
but I find that this what it's supposed that stuff and that's totally cool
to do and what it does do is it it but I find that this what it's supposed
levels out the vocals button with no to do and what it does do is it it
compression artifacts is just like a levels out the vocals button with no
literally like a fader being moved compression artifacts is just like a
around and I really like what that does literally like a fader being moved
it really saves me a lot of time when it around and I really like what that does
comes to to mixing in large stacks of it really saves me a lot of time when it
vocals and getting them to sit very comes to to mixing in large stacks of
evenly maybe maybe I didn't do a very vocals and getting them to sit very
good job with it no I mean it's it's evenly maybe maybe I didn't do a very
gonna be it now you're supposed to feed good job with it no I mean it's it's
the track to it through the sidechain gonna be it now you're supposed to feed
but I'm not really using it for that the track to it through the sidechain
like I'm not trying to get it to set the but I'm not really using it for that
vocal level in the mix which maybe it's like I'm not trying to get it to set the
something which people don't approve of vocal level in the mix which maybe it's
so much I'm really just using it like a something which people don't approve of
vocal flattening device basically like so much I'm really just using it like a
an overall vocal flattening device so vocal flattening device basically like
the key is to use the sensitivity an overall vocal flattening device so
control to set the level that you want the key is to use the sensitivity
and to make sure that the the fader is control to set the level that you want
round about zero most of the time so and to make sure that the the fader is
it's just kind of going backwards and round about zero most of the time so
forwards because some nasty stuff can it's just kind of going backwards and
happen I forwards because some nasty stuff can
if you've got it set up badly so it's happen I
kind of bringing the fader down a lot of if you've got it set up badly so it's
the time when it's when it's working it kind of bringing the fader down a lot of
means that sometimes like in a gap the time when it's when it's working it
between vocals the faders going to go means that sometimes like in a gap
back to zero and then when the next between vocals the faders going to go
vocal comes in it takes a second for it back to zero and then when the next
to bring that fader down you get these vocal comes in it takes a second for it
weird kind of spikes in the vocals so to bring that fader down you get these
I'm just going to set the sensitivity on weird kind of spikes in the vocals so
this and everything until I feel like I'm just going to set the sensitivity on
the vocal is sitting well and make sure this and everything until I feel like
that the fade is around zero the vocal is sitting well and make sure
it's doing pretty subtle stuff but do
you noticed they're just as those extra it's doing pretty subtle stuff but do
vocal doubles and harmonies came in it you noticed they're just as those extra
just dipped it by it's probably about vocal doubles and harmonies came in it
like a DB or something no more but just just dipped it by it's probably about
enough to keep to keep it working like a DB or something no more but just
[Applause]
another thing I like about is it brings
up the low-level detail at the end of a another thing I like about is it brings
phrase like if you have a delay on there up the low-level detail at the end of a
or something because it's still picking phrase like if you have a delay on there
up something on the track and it tries or something because it's still picking
to make it louder it actually kind of up something on the track and it tries
brings out your new reverbs and delays to make it louder it actually kind of
and nicely at the end of most most brings out your new reverbs and delays
phrases I can spare you a bit of extra and nicely at the end of most most
automation automation like bringing up a phrases I can spare you a bit of extra
delay or reverb at the end of a phrase automation automation like bringing up a
which you might maybe I just had it set delay or reverb at the end of a phrase
wrong when I used it yeah also may be which you might maybe I just had it set
the one I've critiqued mixes where wrong when I used it yeah also may be
people use it it could just be that they the one I've critiqued mixes where
haven't known what they're doing and so people use it it could just be that they
I associated with guys that are looking haven't known what they're doing and so
for an easy way out yeah just don't know I associated with guys that are looking
what they're doing it but it's kind of for an easy way out yeah just don't know
one of those things like I talk shit what they're doing it but it's kind of
about pitching guitars down and stuff one of those things like I talk shit
but when Meshuga did it it sounded great about pitching guitars down and stuff
because they can do anything and it'll but when Meshuga did it it sounded great
sound great so it's one of those things because they can do anything and it'll
where I feel like with most audio tools sound great so it's one of those things
where with most audio tools especially where I feel like with most audio tools
stuff on the podcast that I'll rail where with most audio tools especially
against it's not so much that I'm stuff on the podcast that I'll rail
railing against the tool itself because against it's not so much that I'm
I'm pretty agnostic towards tools it's railing against the tool itself because
more that the way that I feel like I'm pretty agnostic towards tools it's
people who are still learning use it more that the way that I feel like
like for instance like MS processing people who are still learning use it
it's like oh I know just how powerful it like for instance like MS processing
is and how great it can be when used it's like oh I know just how powerful it
properly but I rail against it because a is and how great it can be when used
lot of guys were first learning how to properly but I rail against it because a
mix or master they turn to it because lot of guys were first learning how to
they read about how powerful it is and I mix or master they turn to it because
think they should stay away from it they read about how powerful it is and I
because it's too powerful and it's one think they should stay away from it
of those little goes a long way you know because it's too powerful and it's one
kind of things and you really should of those little goes a long way you know
understand EQ inside and out before kind of things and you really should
messing with that totally so the way understand EQ inside and out before
that I like to use vocal rider what I'm messing with that totally so the way
actually doing stuffing I'm not going to that I like to use vocal rider what I'm
bother to do this through the whole song actually doing stuffing I'm not going to
is it involves literally playing through bother to do this through the whole song
that also on is you can actually write is it involves literally playing through
the automation from this fader to the that also on is you can actually write
track so that this instead of reacting the automation from this fader to the
in real time just starts reading the the track so that this instead of reacting
fader values so if I set up this in real time just starts reading the the
automation Lane to be like since are in fader values so if I set up this
touch mode and I set this to write when automation Lane to be like since are in
I hit play it's essentially just gonna touch mode and I set this to write when
write all of the fader moves to this I hit play it's essentially just gonna
track so that write all of the fader moves to this
you can actually see what it's doing and track so that
then we can edit it as we see fit you can actually see what it's doing and
because that's something that sometimes then we can edit it as we see fit
needs to be done so I'll just do it for because that's something that sometimes
like this section as far as as far as needs to be done so I'll just do it for
over here basically like this at this like this section as far as as far as
session here because you've got over here basically like this at this
everything from like an isolated track session here because you've got
to like three different tracks going on everything from like an isolated track
simultaneously there and I want to make to like three different tracks going on
sure that you can see how it handles all simultaneously there and I want to make
of that so let's see what happens sure that you can see how it handles all
[Music] of that so let's see what happens
it's very windy today
[Music]
[Applause] [Music]
cool so you can see what it's written
there you can see probably there's some cool so you can see what it's written
weird stuff that it does like for there you can see probably there's some
instance at the beginning it's got these weird stuff that it does like for
weird ramps and whatnot so I'm just instance at the beginning it's got these
gonna get rid of those entirely the weird ramps and whatnot so I'm just
other things to be aware of when you're gonna get rid of those entirely the
using it is for example it's gonna try other things to be aware of when you're
and bring out the breaths in front of using it is for example it's gonna try
your phrases cuz it read some in some and bring out the breaths in front of
information there so it's quite your phrases cuz it read some in some
difficult for me to simply just delete information there so it's quite
like the information right at the difficult for me to simply just delete
beginning of a phrase I don't like the information right at the
necessarily want to bring out the breath beginning of a phrase I don't
but I generally want to kind of bring necessarily want to bring out the breath
those things down but you can see the but I generally want to kind of bring
extensive the automation this writing is those things down but you can see the
like way more than you would ever bother extensive the automation this writing is
to do by hand and occasionally you're like way more than you would ever bother
gonna disagree with what it does so it's to do by hand and occasionally you're
important to listen to it and really gonna disagree with what it does so it's
tell but the cool thing is I find that important to listen to it and really
once you've level relatively the vocals tell but the cool thing is I find that
the way that you want if you use that once you've level relatively the vocals
it's just a way of keeping the vocals the way that you want if you use that
pinned in volume in the mix as an it's just a way of keeping the vocals
overall unit but keeping the relative pinned in volume in the mix as an
balance that you like throughout C so overall unit but keeping the relative
you're not actually doing using it live balance that you like throughout C so
you're writing the automation then then you're not actually doing using it live
editing it okay so it's basically just a you're writing the automation then then
a major time saver automation right and editing it okay so it's basically just a
the reason why I choose to write it that a major time saver automation right and
way is because once so so now this is the reason why I choose to write it that
just gonna read like I set this to read way is because once so so now this is
mode so now this fader is just tracing just gonna read like I set this to read
whatever is happening there but it's no mode so now this fader is just tracing
longer reacting to the source materials whatever is happening there but it's no
like so for example I noticed in the longer reacting to the source materials
chorus the vocals kind of got a bit too like so for example I noticed in the
quiet for my liking it was pulling them chorus the vocals kind of got a bit too
down too much than the lead vocal got quiet for my liking it was pulling them
buried at this point I can automate up down too much than the lead vocal got
the vocal like the lead vocal line and buried at this point I can automate up
it's not going to affect the vocal rider the vocal like the lead vocal line and
because at that point the vocal rider is it's not going to affect the vocal rider
simply reading this information here because at that point the vocal rider is
it's not judging anything new so I can simply reading this information here
now go and play with the relative it's not judging anything new so I can
balances as much as I like and I'm not now go and play with the relative
gonna be fighting against this fader balances as much as I like and I'm not
that's trying to counteract everything gonna be fighting against this fader
I've done so that's kind of typically that's trying to counteract everything
how I would use it so there I brought up I've done so that's kind of typically
that lead vocal by 1 and 1/2 DB for the how I would use it so there I brought up
chorus so that we can hear it more that lead vocal by 1 and 1/2 DB for the
clearly but it's gonna maintain all the chorus so that we can hear it more
fader moves which are more to do with clearly but it's gonna maintain all the
how all of these lines are reacting to fader moves which are more to do with
each other so we can hear what that how all of these lines are reacting to
sounds like each other so we can hear what that
[Music]
so I actually put the automation in at
the wrong point that should have been so I actually put the automation in at
over here the wrong point that should have been
[Music]
so I promise you if you hadn't watched [Music]
it right in all that automation you so I promise you if you hadn't watched
probably hear it as a way more it right in all that automation you
transparent than it is you might now be probably hear it as a way more
kind of very aware of all the little transparent than it is you might now be
changes that have been made and it's kind of very aware of all the little
certainly kind of tricky to let go and changes that have been made and it's
let the Machine make those decisions as certainly kind of tricky to let go and
I say it's really important to go back let the Machine make those decisions as
and listen and you definitely open my I say it's really important to go back
mind though yeah you like it it's pretty and listen and you definitely open my
cool you know that's something that was mind though yeah you like it it's pretty
maybe not so great was the amount of cool you know that's something that was
volume disparity between these these maybe not so great was the amount of
doubles like they're kind of they're volume disparity between these these
soft on the first off the phrase and doubles like they're kind of they're
then heavy on the next I guess Spencer soft on the first off the phrase and
really wanted that that's probably then heavy on the next I guess Spencer
something I wouldn't have done and really wanted that that's probably
what's happening is the vocal rider is something I wouldn't have done and
reacting to that it's kind of pulling what's happening is the vocal rider is
down the whole vocals on the second half reacting to that it's kind of pulling
of every phrase during the chorus which down the whole vocals on the second half
is meaning that you're kind of losing of every phrase during the chorus which
the lead vocal tiny bit on there so it is meaning that you're kind of losing
probably requires some additional the lead vocal tiny bit on there so it
automation and that's the kind of stuff probably requires some additional
which can spend awhile and you can spend automation and that's the kind of stuff
a while doing and we certainly did for a which can spend awhile and you can spend
3/3 so as I mentioned in the know so you a while doing and we certainly did for a
guys had when you started working on it 3/3 so as I mentioned in the know so you
just because these things have been guys had when you started working on it
presented this way that's not to say just because these things have been
that they don't require additional work presented this way that's not to say
to get them leveled cutting through the that they don't require additional work
mix as you see fit and certainly I do to get them leveled cutting through the
think that using that volume automation mix as you see fit and certainly I do
on the vocal rider is a cool way of think that using that volume automation
bringing out all the detail where it's on the vocal rider is a cool way of
needed and keeping the vocals as a unit bringing out all the detail where it's
level in the mix way better than using needed and keeping the vocals as a unit
for example a limiter or something like level in the mix way better than using
that which is going to adversely affect for example a limiter or something like
stuff as it starts to pile up so yeah that which is going to adversely affect
that's kind of how I treated the vocals stuff as it starts to pile up so yeah
with this I did create some effects that's kind of how I treated the vocals
prints some of which are mine like down with this I did create some effects
here you can hear for example this I prints some of which are mine like down
think this was one of me here you can hear for example this I
[Laughter] think this was one of me
like just some crazy effects like that
which are pretty fun really cool if we like just some crazy effects like that
want why don't we why don't we just try which are pretty fun really cool if we
creating our own effect this that's want why don't we why don't we just try
let's find a phrase that could use some creating our own effect this that's
some love so there's one there I'm gonna let's find a phrase that could use some
get rid of it I'm gonna create my own some love so there's one there I'm gonna
new one and I'm gonna show you how I get rid of it I'm gonna create my own
like to do this because I like to new one and I'm gonna show you how I
basically commit to doing this and then like to do this because I like to
never come back to it again so what I do basically commit to doing this and then
is I create a new track I chop a portion never come back to it again so what I do
of the audio that I want to process so is I create a new track I chop a portion
I'm taking just like the last bar of the audio that I want to process so
basically of this vocal there's two bars I'm taking just like the last bar
so I've got I'm gonna get rid of that a basically of this vocal there's two bars
little bit of delay that's on there that so I've got I'm gonna get rid of that a
Spencer thankfully you've decided to little bit of delay that's on there that
print that wish you hadn't done that but Spencer thankfully you've decided to
that's okay and I'm gonna choose maybe print that wish you hadn't done that but
even a segment of this like sometimes I that's okay and I'm gonna choose maybe
just literally take like two beats or even a segment of this like sometimes I
something it doesn't have to be from the just literally take like two beats or
same part of the vocal I'm gonna take something it doesn't have to be from the
that shift it to the end cuz it doesn't same part of the vocal I'm gonna take
have like the ending part of like he that shift it to the end cuz it doesn't
doesn't have his ending to the scream so have like the ending part of like he
it's just gonna be just that I'm gonna doesn't have his ending to the scream so
use that to trigger some kind of crazy it's just gonna be just that I'm gonna
effect so let's let's see what we can use that to trigger some kind of crazy
come up with one of my favorite things effect so let's let's see what we can
to go to for this is the sound toys come up with one of my favorite things
effects rack which think the tracks not to go to for this is the sound toys
in the bus getting it over here yep cool effects rack which think the tracks not
good point okay now you're gonna hear it in the bus getting it over here yep cool
so just so you can hear you got that good point okay now you're gonna hear it
there's something vaguely humorous about so just so you can hear you got that
that even so the sound toys effects rack there's something vaguely humorous about
is basically it's like a modular system that even so the sound toys effects rack
similar to this sleep virtual mix rack is basically it's like a modular system
that I've been using it allows you to similar to this sleep virtual mix rack
access all of their plugins in a single that I've been using it allows you to
rack and kind of chain them and create access all of their plugins in a single
your own rack in the face rack and kind of chain them and create
so this vocals already compressed that's your own rack in the face
pretty useful for this but why don't we so this vocals already compressed that's
try chucking it through first it delay pretty useful for this but why don't we
and I'm gonna create maybe a ping pong try chucking it through first it delay
delay let's let's do a dual echo and and I'm gonna create maybe a ping pong
let's create delay let's let's do a dual echo and
kind of weird slap that's mistimed on let's create
each side so I don't let's try like 35 kind of weird slap that's mistimed on
milliseconds on one side and like 60 on each side so I don't let's try like 35
the other so like not mathematically milliseconds on one side and like 60 on
correct or anything with more feedback the other so like not mathematically
so I've kind of sterilized it a little
bit and let's use like a weird wobbly so I've kind of sterilized it a little
one like at the memory man let's make bit and let's use like a weird wobbly
this a little bit longer cool so if one like at the memory man let's make
greats to prove a weird effect straight this a little bit longer cool so if
away and let's distort the hell out of greats to prove a weird effect straight
this I like to do this I'd literally away and let's distort the hell out of
just have fun basically with the plugins this I like to do this I'd literally
that I have I love that effects right just have fun basically with the plugins
yeah it's so cool like all of these that I have I love that effects right
things are just designed to mangle your yeah it's so cool like all of these
sound so it's good fun just to to go so things are just designed to mangle your
I'm going to use the punish mode I'm sound so it's good fun just to to go so
literally just kicking around the I'm going to use the punish mode I'm
buttons and we'll see well so sorry literally just kicking around the
about the volume there nope you don't buttons and we'll see well so sorry
need as much feedback that's pretty cool about the volume there nope you don't
so at this point we can maybe try need as much feedback that's pretty cool
sending that through a reverb let's so at this point we can maybe try
choose a nice long reverb I love these sending that through a reverb let's
things because they're a really good choose a nice long reverb I love these
excuse to dig into your reverb things because they're a really good
collection actually use the stupidly excuse to dig into your reverb
long reverb times that you can't use for collection actually use the stupidly
anything else that's right long reverb times that you can't use for
that's pretty cool
let's try compressing that this that's pretty cool
compression is going to even everything let's try compressing that this
out so you don't hear like such a compression is going to even everything
distinct difference between the out so you don't hear like such a
distorted vocal and then the reverb tail distinct difference between the
I set the mix higher up so let's try distorted vocal and then the reverb tail
compressing that choose a random I set the mix higher up so let's try
compressor the CLA 3 eggs let's use it compressing that choose a random
in the limiting mode we're getting into compressor the CLA 3 eggs let's use it
some pretty cool territory and just for in the limiting mode we're getting into
the hell of it I'm going to throw some some pretty cool territory and just for
further distortion onto this let's try the hell of it I'm going to throw some
this clang helm distortion device and further distortion onto this let's try
clang him playing helm let's try the this clang helm distortion device and
fuzz version he's getting pretty pretty clang him playing helm let's try the
full on I'm happy with it fuzz version he's getting pretty pretty
I love these creative effects because full on I'm happy with it
you could never do this stuff in any I love these creative effects because
other context in the mix but I do feel you could never do this stuff in any
like that's got probably some other context in the mix but I do feel
unnecessary body so I'm gonna like that's got probably some
so at this point what I'm gonna do is
I'm never gonna see those settings ever so at this point what I'm gonna do is
again I'm gonna balance this in place I'm never gonna see those settings ever
I'm gonna delete the track that's what I again I'm gonna balance this in place
tend to do I'm gonna just call this ah I'm gonna delete the track that's what I
and it's robably gonna have a really tend to do I'm gonna just call this ah
long tail because I used a really long and it's robably gonna have a really
reverb but so I know I'm just gonna long tail because I used a really long
straight-up delete that track so that's reverb but so I know I'm just gonna
gone now I can never get back to that straight-up delete that track so that's
and the reason why I like to do that is gone now I can never get back to that
because it again like with everything and the reason why I like to do that is
else I'm just completely committing to because it again like with everything
an effect at a certain time and and it's else I'm just completely committing to
gonna prevent me from just using the an effect at a certain time and and it's
same effect on everything even if I use gonna prevent me from just using the
exactly the same tools it wouldn't come same effect on everything even if I use
out exactly the same every time so from exactly the same tools it wouldn't come
each delay throw you want to do to the out exactly the same every time so from
next you're gonna have a completely each delay throw you want to do to the
different result now that's gonna be next you're gonna have a completely
really loud compared to the vocals I different result now that's gonna be
think yes there we're all can not really loud compared to the vocals I
complaining but just exclaiming as to think yes there we're all can not
how scared they were so what I'll also complaining but just exclaiming as to
do is just automate up that volume the how scared they were so what I'll also
volume on that track just as the other do is just automate up that volume the
vocal ends they don't really want it to volume on that track just as the other
be too audible underneath what's there vocal ends they don't really want it to
so let's see be too audible underneath what's there
that's pretty cool and now that I've
bounced it I can actually shorten this that's pretty cool and now that I've
tail I don't need it to be that long but bounced it I can actually shorten this
it's kind of cool to do that and then I tail I don't need it to be that long but
can just take a fade and get rid of it it's kind of cool to do that and then I
so it's gone by the time the next bit of can just take a fade and get rid of it
effects come in so that's me kind of so it's gone by the time the next bit of
creating an effect pruning there's so effects come in so that's me kind of
many different tools you could use to do creating an effect pruning there's so
these things it's all in good fun what I many different tools you could use to do
might even do at this point is balance these things it's all in good fun what I
it in place again just to have that might even do at this point is balance
automation written into it and again get it in place again just to have that
rid of that it's gone that track now is automation written into it and again get
is all there is so I could even like cop rid of that it's gone that track now is
I what I would then do is kind of group is all there is so I could even like cop
together all the effects prints I put I what I would then do is kind of group
them all onto one track then balance together all the effects prints I put
them together into a single piece of them all onto one track then balance
audio so again like at this point I them together into a single piece of
can't even really remember what I did to audio so again like at this point I
that track but I've got a cool effect so can't even really remember what I did to
now at the end of that part you can hear that track but I've got a cool effect so
the cool effect that we created now at the end of that part you can hear
[Music] the cool effect that we created
[Applause] [Music]
and hey presto I like to work just about
that quick as well when I do it like not and hey presto I like to work just about
overthinking anything just dig into your that quick as well when I do it like not
plug-in locker or weird effects like try overthinking anything just dig into your
the weird lo-fi effects that you have plug-in locker or weird effects like try
try sending vocals through guitar amps the weird lo-fi effects that you have
try using like stereo widening on your try sending vocals through guitar amps
reverbs into delays tried you know just try using like stereo widening on your
anything you want just train like a reverbs into delays tried you know just
reverb into a delay back into a reverb anything you want just train like a
back into a delay now's the time you can reverb into a delay back into a reverb
go crazy like even if it descends into back into a delay now's the time you can
crazy feedback you can just fade it out go crazy like even if it descends into
before that actually happens in the mix crazy feedback you can just fade it out
once you've bounced it down and yeah before that actually happens in the mix
just have fun with it that's like one of once you've bounced it down and yeah
the best bits of bits of mixing so I just have fun with it that's like one of
don't know if any of you guys actually the best bits of bits of mixing so I
messed around with that stuff for this don't know if any of you guys actually
song but it's totally an opening to do messed around with that stuff for this
it even with all the effects that we song but it's totally an opening to do
have in there so cool so just about it even with all the effects that we
rounds up everything and now I know this have in there so cool so just about
has been funny it's literally like I rounds up everything and now I know this
think we spent less and less time on the has been funny it's literally like I
each aspect is we've gone on but that's think we spent less and less time on the
kind of the way this album mix was each aspect is we've gone on but that's
really I think the bass tone took a lot kind of the way this album mix was
longer to get good to get going than the really I think the bass tone took a lot
guitar tone did I think the drums kind longer to get good to get going than the
of came together one of the drums were guitar tone did I think the drums kind
mainly slow cuz we were going through a of came together one of the drums were
lot of a lot of basic info and also just mainly slow cuz we were going through a
knowledge about my workflow and lot of a lot of basic info and also just
explanations of everything but you know knowledge about my workflow and
I hope you found some cool stuff in explanations of everything but you know
there I don't know how different it is I hope you found some cool stuff in
to how you guys approach the mix but um there I don't know how different it is
but that pretty much outlines all of the to how you guys approach the mix but um
main techniques that I use and even some but that pretty much outlines all of the
that I didn't use on this song but I main techniques that I use and even some
might use none of those so Amy with all that I didn't use on this song but I
the questions again I just think it's might use none of those so Amy with all
really cool I'm just gonna say that I the questions again I just think it's
learned a lot watching this and you know really cool I'm just gonna say that I
I've been there for almost every single learned a lot watching this and you know
no the mix at this point it's just cool I've been there for almost every single
seeing how different everybody is with no the mix at this point it's just cool
their workflow but it's also interesting seeing how different everybody is with
for me to see what the what things all their workflow but it's also interesting
the awesome people seemed and there's do for me to see what the what things all
the same like what what are the the awesome people seemed and there's do
similarities like getting rid of getting the same like what what are the
rid of nasty stuff making sure that the similarities like getting rid of getting
low end is in fluctuating all over the rid of nasty stuff making sure that the
place there's like some very definite low end is in fluctuating all over the
skills and traits that I guess good place there's like some very definite
makes us have no matter who's doing it skills and traits that I guess good
but it it's always fascinating to me makes us have no matter who's doing it
like for instance I would have never but it it's always fascinating to me
guessed vocal rider and that seriously like for instance I would have never
impressed me cool what about the bass guessed vocal rider and that seriously
Reba impressed me cool what about the bass
oh yeah yeah that means to be honest I Reba
really don't think that's making or oh yeah yeah that means to be honest I
breaking this next pair really don't think that's making or
no but it's cool but that's a little breaking this next pair
thing that like I don't think people no but it's cool but that's a little
think about very much I know I don't thing that like I don't think people
think about it hmm no I know I will so think about very much I know I don't
it's something that's kind of cool if think about it hmm no I know I will so
you use if you find one Reba patch that it's something that's kind of cool if
you'd like that has that effect like you you use if you find one Reba patch that
can even use it on certain parts like if you'd like that has that effect like you
I've got on my guitars and my my bass can even use it on certain parts like if
like certain parts I could bring it up I've got on my guitars and my my bass
on both and you do kind of get that same like certain parts I could bring it up
room vibe a little bit because you're on both and you do kind of get that same
using like this this kind of grotty room vibe a little bit because you're
reverb sound and it's got a similar using like this this kind of grotty
effect on both instruments so you get reverb sound and it's got a similar
this kind of like in the room vibe on effect on both instruments so you get
both instruments together you can create this kind of like in the room vibe on
some very cool effects that it might be both instruments together you can create
kind of weird or any other way but it some very cool effects that it might be
can really sound like instruments in a kind of weird or any other way but it
room if you find the right patch all can really sound like instruments in a
right I'm gonna start uh hitting you room if you find the right patch all
with questions now all right cool let's right I'm gonna start uh hitting you
see where do I begin I'm looking for a
good first question cuz we got quite a see where do I begin I'm looking for a
few of them alright cadence audio and good first question cuz we got quite a
the reason I'm asking this is because few of them alright cadence audio and
sometimes we've heard that some people the reason I'm asking this is because
feel intimidated watching these because sometimes we've heard that some people
maybe they can't afford every single feel intimidated watching these because
fancy plug-in and you know they're not maybe they can't afford every single
making a living at this yet and fair fancy plug-in and you know they're not
enough making a living at this yet and fair
and we tell people you don't need all enough
that shit you can do it all with stock and we tell people you don't need all
plugins or most leave with stock plugins that shit you can do it all with stock
but so what do you think of using the plugins or most leave with stock plugins
stock logic plugins you could get a long but so what do you think of using the
way with them like the compressors they stock logic plugins you could get a long
have a great the EQ is you've probably way with them like the compressors they
seen me use a little bit on this I could have a great the EQ is you've probably
probably use it way more than I do I seen me use a little bit on this I could
will say things like I don't know I have probably use it way more than I do I
tried this I've tried substituting will say things like I don't know I have
certain things like tried this I've tried substituting
the tape machine plugins the the master certain things like
buss plugins that I used like especially the tape machine plugins the the master
the compressor and and a few others like buss plugins that I used like especially
there's just some which it's not even the compressor and and a few others like
just about whether stock plugins can there's just some which it's not even
recreate it's just that literally those just about whether stock plugins can
specific plugins do something very recreate it's just that literally those
special that's kind of a part of my specific plugins do something very
sound now so it's not that that stock special that's kind of a part of my
plugins are capable it's that even like sound now so it's not that that stock
the competitors plugins that are plugins are capable it's that even like
similarly expensive don't have that the competitors plugins that are
exact vibe so when I reach for certain similarly expensive don't have that
character plugins it's more that just exact vibe so when I reach for certain
that one does something really special character plugins it's more that just
now I could get pretty far with stock that one does something really special
plugins I could but I think you would now I could get pretty far with stock
find a certain lack of thickness like plugins I could but I think you would
the saturation plugins that I use find a certain lack of thickness like
specifically like the slate stuff like the saturation plugins that I use
the they're really subtle things like specifically like the slate stuff like
the EQ line drive section that I used a the they're really subtle things like
few times that leaving you the tape the EQ line drive section that I used a
machine assisting there on the master few times that leaving you the tape
buss what else have I used yeah like machine assisting there on the master
those those in general I find a very buss what else have I used yeah like
hard time to substitute even like for those those in general I find a very
example that the fabfilter saturn hard time to substitute even like for
plug-in which has all sorts of tape example that the fabfilter saturn
distortion modes and stuff like that plug-in which has all sorts of tape
doesn't have the same quality is the distortion modes and stuff like that
slate I'm not saying it's bad I'm not doesn't have the same quality is the
saying it's wrong but it definitely just slate I'm not saying it's bad I'm not
doesn't do that same thing it doesn't saying it's wrong but it definitely just
have that thickness it doesn't have that doesn't do that same thing it doesn't
warmth that I'm getting from those have that thickness it doesn't have that
plugins and without that I think you'll warmth that I'm getting from those
find my mixer sounded would sound waste plugins and without that I think you'll
by here but the transients would be all find my mixer sounded would sound waste
over the place and they probably by here but the transients would be all
wouldn't have the same kind of density over the place and they probably
to the low end the same kind of warmth wouldn't have the same kind of density
in there and that's that's kind of the to the low end the same kind of warmth
last few percent to me that really makes in there and that's that's kind of the
things sound listenable and that's the last few percent to me that really makes
kind of thing which I'm still trying to things sound listenable and that's the
get to grips with myself and there's kind of thing which I'm still trying to
certain people that I listen to and I'm get to grips with myself and there's
like how are they getting that thickness certain people that I listen to and I'm
without it being muddy how are they like how are they getting that thickness
getting that clarity and space without without it being muddy how are they
it sounding harsh and cold and I think getting that clarity and space without
it really comes down to a loss of their it sounding harsh and cold and I think
use of saturation or lack of saturation it really comes down to a loss of their
in certain certain areas but just use of saturation or lack of saturation
control over those factors so I'm in certain certain areas but just
deviating a long way from the question control over those factors so I'm
but essentially like logic logic deviating a long way from the question
certainly has amazing stock plugins that but essentially like logic logic
you certainly has amazing stock plugins that
get a long way with they have things you
which could replicate pretty much get a long way with they have things
everything that I've used they're pretty which could replicate pretty much
much not everything but but most of the everything that I've used they're pretty
stock tools I could possibly need are much not everything but but most of the
accounted for in the logic bundle but stock tools I could possibly need are
there's just the odd things here and accounted for in the logic bundle but
there that I feel like I can't get any there's just the odd things here and
way other than literally the specific there that I feel like I can't get any
volume that I'm choosing to use I agree way other than literally the specific
and I think most major DAWs are the same volume that I'm choosing to use I agree
Ezequiel of a teats I think that's how and I think most major DAWs are the same
you pronounce it and sorry if not do you Ezequiel of a teats I think that's how
ever check sometimes how your mixes you pronounce it and sorry if not do you
sounded ma no no no I don't really ever ever check sometimes how your mixes
do that to be honest sounded ma no no no I don't really ever
do i yeah I mean it seems to be a thing do that to be honest
that a lot of people like to talk about do i yeah I mean it seems to be a thing
and in theory I love the idea of it but that a lot of people like to talk about
it never really occurs to me when I'm and in theory I love the idea of it but
mixing and they just don't don't really it never really occurs to me when I'm
do it for me mixing and they just don't don't really
stereos whereas act like I want things do it for me
to be wide I want my cymbals to be wide stereos whereas act like I want things
I want my guitars to be wide I know some to be wide I want my cymbals to be wide
people are gonna mangle my mix by I want my guitars to be wide I know some
playing it in mono on some radio station people are gonna mangle my mix by
but really do I care that much no no I playing it in mono on some radio station
don't because most people aren't but really do I care that much no no I
listening there most people are don't because most people aren't
listening on YouTube or Spotify or listening there most people are
iTunes and rant as much as you want listening on YouTube or Spotify or
about the audio quality all those those iTunes and rant as much as you want
full months our at least in stereo so about the audio quality all those those
I'm not too worried about the mono full months our at least in stereo so
compatible it's not my mixer but I'm not too worried about the mono
Nicholas Alexander is asking what's the compatible it's not my mixer but
panning on the guitars 100% yeah I mixed Nicholas Alexander is asking what's the
I panned them all the way and then used panning on the guitars 100% yeah I mixed
the s1 imager and did my little like I panned them all the way and then used
left-right EQ difference trick as well the s1 imager and did my little like
to get them even wider so width is left-right EQ difference trick as well
definitely key there I don't I don't to get them even wider so width is
mess around with not panning things out definitely key there I don't I don't
so far the only things I didn't pan mess around with not panning things out
quite so far I think were the the drone so far the only things I didn't pan
guitars because I kind of wanted more of quite so far I think were the the drone
a cloud effect I didn't want to hear guitars because I kind of wanted more of
them two distinct across the stereo a cloud effect I didn't want to hear
spectrum but the the rhythm guitars are them two distinct across the stereo
always hard hard out of it to each side spectrum but the the rhythm guitars are
okay I'm not even gonna try to pronounce
this one everyone okay I'm gonna okay I'm not even gonna try to pronounce
interpret this everyone uses drum this one everyone okay I'm gonna
samples to reinforce real drums that interpret this everyone uses drum
said have you ever tried to use virtual samples to reinforce real drums that
guitars to reinforce your real guitars said have you ever tried to use virtual
by virtual I wonder if he means like
programs cuz there's like like music by virtual I wonder if he means like
labs real eight I guess no no I've never programs cuz there's like like music
messed with any of those software's to labs real eight I guess no no I've never
be honest I've never done that and I'm messed with any of those software's to
sure they're great like it seems like be honest I've never done that and I'm
they're getting pretty advanced and I sure they're great like it seems like
can imagine that in the mix like I mean they're getting pretty advanced and I
we're in I guess we kind of get a can imagine that in the mix like I mean
similar effect by reinforcing guitars we're in I guess we kind of get a
with the synths like there's mode sense similar effect by reinforcing guitars
that we have there's cool stuff you can with the synths like there's mode sense
do with them I don't think the lack of that we have there's cool stuff you can
realism if if they even do like realism do with them I don't think the lack of
would be a hindrance I'm sure it'd be realism if if they even do like realism
great and that makes as long as the would be a hindrance I'm sure it'd be
tuning matches up there'd be no issues great and that makes as long as the
I'd have no technical problem with doing tuning matches up there'd be no issues
that but no I've never done it I'd have no technical problem with doing
Nikolas Alexander's asking what loads of that but no I've never done it
questions yeah there are some guys that Nikolas Alexander's asking what loads of
have I think submitted like 25 questions questions yeah there are some guys that
what did the imager have less of an have I think submitted like 25 questions
effect on hardpan guitars no because an what did the imager have less of an
imager no it won't I mean no it will effect on hardpan guitars no because an
have a different effect yeah but like imager no it won't I mean no it will
we're obviously not removing any mid have a different effect yeah but like
information there but they're we're obviously not removing any mid
essentially flipping they're monetizing information there but they're
the signal and flipping the face and essentially flipping they're monetizing
putting it down the middle and that's the signal and flipping the face and
going to push that creates like this putting it down the middle and that's
phantom phase cancellation down the going to push that creates like this
middle which pushes things even further phantom phase cancellation down the
out to the side so no you will end up middle which pushes things even further
with a weird sound that will make you out to the side so no you will end up
feel a bit noisy as if you push it and with a weird sound that will make you
the other effect that sometimes happens feel a bit noisy as if you push it and
which I've heard other people talking the other effect that sometimes happens
about and I kind of agree with this like which I've heard other people talking
if you push it too far I find that with about and I kind of agree with this like
volume is really where you notice it if you push it too far I find that with
like add volume like you just can't seem volume is really where you notice it
to find a volume where the guitars have like add volume like you just can't seem
audible like it can be quiet and sound to find a volume where the guitars have
cool and as you push the volume like the audible like it can be quiet and sound
guitars just get kind of eaten up by cool and as you push the volume like the
everything and they kind of just sit at guitars just get kind of eaten up by
the back instead of being everything and they kind of just sit at
fronts oh yeah be careful with the the back instead of being
imaging there is something to be treated fronts oh yeah be careful with the
with with respect for sure be careful imaging there is something to be treated
the spiral sequence is asking thinking with with respect for sure be careful
back to when you first started mixing the spiral sequence is asking thinking
how long did it take for you to consider back to when you first started mixing
yourself a professional mixer not until how long did it take for you to consider
I was really doing things on a yourself a professional mixer not until
professional level to be honest I think I was really doing things on a
as I mentioned at the beginning like I professional level to be honest I think
definitely got thrown in at the deep end as I mentioned at the beginning like I
with the first few parties so I headed definitely got thrown in at the deep end
up on my own following like periphery 2 with the first few parties so I headed
and made a lot of mistakes and learn up on my own following like periphery 2
from them pretty quickly which is a good and made a lot of mistakes and learn
way to learn but I don't know I think from them pretty quickly which is a good
really to me I've only felt good about way to learn but I don't know I think
my work in a professional capacity where really to me I've only felt good about
I can hear it along people that I look my work in a professional capacity where
up to and not feel terrible about what I I can hear it along people that I look
do for probably about the last year and up to and not feel terrible about what I
a half like even like not since like do for probably about the last year and
juggernaut I wouldn't even lump in with a half like even like not since like
that like for me like they're kind of juggernaut I wouldn't even lump in with
yeah yeah like periphery 3 the Devon that like for me like they're kind of
album the other albums I've done I like yeah yeah like periphery 3 the Devon
the first albums right well actually album the other albums I've done I like
good tiger probably it's like the first the first albums right well actually
one where I'm looking back now and I'm good tiger probably it's like the first
like that's that's still a cool record one where I'm looking back now and I'm
it's not perfect but I can I can accept like that's that's still a cool record
it for what it is Dave is asking nolle it's not perfect but I can I can accept
can you explain sidechain again it for what it is Dave is asking nolle
especially with compressors and some of can you explain sidechain again
the negative effects of not especially with compressors and some of
understanding the negative effects of not
side-chaining I guess what's some of the understanding
negative effects of not understanding side-chaining I guess what's some of the
sidechain can cause in a mix yeah so if negative effects of not understanding
I hope you're around for my my sidechain can cause in a mix yeah so if
explanation involving a guy with a hand I hope you're around for my my
on a fader it sounds like he's saying he explanation involving a guy with a hand
heard it and just needs further yeah I on a fader it sounds like he's saying he
think so too heard it and just needs further yeah I
further explanations so yeah our guy has think so too
his finger on a fader and we're showing further explanations so yeah our guy has
him information from an audio track that his finger on a fader and we're showing
he's supposed to react it so let's say him information from an audio track that
he's acting as a compressor and when he's supposed to react it so let's say
something goes above the threshold he's he's acting as a compressor and when
gonna pull down the fader so we're something goes above the threshold he's
showing him a track and this track is a gonna pull down the fader so we're
kick drum track so every time the kick showing him a track and this track is a
drum hits he's bringing down the fader kick drum track so every time the kick
because the kick drum is triggering his drum hits he's bringing down the fader
threshold because the kick drum is triggering his
that is the side chain so the side chain
is what he is seeing as a compressor the that is the side chain so the side chain
side chain is like actually the input is what he is seeing as a compressor the
that the compressor is viewing but the side chain is like actually the input
output of the compressor like what his that the compressor is viewing but the
fader is attached to is not actually a output of the compressor like what his
kick drum at all it's a guitar track now fader is attached to is not actually a
the compressor doesn't know what is kick drum at all it's a guitar track now
affecting it just simply thinks it's the compressor doesn't know what is
just reacting to the kick drum so every affecting it just simply thinks it's
time the kick drum hits is pulling down just reacting to the kick drum so every
the volume time the kick drum hits is pulling down
but that volume change is actually not the volume
being applied to the kick drum it's but that volume change is actually not
being applied instead to this guitar being applied to the kick drum it's
track so the kick drum is being used as being applied instead to this guitar
the key to the sidechain of the track so the kick drum is being used as
compressor and the compressor is the key to the sidechain of the
therefore lowering the volume on the compressor and the compressor is
guitars every time the kick is hitting I therefore lowering the volume on the
hope that makes sense I think I'm just guitars every time the kick is hitting I
kind of repeating myself there really hope that makes sense I think I'm just
but I feel like that's fairly fairly kind of repeating myself there really
clear isn't it I think so too but I feel like that's fairly fairly
so you can use this for so many clear isn't it I think so too
different things it doesn't just have to so you can use this for so many
be compressors it can be it can be like different things it doesn't just have to
a noise gate like for example on my kick be compressors it can be it can be like
drum I chose to use the kick sample is a noise gate like for example on my kick
the key input to my noise gate on the drum I chose to use the kick sample is
whole kick bus the reason for is that the key input to my noise gate on the
kick sample has a zero bleed on it it's whole kick bus the reason for is that
just kick sample there's no snare kick sample has a zero bleed on it it's
through there which is really the thing just kick sample there's no snare
that I'm trying to eliminate and the way through there which is really the thing
that works is that the gate is only that I'm trying to eliminate and the way
seeing the kick sample but the effect is that works is that the gate is only
having is gating the whole group so it's seeing the kick sample but the effect is
never going to be thrown off by that having is gating the whole group so it's
snare coming through in there because never going to be thrown off by that
the snares pretty loud and the the to snare coming through in there because
kick in mics it might be difficult to the snares pretty loud and the the to
find a threshold where the soft kicks kick in mics it might be difficult to
come through but the occasional snare find a threshold where the soft kicks
doesn't also come through so using the come through but the occasional snare
kick sample track allowed me to doesn't also come through so using the
completely eliminate any issue there so kick sample track allowed me to
the kick sample is the P input on the completely eliminate any issue there so
sidechain of the the gate in that case the kick sample is the P input on the
but the gate is actually affecting the sidechain of the the gate in that case
whole kick group side chains are called but the gate is actually affecting the
that because essentially within the whole kick group side chains are called
compressor it's it's got like another that because essentially within the
chain of audio which it's not passing compressor it's it's got like another
through to its output typically side chain of audio which it's not passing
chains or originally I think we're just through to its output typically side
simply internal to the compressor so you chains or originally I think we're just
might choose to have a compressor that simply internal to the compressor so you
reacts more to mid-range let's say might choose to have a compressor that
so that it reacts more to vocal Tambor reacts more to mid-range let's say
changes than one that than just the so that it reacts more to vocal Tambor
simply flat EQ so the the compressor is changes than one that than just the
seeing like a mid boost being applied to simply flat EQ so the the compressor is
the track this track is sounding way seeing like a mid boost being applied to
more mid-range e to the compressor than the track this track is sounding way
the real track is so the compressor is more mid-range e to the compressor than
kind of splitting off the vocal it's the real track is so the compressor is
applying a mid booster and then feeding kind of splitting off the vocal it's
that to the input of the of the applying a mid booster and then feeding
compressor and therefore the compressor that to the input of the of the
is acting as though it was hearing a compressor and therefore the compressor
it's acting on the the unmet busted is acting as though it was hearing a
vocal but it's applying all the settings it's acting on the the unmet busted
or all of the movement that it would vocal but it's applying all the settings
have from the mid boosted vocal sorry or all of the movement that it would
that got a bit convoluted there but have from the mid boosted vocal sorry
hopefully you can still follow what I'm that got a bit convoluted there but
saying oh good yeah so yeah side hopefully you can still follow what I'm
chaining very cool very cool stuff you saying oh good yeah so yeah side
can do you know really crazy stuff with chaining very cool very cool stuff you
it you could use like a you could side can do you know really crazy stuff with
train for example just you could use it you could use like a you could side
like a delay like a repeating quarter train for example just you could use
note delay to sidechain from some other like a delay like a repeating quarter
element of your mix you could use the note delay to sidechain from some other
click track to sidechain to something element of your mix you could use the
you could you know so that you can duck click track to sidechain to something
something every time the click hits but you could you know so that you can duck
the click isn't actually being broadcast something every time the click hits but
to the output you can do some very cool the click isn't actually being broadcast
stuff there it's a it's a fun world for to the output you can do some very cool
sure and and and yeah definitely worth stuff there it's a it's a fun world for
experimenting with the cool thing with sure and and and yeah definitely worth
logic is side-chaining is very easy like experimenting with the cool thing with
if I take my I don't know something logic is side-chaining is very easy like
which has a side tune on it like pro-mb if I take my I don't know something
you simply choose up here any of the which has a side tune on it like pro-mb
audio tracks any of the inputs and any you simply choose up here any of the
of the of the busses that you have and audio tracks any of the inputs and any
that then automatically becomes routed of the of the busses that you have and
to the side chain of that and then for that then automatically becomes routed
example in this I just simply switch to the side chain of that and then for
that to external side chain and that example in this I just simply switch
would now be acting I would now be that to external side chain and that
listening to what's coming through the would now be acting I would now be
sidechain not all those have it quite as listening to what's coming through the
easy as them but I do like logic for sidechain not all those have it quite as
that reason slick or akicha easy as them but I do like logic for
is asking and gnarly can you please give that reason slick or akicha
some tips on how to separate lead is asking and gnarly can you please give
guitars and rhythm guitars and it makes some tips on how to separate lead
use different guitars maybe never what I
think really for the me the key is like use different guitars maybe never what I
is just simply volume like level think really for the me the key is like
really is the key leveling and by that I is just simply volume like level
mean maybe you have to make your lead really is the key leveling and by that I
guitar pretty loud on top of your rhythm mean maybe you have to make your lead
guitars in order for it to cut through guitar pretty loud on top of your rhythm
but then you dock the volume of both guitars in order for it to cut through
like you do some automation through to but then you dock the volume of both
tuck that back so the mix isn't suddenly like you do some automation through to
overloaded with guitars don't be afraid tuck that back so the mix isn't suddenly
to make things quieter when I'm overloaded with guitars don't be afraid
generally mixing and I'm doing a lot of to make things quieter when I'm
automation which often happens on some generally mixing and I'm doing a lot of
of the busier projects that I mix as automation which often happens on some
with the levels earlier that the snare of the busier projects that I mix as
is generally my my lighthouse that I with the levels earlier that the snare
keep a track of and as soon as I feel is generally my my lighthouse that I
like that snare is losing its ability to keep a track of and as soon as I feel
cut through the mix I start bringing like that snare is losing its ability to
things down in volume and it's more cut through the mix I start bringing
layers come in I start to look at what things down in volume and it's more
can come down in volume to accommodate layers come in I start to look at what
those so that the relative levels of can come down in volume to accommodate
what everything is correct but it's those so that the relative levels of
never swamp in the mix and something the what everything is correct but it's
drums because ultimately as soon as you never swamp in the mix and something the
start to get this thing where all the drums because ultimately as soon as you
layers are overpowering the drums you've start to get this thing where all the
actually lost like the overpowering the layers are overpowering the drums you've
mix is never known you're gonna sound actually lost like the overpowering the
powerful it's just gonna sound swamped mix is never known you're gonna sound
so for me I always use my drums and powerful it's just gonna sound swamped
particularly my snares as that that so for me I always use my drums and
lighthouse in the mix I always keep my a particularly my snares as that that
reference point with that okay ryan gunk lighthouse in the mix I always keep my a
is asking do you remember which reference point with that okay ryan gunk
particular zen Hauser library that sub is asking do you remember which
drop is from I think it was called boom particular zen Hauser library that sub
blast effects FX yeah check it out I'm drop is from I think it was called boom
not gonna tell you which number that blast effects FX yeah check it out I'm
well no yeah I think it's like number 37 not gonna tell you which number that
in the long kit as you can tell I've well no yeah I think it's like number 37
used it alone yeah if you find that one in the long kit as you can tell I've
that's the one right there you can used it alone yeah if you find that one
you've got the track so you'll be able that's the one right there you can
to hear just by comparing what you have you've got the track so you'll be able
in the sub track first for this song to hear just by comparing what you have
with that this is where is it in the sub track first for this song
ridiculously cold in here right now I with that this is where is it
think it's you but I didn't get the ridiculously cold in here right now I
temperature raised OB amazing we've got think it's you but I didn't get the
it like we've got a covering we've got a temperature raised OB amazing we've got
hero and his name is Nick and he's going it like we've got a covering we've got a
to definitely some call that hang out hero and his name is Nick and he's going
I'm gonna I don't know how you have a I to definitely some call that hang out
don't know I have my upper like I told I'm gonna I don't know how you have a I
you my apartment set at 63 crazy person don't know I have my upper like I told
um I just realized I don't even need to you my apartment set at 63 crazy person
have these on anymore um I just realized I don't even need to
yeah yeah fuck him dude who cares yeah I have these on anymore
I like things frigid but it's not 63 yeah yeah fuck him dude who cares yeah I
right now I like things frigid but it's not 63
all right so Josh Holland is asking what right now
drum leveler work with a similar bass in all right so Josh Holland is asking what
a similar way to how you used vocal drum leveler work with a similar bass in
rider yeah kind of yeah I think you a similar way to how you used vocal
could say that it's it's a similar idea rider yeah kind of yeah I think you
it's like an it's an automated volume could say that it's it's a similar idea
control but rather than being a it's like an it's an automated volume
compressor which is also going to affect control but rather than being a
the envelope of the sound it's like a compressor which is also going to affect
it's like a clip gain control the envelope of the sound it's like a
essentially that just continuously it's like a clip gain control
varies the gain to make sure that all essentially that just continuously
the hits are level it's a very cool very varies the gain to make sure that all
cool plugin actually you should you the hits are level it's a very cool very
should definitely check it out it's cool plugin actually you should you
worth the price of admission it can be should definitely check it out it's
very cool on snare too like if you do it worth the price of admission it can be
in front of the compressor for example very cool on snare too like if you do it
you can assure that the compressor gets in front of the compressor for example
a a very similar amount of gain you can assure that the compressor gets
reduction on every hit which is great a a very similar amount of gain
for making your snare sound really reduction on every hit which is great
consistent even when maybe there's for making your snare sound really
differences in tombow between the hits consistent even when maybe there's
because maybe some are softer than differences in tombow between the hits
others you still get the same amount of because maybe some are softer than
pop I mean compressor on all of them others you still get the same amount of
that can be very cool just have to be pop I mean compressor on all of them
careful with setting the threshold that can be very cool just have to be
because if you're not careful then maybe careful with setting the threshold
there's like a I don't know if there's because if you're not careful then maybe
like a a rise in volume on the snare there's like a I don't know if there's
like a marching snare kind of stuff in like a a rise in volume on the snare
your song you might find you might find like a marching snare kind of stuff in
it just kind of jumps up after a certain your song you might find you might find
volume so you might have to do some it just kind of jumps up after a certain
automation there to adjust the amount of volume so you might have to do some
the amount of leveling that it's automation there to adjust the amount of
actually doing and don't be afraid to the amount of leveling that it's
get get involved with with leveling on actually doing and don't be afraid to
that's sorry it with automation with get get involved with with leveling on
things like that even though they're that's sorry it with automation with
supposed to do things automatically they things like that even though they're
still need a bit of guidance from time supposed to do things automatically they
to time just like with the the vocal still need a bit of guidance from time
rider thing which I did okay we've got to time just like with the the vocal
about 12 minutes until cut off lots of rider thing which I did okay we've got
people are wondering if could just play about 12 minutes until cut off lots of
the mix from all the way through once people are wondering if could just play
and then and then once that's done we'll the mix from all the way through once
uh ants will do whatever questions we and then and then once that's done we'll
can uh ants will do whatever questions we
cool I mean I really didn't finalize can
some of these aspects but yeah let's see cool I mean I really didn't finalize
what we had just to let him hear it some of these aspects but yeah let's see
[Music] what we had just to let him hear it
[Music]
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[Music]
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[Applause]
[Music]
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[Applause]
[Music] [Applause]
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cool sounds great
what's that the fly moves as we go there
but yeah it's not bad I'm actually kind what's that the fly moves as we go there
of pleased with how that came together but yeah it's not bad I'm actually kind
to be honest yeah definitely had a of pleased with how that came together
couple of kind of experimental moments to be honest yeah definitely had a
during mixing and thank you for bearing couple of kind of experimental moments
with me and kind of witnessing me figure during mixing and thank you for bearing
stuff out as I go but it's kind of fun with me and kind of witnessing me figure
to do that and yeah I think I think stuff out as I go but it's kind of fun
everyone enjoyed it so how about a to do that and yeah I think I think
rapid-fire round of questions cope just everyone enjoyed it so how about a
the quickest answers you can give I'll rapid-fire round of questions cope just
shoot these out let's see how many we the quickest answers you can give I'll
can get done in the next six minutes all shoot these out let's see how many we
right so uh Rodney is asking top-down can get done in the next six minutes all
mixing what recommendations on different right so uh Rodney is asking top-down
compressors do you have for the master mixing what recommendations on different
buss I would only recommend for the way compressors do you have for the master
that I work an SSL style buss compressor buss I would only recommend for the way
if you're gonna do that I highly that I work an SSL style buss compressor
recommend you use one that has a if you're gonna do that I highly
sidechain input so that you couldn't recommend you use one that has a
prevent it from pumping everything on sidechain input so that you couldn't
the kick so for me that's pretty much prevent it from pumping everything on
that's the one I wouldn't use anything the kick so for me that's pretty much
else at this point all right max that's the one I wouldn't use anything
Stratman asking how do you handle mix else at this point all right max
revisions and recalls with your style of Stratman asking how do you handle mix
printing and removing from the session revisions and recalls with your style of
um well I mean like I don't really my printing and removing from the session
defense like something really really um well I mean like I don't really my
critical I probably would make sure that defense like something really really
I got of backed up version saved or like critical I probably would make sure that
for example here I've kept those bass I got of backed up version saved or like
tracks just kind of in there but bit for example here I've kept those bass
muted and deactivated not actually tracks just kind of in there but bit
deleting no but for example like the muted and deactivated not actually
effects on the vocals I'm not deleting no but for example like the
particularly attached to them they're effects on the vocals I'm not
fun and they're cool but if someone was particularly attached to them they're
like I don't like that effect I wouldn't fun and they're cool but if someone was
be like I wouldn't care I could just I like I don't like that effect I wouldn't
could like do for the first things be like I wouldn't care I could just I
alright just create a completely new could like do for the first things
thing from scratch it's very rare for me alright just create a completely new
to really have issues with that stuff to thing from scratch it's very rare for me
be honest fair enough to really have issues with that stuff to
Nick the hero pilota is asking any be honest fair enough
specific reasons for not using location Nick the hero pilota is asking any
markers in your session for some specific reasons for not using location
sections I found them to be really markers in your session for some
helpful especially how Logic Pro X sections I found them to be really
handles them yeah you know what that helpful especially how Logic Pro X
would be a really good way of me handles them yeah you know what that
improving what I do see he is a hero would be a really good way of me
yeah I mean don't Miran there's plenty improving what I do see he is a hero
of yeah I mean don't Miran there's plenty
things about my workload that can be of
improved I just tend to yeah I don't things about my workload that can be
know like just tend to roll with what I improved I just tend to yeah I don't
have I tend to find Marcus to be a know like just tend to roll with what I
little bit annoying but for me I think have I tend to find Marcus to be a
ya know you're totally right I don't little bit annoying but for me I think
have a comeback I should do it and ya know you're totally right I don't
Andrew Brown if you had to choose a have a comeback I should do it and
specific plug-in pack for someone with a Andrew Brown if you had to choose a
limited budget which one would it be the specific plug-in pack for someone with a
slate virtual mix the late bundle it's limited budget which one would it be the
only $15 a month now you get access to slate virtual mix the late bundle it's
every slate plug-in and some third-party only $15 a month now you get access to
ones that we made available and there's every slate plug-in and some third-party
lots of cool stuff coming there between ones that we made available and there's
that and stock plugins I can I can do it lots of cool stuff coming there between
makes for sure okay Kevin what are your that and stock plugins I can I can do it
two desert island plugins sorry all makes for sure okay Kevin what are your
right here's another one oh no I mean two desert island plugins sorry all
like I mean what can I guess an EQ and
compress or I guess like fabfilter pro-q like I mean what can I guess an EQ and
2 + fabfilter percy - but you could compress or I guess like fabfilter pro-q
probably do everything from limiting - 2 + fabfilter percy - but you could
yeah I guess I could probably get away probably do everything from limiting -
with that I don't know Conville sound yeah I guess I could probably get away
did you use some hardware comp EQ or do with that I don't know Conville sound
you do mix everything in the box for the did you use some hardware comp EQ or do
last periphery album totally in the box you do mix everything in the box for the
done on this laptop with this I look last periphery album totally in the box
exactly as if just doing now ok coltan done on this laptop with this I look
hunter when you send a track for exactly as if just doing now ok coltan
mastering do you keep things on your hunter when you send a track for
master track mastering do you keep things on your
I hear mastering engineers like a master track
certain amount of headroom but what in a I hear mastering engineers like a
limiter kill all that yeah so I take off certain amount of headroom but what in a
the limiter which is the only thing I do limiter kill all that yeah so I take off
and we could see the limiter which is the only thing I do
yeah it's got some Pete's going up a bit
it's never gonna clip I guess they're yeah it's got some Pete's going up a bit
going out to like minus three I don't it's never gonna clip I guess they're
see why they need like if they need to going out to like minus three I don't
turn it down they can turn it down at see why they need like if they need to
that point as long as it's not flipping turn it down they can turn it down at
I've never had an issue and I've had that point as long as it's not flipping
master sent to everyone from Sterling I've never had an issue and I've had
Sound I mean whatever and the way I do master sent to everyone from Sterling
it always works a lot of the times if Sound I mean whatever and the way I do
I'm working with a new engineer I ask it always works a lot of the times if
them if they'd prefer me to bypass my I'm working with a new engineer I ask
mic's question anything else I'm doing them if they'd prefer me to bypass my
and sometimes I'll send them like a dry mic's question anything else I'm doing
version and a version which has my EQ and sometimes I'll send them like a dry
and compression on it and I've never had version and a version which has my EQ
an engineer come back and actually and compression on it and I've never had
they've used my the drivers and they're an engineer come back and actually
always like yeah what you sent was they've used my the drivers and they're
totally cool and it makes kind of fell always like yeah what you sent was
apart without it anyway so I just worked totally cool and it makes kind of fell
with that happy Josef's asking when apart without it anyway so I just worked
mixing on your laptop to use an external with that happy Josef's asking when
headphone amp or use the headphone jack mixing on your laptop to use an external
I use this guy right here i plug in my headphone amp or use the headphone jack
mini jack into the side of my laptop and I use this guy right here i plug in my
I go yeah yeah I mean why not let's see mini jack into the side of my laptop and
here I go yeah yeah I mean why not let's see
John more wood boosting the sides on ms
mode will only introduce phase issues I John more wood boosting the sides on ms
mean I guess probably if you
manufactured a signal that was designed mean I guess probably if you
to have phase inconsistencies when you manufactured a signal that was designed
do that you couldn't make it work but no to have phase inconsistencies when you
that's typically not how it works do that you couldn't make it work but no
Charlie Monroe have you had a that's typically not how it works
traditional guitar salon this song would Charlie Monroe have you had a
you likely process it on the same bus traditional guitar salon this song would
the way you are with the other leads no you likely process it on the same bus
I'd probably have that one his own and the way you are with the other leads no
he's a really cool shake vocal rider on I'd probably have that one his own and
guitar so and oh shit that's a good idea he's a really cool shake vocal rider on
that's a really good one trust me I do guitar so and oh shit that's a good idea
that a bunch it's it's amazing lights that's a really good one trust me I do
and automation there and yeah that's a that a bunch it's it's amazing lights
really cool trick he's done that's a and automation there and yeah that's a
freebie final question from Diego who's really cool trick he's done that's a
asking what's a signal chain for the freebie final question from Diego who's
guitar and the axe effects is it just asking what's a signal chain for the
drive amp and cab or do you equ it in guitar and the axe effects is it just
the fractal unit as well so there was drive amp and cab or do you equ it in
literally it was parametric EQ which I the fractal unit as well so there was
use just to cut a little bit of lows literally it was parametric EQ which I
then amp then cab no Drive use just to cut a little bit of lows
so it was that just that and then then amp then cab no Drive
everything else was in the box so it was that just that and then
boom well thank you dude everything else was in the box
No thank you man it's been a pleasure boom well thank you dude
thank you everyone for watching I hope No thank you man it's been a pleasure
it's been enjoyable it's actually been thank you everyone for watching I hope
really good fun for me too yeah another it's been enjoyable it's actually been
challenge and yeah I'm kind of happy really good fun for me too yeah another
with how that mix came out I don't know challenge and yeah I'm kind of happy
if I prefer it to the album necessarily with how that mix came out I don't know
but it's cool I think you guys have seen if I prefer it to the album necessarily
a good snapshot of what I do and even but it's cool I think you guys have seen
though I've done plenty of stuff a good snapshot of what I do and even
differently to the album like it's all though I've done plenty of stuff
very much me and how I approach things differently to the album like it's all
so I think it was a great session and very much me and how I approach things
thank you so I think it was a great session and
and from Joe and Joe they also say thank thank you
you they told me they told me to say and from Joe and Joe they also say thank
hello and that they love you and thank you they told me they told me to say
you for coming on and thank all of you hello and that they love you and thank
for sticking around those of you who you for coming on and thank all of you
have been around since 2:00 p.m. our for sticking around those of you who
time you guys are troopers and does it have been around since 2:00 p.m. our
now it's 10:00 yeah guys guys were time you guys are troopers and does it
kicked out so uh thank you guys this is now it's 10:00 yeah guys guys were
gonna wrap up September 2016 kicked out so uh thank you guys this is
Nelda mixed with mr. nollie periphery gonna wrap up September 2016
thank you and congrats to our prize Nelda mixed with mr. nollie periphery
winners thank you very much to FX Road thank you and congrats to our prize
for sponsoring this and just being an winners thank you very much to FX Road
amazing company that is just amazing and for sponsoring this and just being an
great sponsor and thank you guys I can't amazing company that is just amazing and
say thank you enough so uh have a great great sponsor and thank you guys I can't
night guys say thank you enough so uh have a great
take it easy night guys
you