12:52 getting the big picture helped really a lot in a sense of that sometimes you need less work to get to the result. Because maybe the guitars already sit nicely in the mix and you can keep them for now instead of diving right in and eqing the guitars a specific way only because someone said so. I try to get the balance first and then decide what to do next. But I'm nowhere near the top level guys but it really helps 😅
Being organized in advance and fixing things in the mixing stage does save you a lot of time and makes the whole project more fun indeed. Yeah you're 100% spot on. Thanks for your mixing tips. Very helpful.
This stuff is brilliant!! It makes so much more sense to do things this way because you set yourself up for more successful mixes that don’t take forever to finish
Exactly! Make your life easier and get better results :-) There's even more of this idea for free all over the channel, and in great detail in Mixing Breakthroughs. Hope to see you around more! -Justin
Thanks for the midday serotonin boost!! Whenever I get stuck in a mix is always when I see you've posted a new video. Loved mixing breakthroughs and am definitely going to check out the compression class!
Fantastic Justin...YES, I divide tracks as I go, change levels etc...and this prevents putting off automation to the end....that is fantastic way to handle automation ideas as they occur. I also like the advice about spending more time with the rough mix...I always tell the folks it is THEIR wedding (not mine) and spending more time really understanding what they envision is gold...Thanks!
@@SonicScoop All good! I said I would during the stream and I'm keeping to my word. You give us more than enough value, it's the least I can do in return
Definitely great observations. I think that it's very helpful to discuss the rough mix with the artist as you suggest. I will often ask for an original demo of the song and ask what they like about that as well. It's easy to lose the original magic in the recording process. Working quickly at specific points in the process is most critical - and so important to point this out! You suggestions will result in a healthy business and ignoring them will hurt in ways that it could take a long time to realize. Thanks.
I saw somewhere that adding a discrete reverb to the master helps. Could you explain the method? It has something to do with acoustics and the human ear perception of space... I think... I'm sorry if it's out of the context of the video.
Number 5 is my biggest lazy code 😊. Sometimes I'm just splitting those different parts which need to be dynamic as possible into different tracks and groups so I can doing live adjustment using (midi) tactile controller then resampling whole mix . The downside, you need precise timing and unshaky hand 😅
Member’s question: I produce and mix my own music. I find myself starting the mixing process while I’m still producing. I feel that this might muddy (pun kind of intended) my judgement on the final mix, and I get a sort of demoitis from it. What are your thoughts on that and do you have any advice on separating more clearly the composition, arrangement, production, mixing, and mastering process?
I make a lot of different genres - in fact, in order to push myself this year, I've decided on trying to write and finish a different genre each week this year. I've found that different genres require different levels of mix vs production. So, I'm working on a very heavy dance track this week and I've found that mixing over production absolutely dominates over the big picture when making this track. I've been watching tutorials about getting some of the sounds just right in this genre - and people have said that it can take weeks to a month to slowly knock that kick and bass combination into place. If they are the foundation of the entie goove and carry the whole song through and you're going to be focusing on and dancing to it for 4+ minutes then its got to be perfect. At the beginning of the week, I got perhaps 80% of the way there and it was enough to start adding more elements - then I could nudge the kick nad bass towards something that would work in the whole song, and I'm til getting there. I always aspire to have a groove that is so good, that it isn't being supported by other elements to distract from errors. I have a couple of songs where just two elements playing together are so good, that it could carrying by itself - then adding elements one at a time (like hi-hats) just adds so much more! Maybe these tracks aren't anybody's preferred style to enjoy and listen to, but my point is that the foundation elements have to work by themselves, otherwise it would all fall apart. th-cam.com/video/smwt39Qf_90/w-d-xo.html&ab_channel=WatergateClub%26Records Same Idea: th-cam.com/video/50zeHzEwgoI/w-d-xo.html&ab_channel=ARTBAT An example of kick + bass being the foundation completely, if it didn't work, then when the track drops back to just those elements, it works well enough to support it. th-cam.com/video/QhCOVSYLa38/w-d-xo.html&ab_channel=BlackHoleRecordings
The entire process is 'production' - from jamming to writing to mixing to each master to distro. Breaking the process down at any stage is just like chopping up your food before you cook or eat it. Whether you savor the food or not is one thing, but the _cutting_ is most crucial - so you don't starve nor choke on attempting to process too much at once.
Is automation considered editing in the beginning? Often the vocal is so dynamic I can’t tell how it’s supposed to sound or where it’s supposed to sit making it harder to do other edits, if that makes sense.
Compress your vocal more :-) Most vocals on beginner mixes are woefully under compressed for their style. Not just 2 or 3 or 5dB. Cumulative vocal compression of well more than 10dB is common in most popular styles of music. In addition, you might do clip gain before you hit the compressor to make it more consistent, plus volume rides after the compressor to make the vocal work better in context. Hope that helps! -Justin
I wish I could afford to buy the rest of the parts I need to build a computer that has enough ram to setup templates up frontas you suggest. I am pretty much forced to lock some choices in by bouncing tracks down as I go, due to being stuck on a 2015 HP spectre x360 laptop with a dual core i7 with only 8gb of ram. So there are choices I am forced to make at times that force me to backtrack quite a ways. Obviously that would be 100% unacceptable if I were mixing other ppl's music. It's still extremely frustrating to not have that freedom presently. I have project files that I've pretty much decided that I'm not going to finish any time in the near future because of how far back I have to go to fix problems I didn't notice initially. In my case I really should make a habit of creating new saves whenever I need to flatten tracks just so I have an easier time fixing a problem if I don't notice it till much later.
Great question. After filming this episode it occurred to me I should answer this question! Fortunately I have in the past :-) Here’s a link to my full thoughts and best practices on mixing your own stuff: th-cam.com/video/0FJhpL0VHaI/w-d-xo.html Long story short is that you want to approach it the same way: Listen to YOUR rough in advance and make clear concrete notes on what aspects already work well and what needs to be improved. Go into the actual mix with a focus and a goal. It’s super important that you don’t wear yourself out on your own music, making speed, focus, direction and taking care of the technical first-all the things we are talking about here-even more important. Hope that helps! -Justin
@@SonicScoop Thanks for this thorough response Justin ! I did begin recently to use Magic AB for referencing the rough mixes I do right after the editing part, so I can check if my mixing moves aren't detrimental to the original mood and recording style of the songs. It's quite useful since I tend to "overprocess" my mixes. Thanks again for this video - and all the other ones ! :)
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I do believe these are the "secrets". It's all the stuff I never wanted to do. Always wanting to focus on twisting knobs. Thank you Justin!
You and me both brother! The keys are often hiding in plain sight… right in the places we’d least like to look :-)
-Justin
The quote you're seeking is "art is never truly finished, just abandoned"
12:52 getting the big picture helped really a lot in a sense of that sometimes you need less work to get to the result. Because maybe the guitars already sit nicely in the mix and you can keep them for now instead of diving right in and eqing the guitars a specific way only because someone said so. I try to get the balance first and then decide what to do next. But I'm nowhere near the top level guys but it really helps 😅
Great comment! I’m 100% with you.
-Justin
Being organized in advance and fixing things in the mixing stage does save you a lot of time and makes the whole project more fun indeed. Yeah you're 100% spot on. Thanks for your mixing tips. Very helpful.
So glad to be useful George! Thanks for being a subscriber :-)
-Justin
@SonicScoop not a problem 🙂
Your advice is clear and practical. I'm new to mixing so thanks for the great material.
Great to hear! Glad it was helpful.
-Justin
This stuff is brilliant!! It makes so much more sense to do things this way because you set yourself up for more successful mixes that don’t take forever to finish
Exactly! Make your life easier and get better results :-) There's even more of this idea for free all over the channel, and in great detail in Mixing Breakthroughs. Hope to see you around more!
-Justin
@@SonicScoop definitely will! Wish I had come across this channel a long time ago
Thanks for the midday serotonin boost!! Whenever I get stuck in a mix is always when I see you've posted a new video. Loved mixing breakthroughs and am definitely going to check out the compression class!
So glad to hear Cody! Thanks for listening, and for the kind words. Hope you enjoy the compression course just as much! (I think you will :-)
-Justin
Fantastic Justin...YES, I divide tracks as I go, change levels etc...and this prevents putting off automation to the end....that is fantastic way to handle automation ideas as they occur. I also like the advice about spending more time with the rough mix...I always tell the folks it is THEIR wedding (not mine) and spending more time really understanding what they envision is gold...Thanks!
This podcast was full of gold, just like the others. Cheers Justin
Awesome to hear Benj! Thanks for becoming a member. Looking forward to going deeper with you.
-Justin
@@SonicScoop All good! I said I would during the stream and I'm keeping to my word. You give us more than enough value, it's the least I can do in return
Number 2 is it for me. Like damn, I never would have though the rough mix was the solution.
Some good, super-deep and useful thoughts shared on mixing here. Totally appreciate it JC - great job.
Lesson learned. Here I sit with this playing while I manually drag drums and vocals around deeeeeeeep into the mix when I should've done it hours ago.
Been there done that! :-)
-Justin
Definitely great observations. I think that it's very helpful to discuss the rough mix with the artist as you suggest. I will often ask for an original demo of the song and ask what they like about that as well. It's easy to lose the original magic in the recording process. Working quickly at specific points in the process is most critical - and so important to point this out! You suggestions will result in a healthy business and ignoring them will hurt in ways that it could take a long time to realize. Thanks.
Love your compelling delivery style, passion and expertise. Subscribed.
Awesome to hear Wouter, glad to have you listening :-)
-Justin
I saw somewhere that adding a discrete reverb to the master helps. Could you explain the method? It has something to do with acoustics and the human ear perception of space... I think... I'm sorry if it's out of the context of the video.
Very interesting, thank you!
Number 5 is my biggest lazy code 😊.
Sometimes I'm just splitting those different parts which need to be dynamic as possible into different tracks and groups
so I can doing live adjustment using (midi) tactile controller then resampling whole mix .
The downside, you need precise timing and unshaky hand 😅
Great! Just in time
great info thank you
You videos could benefit from chapters.
Regardless, I think you’re spot on with all of these points. Nice one!
Member’s question: I produce and mix my own music. I find myself starting the mixing process while I’m still producing. I feel that this might muddy (pun kind of intended) my judgement on the final mix, and I get a sort of demoitis from it. What are your thoughts on that and do you have any advice on separating more clearly the composition, arrangement, production, mixing, and mastering process?
Great question Spencer! Will add this to the list for next week’s exclusive members Q&A :-)
-Justin
Hey Spencer! I answered all of these around the 1:30 mark in the latest Q&A :-) Let me know if you get to hear them!!
Very best,
Justin
@@SonicScoop thank you! My internet went out, so I lost the rest of the stream! One of these days I’ll get to hear a whole Q&A live! Thank you!
I make a lot of different genres - in fact, in order to push myself this year, I've decided on trying to write and finish a different genre each week this year.
I've found that different genres require different levels of mix vs production.
So, I'm working on a very heavy dance track this week and I've found that mixing over production absolutely dominates over the big picture when making this track.
I've been watching tutorials about getting some of the sounds just right in this genre - and people have said that it can take weeks to a month to slowly knock that kick and bass combination into place. If they are the foundation of the entie goove and carry the whole song through and you're going to be focusing on and dancing to it for 4+ minutes then its got to be perfect.
At the beginning of the week, I got perhaps 80% of the way there and it was enough to start adding more elements - then I could nudge the kick nad bass towards something that would work in the whole song, and I'm til getting there.
I always aspire to have a groove that is so good, that it isn't being supported by other elements to distract from errors.
I have a couple of songs where just two elements playing together are so good, that it could carrying by itself - then adding elements one at a time (like hi-hats) just adds so much more!
Maybe these tracks aren't anybody's preferred style to enjoy and listen to, but my point is that the foundation elements have to work by themselves, otherwise it would all fall apart.
th-cam.com/video/smwt39Qf_90/w-d-xo.html&ab_channel=WatergateClub%26Records
Same Idea:
th-cam.com/video/50zeHzEwgoI/w-d-xo.html&ab_channel=ARTBAT
An example of kick + bass being the foundation completely, if it didn't work, then when the track drops back to just those elements, it works well enough to support it.
th-cam.com/video/QhCOVSYLa38/w-d-xo.html&ab_channel=BlackHoleRecordings
The entire process is 'production' - from jamming to writing to mixing to each master to distro.
Breaking the process down at any stage is just like chopping up your food before you cook or eat it. Whether you savor the food or not is one thing, but the _cutting_ is most crucial - so you don't starve nor choke on attempting to process too much at once.
Always good advice thanks Justin!
A pleasure Darin! Glad to be useful. Thanks for the content, and for being a member :-)
-Justin
Is automation considered editing in the beginning? Often the vocal is so dynamic I can’t tell how it’s supposed to sound or where it’s supposed to sit making it harder to do other edits, if that makes sense.
Compress your vocal more :-)
Most vocals on beginner mixes are woefully under compressed for their style.
Not just 2 or 3 or 5dB. Cumulative vocal compression of well more than 10dB is common in most popular styles of music.
In addition, you might do clip gain before you hit the compressor to make it more consistent, plus volume rides after the compressor to make the vocal work better in context.
Hope that helps!
-Justin
I wish I could afford to buy the rest of the parts I need to build a computer that has enough ram to setup templates up frontas you suggest. I am pretty much forced to lock some choices in by bouncing tracks down as I go, due to being stuck on a 2015 HP spectre x360 laptop with a dual core i7 with only 8gb of ram. So there are choices I am forced to make at times that force me to backtrack quite a ways. Obviously that would be 100% unacceptable if I were mixing other ppl's music. It's still extremely frustrating to not have that freedom presently. I have project files that I've pretty much decided that I'm not going to finish any time in the near future because of how far back I have to go to fix problems I didn't notice initially. In my case I really should make a habit of creating new saves whenever I need to flatten tracks just so I have an easier time fixing a problem if I don't notice it till much later.
About the rough mix, what would be your process if you're also the recording engineer/producer ? I often record/mix/master on the projects I work on.
Great question. After filming this episode it occurred to me I should answer this question! Fortunately I have in the past :-) Here’s a link to my full thoughts and best practices on mixing your own stuff:
th-cam.com/video/0FJhpL0VHaI/w-d-xo.html
Long story short is that you want to approach it the same way:
Listen to YOUR rough in advance and make clear concrete notes on what aspects already work well and what needs to be improved. Go into the actual mix with a focus and a goal.
It’s super important that you don’t wear yourself out on your own music, making speed, focus, direction and taking care of the technical first-all the things we are talking about here-even more important.
Hope that helps!
-Justin
@@SonicScoop Thanks for this thorough response Justin !
I did begin recently to use Magic AB for referencing the rough mixes I do right after the editing part, so I can check if my mixing moves aren't detrimental to the original mood and recording style of the songs. It's quite useful since I tend to "overprocess" my mixes.
Thanks again for this video - and all the other ones ! :)
Bro u look like you would make a good George Clooney impersonator....
Number 1 sounds to me like you don't inject yourself into the band as a producer type roll unless that is what you are expressly hired to do.
@4:38 _"aesthetic"_
Americans learn how to pronounce English words correctly, or we will take our language back,
Kind regards, the English.
The more lazy the band or solo artist the more snuff puffy are engineers. Are you willing to provide your engineering culpability at field propulsion?
Wtf are you talking about lol
@@krispybowgod9656 did you know that field propulsion is superluminal phonon reliant?
@@krispybowgod9656 I'm with you lol