Electronic Music Mixing Masterclass with Matt Lange [mau5trap records]

[Music] so nothing new yakin I want to introduce one of the cofounders of Sonic scoop who's gonna intro our next presenter so please walk up the stage mr. David White's thanks alright how's everyone doing here more oh yes do you feel like you're better mixers than you were two hours ago alright I know I do all right I told Justin that I want to introduce this next presenter because I kind of have a thing for electronic music I produced a lot of it none of it was anywhere near as good as what Matt Lang made I've become a big fan of his music and his mixes as I've gotten to know his catalogue he does things in the mix that I've really never even heard before so we're excited to have him up here we're very thankful to plugin Alliance for making his presentation possible Matt is a dynamite mixer producer artist originally from New York went to LA he's back here today produced and mixed for 30 Seconds to Mars he's an artist on mousetrap records he's worked on the counter-strike video game series gotten a lot done but in the here and now he will be presenting for us a mix walkthrough Matt Lang come on up [Applause] so what I'm gonna do for you today is I put out a record a week ago it's called are you a my I actually put it out on my own label eisah rhythm only because I didn't have to deal with any other record labels to do that so I did it myself and it's a very very late night underground techno kind of record and I'm just gonna break you through some of the production process the mix of it and some of the plugins I'm using and then I think we'll just open up this whole forum to a Q&A questions what have you so before I do that I'm just gonna play you a little bit of the track and then we'll start breaking it down [Music] within one and another the truth remains strictly human are you am I go on each other so crazy decide [Music] [Applause] are you mi on each other so greatly desires so in the true form of technical it basically does that for eight minutes but but I'm gonna start actually I'm gonna start with the vocal only because they're on top and the story behind the silly little vocal I'm gonna isolate it but it's just a friend of mine Denise Reno and it's just desires and there's a line that comes after that and actually it was when I was working on the thirty Seconds to Mars record Jared Leto came up and asked if I could actually find dialogue that they wanted to use for an intro to a song and the idea was you know why don't you just look through these ten hours of video footage and then you can just pick stuff up and I'm like I'm not gonna do that so instead I just pulled out a couple different philosophy books and like a book on existentialism and I just chose a couple lines randomly and just kind of hacked together my own my own sentences which is really theft but if you I mean if the books are written 100 years ago you can do it right so then I called Denise because her voice is way prettier than mine is and I had her basically just recorded herself in her own little Toronto home studio and she sent me all the takes and I gave it to the guys and they didn't want to use it so it became mine which is the best part of all that so what's going on with her vocal if I take off all the processing and there really is not much to be honest what I did do and I can only tell you I did it I can't really show you but I did time correct the vocal and I just did that using the Pro Tools time elastic audio and I just did it so actually if you if you look at a tighter tighter split of the notes you can see it's actually corrected to be pretty tightly two eighth notes as opposed to she actually said it slower and I just sped it up so that way things would fall close around to the beat as even hear it are you is right on the actual beat itself but processing wise all I have is a stereo with this air stereo with thing and actually its function is not to do any stereo with it's purely for automation and what I do a lot of panning automation so on the rare occasion that I've used it in moments like this and there is some editing going on here too instead of having you're kind of just dead center case and there's some weird glitchy stuff in there too but this is a really easy way to get little things to spin around your head the truth [Music] and I'm hoping you can hear that in stereo because I cannot but all it is is just very tight editing on the grid and it's actually it starts off kind of when you do these kind of things it's I'm not even quantizing it at all to be honest I only quantize it once it got to be at roughly a sixteenth note because before that what was you know it's tight enough it doesn't really matter if I wanted to do it in real time I mean it's really as simple as you can see that was thirty second notes right there but it's just really basic audio editing ideas where the duplicate function is a really popular one and you just take that and you get the that kind of stutter e CD skipping thing so if you want it to get tighter and do the like the the Ritardando basically the pantent kind of thing it's as simple as just duplicating and then every time making it a little bit longer and then essentially what I end up doing is once I get to basically a quantized value then I start doing it at the quantized value and very quickly you get those very like stutter edit e but bouncing ball kind of stutters so I do that kind of stuff a lot and then the other the other two things on this vocal are a reverb and it's just the Valhalla vintage verb which it's not my favorite reverb but it really is effective it's got a there's a thickness to it that sometimes works very effectively and to be honest I think this is just the default setting that came up - the mix knob and that I just turned to 16 percent cuz that sounded right to me but everything else I just wanted it to just make the vocal blockier and give it a space but it didn't have to be a natural space I didn't care about that at all I just wanted that vocal to just kind of float a little bit and the last thing in the chain is an EQ and for most of my like a surgical EQ work I always used EMG audio equilibrium I used to really like the previous version equality and equilibrium still to this day is it's just my go-to I like it I know it and it's what I use all the time so all I have going on is a high-pass and I'm cutting her at 123 and then I don't know what mic she used at home and you know sure her recording chain is less than ideal so there were some very simple at moments and as opposed to using a de-esser I just actually notched out a frequency at 2600 roughly and then also 6k and I'll play the difference between the two but I mean it it's pretty much what you would expect the one each other so greatly desires I know if we take a look back together so greatly desires the one each other so greatly desires it's really in this greatly part on each other so great yeah on each other's open each other so open each other's open each other so in each other's open each other's so in each other's opening it just evens it out a little bit it's nothing crazy but it works very effectively on her and I basically have the same plug-in chain on I think almost every iteration of spoken word actually yeah there's actually a little bit because then what I end up having is all these other versions these are basically all affected versions of D so even when I have sometimes it's just only one region on an entire channel but in the case of this it's just a delay through and there's an I guess if you layer it with the original am I am I the one each of you could automate a bunch of different plugins I don't like to do that instead I really preferred just to actually I print a lot of things using the audio suite function and Pro Tools but I just won a lot of times what I'll do and I'll take just very the very end of one word or the end of a sentence one word and then maybe I'll do a delay throw on that or a reverb tail anything just to give a little bit of spice to that one that one element and if you do it over the entire phrase it might get a little bit too washy but especially in a genre like techno where what makes techno interesting at least in my opinion is the space and of course the more minimal your arrangement is the more the more weight each element is going to carry so little interstitial effects like just one delay through every now and then or one reverb or whatever that's going to be a lot more powerful especially when you hear in a club setting where it's loud if you put a lot of information if that makes a lot of its going to get lost except for the kick drum so the more sparse you are the more effective little effects will actually be so that is why I tend to do that with vocals and you'll see later when I get to the drums I do that a lot also there too and that's pretty much all of her everything is just that initial phrase and then various effects all the way through again here is more delay throws just glitchy and that is again it's a similar idea that how I did it before I did this using native issuance reactor but I just I took her vocal and this reactor ensemble it's a granulizer where you can time stretch or you can compress the timing of a vocal or any sound but in this case I put a vocal and it just very slowly scanned through her vocal itself and that's why you get this it's a fun little effect there's space between every every grain of hers that's what you call it Rhys lice is a grain so instead of it being blurry it almost sounds like a tremolo but it stretches it out so I'm gonna go to the drums now and it starts off I just have one kick channel there aren't a ton of things there's nothing layered in the actual session the kick on its own is this it came from two different kicks originally and I'll show you what they were but it is nothing too intense and I can activate these or I cannot if I do that and that well we get it great so both of these are kicks I just made it home the first ones this stay kick it's shorter it's got more of a high end attack that came from a remix I was working on and then the second is called Titan sub E which is very descriptive and that's all it is it came from a modular synthesizer but um I record I got some Neve fries in the past year and so I started recording all my kick drums through them and it really makes things really warm and subby so these two things are layered together and then they're going through two plugins the first is just the Manley massive passive which is honestly doing nothing except rolling off a little bit of high end and then finally I'm using that Eventide elevate a newfangled audio elevate and I use this thing absolutely a ton it's just I use it on drums when I'm making things as well it's usually my final master but this limiter in general has just become a really important tool in my workflow and especially when you're combining when you're combining kicks or something like that limiting really compression in general but really slamming it can really tighten if your kick a lot and it can make things that shouldn't work together somehow work and you can I mean if you looked at these kick channels too you would see I actually don't have there is no EQ on either which is really because I just felt like I didn't need to but what the limiter is actually doing I'm gonna play you the kicks without it and then I'll play with it so here's without here's with and it's not doing a ton there is a little bit of transient design going on so if you could push it really far that's too much for me but right around there I like that and then there's some drive to that what sounded right to me it was just a little bit and there is a little bit of gain but that's all the thing is doing and those things ultimately ended up getting rendered down and I'm gonna hide these again and that became the main kick here and I actually didn't even talk about the master chain at all which I should have a little bit but um it's not in here but I always have a massive passive and it's you there's always a little bit of high and low cutting but then usually a little bit of adding some very like 15k or something like that taking out a little bit about a little around 200 just in the case of the kick it wasn't doing anything but I should mention this stuff because plugin Alliance was very kind enough to send me here and and this is this is truthful this is actually in the session and it's what ultimately this appear that is the actual print of the track and what I had going on was a UH I have this day of the new this new bus compressor it's a town house it's based similarly on like an SSL buss compressor but its vibe ear it's a little bit dirty organ it's cool so I used that to actually just take off really 2 dB if even that of reduction it's not doing a lot of work maybe 3 [Music] and then the other one and this thing is amazing yeah ever since I got the black box I mean it's actually it's on every master now and what it's doing it's just a little bit of saturation and I keep the saturation really low but without it it also Clips your signal in a very nice way or you can end up getting a little bit louder but it brings out your sides in such a beautiful way whereas without it sound fine [Music] it just makes everything a little bit wider and then there's an excitement to it so I mean this the black bloc the black box plugin is amazing and then also on the end of every probably for the past seven years every master I've done and although this would usually happen in the mastering section but because I always use a different session for mastering the brain works the digital EQ has been on everything and mainly I just use it for the mono maker section because I have a lot of sub-base in my work but the ability just mono anything underneath in this case I chose a tea which is low but it's a very sub e record that allows me to really tighten up everything and then cleans up the issues with stereo subs which I often like a lot so this is just it's on every chain ever and it's amazing even for just doing the simplest thing which in this case is summing the mono but I love it then we have the collapse and the snaps and these the ru snap I recorded that at home and the MD snare came out of an electron machine drum but the snap I just recorded in my little home studio and it's just in front of mics and I recorded it twice are actually four times but actually no this time it's twice so you can see it's a different courting left and right and what I did actually just to give it a little bit of variation you can see if you look closely at the waveform I flipped the channels on on the first snap you can see the left channels on the left and on the second snap that left channel is now on the right and it's subtle but what that does is every time it hits there's just a slight variation it's just a little it I find any little variation you do generally is gonna add something special so I do that a lot and then what it's going through I have it going through the brain works SSL and I really I've always liked SSL style eq's in general and I've always liked the compressor too because it's there was just this snappiness to that SSL compressor so this is a brand new plugin and when I got it I really want to try it out and I just threw it onto this thing and it made a big difference there's without it a little bit weaker snappier there is a little bit of EQ going on it's just adding some high-end without it with it and then that gets layered with a snare and this snare is just straight out of the drum machine also going through equilibrium which is taking out a lot without it it really thins it out and I took out that frequency around 2k because that's kind of the same frequency that the snaps hitting at so you add it back in snap there they play nicely together and it's just making room for the snap it's as simple as that now this is actually a really I really like this because I've never actually really used vinyl crackle and for a lot of my friends who they were big house music heads they're always like trying to sample you know drums off vinyl rubber because it has a thing I don't get it I only bought a vinyl record player for the first time two years ago but I ended up I just I fell asleep one night on the couch and I'm kind of you know true vinyl romantic form I wake up and you know the things spinning around and I just hear the crackle but it sounded really cool so I ended up recording it and it ended up being this just very stereo crackle and once again just like the vocal I took it into Pro Tools and I corrected it so that way it would it's actually highly quantized so every little click is gonna fall exactly on a sixteenth note hang on I'm gonna do one thing oh no I don't want to follow playback but there's two little tricks with us that I like and if you look closely every time there's a downbeat there's a fade so what that's doing is every time the kick hits the little crackle is getting ducked down just slightly but what it does so every time you have your don't be kick whatever there is nothing but that thump but together you would never really hear the ducking I guess together sorry that is not a most descriptive way to put it but they complement each other this way so it's almost like the vinyl crackle is like washing itself around the kick drum and that was the idea of that and then also once again using an equilibrium all I'm doing is just taking out the very low end of the crack then I have a couple high hats and one fall is on the downbeat which is this one sorry kicked rim and one falls on the upbeat and if memory serves me correctly they were actually both made from the same hi-hat the difference is this one is way thinner sounding and part of that is once again this is going through the SSL the the brain works SSL and it's doing a little bit of work not a ton but without it it's a little bit duller with it it just gives it a little bit of air and once again all the little intricacies make a big difference I find in the end result the other hi-hat is also just going through doing this that's annoying it's just going through it the same kind of EQ work once again taking out low end adding a little bit of high end ducking out a little bit around 1k which was just a little aggressive for me so it just smoothes it out and then lastly there's some other stuff but for the most part of this section I have glitchy perk and it's not happening all the time it only happens on basically the first two beats and then the second beat of I guess each every two bar what it is is it's stuff I actually made on a modular synthesizer and I kind of took a bunch of field recordings we ran it through our granulizer I just started turning knobs and a big part of my workflow a lot will be just experimenting you know where you just try to make a lot of weird noises that they don't have to make sense but the minute you start having a tactile response to the sounds that you're making they not only do you really end up with a personal connection to it but I on you think it sounds better because there is a human variation in what you do you can obviously tell in this that's a joke but it's supposed to fly around your head and once again it's complimenting everything else in the percussion because nothing else is theoretically hitting at the same time and that's the idea of just having again if I like these little moments that just pop out I like little variations later we got a few other things we get some little medals it's just it's just a simple little pattern once again I have it going through a filter because the filter gets automated and it's just a way to kind of introduce it in a way that isn't immediate again subtle variation but I like subtle it works and then it's going through just plugin wise I have it going through the brain works room reverb and it's just adding space it's making it hide a little bit in the back of the mix and this reverb I found is a very effective way I wouldn't use it for crazy affected reverb but for placing an object in almost more realistic space this reverbs terrific for it so without it sounds like this with it that's subtle but they'll get wet all the way and it just makes the little metal just duck a little bit into the background and hide a little bit give it more of an ambience and then finally all the Trump's themselves they go through a big drum buss and I will solo all of them so you can hear what it's all doing there is some automation going on on the drum buss because well for the first part I have a reverb and the reverb it's the fabfilter Pro I forgot to license on this laptop but I don't work on a laptop to be on it I work on a studio computer and I had to get the session running here but that's unprofessional on my part but I don't know if it's going to work actually but what it does is basically when we have there's a breakdown that happens and I want to get lots of noise and a lot of energy and a great way to do it is just to suddenly wash out a lot of things in reverb so let's I'm curious if this will work are you am i so once again it's just adding ambience that's without it so that plus the other effects we have going on this breakdown where everything gets really washed out the effect of doing that is that when your drop happens as you will it's the sheer contrast it's you have this juxtaposition of everything being washed out there is no longer really any clear transients and when it all comes back in and we also I took out the low end which is something I'll show you also later you go from basically sheer noise to a very hard transient syncopated rhythm and the two things together it makes especially when you're dealing with a dance floor it makes that moment seem bigger and actually even more exciting so I'll actually just go from here are you am i so the other things going on in this riser breakdown section I have a big printed reverb of the drums which came separately and that's underneath it I mean it really functions just as a noise but cuts the total silence and I also have this grain crash which is it's just a crash cymbal but very time stretched and reversed that cuts purely to silence and her vocal is doing something very similar also where again it's another granular process which if you haven't realized by now a granular synthesis is one of my favorite techniques ever and it's that same idea of taking one word and then affecting it the truth are you Am I [Music] keep going up and up and up and up and up [Music] it's a lot but it makes it exciting and also throughout the entire track we have you know there's the sub-base it's just it doesn't do anything but that but the sub fades out actually as everything else starting to fade in so you take all the low-end energy out why's everything just becomes high-end so that way when the kick and the bass all come in later together again it's somewhat a psycho acoustic trick that makes it sound heavier because you forgot that there was low end effects wise in general it's mostly noise throughout the entire track they're like little noise blasts like these things and they just fall on the snares but it's just little moments once again that the little moments make everything [Music] and that's actually uh I think I picked that trick up from dub fire the techno artists you would do a lot of things like that and I just really like the sound of it and it's everywhere to be honest just like little noise which also works very well in a club then I have these things as well which the instrument they came from you're actually going to hear later because that originally it was a string instrument but it's just if you take it's the rattle of a cello bow string essentially but if you take all the low end out of it you're left only with just the crackle itself of the bow on the string and it's really messed up it's an error kind of thing so you take all the low end out and you have just the high then I pitch shifted it because why wouldn't you want a pitch shift something and so it goes through a döner that plus a reverb which this time around I use the Native Instruments replica sometimes I just choose different delays or I guess in this case its delay just for the sake of doing something different there wasn't any particular reason but the great thing that this rear I'm sorry this delay does it actually has a pitch shifter within the actual reverb chain or I'm sorry the ley line itself so what you hear I'm just gonna do that part without the pitch shifter with it we're the left and right channels are being lightly different from one another the left's up six semitones the rights up four and their ping-ponging now the trails they just kind of dissolve as they get floatier and once it's going through a sidechain compressor and for this I just use the plain old avid compressor there is nothing fancy about it but it works extremely effectively and that's going to be any time I do sidechain compression it's always that bass wise it's just the sub and the one thing that is crucial about the bass is if I put it up underneath the kick if you look at the waveform you'll see every time the kick hits the bass doesn't so what that does you never have low-end fighting each other ever and the simple idea I actually learned it from drum bass guys because they do this a lot is and I'll do it for you now instead of using sidechain compression which can be a little bit finicky well let's play them together first and it's pretty obvious difference and I'm just gonna do that it's going to sound ugly but whatever they're fighting each other so instead of using a sidechain compressor which a has to rely on the timing of your kick if there's going to be an attack who knows if there's any plug-in delay compensation going on that's weird we just do with audio fades now so Justin Pro Tools I'll just add fades and then I will just hard into the audio and I'll adjust the curve to essentially be the inverse of the decay of the kick itself so what that does is it almost is like the sub itself is literally hugging the kick so the minute the kick starts to release the sub is coming back in to just hug it there's no other word to really describe it but together it really it's such a big difference between you're gonna hear it aside with it and aside without and it just means that kick is gonna come through so much clearer every time and also it means you don't need to do as much compression later because you basically you essentially did manual compression but I do this now almost any time I am working with a kick and sub bass and sometimes not even sub bass all I've done it with other instruments just because I want that ducking feeling that is actually going to be more extreme than if you did it with a compressor and then since it's audio you have a lot more control because it's not an automated process that's manual and I always find manual it takes longer but it's a lot more in the end I find it to be a lot more expressive so a big hook of this track is the strings and they are actually in my mind what kind of makes the whole track interesting to me and they they add a creepiness and this is what they are [Applause] and there's a little melody and they also function as a turn around there they essentially function as an introduction to when another element is going to happen just arrangement wise and they're not real I totally faked them I used la scoring strings and I just went to town trying to layer things and it works basically I have simple legato strings against the tremolo version of the legatos and ligado czar this Tremeloes are this [Applause] and I have it's simple I mean it's just viola cello and bass every time there is a violin in the tremolo for this guy it's the viola that carries the melody and everything else is just supporting it underneath [Music] and it's all based around basically a chord motion of if I remember correctly it's just essentially b-minor going up to D minor which is kind of creepy and then there's some other other notes going there are some tensions that you know pull it out a little bit but that is to me the hook of the track this whole track is based around creepy strings plus a kind of eerie vocal and then everything else it's all just complementary to the fact that I like these things the most what's going on plug in wise go to all Ortega moment where there's a lot of stuff going on let's do that one [Applause] [Music] so strings are eq'd pretty hard and the reason is I wanted them to feel old and kind of the creepier I find that they're a bit muted I took a lot of low-end out [Music] and I took a lot of high-end out but this puts them out in the distance and the distance again makes it slightly off-putting and you know the note choice is the note choice is creepy in the first place so then you put it in a space that seems kind of creepy and farther away and it just accentuates the whole idea and then I have them going through the Eventide black hole and as far as effect reverbs go I mean this thing is amazing it's [Applause] the kind of space you can create with this thing I mean I [Applause] I still have a 1994 Eventide ESP 4000 that for the past seven years has only lived on one algorithm and that was black hole so having it in plugin form is something that it's just completely indispensable to me and I also have these base rumblers so there was that moment before where I showed you there was the high end crackle and it was going to your pitch if the delay that is the same exact thing as this the only difference is this has all the low end and there is no pitch shifted delay and it's just functioning purely as when it happens on a downbeat it pushes that downbeat further if we go to a moment like here [Music] [Applause] are you a my simple as that but again random interstitial element that just every time it happens pushes you further there are only two other real parts of this song there are piston drones and this once again came from a modular synthesizer a module in particular called a harvest man piston honda and what they do they actually just basically give you a tonal center because the track itself is actually an e and it only appears towards really the moments in the song when there was the most going on and the way it's being done it's actually it was just a drone at first and I had it some EQ which again mostly just take out all the low-end some compression via the empiric allows arouser which is another one I use a lot it's just awesome getting it at this point there is a filter and that's just used to automate the introductions of it there is some sidechain compression but what's giving it its pulse is this unfiltered audio biome and the way it does that is so basically I looked at this almost as if I was using a modular synthesizer because this is a modular effects plugin so what I am doing I am just modulating essentially the gain of the thing and I'm doing that by essentially I attached a quarter note or an eighth note an eighth note LFO to trigger an envelope and the envelope itself affects the out at the output gain so you could just do it with a tremolo plugin if you wanted but what I liked about this is that I can actually then theoretically modulate the duration of the envelope itself so it's not a static pulse so I could elongate or shorten it you can change the curve too and also if I wanted to I could change the frequency at one of the envelopes being triggered by modulating the frequency of the LFO and it's also going through the granulator and what the granulator is doing it's splitting up the sound into a bunch of little grains and the grains are all set to be a hundred and seventy eight milliseconds I didn't use a calculator I just did it by ear and that sounded fine to me and what they're also doing is being pitch shifted up an octave so I haven't mixed down pretty far if I bring it up it just adds a little bit of air and it's cool I do a lot of things just because at least musically because they're cool and if it's sonically interesting why wouldn't you so that is how I did it with this and it's a very fun plugin because you can just kind of drop and drag modulators to anything much like you could with an actual modular synthesizer and then finally I have some pads underneath all of it and they just float there is nothing they serve no function other than ambience but they're mixed in as well with the Piston drone and these things are the only things that are actually really providing a tonal center because everything else is a little bit off [Applause] [Music] and those they're a simple again it's not complicated this is just EQ work very very very eq'd but that's because the way they were created is a function called convolution much like convolution reverbs as you all know or you have an impulse of a room that essentially gets multiplied on to your signal itself this is taking the reverb out of it so it's I can tell by the name of it I would never remember otherwise but what I did is using a very old program called sound tack from the 90s you take the concept of convolution but it has nothing to do with reverb what I had I had a pad just some boring pad and then some sine waves and multiplying the frequency of the pad against the frequencies of the sine waves itself the end result ended up being this blur and because you have frequency to be multiplied together there is gonna be build-up a lot of times mean it almost sounds like it's gonna clip so that's why I have them very highly fantast and it just it's error it's also going through a compressor and then it's going through a delay and for this I'm using the soundtoys echoboy just in ping-pong mode spreads it out even further and there's a variation underneath it as well which also pulses it's as simple as that and I find the whole purpose of them really is in general when everything else is extremely atonal I just personally need some form of melodic I'm in a lot of context to hold everything together and especially at the very end the way the way the song climaxes is after all the noise it drops into a complete atonal melody which is just computer bleeps some blips they were made on a modular synth but I mean there is no a traditional harmony to that or melody at all it's just when it works in the context of everything else you have all this excitement building up to it and then you add this whole new element that hasn't been heard in the rest of the track and like honestly every time I've played it out in a club that is the version or that's the moment when suddenly people people's hands really get in the air because you add all this motion and wait coming up to it and then you add this very piercing melody on top and it's a very effective tool and the other cool thing that I really like about the breakdown and this is just kind of my own version of thinking I'm clever is that when the drop happens it doesn't happen on the first beat it happens on the second so usually if you had say a breakdown you know 1 2 3 4 influence whatever this doesn't do that this goes through the 1 2 3 4 5 and then snaps and it also gives people a little bit of a jump so it's unexpected it hits with the melody a lot of things happen all at once and it kind of freaks people out that's why perfected are you a my and that's basically the entire breakdown of the track there are certain things I've done just arrangement wise where periodically you know here's another example of just having something that fades and only momentarily and it's the only time you ever hear that the entire time and it's just a signal basically it's actually it's a note to me because it's you have the kick keep the kick comes out and this is essentially where the outro happens so to me this is a cue that I know okay I should start mixing the next record in because that musically since most tracks happen in you know roughly 16 to 32 bar phrases or something like that if I give myself that cue I know that when I bring in the next track say 32 bars later it's gonna sync up perfectly with whatever action is happening in that track so it's just little mental notes I make myself that I'm sure other DJ's you know do similar things as well that is just how I did it in this context and that is basically the entire breakdown of are you a mine let's give a big round of applause to mr. Matt lang and please keep it going just a little bit longer for plugin Alliance making this possible they're all over his master bus chain big round of applause for plugin Alliance for making this happen [Music] [Applause]

Channel: SonicScoop

Views: 88,106

Rating: 4.8863273 out of 5

Keywords: IDM, EDM, Electronic Music, Electronic, mau5trap, deadmau5, Matt Lange, Thirty Seconds to Mars, MixCon, Mixing, Mix, Mixer, Dance, Techno, David Weiss, SonicScoop, Plugin Alliance, The Deli Magazine, MixCon 2018

Id: HwZaRP-lbzg

Length: 55min 57sec (3357 seconds)

Published: Thu Aug 16 2018

Reddit Comments

[u/ha11ey]

I def need to check this out later... ya know... when I'm not browsing from my work pc...

[u/technodude69]

Side note but I'm always amazed at how many people, even "pros" just use the init setting on ValhallaVintage without tweaking it all and don't even go for one of the other presets (9:30 ca.)

[u/gnrc]

Might watch later. Saved for when there’s a time in my life I have free time that I don’t fill with Netflix, memes, and crying.

[u/13435456709]

Knew to production here. Is the thing he is doing with a separate left and right channel within a single track the same as split stereo pan mode in Ableton? I have yet to use this feature and was just wondering if I could achieve the same effects he did using this setting.

[u/Spacey138]

Wow thanks I love this guy. I will definitely watch immediately.

[u/GRRRNADE]

Saving this for later!

Matt Lange is a true artist and master of sound design. The tricks he pulls with reverb are absolutely amazing.

Can’t wait to check this out

[u/skuupp]

anybody else think he sounds like Phil Dunphy?

LOL

Great video btw.

[u/theluckyllama]

IFL

[u/gweilo]

only getting back into production and DMG eq looks really good.