Audio Workshop - Building a Great Worship Mix

yeah cool so this next spot I just wanted to spend a little bit actually like take hearing the effects of every thing we've just been talking about will be from annex 32 but yeah now hopefully logic decides to play friendly but so we have basically what I've got here is some tracks from a show we did about two years ago and it's pretty much your standard Church set up it's you know drums full drum kit bass guitar acoustic guitar electric guitar keys and one male one female vocal so pretty pretty simplistic setup and figure we can just go through on one channel time and kind of talk through what I'm doing well here everything just as is first and then we'll go and we can a be it mixed and raw so we've got a song which yeah I think copyright on let's find this is not my song this is not me singing this is North Point skip logic a second to warm up here and yes alright cool so basically these are coming in just like they were playing live so I'm gonna go ahead and just bring everything up basically we've got a kick in mic a kick out mic snare top and bottom to Tom's overheads so start with just those and I'm just going to go ahead and just bring everything up as is no EQ or compression or anything okay so this is just the drums okay bring in bass and I'm just going to kind of set everything at the same level so we can just kind of hear everything before we start mixing it we've got nor it is basically piano and got a synth channel I'm gonna den here got some tracks on this second layer hopefully for y'all on the livestream you guys still able to hear my mic okay cool tracks and then leave vocals out right now so this is kind of you can hear everything but obviously it needs some work stuff and stepping on top of each other all that so I'm going to set this to loop really quick we're gonna go through one input at a time and Mystikal let me pull all this back yeah cool yeah definitely okay sweet cool so let's go through we'll start with kik and Mike typically when you've got two mics on a kick usually in Mike gets closer to the beater so you kind of use that for your attack and then the one on the outside usually has a little bit more low into it because it's had time for the wave to develop and get out of the drum I'm so real quick we'll just listen this is just the in Mike with a yeah no EQ or compression or anything on it okay I'm going to flip to the the Mike that's outside the outside the drama to the beta 52 here's a little bit lower it's not as much attack it's the one inside okay so you can hear the difference so you kind of want to highlight what's already naturally there so I put them up together you kind of get a nice but we can clean it up um so what I'm going to do yeah you should be able to see this here on the screen so for the attack I'm gonna start with my high-pass filter which is not gonna go that high if you look right this one is variable so it lets me pick a frequency to set it at my analog console normally with disappea you know straight at 100 Hertz which is usually about where I start so we do that because it's because it's a kick in Mike and I'm just using this for attack I'm not really looking to get the low end out of it so I'm gonna go ahead and bring this up I'm probably almost to about 200 Hertz because I really I want the low end from the other mic not from this mic I'm so I'm going to take this and I'm getting a lot of cymbal and stuff in there what will get and of course he stops right there or turn the EQ this looks here yeah here we go that's a little better and kind of one of the good ways to kind of hear what you know you want to listen and find out okay what is it the standing outlet I kind of don't why and get rid of that real quick know when it comes to EQ always better to cut and then boost if you think best analogy I've heard it's like a statue you don't start with a lump of wood and start gluing on other lumps of wood until you have what you want you carve away what you don't need and what you're left with is the final product it's good and again when you're when you're boosting EQ you're essentially adding things that aren't naturally their wares when you're cutting you know it's a little more natural sounding see if you were going to room if I were to put something brand-new in this room it would stick out a lot quicker than if I took one thing out and you're okay wait home and figure out what's missing you know it's a lot more natural it's so you want to look and of course there's exceptions to every rule drums are probably the biggest exception drums you just make them sound good but you start it's a good starting point so listen to this and I think for me I hear there's still a little bit of like a woody kind of tone a little like something this little boxy that I don't quite like so I want to invest in you you can boost a little bit and then kind of use your your center frequency control to sweep through until you hear what I see that's that's kind of got a weird that 500 Hertz right there it's kind of like a cardboard about it okay so that's the food so I might come now that I know where it's at take it out a little bit listen how much the attack cleaned up a little bit so here's with it without it so just kind of cleans it up this a little bit okay and then Mike you control I can control how wide that cut is or how narrow okay so that right there gives me a really nice clean attack I like that okay and right here I'm really not adding anything I just all I did cut out that 500 Hertz and we've got that okay so let's start there so now I'm gonna move on to my second Mike okay which is a low one now I want to kind of do the opposite with this one so I'm gonna go ahead and flip over here this already has a lot of low in content so I'm kind of gonna do the opposite of what I do with the other one I might still cut out a little bit of the low end like the super super low end that I don't necessarily need um but on this one I'm gonna go ahead I'm gonna take my high shelving EQ and pull out a bit of that so it's kind of darker now I'm here on the low end there's something that's kind of tubby sounding in my opinion so again I'm gonna pick a band and I'm gonna boost I mean actually that's pretty close that's sitting right about 115 Hertz I'll find it yeah they're like hundred Hertz just kind of kind of so if I pull a little bit of that out cleans it up but now I'm kind of missing a lot of low-end too so I might narrow that queue and again we've reached the end of the loop so I might go really narrow cuz it's really not a lot of frequencies around that that I don't like it's just kind of that one that's a little better I'm gonna back off a little bit more low-end in there let's see and then there's something over here in the middle range to like right around here it's kind of almost its head noise but it's a little like clunky right there so I might pull that out just a little bit and now I'm sitting pretty good now I just want some funk so I might actually take a band down here and usually for kick drum the kind of punch is right in between 60 and 80 Hertz so if I take this make it kind of narrow and I'm gonna go loose a little bit you start to feel that like so you get so you don't want to go overboard with it but a nice round kind of wide band okay cool so now there's that and now let's bring them both up together now I got a nice punchy kick drum it's a nice low into it to hear that cool now again this is yeah so here's so here's switching back and forth here's just the end there's just the out this together okay yeah and then I'll take I will take out the EQ on both of them so now here's back on here the difference so it kind of just cleans up it didn't sound bad before but now it sounds great cool and that's just EQ haven't touched compression I think so that's my kick drum now this is actually a really good point to illustrate gates as well you hear right now literally all I have turned up is the kick drum mic but I'm hearing the entire drum set so this is where setting a gate which I'll go ahead and click over the gate here so you guys on the stream can see so basically what I'm gonna do now will start with just in the kick in mic I'm going to turn this gate on and I'm gonna set the vertical line there is my threshold um so basically what I want to do I want to find um what you guys hear in the room if you look here this blue little dot kind of shows me where the signal levels at if you guys on the stream you can see the meter there um so I kind of want to move my threshold to where all the other noise is kind of getting cut out to where now all I've got is that I'm get a little bit of symbol in there so maybe I want to tighten up the release a little bit on this uh let's see so actually I'm still hearing something else somewhere oh that's why I hold on messing with the wrong channel there we go that sounds more like it okay so now all literally all I'm getting so there's with the gate on here's about it and it really I will tell you if if you don't have a super consistent drummer gates can be really difficult to work with because obviously if they're pounding it one song and the next song they barely hitting your gate threshold is going to be changing it's almost not worth the hassle but if you've got a nice you know consistent drummer um gates can really really clean up your sound so that's pretty tight on that so let's do the same thing on the other one which of course now alright so now on the low one start with none and usually what I do when I'm setting a gate you know start like this where it's open I'll just start bringing up the threshold until I hear it working see this one I'm still getting some symbol in there so I might want to quicken up the release make it close a little faster but the other thing you want to be careful is you don't cut off the attack that you don't get rid of that initial hit you still kind of yeah you still want the the punch of it like technically it'll be you know because of physics and stuff it'll be slightly afterwards once that low-end develops but you don't want to be cutting off any part of the sound you want to let the kick-drum and its entirety come through so I kind of find you hear that gate sound was kind of flickering trying to decide if it should be open you go right above that usually you're pretty good so now we've got there we go and I might even honestly for me I like a lot of low ends I think I'm going to go ahead and boost a little bit more low end in this kick drum I will see how it fits then I bring them both back in and now it's super tight really punchy as opposed to you've got toms and all kind of other stuff in there now gain it up and now it's just that cool I'm sweet so there's kick drum and then I start bringing a little bit snare I really quick let's say be the top and bottom so this is the snare top mic completely unprocessed okay and here's the snare bottom okay so that's a lot of the snares that's kind of the sizzle to crack so the two together both them together okay now it's granted bottom snare mic you usually layer in pretty conservatively but yeah so with this you know I kind of you I typically when I mix I start like and get a good sound out of that person again my I'm a high pass filter let me jump back over and I'm gonna start with a high-pass filter at a hundred Hertz and you might not necessarily be able to hear a lot of up try to AV it here there's with it on without it it's very subtle but after you know thirty two channels of having all that below one hundred Hertz in it it gets muddy fast which nothing's hitting it let's try to listen here very very subtle but even just the fact anything else there could be rumblings from us in the room it kicked Roma subwoofers that are getting picked up um that you just don't need so better just I don't even have to think about it let's head it right about there and again I'll listen to the snare drum and to see what I don't like and get rid of what I don't like so I will say is kind of a trick five hundred Hertz getting rid of that on the snare usually cleans up a whole lot and usually a lot of a pop the stick noise sits right around 3k so if I go even just a slight like 3 DB boost there you hear that hear that so just kind of make the pop yeah exactly and again every snares different snares joke is you know every engineer studs by their snare sound so it's you know it's it's it takes some work and every snares gonna be different but another kind of key usually right around either one or two hundred Hertz is gonna be kind of the body of your snare the really deep kind of punch like a lot of the newer vessel stuff have deep snare sound and half of that is from the tuning in the actual drum itself but the other half is the way it's mixed and kind of accentuating that if you listen this is right around here just kind of that deep kind of punch to it giving it throw some high-end sizzle and now you've got this kind of punchy snare out of it which some snares might say I'm good something might not so we'll get back to where we were we'll stick right around there for now and the cool thing instead of boosting the high end on this I can now layer this bottom snare mic in there a little bit so there's without our there's with the bottom snare without it it just adds that nice little crunch I mean all honestly I'm really gonna do to this bottom snare mic is I'm gonna high-pass it up all the way up at about 400 which so on its own it's gonna sound like this and again because that's really all I'm looking to get out of it I don't need anything else from it so I've got it all on the stop snare right okay now I'm gonna do the same thing I'm going to go ahead and gate the snare because we got the luxury of this being assistant drummer i gate it and it'll be pretty effective so I'm gonna come to the top and same thing I'm gonna see you don't think go for y'all stream there you go so I'm gonna bring the threshold up until I'm catching nothing but the snare okay that's a little too tight I'm kind of losing you know you've got the attack to the adsr of the envelope and getting the attack but everything else is getting cut off so I'm going to lower the threshold and wait for this to loop back there we go okay I want to make sure I'm getting the beginning it's good see now this is an example where those a hold and they're released I'm on it I want to increase the whole time to match the envelope of the snare so I'm gonna make it last a little longer when it's open so you kind of hear that that's a bit long so I could short up the release time but now I'm getting you know the entire tone of the snare in fact I could probably loosen that thrust a little bit more clean as opposed to okay cool so I'm going to do the same thing on the bottom snare hop over here the same thing as you can turn my gate on and bring in fresh hold up until it's all I'm getting that's perfect and then bring this top one back in bring our kick drum back in I'm still getting a little bit of symbol to the snare but that's okay once I bring in the actual cymbals it's negligible anyways yeah see right there we've got a pretty solid drum sound as is now the snare jump right you know my opinion add a little bit more meat to it so that would I would come back down to that a kind of 200 Hertz area and give a little bit of a boost there again you want to be kind of you know gracious with boosting just because you start to add stuff that's not there what's even that right there cool and I hear so good let me kind of loop this tom section and see if we can get some good Tom sounds going here so keep this going so I'm going to kill everything else real quick and I'm gonna start with Tom one okay cool you might be able to get some good visuals of like EQ and stuff on you okay cool see you so again my Tom high-pass filter up to especially on a high Tom about 100 Hertz okay now I'm gonna listen this tom sounds pretty good on its own so it's a little bit of that a little bit of that cardboard eNOS but I think is sitting right here around 400 just a little bit of that it's a little flat so I'm like just pull that out a little bit now all of a sudden it's punchy literally that's 5 DB you've cut right there wait for it to come back here all right so we've got so here's without it just with that one cut I'm gonna stick noises a little much which is sitting around forecast yeah that they're kind of weird sticking away it's not natural signal ish I might pull just a little bit of that out not much though cuz you still want the attack I might throw a little bit on a super high end there just like that and then if I wanted to get really plenty with it I could find where that resonance of the psalm is at down here wait from the hit and you can hear where that's at be right around sitting right there around 120 for this Tom and that's interesting you hear there's got a little bit of a natural resonance there where it's hitting yeah if I come lower now I get a super punchy rack Tom you know cool so there's that I'll move over to the floor tom yeah yeah well that one actually let's see it goes mess with this one earlier guy let me walk through it ISO here on its own okay and I think on this one it's good I have this roll this back in so again this 500 Hertz area which is honestly a really good starting place on Tom's to kind of scoop out 500 herbs let's start there because this is low Tom you know so I'm really not taking much off the bottom in because I kind of want it now on this one I just wanted a little more attack and a little less Rumble so get rid of that Annamayya sounds okay so now let's bring everything back in good and then toms are you normally kind of fun to pan out so you know stick hike on the left a little bit low Tom for the ride a little bit so it kind of spreads out throw on some overheads and again really quick on overheads let me meet these I'm gonna go ahead and come up on my C I'm gonna make sure because of this y'all can see it so I'm gonna go ahead and just bring my high pass up pretty high honestly I'd go all the way up on I mean depends on how are you using them if you're you getting a full kit sound from them you kind of don't want to go the site you might want to go you know maybe one go kind of do this way around 100 Hertz or so and then maybe just scoop out where the harsh of the cymbals is I would say usually right around with the vocals hit right there and then maybe just add a little bit of sizzle on the top end so they kind of shine a little bit just like that cool today I bring everything else back in there you go you got a good drum mix cool and that's just EQ that's no compression that's no so that's just kind of starting from there so it's putting you drums for a second let's go ahead and listen to bass guitar so we've got to kind of see we've got here jump over here and again I'm kind of nitpicking we're gonna go through anything everything individually and then we're going to go and kind of see how it all fits together and broad strokes not necessarily nitpicking but usually if you get a good idea for each individual now bass guitar can be approached a couple different ways if you want to get some super super low-end out of it you know you kind of don't want to use a high pass like this but typically I high pass up to maybe 70 or 80 Hertz depending on him honestly usually faster songs you don't want as much huge low-end because it's too fast it's gonna get muddy where slower songs you can get away with opening up the bottom end a little bit number something like this you know some of the go-to for your tune basically to our 300 Earth's is usually kind of where the throat the kind of growl of it is I can't bring this up a little bit get some of that you know kind of sometimes it might sit a little lower there's some of that kind of low mid growl is about it is with it you know it's kind of subtle and then string noise you've kind of got growly string noise sitting right around 1k and get this out a little bit so this my man right here so here's like what you hear your high mid-range sounds like and then you get in the kind of plucky string ring up here so in depending you know you want to be careful with that because sometimes it can distract from other cuz it can get a little transient a little clunky and so it might distract especially if it's slightly off from things like the hi-hat the snare and other rhythmic elements you kind of don't want too much of that but just enough to be able to define the note some of a diss bass tone honestly I listen to this and I want a little bit more low mid maybe take just a add off the high end like that cool and then that's sitting pretty good I think for a fast song like this you know which I can I guess we'll keep on this part of the loop cool so there's drums and bass let's pop them all in real quick and kind of see how the bass guitar sits with drums sometimes I like to just listen to kick and bass and just kind of see how they're sitting together make sure they're actually working together not fighting each other so I mean there's three nuts pretty good to something like that right okay so we've got we've got that we're gonna acoustic for now this is a really abusive song we can hear it real quick fact I don't not entirely sure he's flying on this one there we go yeah we're gonna skip the keys to come this on but let me go ahead and set this loop back to the entire song real quick this week at the before alright cool so sorry we've got I'm a stereo electric here it's got left on the right side two different mics so that's usually helps me get kind of a really wide tone you pan them out which let me hop over to say left so the advantages here let me put them both down the middle right here this was essentially mono and you hear this okay so now when I spread them out wife Stubblefield way way bigger okay and an interesting thing if you listen on the fact let me unlike these real quick you can actually kind of here we're talking about phasing or because it's two mics on a single source you can actually kind of hear a little bit of phase change when I roll one in as opposed to the other it's body there and granted they're two different mics but now check this out on the flip okay all I did was take one and completely invert the positive and negative and it's kind of hollow it's kind of I'm a flipping back right there that's the kind of stuff face can do so that's why it's important okay so now I'm gonna spread these out and I kind of a bright one in the dark one comment again as far as you do I would take this put my high pass up 100 so I need all that low into my lectures are both little in fact I'm gonna link them again like that see I'm like scoop out a little bit super-high this so doesn't kind of final vocals when I get there you know I might get rid of some what and my visa room and that's kind of body right there so I'm gonna pull some of that out right there and I mean then that's sitting pretty nice I mean pull everything else back in you give cool so I mean right there that's drums bass and guitar I'm the only other thing I think this song has is some track so and I'm really quick we'll talk I know not everybody uses tracks but I mean for a second this is the track that's on this song so it's a lot of scent element a lot of pulsing kind of lowan a lot of textures so for something like this on the track I usually look for okay what am I actually looking to get out of the track so I want these kind of textures these pulsing elements and honestly the low-end on it sounds really really good like crank this and I kind of gives like a nice crew that contrasts with fans doing so that's the hard one to bring out so I might look at this and I want to make sure my kick and bass have room so I might pull off some of the super super low-end but not a lot and I might darken up the super high end so doesn't fight with vocals but I think I'm pretty much gonna leave everything else alone okay so now we set that in let me try to bring everything else back in above this there's my track I'm going to bring in my drum set bring it down just a little bit I'm noticing it's kind of hard to get my snare up out front of the track so I might you know see where that's sitting go on the track and try to carve some of that out so my snare is kind of sitting right in this tooth day range I think but boots out that seems to be what's fighting with my snare sound like now my snares sticking out so instead of pushing my snare through the roof yeah so put a little bit more they yeah so there's our cool okay and I'm still getting that now that I'm hearing it in the context kind of lose my track of this time i bring this high end back in a little bit okay bring in my bass guitar lessons are now it's fitting in the it's not replacing the van but if you're working together really nice and I once you hear it all on context it might change your mind okay well this actually is kind of fighting with it for that I mean that's it pretty nice so that's drums bass guitar so enemy try to pin a vocal on top of this so let's jump back to the beginning okay I will say these are live vocals which if any of you have ever recorded live vocals we know they're very unforgiving so I asked for grace right now but yeah so let's let's hear this vocal real quick and this is it's from camp so it's pretty hyper tracks so we'll keep this track so again I'm gonna listen for a second GV y Joo has saved my I'm gonna here just kind of totally what's actually happening so again I'm gonna take my high-pass up to about a hundred and he's got kind of a funky arrange going on um probably right around after you join to that so mahad covered all my sin there's some proximity effect coming from the mic right here me around two hundred you listen I'll boot now I see who loves got any different me right among flying my soul back just a little bit that off I'm yours forever that you are a layer everything else and this is usually vocals is work I definitely start to get an impression because if you listen his volume level get about you always I'm part of that he's moving you know back and forth can't stop how cool to one things I can do let's hop nothing's ever gonna keep me quiet you have so I kick a compressor on how to lower my threat so I'm gonna say and we bring the sanfran second for vocals kind of for me specifically a worship I like to stick to kind of with you know a pop vocal type compression which basically keeps the vocal in your face the entire time you know there's it it kind of kills a lot of dynamic range but especially on fast songs you know you don't want to lose the vocal in the mix so but yeah so you know I'll start with the ratio about two and a half to one and then I will actually bring my threshold down until I'm seeing usually starting between four to eight DB of gain reductions if you look at this it's averaging pulling off about you know six or so nobody gets loud it's hitting eight or ten and then I'll come we talk about output gain I'll come and actually put back on you know at least that 8 DB of output game so now I bring this up hold us to hear that compression on its own like this see and yes this was he and that kid sound black yeah alright so let me bring everything back in now but now it's I can set the vocal there and I can leave it and it's staying sauce now if I think that compressor off even if I get my volume up the volume is kind of do another play right away you hear it's a lot less present that make sense let's jump to another song real quick one more fast song just yeah yeah if you're playing with your bands using tracks change a lot between songs yes like one song it could just be a pad and one song it could be like this one soon are you changing EQ compression stuff on the fly um EQ sometimes yeah I'll listen and see again my biggest thing is I want to hear it all but if it's fighting with like a major element so like if it's you know if it's distracting from the vocals or if you know like in that case in the beginning I was hearing the snare just really wasn't cutting through the track I'll listen to see if it's actually masking anything that I want to hear and if so then all adjust for that yeah yeah I mean I might definitely make notes during rehearsal I'm just you know I definitely wanna hear the tracks and know you know if it's you know if you're able to hear the track before the service is like hey cool you know what to expect you know that way it's not you know it's not 100% on the fly you at least kind of know when it's coming but a lot of times it is kind of okay how because it is dependent on how everybody else is feeling there might be times when you know and I mean just be honest sometimes it's rough Sunday mornings you know and so there may be weekends where you may rely heavier on a track it could even be the same song but maybe you know you're shorter guitarist or maybe you know it's new guitars doesn't know the part of us you might rely heavier on our track in some weeks any would another so it is to a degree on the fly but I definitely try to be as prepared as possible and knowing so the so the track isn't like a complete surprise that makes sense cool so let's hit again just another real quick fast song and this one I don't believe has any tracks but yeah let's go ahead bring this back down and again let's you know approach it from scratch so this you know build from the drums up drums is still you know nice and tight the only thing I'm noticing with the snare it's not necessarily popping the way I want to see it sounded punchy it's good but one of the things I like to throw just a bit of compression on my snare because it really does make it pop just a bit let me see of course we're in a part with no snare so here we go so here right now it's not compressing and I'm going to lower the threshold a bit let's listen to just the top snare for now okay oh yeah let me change the screen over so you guys oh there we go yeah compression so you'll get now heat it is taking off about 60 B or so so what it does it does kind of flatten up the sound of it if you listen here's with it so there's some more tone in this one but I want to kill the tone of it but I do want to kind of catch it so what I might do just play with the attack and release times a bit to try to catch the part of the scenario that I'm looking for see there I'm getting the attack let's see and of course let's just just kick okay so there's with compression so without compression kind of hyped it up a little bit it gave it a little bit of life let me give it that I'm a layer of Bob snare back in okay my kick back in so here's no compression still there it sounds good but just gives us more energy it kind of hyped it up it makes it really you know so I want to bring everything back in drums bass braixen electric guitar in on this see now that I'm hearing it more though make this little a little kind of 3 3 K buzz boots we put on the snare now it sound like a bit less now so I might actually take it out a little bit and now it's kind of a bit warmer the snare so it's almost like I got the pop from the compression as opposed to and it worked out better so now I'm specifically the electric guitar in this song I'm kind of hearing it needs to fill up more of the the lower mid-range as opposed to the last one it needed some more than hot so I might put back in some of this stuff I scooped out down here maybe he's in absolute park am i down here around 300 so actually give it a little so it's a little bit darker sounding this one the synth has a lot of high-end content but something like that I don't want it to get masked by the electric guitar Josie oh I would enjoy this or good that for a second heads up that kind of weird mid-range resident thing going on I'm hearing that in there bit so I'm gonna go ahead and pull somebody scream yeah he's camping other tool that's been my fault to the broken there we go so there's that who the that EQ and compression so here's our raw vocal and you are the bees to all let's see the high end is bringing in a lot of high hats I managed to this let me I'll put it back in this song go now I go back down right up let go so that's kind of how you know working through one element at a time kind of seeing what each what each instrument is contributing and as you bring them in things will change it's like it might cause something else to stick out you might make a decision upfront by itself and then you throw a vocal and you're like oh okay yeah that doesn't work I need to change that and so it's kind of it's all about context and what its feelings that kind of make sense go any major questions at this point I want to do a slow song real quick and then I think I just like I guess there's you could see your role as either being I'm gonna set the mix or you're gonna constantly be moving stuff around so like yeah song you'll pull this instrument off like how do you kind of see your role yeah I definitely and you know this is definitely you know subject that you know warrants a lot of conversation but I think I do especially in a church context for something as dynamic as worship as opposed to you know a concert where it's kind of a pre program I think there there definitely is a degree you know it's it's kind of an overused term but I mean the center of the console kind of is your instrument and you are as much a part of the band you know you need to come knowing the songs you need to come knowing and that kind of thing or else you know you won't necessarily know which parts to highlight or what because essentially you know this bare minimum your job is to reinforce what's happening onstage and there may be times where okay the on top of reinforcing what's happening on stage there may be problems that need to be fixed you know - I mean you know we don't all have you know professional musicians we don't have the best gear we don't have so a lot of times you are kind of playing you're fixing problems at the same time like there's a creative aspect that but a lot of times you do have to you know account for other things it could be going wrong as well so it's kind of a hybrid of the two but I definitely it is a very active role it's definitely not a like set and leave it and you guys you know turn yourselves up and down and that kind of thing so but I think it's very much it needs to be kind of kind of in cahoots with each other it's got it like you know use it for me you know when I'm mixing a lot of times you know really close communication with the worship leader and trying to catch okay what they're trying to do with the song naturally that's what I'm going to be getting from the stage so if I'm found fighting that with my own idea of how then it's like okay I might be able to get it there but one it's not going to be reinforcing what's on stage is going to be fighting it and I'm going to try to be creating something that's not necessarily there that makes sense whereas I found that usually the best thing is to take okay again see what's there see what's being contributed and reinforce it and the best way of find ways to make it again listen for what's happening certain parts of a song there might be an electric carts carrying great amount of energy and you're cool and then later in the song you're okay well you know that energy isn't there anymore it's not so you kind of migrate to something else which actually the song is kind of a good example I let me play through it and actually listen through once and I'm gonna go to keep vocals out for now but if you listen in the verses it kind of they get in here let's just go ahead and play through it right here and listen to the specificity these guitars Keys drops are the electric guitar right here that lecture goes our caring a lot of rhythm Simca bring self in here one of my like that I'm not gonna versus that gets all kind of drops out so something like this if I keep the dynamic if I keep stamp going there's not a lot of teams between so I might be listening to that these plane is part but I might listen came back up again and let's hear the difference of if I Drive a little ected with all Nestle in the first and if I can't pull that down they have a totally different fun Tom's in there so and as it kind of starts to pick up some energy here I might be okay let's shift over to the synth a little bit you know I think there might be some track gets in this song might move out well now that part I listen to this kind of thing commercial I like that part okay I really want to highlight this so I'm here now the guitarist is driving and if I do bring the vocal in for a second I noticed specifically I like the Panda vocals drop down and our perfect common bring this in there somebody's screen and the back like that m'kay so it's not necessarily changing what they're doing as opposed to highlighting the different elements to kind of make the whole mix kind of move and it's not like okay you're off for this part and you're on and that make sense cool quick just kind of hear the difference I know we got to get going and wrap up but let's go ahead and do this right here and slow songs are usually where you can really grant it right now I have absolutely no effects in this mix and in faster songs on the I stay away from delays just because they just muddy things up because of the short amount of time usually the only thing I'll really do is the only time I'd use the delays again in a fast song this is for an effect like that where I'm like okay no I want this line like repeated obviously it's like whoa hey that was cool it's cheesy but it's cool or just you know usually like some type of a small room reverb on the snare I'm on like on the drums and stuff to kind of give them a context so they're not just dry which in fact let me jump back to that real quick and actually show what I'm talking about I'm on just the drums oops wrong song um yeah it's do it just right here then talk and then okay I'm gonna get rid of everything and just kind of show what I would use so I think I have setup on here I'm kind of a hall reverb so this is a pretty long long reverb which if you look see if I can get to someone here I believe Mikey right here so if I play with just my feet go ahead so here even just with that long verb how much kind of character life it brings to it now that's if you look up the three-second decay so that's a pretty long some might come in here bring my decay down a little bit so it's a bit shorter it's here once you get to the snare so here really quick let's get a real obvious difference between that kind of goes on forever as opposed to a really short that makes sense let me go yeah so it kind of just gives a little slice room to it that's good so now bring that in the whole mix and again you know with effects cover up the ditch without looking like a clown so it's like in the entire mix for there take it out I'm gonna go ahead just mute the effects and soon I'm gonna talk you can talk yeah stared on the dirt back on really subtle but it just kinda gives a look calm down - yep same thing with the vote time you gonna do all this real quick in this song like that's kind of big everybody to agree burn fuel my fire up shines in our souls bring that decay down but that's a postive Liddy good again you can see how it naturally sets it further back so it could be artists a song they can talk so if I bring everything else back in I cry a river again you like you can kind of hear it but it's kind of over my face you know the things that might do is crank this breezeway so I've kind of help separate it from the reverb really on together I'm not really back up can't hurt shuttle but so if that makes sense that's kind of how you need kind of subtly use reverbs and then again hop and do a slower song you can get away with with more you no longer reverbs and delays and that kind of thing when you're dealing with a slower song so let's take this and let's see cool so let's go ahead to kind of here and this actually has a piano in it too so we can talk to that for a second turn this one has a track that's just this loop kind of looping so if I pull everything out real quick so this is good listen this is what the track is doing it's kind of reverberating piano part just that just loops through the whole song okay and I've got this lead piano line pull the track up so this is pretty good piano sound to start with he's got a little bit of his own reverb on there so I don't really want to mess too much with that but I also wanted to cut I noticed there's not a lot of cut to it it's kind of darker it's kind of so later I reckon the mix it might get very kind of easily you know so let me hop back up to the node you know what they say now alright so I might you know scoop out just a little bit of this low-end it's 200 Hertz is usually where it gets pretty muddy and then he drops out here track takes over and again it really is helpful as a sound guy to know the songs will say as much as and just like a musician wouldn't come in blind on the song for the first time he knows the arrangement of the song it's super helpful as a sound guy as well mmm let's go and do this female vocal real quick before we get you farther so I'm gonna do this and again it sounds pretty let me hop over to it boom a little soon so I'm gonna put my high-pass filter up put a hundred like normal I wonder if she's got a little bit of a proximity effect - oh cool thing is it's always that you want her this is what is so much sweeter than anything I've tasted you know that right maybe I wanna know you stop in the middle and it's a way to us comes back around maybe just give her a little bit hot so I'm gonna pull actually everything out for a man except for a vocal so I'm gonna take the same reverb we had earlier on the male vocal just gonna lengthen it up so I'm gonna take this 2k time and I'm gonna say you love has ravished my heart pretty long like that your love has ravished my heart nothing I noticed is the river of itself a little be already I'm actually gonna come let me see if this yield booze all I want which is where how the effect is coming back were eventually you you and I'm gonna come and I'm actually gonna eat you and just you pout they pull me a little close yeah right about there cuz if I listen on the water single Allison how much cleaner let it go yo cuz you love it so much sweet life I even get away with I'm in tears bring it Delano yo I've got a tap tempo here so I actually tap it in so and that's kind of a that's what you get from a quarter note delay if you tap in half time it'll actually usually kind of repeat the phrases so it depends on what you're going for but this is a good example a little closer and I think I've got yeah I've got that darkened Oh so it's actually Oh as opposed to how great is your oh my god just catching in phrase how great you that I'm actually kind of hearing the same thing oh no way love how great is but I'll surprise you say whoa oh oh how great your love is for me start bringing stuff back and a slower song like this too it's also a good time for some big like that song reverb usually if there's Tom's in a slow song like this you can crank the delay time on a verb like that let's jump back to the beginning and you can hear exactly what I'm talking about so let's hit this and we'll call it good we've got our track pad piano is kind of cutting now come on her voice to endure again I'm gonna do my vocal compression two-and-a-half ratio and I'm a little my threshold until she some you know about six to eight DB of gain reduction put it back on the end and I usually start from there and then I listen so listen to these Tom's so can I get someone ice when I go overboard but they here for a second so you can kind of hear it that might be a bit more something like that and then that rim sounding a little boxy so I might come do the same thing skip out some of that 4 to 500 Hertz clean up the reverb a little bit definitely allowed to EQ reboot that's a good thing just scanning add a little bit too much a little too bright for my taste like it's too obvious you know some why that's a little better than 3k we can see there you go this right here was standing out get that it kind of mellows it out a little bit and I bring it down fit it back into the mix see her you know there we go so stop Turkana in ambient local stuff like that it's really weird it's cool kind of push that let me hit that section again real quick it's really cool to push delays and that kind of thing in spots if you listen to her vocal kind of trail up like that but you notice you can see how the vocal can get lost kind of try to keep it see you have tonight say you love his radish when I give her some more the slower choice vish my heart take it this is I'm gonna Tim mortgage for a minute we get to where they build here again listening for Kanna so this is where I might want to start backing off the river because it's naturally going to bring everything forward so as they build it kind of brings it in now back off the drum razor I might leave some of the book so it kind of keeps that unpack but I pull off the reverts and the lexicon or is your friend dynamics you know wagon as dense you now you've got all this it's kind of different they carry different energies so if I push it Hannover it's electric guitar and effects versus no effects they're all kind of different ways you can again from the console kind of control the environment that makes sense but sweet well I think we're about out of time so hopefully that was like we're way over time but hey

Channel: Northlands Church

Views: 144,093

Keywords: worship sound, audio, workshop, X32 Tutorial, Mixing, Sound

Id: 4vV24Eg7dyg

Length: 58min 40sec (3520 seconds)

Published: Sat Apr 11 2015