How To Get KILLER Sounding Mixes!

you guys can see me now right there is me out here I was a stream looking now in Germany today okay first things first be Auto book on sale 20% off code is RB 108 so those of you they haven't bought it now's your time actually anything in my stores 20% off for the next 24 hours what's up James what's happening everybody so I am broadcasting to you through Germany you know what's weird is that I took the hotel internet off and I'm just using the regular you know 4G or whatever and it's like that's all you got to do okay I just gotten into my mixing tips here I've been wanting to do a video about this I can't add it I get asked questions about this a lot about how D what's up chaps about how to get your mixes sounded great and this really these things I'm going to talk about today go across the board as I mentioned I did a those of you that were just on a minute ago I did a video with Pete thorne today he's a great guitar player and not to give away some of the stuff on put out the video tomorrow but but you know we were talking about about plugins about guitar simulators and amplifiers and things we're talking about mixing and so I got me got me thinking about this and I've been talking a lot about it on my second channel we've been talking about we were talking the other night about bass sounds and talked about the mixer Andy Wallace and and about his mixes and why they sounds so good and there's but there are general principles that you need to go by in order to get great sounding mixes and it starts before the mixing process okay so I started to jot some some things down about things that are really important one of the important things is putting your low frequency instruments in the center of the mix that's why the kick drum and the bass guitar go in the center because if you don't then your mixes are unbalanced okay you don't want to have if you were to you know sometimes you'll be looking at the meters you'll say what is going on the meters are a little off why is the right channel heavy I've got the guitars pan to the same place you know I've got the you know I've got keyboards here okay guitars him but everything balanced put something off but it's a little bit right heavy well if you go in and you realize that your base is pan slightly to the right by some you know for some reason anytime you get the this this energy like that of low-frequency instruments it throws off the panning of your mix it throws off the the left/right balance that's why kick drum always goes in the middle that's where the bass always goes in the middle now there is one exception with low-frequency instruments is that in orchestral if you listen to an orchestra typically your cellos are going to be onstage right okay they are low-frequency instrument and then typically the basses are behind the cellos further back on the right sometimes slightly panned in depending on where they're placed now this is a this is just what Orchestra sound like with their natural panning that does not mean that you can't put your cello coz when you're doing your orchestral mock-ups that does not mean that you can't you can't put your cellos in the center and your bases in the center and then maybe pan your violas to one side and then spread your first violins out here maybe your second violence here you always want to think about about where the low frequencies are and you want to think about your panning okay now with panning I talked a lot about old school see back in the old days with panning there were consoles that would either give you they'd give you three different I say Tom just said there he puts his cellos and basses in the center for that particular reason Tom right some consoles used to have left center right would be the only you could not get 20% here 30% here if you listen to certain records I'll tell you I'll tell you an interesting record where the snare and kick or slightly off center is Zeppelin one I've because of Glyn John's the way that he would pan his overheads with that Glenn Jones making technique if you listen to it you'll hear your snare slightly over on this side and the kick is slightly over there it doesn't always follow these particular principles but panning can really be used to accentuate things a lot of times I will take things out of the mix that have high frequency information and put them opposite each other if my hi-hat is in the left ear and let's say it's in the left speaker and I have an acoustic guitar track or something else a tambourine that mimics it that's in the same frequency range I will put it in the opposite speaker if you're working on something EDM music and everything is quantized it doesn't matter quite as much because things can overlap but if things are not perfect uh you know perfectly timed you will have flammie and it becomes noticeable it's interesting if you listen to and I'm gonna put my glasses on so I can read the comments better if you listen to a record that like Joshua Tree you too I was thinking about this that that um there's a song on there that's called oh there we go there is a song called in God's country it's really cool cool tune it starts out d2 a minor and it's really fast strumming and if you watch the movie Rattle and Hum edge is playing it on his electric guitar and Larry Mullen jr. the drummer is playing sixteenth notes on the high hat now in the video they don't they don't compete with each other because edges sound doesn't have the same top end of a hi-hat yet on the record they're using acoustic guitar and you don't hear the hi-hat as a matter of fact it's it's as if I don't know if they've removed the high up but there's really no hi-hat in there because that acoustic guitar actually takes the place of the hi-hat so if they are not perfectly synced you get flamming between those okay and you don't want to have flamming between these high-frequency instruments and does not matter what what kind of music that you're doing you can be doing modern pop music you can be doing you can be doing metal you don't want to have these things on the same side if if you're a drummer and you're playing a pattern that combines the ride in the hi-hat okay you don't want to be having the two on the same side that's one of the reasons they're putting it well it's it's so that you can it's easier to play you can play open-handed okay but oh flamming is when things that go but but things that are not lined up perfectly okay it's called a flam on a snare drum beat but i but i but i it sounds like that where one hits almost immediately two notes that are too close together there are close together but not exactly as the at the same time thank you strike at that's very good so but like my video was flamming when i first tried to do it okay so one of the things that you want to look for is your panning panning can make or break some mixes people don't really realize this that panning is incredibly important to opening up space in the mix so I would I would really think about that a fred just asked an interesting question you said why are drums not mixed to the sides anymore well you know they are on certain records but when you listen to a drum set once you get back you got to think about things like this if you stand back from a drum set it doesn't come from either side it's more here it's more in the center right it's it's it's the sides are pulled in many times drum sets sound actually more natural when you don't hardpan the overheads okay you want to bring them in a little bit and you want to give the kit more of a center a centering effect on it I like this personally put the tarz hard pant or put other things it's an aesthetic same thing Fred with when I record a b3 organ and I will do one of these I will do a video on this recording of b3 now many times most of the time I'll record a b3 with three microphones I'll put two microphones one on each side of the of the the horn at the top that's spinning right and then a on the drum at the bottom that's spinning I will put a low frequency microphone something like an re 20 or a sennheiser 421 re twenties electro-voice or even a bait of 52 if that's all you have but when I go to mix down I combine the tracks typically okay because I want the b3 coming from one place if you listen to old school records but most many of the times you will hear the b3 in one side and you'll hear the organ the earlier the reverb on the other side and this is an old-school trick if you think of a song I want to say off the top of my head thank you by Led Zeppelin or gonna one speaker reverb from the other speaker and this is another way that people would open up mixes using panning and reverb as an effect dry signal on one side of the stereo image and the effect the reverb on the other side it keeps those frequencies from it keeps those things from getting cloudy because if they're both if you have everything with reverbs and they're all coming up the center or in stereo then your mix starts to can start to sound like mush because you have too many things competing in the same area and if you put everything in stereo it becomes what I call big mono it's like when you double track the same exact guitar sound even if it's a second take it you want to alter the tone of it so it sounds wider so typically what I'll do is I'll record I'll get one sound on one side go to the other side and maybe put a distortion pedal down which which will take the low end of the guitar and filter it going into the amp and it will change the tone and the way the amplifier reacts and instantly my mix sounds why the guitars are a wider sounding with things like that okay so another thing for getting your mix of Sun and great filtering the low-end red has a bit good video in that red has a good video on that John because I taught Rhett that so I need to tell them that I need to get Mike my cut from that one I'm just kidding filtering the low end what you want to do is you want to John Rhett set in and set in on five years of sessions you want to filter your low end from every track that is not a main source of low end okay doesn't matter if you're using since and you're doing you know electronic dance music or pop music or anything like that you want to filter your low end it's very important I it's funny because I have a good friend of mine was just in the new his name's Eric J and he won a Grammy and he was an abandoned years ago and when he first started mixing he's in the new you ad at there's an interview with him and the UAD magazine the the thing that they just sent out and I was just cracking up cuz I could hear myself telling him this fifteen years ago and now he's a big mixer and he's super talented guy I'm gonna bring he was in one of my favorite bands that I produced he was the lead singer of that I'm playing he put it was him the band was called Essex and the drummer for Jeff Buckley Matt was the drummer for Essex okay filter the low end and and he goes on he talks about this and I was cracking up as he was saying this so your low-end instruments are going to be your base and your kick drum those are typically the things are gonna produce low-end and your mix everything else you need to filter when I say filter that means you shelve the bottom end or put a high-pass filter on it now where you put this is is important what you don't want to do you don't want to strip the character away from the instrument number one and number two when you start taking bottom and away from an instrument its produces an effect that would be kind of akin to masking okay if you want I'll give you an example if you want a if you have a sound that's really bright instead of taking the top end and lowering it you can add low end to it and that low end on the sound will mask it okay by the way speaking of masking be out a book is on sale RB 108 you guys buying stuff from my store buying mugs or anything keeps me in business able to make videos on here I couldn't be here if it wasn't for people buying stuff in my store because that we don't get paid to come here to Germany to get gone Amos so filtering everything that doesn't have low-end next thing because you're filtering everything with low end and you have oh what I usually do for the filtering I will play the track then I will high-pass it up until it's noticeable where the high passes yes thank you can't join the Beato club too that's another way you can support the channel you bring the high-pass filter up till when you actually notice it and then you then you move it back okay because as soon as you notice it it takes a minute for your perception to kick in okay drop it back don't filter it because sometimes you'll go oh I don't notice I don't know it's next thing you know your filters at 250 Hertz on your on your guitar or on your keyboard pad and then you realize that well you actually you actually notice those things you will eventually go backwards with it then go back down you know 50 Hertz or something like that okay so back off it another thing you have to decide what is going to represent the low-end in your mix okay so the when I say the low-end of the mix is it going to be a bit Seve mix or is it going to be a kick drum heavy mix a bass heavy mix will sound one way and a kick drum heavy mix will sound another way a kick drum heavy mix obviously with the kick drum is pulsating and the bass can be you know depending on how it's played can be a much more consistent sound right now if you decide oh I want a a bass heavy mix well if you have a base of e mix there's another thing that you have to that you have to take into account is the base plate consistently if the bases are played consistently this is why you typically will compress the bass is to get the low-end consistence so you don't have dropouts because some people say somebody just mentioned children in bloom Counting Crows that's one of my favorite songs love that tune hold on there we go boom gone so let's see here like the bass on bass drum and Audioslave certain records will be bass heavy in certain records will be kick heavy guys like Andy Wallace that I was mentioning that makes a lot of did Jeff Buckley and Nirvana and system of down in Lincoln Park and you name it every heavy rock record out there helmet Andy Wallace would be a kick drum heavy mixer okay even though he had a killer bass tones he always would mix the kick he wanted you to feel the kick drum there okay that's you know that's a certain type of mix whereas if you listen to a lot of records like you to records for example you to records are very bass heavy the low-end is the underpinning that that is a you know that's it's really from record to record and it's something that people decide on when they start making a record and okay Michael asked why would you choose one over the other they're really two different sounds you know if you have a if the kick drum is taking up the low end right every time the kick drum hits if it has odd patterns edit or something then it can be distracting there's a great song on a perfect circle on 13th step it's called weak and powerless anybody know that song it's a really great great song and it has a study to dudududududududududududududududududududu it's it's just freeze playing and the kick drum is really dominant and it never stops yet it is incredibly consistent that song is a beautiful song yet it is kind of a base feature though that's the thing so the song starts with bass that's playing chords it's it's a it's a very cool pattern and and but it's it's a kick drum heavy song so these things are not but but it's it's not a bass heavy song but the kick is the heartbeat ray just said it kick us the heartbeat of that song in particular one of the things that Andy Wallace does I talk about this a lot is that he puts a pitch change on his bass all the time in his mixes he would do he uses programmed 15 of the SPX 90 now programmed 15 is called symphonic and it's a pitch change so it has modulation on it too and it actually makes the bass in stereo and it moves between the speakers and when it has that little movement there it actually makes the bass bass more present it makes you able to it makes the mist mix less static okay anytime you can put any type of modulation on an instrument it makes it less static if you but delay on instruments makes it less less static sir Ben who's a great mixer makes us all Max Martin records he mixes a lot of stuff on the radio I don't know if he knows if you know Serban but is he does things like whole take a hoe used different delay lengths on different instruments he will maybe have a triplet based delay on a vocal he'll have an eighth note based delay on another instrument things where it's actually obvious to hear and hope he won't necessarily do them at the same tempo of the song and one of the reasons is that if you have all the delays over apt overlapping exactly the same it gets that you don't hear them okay many times what I will do is I will I will alter the on each side of a delay I'll make one slightly shorter or longer than the other side so the delays are kind of working like this and they move between the speakers don't set your delays to the same time don't put them at you know three hundred and forty milliseconds set to an eighth note or whatever add both sides set one two three forty and one side to three fifty that will get your movement that will get them to move between the speakers now somebody said to sidechain your kick and snare oh I don't really believe in sidechaining your kick and snare for something this side chaining to me is used as an effect it's great on keyboards things like that you know you use it for voiceovers for ducking things in the background that's what that's what side sidechain is good for for the for the base of the kick you have to decide where each one lives and then you'll either shelve one in one place or you dip the EQ in one place and you'll make one thing stand out from another if I have a bass heavy song it's going to have probably maybe sixty Hertz will be accentuated in the base whereas in the in the I'm sorry in the kick-drum no and a base have you song and the kick-drum might have a hundred Hertz will be will be accentuated in the kick drum okay if you sidechain saying things like that I see this pumping effect what you don't want you don't want you mixes the pump unless you're really going for that sound pumping is where your mixes sound like they're breathing now if you can get the things to actually breathe in tempo it can actually be a great effect that is the effect that you're hearing and when the levee breaks Andy John's that mixed it in addition to having the echo which is pretty much in time with the song did too thank you and Rafer for that for buying the book there I saw that I saw that Beato book is on sale like I said 20% off RB 108 is the code when you guys buy it put it on here that you bought it and I'm gonna give you a shout out like Andre that was very cool I really appreciate that you buy anything in my store here buy a mug the modes of the harmonic minor scale or melodic minor boom so don't look to sidechaining for getting your to get your bass and kick to have separation that comes from your sound and how they're sculpted okay you should not be done by that the other thing that affects that is your release of your buss compressor okay now in the old days we had you know if you're mixing through a console if I was missing mixing through an SSL and a G Plus most people will use auto and use auto release which is program dependent okay but you can very easily use one of the pre one of the preset that has five positions on it with the on the release and the attack I think five or six and you can adjust it till it it works with the tempo of the song okay because that's really important you guys getting your buss compressor set to the proper setting now people that I've seen like Andy Wallace for example sometimes sold go+ 8db in compression mimic pose compression a tremendous amount some people are very light on the mix buss compressor I worked with with Ben gross who maybe will only hit it 2 dB okay but he's got compressors on almost every track you know some guys will really hammer it but she once again what you don't want to do is you don't want to get into brick wall limiting on your mix you got to leave room for the mastering engineer to do something at it okay so let me talk about a couple other things here so movement and imaging is incredibly important anyone use vocal writer I've used Volga writer before okay um your monitor speakers this is another really really important thing about your mixes um you have to have multiple monitoring sources if possible somebody just bought the book I just saw it there awesome you got to have multiple sources not just your stereo monitors that you're using I typically like to have three sources so I have Aniston's connected to a sub woofer and I have these things called events the PS fixes and I've had for 18 years 19 years and then I have a little clock radio that I have an aux out that is plugged into I will spend most of my time on my main mixes getting the getting the low-end right okay getting my pan and getting my eq's right then I'll go over to the small speakers and I will work a lot I'll also put it through sometimes I have an old Mac that has really small speakers as an ox as an input in it I will go to that that is where you judge your harmony where you can judge the the vocal lead vocal along with a snare drum that's where you can judge if you can hear the bass or not because typically if you're listening through a little phone people listen on phones they just do and you got to take that into account you can't hear things below you know 300 Hertz on a phone alright but you'll notice that when you actually goose that 300 Hertz on the bass guitar or your bass instrument that you will hear them okay you'll also notice it if you add distortion distortion will bring out things in the mix your snare your bass it does not matter distortion brings things out because it adds harmonic content to it okay it makes the waveforms more complex and it's easier to hear and if you don't believe it all you need to do is take a sine wave with a sine wave generator app on your phone go up as high I mean saturation distortion saturation go up as high as you can hear okay with a sine wave once it gets to a certain height you're gonna go where you can't hear it anymore it might be 16 K it might be 18 K whatever it is if you get that high and you'll see the styler if you click in a square wave you will hear it because of the type of wave it is and when you add distortion to things it works in the same way it makes it more audible you shouldn't take phones into the account no you should take phones in the account because you've got once you have all of your eq's and everything right then you already know what it sounds like and if you can't hear it on those things those things will actually bring out who's that from seek what was that here thanks for everything man Tony you are very welcome you're very very thank you once you if you can hear things on there and you realize that you're yeah a lot of your imperfections of your mix are going to come out on that now somebody mark just said what about mixing in mono when you're listening to a small speaker that's that's five feet away from you you're listening in mono that's big that's mono anytime you get out of the field of where your speakers are where the throw is of your speakers you're listening in mono okay you don't have to check in mono walk to the side of your speakers and you're hearing it in mono you will hear these kind of anomalies people don't people don't listen in mono and things are not summed that way right so because you can do some really cool you can do some really cool phase effects that would never work in mono but since people don't listen in mono you don't have to worry about it and I would never base anything on that that's kind of something you'd use mono to check if your microphones are in phase that is really a big thing with it I think there's very few things that mono that going to mono is going to affect okay because the only thing that that going into mono of effects are things that are multiplied might a bass guitar that has a DI and an amp that's not even really you still have some delay on that unless you delay the unless you delay the DI to line up all right walk out of the side to the side of the speakers if you wonder what a microphones mean means to be in phase watch my video that's called phase so walk to the side of the speakers listen to it you will start to notice imperfections phase issues are checked when you're recording that's when you check the things the I'm assuming that you know how to put things in phase when you get to when you're mixing you're not typically you're not going oh is this in phase is that in phase no you get things in phase will you record them your drums are in phase your rack tom is in phase with your snare your snares in phase with your overheads this stuff is done when you're tracking you don't wait to your mixing oh let me check the phase on this it's like do you think that people are going around you know first of all it only comes into play on multiply miked things that's where phase is affected so and I will go up against anybody with a mix where I'll just mix it in stereo they can mix it in mono will listen to their mix I mean it's it's you know oh I'm gonna mix it in mono you get the you get the phase right to begin with when you're tracking it okay next thing uh there is a plug-in that is really really great and it's called the magic a B does anyone know that I've owned this plug-in for years the magic a/b is made by a company called sample magic and it's a great yeah yeah that's a mythbuster thing H K this this checking in mono stuff I'm gonna do a video on that anybody know about the magic a be magic a/b is a plugin that is incredibly great because with you can it'll hold nine mixes it will hold nine mixes in it and each mix you can isolate the exact section of the song that you want to reference so if it's only the chorus the loudest part of the song let's say that you're like you know what I really like the I really like the compression on this mix and it's Audioslave or something god I love the compression on this makes a sense killer don't don't done was its song about don't don't don't is it Cochise no you know what I'm sorry I'm talking about and it's got great great the compression on the mix is so upfront and and so I would isolate that song if I'm doing a song similar to that or whatever I would isolate that section of the song and I would and I would show me on a live thank you freedom thank you very much it is showing me how to live I think yes and the whole album is amazing sounding so I would take I would isolate so you it allows you to loop just a small section of the song okay you also put it last in your chain on your on your bus on your master bus okay so let's say you've got your compressor you might have an EQ after your compressor and then you have the your magic a/b or maybe you'll have two compressors on your mix bus sometimes I would use two compressors I would use a back in the old days I would use a multi multi band compressor and that would use the second compressor behind it put the magic a B on there you got nine tunes you can do you can take you can make oh this one is for country songs this one's for metals one's for rock this was for EDM and you'll take the best sounding songs that you know you put him in there and it will save those it will save those things in there the reason that you put it at the end of your after your buss compression is so it's not affected by the buss compression okay and you can literally start your mix that your a sound then hit B and it'll go to whatever pre-selected song you have and it will play it so that's a great way to especially if you don't have a lot of experience with mixing another thing I do is have a dedicated sub woofer if you're able to afford it that you can actually isolate the subwoofer from the main speakers it takes the crossover point and will play only the sub woofer that's how you can tell if you're getting some really weird things that cause woofer excursion or cause mud in your mixer take energy away from your mix by listening to just the low end and seeing what other great mixes sound like in the low-end it will give you an idea as to what you are you have too much of or what you're lacking okay so subwoofers are very important they can be placed anywhere in the room pretty much they can really they can they can really be any terribly worried about that about not having a room for it mine is placed off to the side but it fills the room but low and bass waves are very big okay um so this magic a/b I would invest in it I think I want to say it's like 15 bucks for the plug-in and it's a great plugin um bass compression or buss compression I mean buss compression I pretty much always use buss compression almost every at no not almost every mixer every single mixer that I've ever worked with has used buss compression and hold on a second who's this guy here welcome to Europe what I don't know who this guy is it's asking these ridiculous questions so at virtually every mixer I've ever worked with uses buss compression and they put it on right at the beginning of the mix you know a buss compression I mean a a compressor on the master buss no the buss compression should not be left for mastering you can accept your mastering engineer is basically going to determine what your mix sounds like no professional people no pro mixers you go without a buss compressor anymore Bruce would deem that mix Michael Jackson he would never use buss compression back in the old days it's ridiculous compression is part of the sound of you mixed s-- and people use it whoever your mix whoever your mastering friend it says no eq and the mix buss is wrong that's another ridiculous misconception every mixer that i know uses eq on their mix buss they just do any of the guys you know oh they'll use something jover ici you know they all use it Randy stop that I worked with they all are going through some type of extra step of some EQ it may be a santech EQ it may be a GM l something just add a little bit you know maybe you put a little bit of 10k on it maybe put a little 60 Hertz on it whatever you make it as good as you can make it sound before you give to the mastering compressor but what you don't want to do is you don't want to squish it you don't want to make it where it's on where there's nothing they can do with it you don't put brick wall compression or limiting on the master buss you do not do that you have to have movement in your mix you've got to have peaks and valleys it should not be flatlined when it goes to the max mastering engineer how do you tell if it's flatlined cuz when you look at the wave for me it looks like a straight line you want to see those still a you want to see those those are incredibly important do i eq before after the buss compressor you know I've done both sometimes I don't do any but most of the time I will I will typically EQ before the buss compressor but but you so typically I will use I will use a multiband compressor I feel like you can isolate certain frequencies and I think it can i I think it can it can be you can use it in a gentler way then you can use with it if you have a good sign of EQ citizen nobody says if you the EQ if you the bus it will create phase it doesn't create phase it can change the phase though it's not it can create phase anomalies right you want to be careful a lot of people use okay stereo spreaders I view stereo spreaders on the mix but typically if I'm gonna use any type of spreading effects like that I will do them I will put them on things that I think you want to like like if I have something playing the same parts that I want to have hard pant I'll put it on those tracks specifically make them go outside the you know make them sound a little bit wider than they would normally sound I think that's that's kind of important what vine to send your mix to the master - 18 D rule no that's ridiculous way higher than that no I would never send some of that quiet to the mastering engineer it's ridiculous get the thing sounding as close as possible alright number one if you're working with a professional band they're gonna want to hear stuff that's put through a limiter no so - 18 DB is not okay Renzo that's - look no you don't want to mix that low in volume it's ridiculous you leave some room for the mastering engineer but you don't leave that much room what's up SB minus six that's probably good rule right there HK that's that's about right that leaves way too much room also if your mixes - E is that you know - 18 DB when you go to send it out to people - the band - the artist whoever it is and you slap a limiter on that it's gonna change the mix traumatically because typically people want to hear that stuff so let's see here so then the other thing is to is to then is to figure out what is really lacking your you know once you get your mix close you you want it to have dynamic range from section to section and that may be a thing where you actually ride that you reroute it back through the you know through Pro Tools or whatever you're going to you all depends on how you have your mix set up is too do rides after the master buss fader okay now a lot of people would would bring it back through the board and they would actually ride up the choruses okay so that they have more impact so you do your rides in the song that's the last thing you're doing in your mixing typically is that you do all your rides with your instruments what you don't want is you don't want a static mix you can't let things like compression do all the work for it compression can't ride your guitars up in the chorus they they they can't create excitement like that you need to do this you need to have dynamics you got to ride your time fills up you got to ride your crashes up and back if you're using an acoustic drum kit those things are incredibly important in a dense mix the cymbals will go and they'll disappear if you ride them up and then pull them back try to ride things that disappear in time with the beat why does I set why do I sound so hostile do I sound hostile I always sound like this you guys think I'm Sun hostile I will go in I will ride every time Phil I will write every crash I will ride every I will ride every guitar up in the chorus I will ride up the I will ride up the bass guitar in the choruses all right that's how I sound thank you Tom I will ride things up and then later on once I feel like I have my mix really close then I will go and I will ride the sections afterwards okay so that my choruses are getting louder in energy there I'm talking after the bus compressor I will do that many times I don't always do it I don't always do that what you don't want to do is is you can't just ride this stuff up if you're riding into a buss compressor you ride the things under Trax okay and then you set your bus bus compressor to that but the the real key is to put the dynamics in the performances because that's where it happens don't wait to do the the stuff in the mixing it's kind of like checking your phase in the mix it's like bro you check the face when you record the stuff that asked when you check that you don't wait till the mixing phase to do that storm Foxx you're very welcome Beato book by the way I'm gonna mention it again while we're on here RB 108 is the code that's how I'm able to make videos for this channel is literally because of that just people buy my book or buying mugs you can become a member of the B Auto Club and support me through that I'm here because the B out of I was able to take a week away and do this this is amazing and I'm gonna spend the extra two days in in Leipzig doing my video on the box that I'm doing Thank You H K you're amazing do you choose specific parts of the arrangement to add in the mixing classical rig is never hostile yes okay so there's there's different types of that's that's production techniques hhk there are two ways to create excitement your mix there's excitement that can be done through at people playing louder in their choruses like you know having your guitar where it's not I'm telling you things they have dynamic range or let's say you're playing a keyboard part okay and you go into the choruses and you actually ride up the volume fader or use an expression pedal to increase the volume as it's going into the course and you swell into it you do that the same thing that you would do on a b3 organ that's got a volume control on it for that reason it's got a pedal because you can't play with dynamics if you don't have that so uh things you either do it through performance or you do what I call additive production additive production is when you add things to make the chorus sound exciting I'll tell you something HK it's funny cuz a lot of times I'll get I would mix most of the things that I produced but I get hired to mix things and I sometimes I get hired by people that would have really you know maybe tracks or not produced that great so what do I do do I let the thing come back sounding like they had it or do I add parts in when I'm mixing and of course you know what the answer is I always add parts when I'm mixing add volume seduction elements to it because and you know people I add stuffing and people don't know all I had guitar parts in the chorus because it needs it and they realized that I've done that they just know it's like man that makes sounds amazing well I've tracked about ten parts on the song you know and and there are some producers that will actually add parts to things I know some that are famous producers that worked on famous tracks in the mix down when the band's not there I've added parts that's just a fact life go watch my video on Simon and Garfunkel's and they produced it after the band had broken up uh and and and got three session for session musicians to come in and do it to come in and play on that's the one that you hear and that's why they're a hit decision Chad Blake doesn't citizen nobody says that I talked to Chad Blake about it and I don't think this is a secret if it is I'm gonna tell it that on Black Keys record the first one he mixed that he added samples to it he said that there are about each song had 10 to 12 tracks that came in it was recorded at at Muscle Shoals and and he said that they severed the drum son really dead really really dead and so he added samples to it he put to add a distortion did all this stuff and the band loved it and there's no secrecy policy Martin but there may have been secrecy with Chad telling me this although I don't Chad told me this and he hardly knew me so and the band loved it they said do more and add more nee added more distortion but the drums have samples on them they do this sounds totally organic and it doesn't matter what is done all that matters is what effect it has on the listener if it sounds good if it's I was like it's analog and it sounds killer Rick seems more confident what shrink okay magic a beer Enzo is 49 pounds is it really that much now well it used to be about 15 bucks sorry but it's worth it spend the money did George Martin add a lot to the Beatles of course he did he played parts on there he added arrangements come on George Martin was the fifth Beatle you owe your sprite oh sorry your spending is something I was someone else okay sorry mixing recording in 48 versus 96 44 or 88 almost everyone that I've sir producer I asked him and they always say 44 why is sound so interesting I have no idea it just is it's unbelievably interesting it's like adding hair extensions your way versus wearing a wig exactly I like that Julie that's good that is good where can you find analog equipment anywhere the real question for 430 vs. 432 somebody just bought the book just sold another one EQ tips please I have a whole video on EQ I should be Q stuff but it's hard to it's hard to make you can make generalizations on EQ but unless you actually hear the tracks or the instrument you can I know things to cut like an analogue piece and an acoustic instrument like a Tom if you want to make tom toms sound like they're not made of paper you'll take out mid-range like 400 Hertz out of them 500 Hertz there all of a sudden boom they start sounding like real instruments you know those are that's kind of those are those are things that those are generalizations you can make you know I told you you know boosting at 300 or so you're gonna be able to hit you're gonna be able to hear stuff on your your laptop ace I'm talking about Rick said do compress the mix bus that's correct I did say that okay so that's good I don't want to go too long we're 54 minutes here there's a lot of information in this get the B out of book sign up for the Beato Club that's that's the lifeblood of that's how I I mean it will then make video one oh eight twenty percent off anything long trying what's up that's how I make a living so that I'm able to come over here the B Auto Club is as that so leave questions it's down on here and give you a thumbs up to don't forget to give it a thumbs up I don't know if that makes a difference actually I think it does I think it's important to to you know get on the video you click thumbs up leave a comment comments are huge the more interaction there is with between you guys and me it's not just about this it's coming back to it and leaving a comment you know leave whatever thoughts you have those videos get pushed out more you know share it with people are be 108 be Auto book when are we going to start a gaming battle they're probably soon you know with all my free time I'm gonna do it do a game gaming channel you guys are the best thanks so much we'll see you tomorrow I got new video coming out tomorrow

Channel: Rick Beato

Views: 278,304

Keywords: music production, pro tools, music production setup, Mixing Pop, Mixing Rock, mixing tips, mix compression, compression mix bus, mix bus compressor, EQ, COmpression, Stereo Imaging, Arrangments, Delay, Reverb, Panning, rick beato, rick beato what makes this song great, rick beato music theory, tchad blake mixing, andy wallace rick beato, andy wallace mixing, andy wallace jeff buckley, mixing rock guitars, mixing rock drums

Id: RaaKovhajps

Length: 55min 30sec (3330 seconds)

Published: Mon Oct 08 2018