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Mastering will fix the mix if you charge enough

Was very fortunate to attend Andrew Scheps' seminar at AIM Australia. Thank you Andrew.

What we have done since the early 70s (after the whole Dolby parallel compression thing) Was to hardly use parallel compression at all in the end, Loud always sounds better (to most) and using a compressor to “tame” was a necessity as it still is with someone like the powerful Ann Wilson of Heart So bring up the level and the low stuff gets louder, use regular compression and tame the loud stuff It’s not that we never use parallel compression. It has become a personal preference of which sounds better both isolated and of course, more importantly in the mix I don’t use plug-ins for compression or preamps while tracking or mixing and personally many of the 500s are not worth my time, Prude? Old school? Psychological aversion? Call it what you will

Thank you Travis! The most valuable advice since … Now i just need to find a TH-cam channel which helps me to get me off my TH-cam addiction. Diary's of a CEO maybe?

School for study but really for the plugs. Gotta be around like minded people

Really great guy and insightful interview thnx

Nice interview, Travis!

As someone who wants to start a sound engineering business after graduating school, this was really helpful, especially Andrew's commentary on the AI situation. I had been worried about AI affecting the industry in a negative way, I still am a bit, but Andrew's vision still changed my way of thinking and helped me see some sort of a scheme I can work upon to get into full-time work. The whole video was very useful

Fantastic interview thank you both!

Nice questions fella. Thanks.

Atmos might be fun for certain types of electronic music, as an effect. For classical? No way (PERHAPS for St. Matthew Passion opening chorus, but I'm sceptical as well). For jazz and rock? Come on. I don't believe it.

Maybe the point is being missed. Phones do have binaural. Cars are getting Atmos. This thread is commented on by people that have Atmos studios, myself included. If you want to send your clients away because you want to convince them Atmos won’t be around, please let them know that I will take care of any bad mixes in a studio that has 9.1.6. Please don’t hold others back because you are not moving forward.

Spot on.

IMO: Unless someone can figure out how to place 12+ speakers in a phone or car, ATMOS is going to be just 5.1 surround sound, it'll be popular for 5 to 8 years and then fade away because the majority of people listen to music on their phones or other very small devices. The idea that people will listen to music sitting still in the center of a large room probably will never happen.

Im looking for a good mix competition website so I can just focus on mixing, if anyone knows one lmk

I’m tired of the “what should I do if I’m just starting out?” Question. I would advise to just quit and let the people who are further along run this thing out.

I have a dolby certified Atmos room and make money doing atmos mixes. A friend just gave me the keys. I have listed to all the big Atmos mixes on a great system, and I'm just not impressed. I like the Dolby binaural downmix a lot for headphones. edit: literally a 130K system with good acoustics, so best case synario.

Amazing interview... Thanks for sharing man.

Making great points. I like using AI mastering like Ozone to learn how it approaches and which areas it’s boosting and cutting. If an area is out of balance -it helps me go back into the mix and make adjustments. I’ll keep new assistants till it’s doing very little. This logically leads me to think that my premaster is more ideal for a professional mastering engineer. However, real ME’s are expensive for non professional artists.

The problem with Atmos is that 98% of the music listening public will NEVER be able to properly consume it. It just won't happen. So it feels like a cash grab that some companies/people are trying to shove down our throats. I get that it might be awesome when consumed properly, but it just doesn't matter with such a tiny demographic.

I've been preaching "Why" over "What" for over a decade now. Spot-on, man. Spot-on.

So much binaural mixes people don’t like have been mixed on headphones and not speakers. All bad mixes sound bad. Atmos is not going away. There are people in the world that still don’t have a cell phone. There will always be people that don’t have Atmos.

I loved this conversation. Thank you!

very happy with this content...glad I found this channel, subscribed

Do they even make Finalizers anymore? That was a dog.

Great advice we all need to hear, I am starting my freelance business from scratch again and I appreciate this

Thanks for having me. It was a blast hanging with you, Travis!

Fantastic conversation!

Great Interview! Wow! Thank you both! And... I"ve been a Spectralayers user for years and I agree : that software is a blast! It saved my ass more times than I can count... And it' also a super creative and sound design tool.... Have a great day!

Great advice! (This also applies to constantly buying and selling gear.)

One of the best Scheps interviews, great stuff.

"Slow attack - fast release", this is my usual compression approach too. As for "parallel compression", for some reason I like it better how it sounds when I do it the other way around: I compress with 100% mix, but gently and with relatively long attack times, so that the track can still "breathe", and then I may add a little bit of the dry signal to it.

Same!

Ultimately, those who can't afford a professionnal human mixing will use it, those who want a real sound engeneer that they like to do it because they can afford it will do it. This doesn't change anything.

Thank you so much for this interview 🌻

good video

Well.. sound through the manipulation of oscillatory waveforms, employing complex voltage-controlled oscillators (VCOs) and digital signal processors (DSPs) to synthesize harmonic structures. The core process begins with a phase-modulated waveform generator, which produces sinusoidal, sawtooth, or pulse-width-modulated signals as fundamental building blocks. These signals are then routed through voltage-controlled amplifiers (VCAs) and multimode filters-utilizing variable resonance and cutoff frequencies-enabling dynamic spectral shaping. Modulation matrices, governed by low-frequency oscillators (LFOs) and envelope generators, introduce timbral fluctuations and attack-decay-sustain-release (ADSR) dynamics, creating intricate auditory textures. Advanced synthesizers integrate frequency modulation (FM), phase distortion, and granular synthesis techniques, where time-domain waveform granules are reassembled into non-linear soundscapes. Additionally, digital systems incorporate waveguide synthesis algorithms, simulating physical resonators by iteratively solving differential equations for complex acoustic modeling. These processes are synchronized within a master clock’s latency-compensated signal path, ensuring phase coherence and harmonic alignment for precise sound design.

whaaaaaaaaaat you are pre internet old??? me tooooo...me even oooolder!!! I am amazed by the info we have access these days. When I had my interest in creating music there was not much arround except music schools or audio engineering schools. But on my own I was pretty lost trying to make a techno track on my first PC. Of course there is learning by doing. But also we get so many that do not have confidence or overthinking the whole process instead of just try out.

shave that beard off makes you look like audiopedo get hair cut as well , i seen tramps far better looking scruffy audio guy

You can also look at Google reviews for successful studios and see what their clients are saying. Most of them pinpoint exactly what they liked about working with them. It's usually things like making them feel comfortable and having a vision but allowing the artist to call the shots. Just my two cents, which is about all it's worth lol (Most of the complaints I've seen were about lost files. Which is why a lot of studios make the client bring their own storage device)

I wish I could mix more, but it takes me forever to record stuff

Thanks

Well, first four minutes is just horrifying. Living in the studio to not miss an opportunity. Learn by being quiet observer and ask questions "if appropriate", and pray to all imaginable gods so you would be chosen for a job AND being noticed by one of the few famous artists... Music industry is a hellhole and should die in agony. I'm glad it's seemingly going in this direction.

Good sound advice ❤

Well said!!

Well, bout the same time I was SoCal punk. DOS-a-saur. But nerd. Seeing Devo and Jackson Brown live gave a pretty wide exposure to how it was meticulously honed craft could be and how wild and spontaneous can create an epic experience. I mean; Daniel Johnston mix tips for hopeless lovers type shit.

"Using learning to avoid doing." ouch. That hurt. Thanks Travis. I'll now do the thing.

TH-cam is filled with nothing but “tips” and “tricks.” Imagine you hire a mechanic that says let me show a new trick I learned on how to fix your engine

Agreed.

the only time I started finishing mixes was when I would mix without opening up a chrome tab on the side. If there's a problem, fix it as best I can. Once I'm done, I'm done. It doesn't sound professional? I'm not a professional, one more mix tip will not fix that right now. On to the next mix and hopefully the next one sounds better than the previous one 🤷‍♂ Been tweaking and trying since I was a teen, and it took me years to just say: ok this is done, next. and actually be finished instead of fiddling around for months and never actually finishing anything