Jaycen Joshua's Mixing Template EXPOSED!

today we expose Jason Joshua's exact next time Michael Jackson married to Claus T Grizzly money long indie or Nicki Minaj little baby little Dirk is Zac Brown Band The Weekend Demi Lovato Russ NBA youngboy so if you've heard of any of those artists you have heard of a Jason Joshua mix whether you know it or not and today we're gonna pull back the curtain and give you an inside look behind a typical Jason Joshua mix template so if you don't know who I am I'm Jordan Easter with my audio Academy and recently Jason Joshua has went on an Instagram live done different mix with the Masters and I've personally had the opportunity to learn under some of his mixing assistants over the years and my promise to you if you stay to the end of the video I'll sprinkle in some tips and tricks along the way so you will have to spend hours and hours trying to find different articles that Jason Joshua was done over the last few years sound good let's go ahead and dive into Pro Tools so as you can see up here we're starting with the mix bus that's pretty self-explanatory and then what we have here is what Jason refers to as kind of like his safety nets there's gonna be multiple vocals within the session so all of the vocals are ultimately routed up here to the all Vox track and then from there we go to the all drums all your drums are going to be routed there before it's actually routed out into the mix bus and then the all music all the music all the key synths all that stuff is going to be routed to the all music then you have your Ollie FX that's where all your Reverb all that good stuff is going to be routed to the only thing about this one is this isn't routed out to the mix bus this is actually routed out to the all Vox because the majority of the EFX are going to be put on the vocals and then down here we're gonna have these delay throw tracks if you don't know how those are utilized what I'm going to do is I'm going to pop up a quick YouTube short that we recently did kind of breaking down how we utilize the delay throws and this is exactly how he utilizes them as well from there we're going into the lead all all of the vocals they're all routed to this lead all and here's gonna kind of be your vocal bus this is where he does the heavy lifting on his vocals obviously all your you know your vocal tracks are going to be routed here the lead track is an exact duplicate of the the vocal bus I don't think this is supposed to be there we can just go ahead and take that off and then we start to get to the actual instruments so he starts off with the drum bus or his drum and bass bus Which is the final Ox before it actually hits the all drums Ox you've seen at the top of the template all of his you know his kicks and his snares go to the C drums and then from there we've got a kick preset we'll go through that shortly base all that's going to kind of Be Your Bass lines high-end perks so high in perks is basically going to be your percussion instruments it's going to kind of have like the higher frequencies so think of your closed hats potentially an open hat things like that your low end perks is going to be more of like your shakers your percussion elements it's not like your 808 or kicks but kind of have a little bit of that low end within the percussion and then obviously these are actually routed to the all drums bus as you can see vocal samples Main Music Keys your guitar your synth strings so all that he does is whenever he pulls in you know his track that he's mixing you would just drag all your keys under the keys all um all the guitars you would drag that under the guitar all you know if there's no sense in the track get it out of there make it inactive so really that's it it's ultimately just kind of funneled all the way up to the all aux tracks like we talked about in the beginning of the video and that's ultimately routed up into your mix bus Which would then be printed so now let's break down these buses let's talk about the plugins this is the stuff that you came for that vocal chain yes sir the drum bus nice be throwing it all in here you about to get it all a lot of his heavy lifting is actually happening on the instrument track itself and the reason why is because every single beat every single song is going to be unique but I have seen some consistency of some midsize EQ on some of these and just kind of utilizing the aux track is leveling out the the instrument tracks as you can see here on the synth all the guitar all a lot of times it's going to kind of clash with the vocals so as you can see there's a mid-side EQ here I typically see him kind of carving out you know anywhere from about 800 up until about 2k and then this shed spread is a plug-in just to kind of spread out the the instruments that way all the instruments aren't just kind of clashing with each other that's literally all that's happening there they're both identical and as we move our way up there's a video where he actually breaks down how he utilizes soothe is a side chain I'm gonna link that video down in the description ultimately what he does is he does a side chain for the keys and the Main Music and he sidechains it with the kick so every time that kick hits it's not going to be cloudied up by the keys or the Main Music and as we move up here there's some music parallel compression it's an Envy waves plug-in I do believe that it's still in its template I don't know how much he uses it it's something there that you may want to experiment with we've got the synth mood mutron which is something that you can play with with your synths vocal samples very self-explanatory so a lot of the heavy lifting on the bass drums and vocals do actually happen on the aux tracks so let's go ahead and break down what's happening on the Bass track I think the only thing that really happens here I think a lot of this kind of stays the same I would probably adjust this threshold until it's hitting about 3 DB of compression I kind of see that that's going to be a sweet spot there so just kind of play with that threshold our base just to kind of give Your Bass a little bit of body the gate just to make sure there's nothing that doesn't need to be there I think he's really using this as a gate the Black Box it almost feels like it gives you volume without gaining voltage which is pretty cool a transient designer here and then we've got a pro Q3 I've noticed that every once in a while this is just kind of like a safety net the base has a little bit too much low end he may start rolling some stuff off here and then he's got this soothe here as well and then uh what he's got up here on the base basically this is a master fader sent to the base all that allows him to kind of trim into the base all Ox he's gonna have a ton of waves NLS buses it's pretty bananas I've noticed on the base one a lot of times if it's hitting too too hard he may make the second one inactive and then the sixth one inactive I've seen that be a thing that he's done recently let's kind of go through these real quick so it's going to be Mike boosted the drive at 0.5 if we made this one active this is going to be Spike Mike then another mic and then another mic and then a spike I'm gonna make it an active an EVO and finishing off with the mic and then the pro EQ just to kind of round it off a little bit add a little bit of shine at the top to help it kind of cut through it's identical to uh the sea drum so we're not going to cover that keep on moving up to the kick if you want your kick to smack there's a preset that he uses it's a neutron preset license not found but this is kind of just a preset that he uses the transient designer in the neutron to make that kick smack your face import your kick delete what I did but make sure to pull down that Neutron to your kick you just want to make sure that your kick is routed to the C drums let's go ahead and go up to the C drum so C drums like I mentioned a little earlier that's going to be your kicks and your snares and your 808s the Shadow Hills literally it's the exact same chain on the C drums as the base all just kind of adjust that threshold to where you're hitting about negative three to negative two DB of compression a little bit of R bass to add the body cleaning it up a little bit of black box and then the transient designer to make make your drums get a smack it and then your C drums is going to be routed up here to the drum and bass and whoa I know you wonder why I skipped this we coming back to it so the drama bass nothing's really happening here except for some potential sins these are some you know some parallel things that he's going to be utilizing if the drums and the bass isn't really giving them what he needs I believe it's just going to be adding some saturation with all of these yes so and you can experiment with this all these plugins that I'm utilizing they're all preset to Jason Joshua's presets that he's going to be using in all of these sins I think only plug in here that's a little unique is the standard Clipper ultimately what this is doing is if that snare is just hitting a little bit too hard the Kick's hitting a little bit too hard the Clipper is going to kind of smooth that out a little bit but still keep it Punchy this is Jason Joshua's latest vocal chain don't be taking no screenshots I've made your job so easy man I've done made the template for you and not only that I'm letting you decide how much you want to pay for it if you want to pay zero dollars if you want it for the free 90 nine I get it you may be on the come up all you got to do is type in that 0.00 but if you've been receiving some value and you feel like throwing in that tip for your boy look at my dog so if you haven't done that yet be sure to do that make your life crazy easy let's go ahead and continue to break down the template so the first thing that he's got here is the Spectra which is an EQ from what I've seen he doesn't use too too much of this it just kind of adds a little bit of character to his vocal I have seen him kind of experiment with a little bit of 1K boost there to give your vocal a little bit of presence then we go to the L Ray which is a plug-in by Greg Wells it is created by acoustica forgive me if that's not how you say it I think he really just kind of TAPS us from what I can tell kind of keeps these settings very similar very close to what we've got here well I got a little something in my throat there and the only thing that I've kind of seen him adjust is the threshold to where you're just kind of tapping this just a touch from there we're going to the trusty fat filter Pro Q3 just kind of rolling off some stuff just kind of experiment with this this is going to differ between vocal to vocal you probably want to be around here down to about 80 Hertz that's kind of a sweet spot we jump down here to the mcdsp mc404 multi-band compressor this band kind of stays the same for most scenarios I think you kind of adjusts the threshold to where he's hitting anywhere from about three to six DB of compression and then here I think it's been very similar three to six DB of compression I really don't think he uses this band very often and then it goes here to where he's doing a lot of his heavy lifting vocal cleanup he's not necessarily dipping he's actually making a dynamic EQ and that's how he's EQ in his vocal this is just starting points very common problematic frequencies but please adjust these bands according to your vocals and then from here we've got the a slate audio fresh air adding a little bit of shine add a little bit of high into the vocals another instance of the 404 and this is just kind of a safety net you know if he missed a little bit down here and he's playing it back he's like man like I don't necessarily want to take a chunk out of it you know I just want to make some slight adjustments here and then the most hated on plug-in of the Sentry the waves audio CLA vocals it's on there man he's staying true to it he's staying true to it this is kind of what this looks like I've noticed this does kind of change I know he adjusts the bite from time to time think it goes from spank to wall from time to time as well but this is a pretty common setting that I see him use if you don't know about CLA vocals basically it's an all-in-one plug-in pretty cool stuff and then we go to the waves audio C6 which is another plug-in just kind of taming those vocals and the frequencies to my knowledge it stays around 250 that tends to be a problematic frequency I've noticed that's been a problematic frequency for me as well and then this frequency kind of changes you just kind of adjust the threshold I think a lot of the attack in the release kind of says the same then the soothe is how we're wrapping up the vocal chain here he says that this is pretty much a set it and forget it and yeah that's kind of what this plug-in looks like the vocal bus here it's an exact duplicate down to the ad-lib bus then the ad-lib bus and the lead vocal bus is routed to the lead all which is where all the vocals are going to be routed to as you can see so what the lead all is it's going to be a very easy way to adjust all of your vocals in one central location and I have noticed on the lead all he does still keep this up here it's the eosis plug-in just kind of adding a little bit of air to the vocals that kind of is interchanged with fresh air depending on the the vocal kind of his Vibe of the mix those are pretty common to live on the lead all vocal track then from there we've got the J Vox comp so that's this parallel compression that has not been on the most recent templates that I've been seeing I think a lot of the parallel compressions coming from the CLA vocals now that's there if you want to check it out if you download the template these are just going to be some delay throws it's just an H delay a an R compressor just kind of taming it so the you know the delays aren't crazy and clashing with the lead vocals a little bit of Lo-Fi to add a little character doubler to spread them out to give these delays a little bit of space so they're not clashing with the vocals and a little bit of the old school air Reverb these are identical the only thing is is that's changed and I think this may have a little bit more Reverb and the flange I think that one's just got a little bit of flange so if you don't know how to use verb throws I'm going to link a video on how to utilize those right now that should be popping up and that leads us up to the EFX he does not use every single one of these every single session from what I can tell he only utilizes a few of these he likes to have his Arsenal ready just in case if he's mixing he's not having to think he's already got these presets so if he wants to go in and add a little bit of the EMT Reverb well bam all you do make it active and create your send track and you're in there you can see there's different some slapped lay some ping pong delays some just crazy different effects tracks of course some Reverb the most common ones that I typically see are going to be the slap delay just kind of make the vocal you know what a slap delay does and then a rap verb just to kind of give the vocal you know a little bit of space without going too too crazy he basically chooses his Reverb of choice and that's going to differ between song to song you've got a bunch to choose from oh we've included decent amounts about Hollow reverbs very typical to what he's going to be using play around with it experiment see what works for each track that's what he does that's what you should do then all of these EFX tracks are routed to the all EFX track which is ultimately routed to the all vocal track from there we go to all music which obviously all the music is going to be routed to I've seen where he does have the Spectra on there for quick and easy use and he has this track spacer he has a side chain to the lead all track he breaks it down in one of the videos that I've linked down in the description if you want to check it out the full breakdown But ultimately what he does is with this being side chained to the lead vocal track whenever the vocals start to clash with the music this track spacer actually carves out the space to make room for the vocal for the vocal to cut through it's a really really cool concept Jason breaks it down a lot better than I would which is exactly why I've linked the full video down in the description where he's actually breaking it down from there we have the all drums bus another form of the Spectra you know if he wants to add anything to it and then the all Vox track and how he utilizes these all aux tracks so if he's playing the mix back it's like man I love everything about it I just wish all the vocals were a little bit louder easy bam turn that sucker up and your money oh my drums a little bit too loud bam yeah boy makes it very very easy to use whenever you start to incorporate into your workflow and then last but not least we hitting the mix bus with the one and only shout out to cradle audio and The Man Behind the plug-in the God particle we finishing up the template with at and if you've made it all the way to this point and you haven't subscribed you know what to do we're always bringing the heat but that wraps up the video I'm getting out of here we'll see y'all soon peace [Music]

Channel: MyAudioAcademy

Views: 50,724

Keywords: jaycen joshua, jaycen joshua plugin, jaycen joshua mixing, jaycen joshua the god particle, jaycen joshua mixing vocals, jaycen joshua vocal effects, jaycen joshua vocal chain, jaycen joshua mixing template, mixing template, the god particle jaycen joshua, jaycen joshua god particle, jaycen joshua mix with the masters, pro tools template, dave pensado, the god particle plugin, jaycen joshua drum buss, mixing template pro tools, rap mixing template, jaycen joshua mix bus

Id: ExsxMTzkWJM

Length: 15min 48sec (948 seconds)

Published: Tue Oct 04 2022