I have a question on PA . I have a Peavey 100 watt bass amp which does a good job playing with drum and guitar in classic metal band . What size PA do need to get so I can sing with all the instruments??? The guitarist has a JCM 800 and 2 x 12 cab .
@@gilbertspader7974 call or go online and takk to the friendly folks at Sweetwater and tell them what you are doing and they will fix you up without selling you things you don't need.
The way I get things loud is by focusing my attention on the highest peaking transients in the track. Once identified, I will (depending on context) Compress, Limit, Saturate, Distort or even clip them. This will make them sound so loud relative to their peak DBFS value, that you will be able to turn them down significantly without them sounding any quieter. No longer are these short transient peaks eating up all your headroom. Now, when everything hits the mix bus compressor, it will be reacting more evenly to all your elements, rather than just being triggered by the highest peaking transients. Also, sustained sounds sound subjectively louder than shorter sounds do with levels being equal (In general) so, you can alter the envelope of your transients using dynamic processing in order to make them appear louder. It's all about the attack and release time on compressors. Be careful not to totally lose the snappiness and impact of your drums with this technique though... It's a bit of a balancing act. NY compression can be useful to strike this balance sometimes. And finally, look up fletcher munson equal loudness contours if you want to understand how to EQ for loudness. Be careful though, things can easily get harsh and unmusical when EQing with such loudness contours in mind. Oh, and beware of phase shift cased by your EQing, sometimes making EQ moves that should make a sound appear subjectively louder relative to it's peak DBFS value can backfire due to the EQ induced phase shift altering it's peak value. You can sometimes use linear phase EQ to get around this but be aware that Linear Phase EQ can cause artifacts like pre-ringing and transient smearing. Not always a problem though, just keep your ears open and you''ll be all good. Sorry for super long post got carried away lol 😅
Great suggestions. Saturation became a big part of my mixes in the recent years. Not a lot of people talk about that... you can make for example snare (an element that usually pumps the master compressor and limiter the most) sound even louder and bigger with a bit of saturation, while reducing the peaks by 3 or more dB.
Great comment! When I was first starting out I used to get my transients so loud compared to the "tail" that when they got to the stereo bus the song needed 6dB of limiting to get loud :') and suddenly my snare was gone. What I found that helps a lot is to do lots of frequency carving, that keeps me from hitting my stereo bus with undesirable information.
The peak reduction, with saturation, move is a very important one. Another, for me, that has had a big impact is having a very controlled sub-bass region - by HPF all the sub out of most tracks except kick and bass. Then side-chaining the bass from the kick (all below like 150hz). Sub bass is one of the biggest killers to loudness. (because we mostly can't hear it)
It's hard enough making one song sound comfortably loud, but making an entire album and making all the songs on that album approximately equally loud, man, that is the 5000 piece puzzle.
Its odd, I've always thought he had a bit of middle-ages-king type head, very English, there just something about it that would suit a crown, maybe it's the hair, regardless he needs to get himself a crown.
Thank you Warren. I just found your channel last week and have learnt more about producing/mixing in that time than in the last 2 years of scouring TH-cam for information. You Rock!
Warren, just now going through your videos recently and while I have been at this for years, I have a lot to learn, and I think watching your tutorials will be very helpful to me to finally get my mixes where they need to be and while I know this TH-cam channel is part of your livelihood, I feel your heart is in the right place regardless. Thanks for the lessons!!
Warren, I would just like to say, that this video contains possibly the greatest mixing advice I've ever heard. Makes complete sense the way you talk about it. You've answered some of my biggest questions and frustrations. Now I have the knowledge to get my music sounding better. Thank you very much from a grateful subscriber!
Thanks for a really fantastically informative video. This was one of the better videos I've ever seen. Great explanations coupled with real examples! 🙏🙏🙏❤️❤️❤️
i´m not superloud but i got louder over the years. biggest help for me was correct gain staging, learning about and adding hamonics, eliminating high energy frequencies (esp. bass) and knowing about fletcher munson
There is so much useful info in this video. Glueing. Wonderful stuff. Wonderful “road sign” type of stuff to listen for when I’m mixing. The crossover view of things really helped me to see how to high/low pass stuff. Also the serial and parallel compression stuff is super good. I know it’s basics, but THANK YOU for giving me things to use and -listen- for when I mix. Genius. Thank you Warren.
IT'S OFFICIAL WARREN!!! I LOVE YOU!!! XD Or maybe it's that I love that you talk about music and equipment....or both!...I can't tell which. =) But really...you seem so dang nice and you're clearly very knowledgeable. Thank you for your efforts. Since you asked....While I try to make sure all of my tracks are individually dialed in before they blend together, I've started to get rid of all of the frequencies outside of 20hz-20khz with an EQ because anything lower than that isn't going to be heard anyway and it robs your tracks of headroom as they're pushed through your stereo buss. Sometimes I'll round off the very highest and lowest frequencies and sculpt even more towards the middle if the song calls for it. For vocals I take out more of the low end bass and beef from the proximity effect that I used to LOVE but was throwing things off. Now I try to blend in as much as I can without messing up the mix. Then I'll use a limiter to get rid of any fast peaks that would push through my compressor and clip. Then I'll use the MV2 to get just a bit of low end enhancement so I can hear the quieter parts of the vocal. I sometimes switch which is first. Then I use a dynamic EQ or multi band compressor to try and chill out the areas that are problematic and honky here and there, and THEN I'll pump that through a really phat and round sounding compressor with a slower attack and a relatively fast release...like the Rcomp...or even the 1176. Then I'll make sure everything from like 500hz to 2.5k sounds amazing and phat. I'm using EQ Before AND AFTER compression in a way that I never have before. I was always of the thinking that you sculpted your tone early and ran that through the compressor to phatten up and round things out as you leaned in, and that was it. Now if I get it right coming into the compressor early on...I can boost frequencies afterwards which would otherwise be uncomfortable to listen to. It's really something. It's the same EQ...and same frequencies...but they sound better and work when they're controlled right and boosted after compression. I've heard it said that you cut before compression and boost afterwards and that seems to work for me. If I can get the mid range right THAT is how I get loud mixes. There's so much damn energy there that I can't believe I missed it for so long. I always tried to cut out the mid range to get that hifi sound and in the end, the best tracks out there aren't are scooped as much as we probably think. OR if they are, they're cutting certain frequencies to take your focus to the others. It's really fascinating.....especially how some frequencies can mask others that are there. So...lots of serial limiting, compression, multiband compression, pre and post EQ for me. I use Fabfilter stuff, but I also like the Renaissance EQ for it's analog and old school kind of tone. I dig using the API 550A just for the op amp tone...It's really something. And lastly, getting loud mixes can happen when you work with textures and vibe in your sound. So I SWEAR BY the Analog Designs Black Box, or the vertigo VSM-3 to make the track get overtones and textures that carry. There ya go....hope that recipe helps someone. Probably not new by any means but I sure wish someone had said that to me years ago. Peace
Wow, I had totally forgotten that TfF track Woman in Chains... Such a blast from my past! Great, great advice as always Warren, love your enthusiasm and sharing.
This has bugged me for so long. Researched for months. This is the best vid on subject. NOW I get it. You can go to bed tonight knowing you have made a fellow Brit very, very VERY happy. Thanks so much 🙏🏼
An eye-opener for me was when I received stems that had already been processed such that each of them had a small crest factor - that mix needed only some eq-ing and level-riding, and it was one of the easiest and best-sounding mixes I've ever completed. Nearly all of those stems looked like long rectangles! That experience suggests strongly to me that there's a lot more compression and/or limiting needed on individual tracks than I'd imagined, which I think is what you're basically saying. Thanks again for another great video :-)
Just stumbled across your channel Warren. Absolutely brilliant content, appreciate all the great advice and keeps my practice time really fresh with plenty of ideas to work on. Many thanks 😊
I LOVE your videos, Brother. Learning so much. A lot of it is over my head, but that’s ok. If I even get a fraction of what you are throwing, I believe it’s improving my process❤️
WOW, Im proud to say I have listen "woman in chains" Tear for Fears for the FIRST TIME. I completely understand what you mean Warren!. Im using my favorite AKG headphones and have discovered HOW a mix should sound! It was lf my ears somehow "clean up" from years of mud..... ;). FANTASTIC!!! Tus
Fairly new Subscriber, been watching now for over a year, gotta say at 1st I wasn't sure about Warren but he's grown on me and his advise and knowledge is far beyond, I've been a Guitar Player for over 40 years and an Amateur recording engineer, I've learned so much in the Last year, my mixes are sounding much much better
This is the greatest channel around I have just recently started mixing as I am doing a course at my local college I would love to be at top level this time next year
Something that changed everything for me was creating compression busses for different goals, mostly on for the rythmic section were I send my (already individually treated then grouped then treated) drums and bass and then I have Ableton's effect rack with a sub, low, low mids, hi mids and hi (sometime only mid, not low and hi mid appart) each compressed according to what's needed. Than I use the level of each part as an eq (most of the time I only lower the low mids by one or two dB as it takes off some mud). And I do the same thing except with different eq settings before the compression for what I want in the center, then in the sides, and then for my sends. It really changed the sound of my music and made it sounding a lot more professional!
16:16 Referencing other music is such a great idea for mixing and balancing. I've been doing this for many years now.. it just works. Of course, doing it at low levels is key to getting the the right end result.
Man, I'm so happy to have found your channel! I'm currently studying to be a mixing engineer and I have to say that your content inspires me so much! Thanks for doing this, greetings from Finland :)
Thank you for all of this. I'm still getting the hang of multiple levels of compression going beyond just the tracks and the drum bus. I've learned so much from you. Seriously. You're the best, Warren.
Great talk Warren. I hope your can come out with a little video of showing us how to make mix louder either in mixing or mastering level. Thank you for your video! Well educated!
Finally! one of my biggest question about volume differences between records while they had similar DBs answered. That sure makes more sense than the "on master bus" approach i knew so far, there were some records from one of my favourite band, Soulfly, that were ridiculously loud, to the point not many bands could compare, like Prophecy Dark Ages or Savages. Note they were mixed by Terry Date, which is famous for working with Pantera and early-era Deftones (also working on next Deftones album). I wish he did some in-depth lesson of his mixes
Uuuuuuuh that's what I need, thanks for this wonderful tutorials and sharing your tips and tricks 🤘 I use multiple Parallel Busses, for example 4 different or the Drums, one is pumping the Drum Bus (EMI TG12345), one is Crushing it (Devil Loc Deluxe), one is for Kick/Snare separately (VLA 3-A) and one is more for the high mid's / high's and wideness .. .. and sometimes even more compression :)
YES !!! multi parallel is the answer ;) I'm doing standard com on each channel plus parallel comp on each elements of the drums then parallel comp on the drum-bus then parallel on the full music mix-bus. Nothing on the master-bus, a bit of limiting (-0.1 db) to avoid clipping if necessary but mostly nothing.
The simplicity and the richness of details in the way you deliver information about the world of audio are unbelievable. More and more I become more passionate about the explanations and examples you teach us. I hope to be able to join the academy soon and see my mix being reviewed by you. Congratulations again for your channel. And a happy Friday for everyone !!!!
I thought it was just turning up the faders!!!!!! Seriously though, nice reference track and something i must start doing using a refernce track in my work. Keep up the informative vieos for all.
I found it cool to group my toms and overheads on the same stereo bus separate from the rest of drum elements, and then applying an expander followed by very light compression just open up the toms and overhead sound and gives some life to the cymbals and drum fills.
"Woman in Chains" is my favourite reference-track as well.... mindblowing mix.... on good soundsystems the voice of Oleta Adams is hovering over the voice of Roland Orzabal....
As I come from Russia, I first heard Woman in chains after Warren mentioned it. I was blown away by everything in this masterpiece. That’s why I always check new speakers with this song and it always works! Great song, great lyrics, great production and obviously mindblowing mixing by the greatest Bob Clearmountain. He is truly a master of balance and tasteful sound effects.
References I use: Drivers seat and Should I stay or should I go. Because all the elements come in part by part. Gives a great overall view of where each instrument/frequency group sits. Also, Panteras Far Beyond Driven cause its so well balanced and clean its easy to find what frequency area is boosted or lacking. Thanks for a great video again Warren! Always a pleasure to watch your love of music
Drivers seat!!! what a song.. but as far as i know there are several versions a bit different, one is longer with synth bass coming in first, and guitar part has some phaser on .. Love both versions.. amazing song.
![[MIRRORED] LISA - ROCKSTAR 🎸 MV version #LISA #BLACKPINK #ROCKSTAR](http://i.ytimg.com/vi/-U58DuCCtZk/mqdefault.jpg)
Leave your FAQ Friday questions below!
I have a question on PA . I have a Peavey 100 watt bass amp which does a good job playing with drum and guitar in classic metal band . What size PA do need to get so I can sing with all the instruments??? The guitarist has a JCM 800 and 2 x 12 cab .
Love to hear you play. Do you have any videos of you playing live with a band? Would be really great.
@@gilbertspader7974 call or go online and takk to the friendly folks at Sweetwater and tell them what you are doing and they will fix you up without selling you things you don't need.
What is sidechaining? and in what way do you like to use a sidechain function to acheive a mixing or mastering goal?
michael tablet Thank You !
The way I get things loud is by focusing my attention on the highest peaking transients in the track. Once identified, I will (depending on context) Compress, Limit, Saturate, Distort or even clip them. This will make them sound so loud relative to their peak DBFS value, that you will be able to turn them down significantly without them sounding any quieter. No longer are these short transient peaks eating up all your headroom. Now, when everything hits the mix bus compressor, it will be reacting more evenly to all your elements, rather than just being triggered by the highest peaking transients.
Also, sustained sounds sound subjectively louder than shorter sounds do with levels being equal (In general) so, you can alter the envelope of your transients using dynamic processing in order to make them appear louder. It's all about the attack and release time on compressors. Be careful not to totally lose the snappiness and impact of your drums with this technique though... It's a bit of a balancing act. NY compression can be useful to strike this balance sometimes.
And finally, look up fletcher munson equal loudness contours if you want to understand how to EQ for loudness. Be careful though, things can easily get harsh and unmusical when EQing with such loudness contours in mind. Oh, and beware of phase shift cased by your EQing, sometimes making EQ moves that should make a sound appear subjectively louder relative to it's peak DBFS value can backfire due to the EQ induced phase shift altering it's peak value. You can sometimes use linear phase EQ to get around this but be aware that Linear Phase EQ can cause artifacts like pre-ringing and transient smearing. Not always a problem though, just keep your ears open and you''ll be all good.
Sorry for super long post got carried away lol 😅
Great suggestions. Saturation became a big part of my mixes in the recent years. Not a lot of people talk about that... you can make for example snare (an element that usually pumps the master compressor and limiter the most) sound even louder and bigger with a bit of saturation, while reducing the peaks by 3 or more dB.
Great comment! When I was first starting out I used to get my transients so loud compared to the "tail" that when they got to the stereo bus the song needed 6dB of limiting to get loud :') and suddenly my snare was gone.
What I found that helps a lot is to do lots of frequency carving, that keeps me from hitting my stereo bus with undesirable information.
@@Astro-rh7uz It depends, what would you like to discuss?
The peak reduction, with saturation, move is a very important one.
Another, for me, that has had a big impact is having a very controlled sub-bass region - by HPF all the sub out of most tracks except kick and bass. Then side-chaining the bass from the kick (all below like 150hz). Sub bass is one of the biggest killers to loudness. (because we mostly can't hear it)
@@auxorion what saturation plugins would you guys recommend to achieve this?
It's hard enough making one song sound comfortably loud, but making an entire album and making all the songs on that album approximately equally loud, man, that is the 5000 piece puzzle.
Who clicks "dislike" on these videos ?? Warren, thank you for giving us so much !! You rock man !! VG:-)
How can you give dislikes to the man like him...a king for his job
1.1k vs 9. Almost no dislikes.
You're very kind Menki! I am just standing on the shoulders of the giants that came before us!
@@gordonfreeman9368 thanks ever so much!
I guess there's people who expected answers like: set first knob to 6 and second to 11, and you have the loudest mix...
Its odd, I've always thought he had a bit of middle-ages-king type head, very English, there just something about it that would suit a crown, maybe it's the hair, regardless he needs to get himself a crown.
It's so great to see this come back! It has been an awesome week here of course! I am excited to see this one!
Thanks again Warren. It’s an amazing service you are performing for this community.
Thank you Warren. I just found your channel last week and have learnt more about producing/mixing in that time than in the last 2 years of scouring TH-cam for information.
You Rock!
Wow! This is everything you need to know about mixing all in one video 😮
Warren, just now going through your videos recently and while I have been at this for years, I have a lot to learn, and I think watching your tutorials will be very helpful to me to finally get my mixes where they need to be and while I know this TH-cam channel is part of your livelihood, I feel your heart is in the right place regardless. Thanks for the lessons!!
Warren, I would just like to say, that this video contains possibly the greatest mixing advice I've ever heard. Makes complete sense the way you talk about it. You've answered some of my biggest questions and frustrations. Now I have the knowledge to get my music sounding better. Thank you very much from a grateful subscriber!
Great questions folks, great answers Warren. Thank you!
Thanks for a really fantastically informative video. This was one of the better videos I've ever seen. Great explanations coupled with real examples! 🙏🙏🙏❤️❤️❤️
i´m not superloud but i got louder over the years. biggest help for me was correct gain staging, learning about and adding hamonics, eliminating high energy frequencies (esp. bass) and knowing about fletcher munson
Thanks a lot Warren for all your videos! There's always something to learn and I love your anecdotes
I needed Friday like Timmy Needed Lassie! I love FAQ Friday!
There is so much useful info in this video. Glueing. Wonderful stuff. Wonderful “road sign” type of stuff to listen for when I’m mixing. The crossover view of things really helped me to see how to high/low pass stuff. Also the serial and parallel compression stuff is super good. I know it’s basics, but THANK YOU for giving me things to use and -listen- for when I mix. Genius. Thank you Warren.
Thanks Warren, this video is EXACTLY what I needed to know!!! Cheers!
Thanks for answering my question Warren! This video was super helpful!
IT'S OFFICIAL WARREN!!! I LOVE YOU!!! XD Or maybe it's that I love that you talk about music and equipment....or both!...I can't tell which. =) But really...you seem so dang nice and you're clearly very knowledgeable. Thank you for your efforts.
Since you asked....While I try to make sure all of my tracks are individually dialed in before they blend together, I've started to get rid of all of the frequencies outside of 20hz-20khz with an EQ because anything lower than that isn't going to be heard anyway and it robs your tracks of headroom as they're pushed through your stereo buss. Sometimes I'll round off the very highest and lowest frequencies and sculpt even more towards the middle if the song calls for it.
For vocals I take out more of the low end bass and beef from the proximity effect that I used to LOVE but was throwing things off. Now I try to blend in as much as I can without messing up the mix.
Then I'll use a limiter to get rid of any fast peaks that would push through my compressor and clip. Then I'll use the MV2 to get just a bit of low end enhancement so I can hear the quieter parts of the vocal. I sometimes switch which is first. Then I use a dynamic EQ or multi band compressor to try and chill out the areas that are problematic and honky here and there, and THEN I'll pump that through a really phat and round sounding compressor with a slower attack and a relatively fast release...like the Rcomp...or even the 1176.
Then I'll make sure everything from like 500hz to 2.5k sounds amazing and phat. I'm using EQ Before AND AFTER compression in a way that I never have before. I was always of the thinking that you sculpted your tone early and ran that through the compressor to phatten up and round things out as you leaned in, and that was it. Now if I get it right coming into the compressor early on...I can boost frequencies afterwards which would otherwise be uncomfortable to listen to. It's really something. It's the same EQ...and same frequencies...but they sound better and work when they're controlled right and boosted after compression. I've heard it said that you cut before compression and boost afterwards and that seems to work for me.
If I can get the mid range right THAT is how I get loud mixes. There's so much damn energy there that I can't believe I missed it for so long. I always tried to cut out the mid range to get that hifi sound and in the end, the best tracks out there aren't are scooped as much as we probably think. OR if they are, they're cutting certain frequencies to take your focus to the others. It's really fascinating.....especially how some frequencies can mask others that are there.
So...lots of serial limiting, compression, multiband compression, pre and post EQ for me. I use Fabfilter stuff, but I also like the Renaissance EQ for it's analog and old school kind of tone. I dig using the API 550A just for the op amp tone...It's really something. And lastly, getting loud mixes can happen when you work with textures and vibe in your sound. So I SWEAR BY the Analog Designs Black Box, or the vertigo VSM-3 to make the track get overtones and textures that carry. There ya go....hope that recipe helps someone. Probably not new by any means but I sure wish someone had said that to me years ago. Peace
Wow, I had totally forgotten that TfF track Woman in Chains... Such a blast from my past! Great, great advice as always Warren, love your enthusiasm and sharing.
How are all of your videos always so brilliant!!!! The answer to that first question helps me tremendously!
5mins35sec onwards, Now that is pure gold right there! Really nicely explained
It is amazing to have your expert insight, thank you! I know I would be lost without this channel!!!
This has bugged me for so long. Researched for months. This is the best vid on subject. NOW I get it. You can go to bed tonight knowing you have made a fellow Brit very, very VERY happy. Thanks so much 🙏🏼
That was very helpful, Warren, as always...sunny greetings from Hamburg 👋😎
I've only just discovered this channel and the wealth of knowledge being presented here is just outstanding! I have so much to learn 😂
Some very good advice found in this video... thank you Warren.
An eye-opener for me was when I received stems that had already been processed such that each of them had a small crest factor - that mix needed only some eq-ing and level-riding, and it was one of the easiest and best-sounding mixes I've ever completed. Nearly all of those stems looked like long rectangles! That experience suggests strongly to me that there's a lot more compression and/or limiting needed on individual tracks than I'd imagined, which I think is what you're basically saying. Thanks again for another great video :-)
Omg thank you. I truly feel thankfulness in my heart, this is exactly what I needed!
really great video thanks a bunch for the info and keep up the good work
This is an outstanding sacrament on mastering, I so much enjoy watching your videos, I have to thank you so much !!
Remarkable sharing of experiences and observations! Thanks, Warren!!!
Thanks ever so much!
use your intuition and never stop growing!!! sending love and light and blessings
Thanks Warren for sharing!
Just stumbled across your channel Warren. Absolutely brilliant content, appreciate all the great advice and keeps my practice time really fresh with plenty of ideas to work on. Many thanks 😊
I LOVE your videos, Brother. Learning so much. A lot of it is over my head, but that’s ok. If I even get a fraction of what you are throwing, I believe it’s improving my process❤️
Thank so much for your all your lessons!, Warren! You rock! Be safe!
WOW, Im proud to say I have listen "woman in chains" Tear for Fears for the FIRST TIME. I completely understand what you mean Warren!. Im using my favorite AKG headphones and have discovered HOW a mix should sound! It was lf my ears somehow "clean up" from years of mud..... ;). FANTASTIC!!! Tus
Fairly new Subscriber, been watching now for over a year, gotta say at 1st I wasn't sure about Warren but he's grown on me and his advise and knowledge is far beyond, I've been a Guitar Player for over 40 years and an Amateur recording engineer, I've learned so much in the Last year, my mixes are sounding much much better
Nice video Warrren. Very helpful advice 👍
Your guitar solo is what did it for me lol! AWESOME VIDEO!
Haha thanks very much
Great information as always and well explained. Thanks Warren!
Excellent tips!!!
Really good advice, invaluable, thanks Warren
This has been an amazing week at PLOP.
Thank You Warren!
You mean PLAP
Warren! Your positivity is an inspiration.
This is the greatest channel around I have just recently started mixing as I am doing a course at my local college I would love to be at top level this time next year
Wow! Thanks ever so much! That really means a lot
THIS is a GREAT question :)
Every time I watch one of your videos I learn something new. Thank you Warren!
Thanks ever so much my friend!
Amazing explanation! Thanks
So good Warren.
Thanks! A really precise load of important information.
Thanks ever so much!
Something that changed everything for me was creating compression busses for different goals, mostly on for the rythmic section were I send my (already individually treated then grouped then treated) drums and bass and then I have Ableton's effect rack with a sub, low, low mids, hi mids and hi (sometime only mid, not low and hi mid appart) each compressed according to what's needed. Than I use the level of each part as an eq (most of the time I only lower the low mids by one or two dB as it takes off some mud). And I do the same thing except with different eq settings before the compression for what I want in the center, then in the sides, and then for my sends. It really changed the sound of my music and made it sounding a lot more professional!
Thank you Warren! Great questions again and WOW, what a beautiful looking (and sounding) guitar! I guess you'll be playing a lot on it in new vids ;)
Mate, Never learned so much in a youtube channel like I do on yours. Very Very grateful, what a beast!
Wow! Thanks Kim
This is such a great, well explained video, thank you. I'm guilty of some of those things you mention so great to hear your advice.
Amazing video sir thank you 🙏🏽
Great detail, thanks so much.
All my mixing secrets summed up in less than 5 min on the very first question lol. Nicely done Warren ;)
REALLY good video - very informative. Thanks :)
Thanks ever so much
16:16 Referencing other music is such a great idea for mixing and balancing. I've been doing this for many years now.. it just works. Of course, doing it at low levels is key to getting the the right end result.
Hi Warren, great advice as always, thank you, all the best.
Ty warren great info :) always love NGD
Man, I'm so happy to have found your channel!
I'm currently studying to be a mixing engineer and I have to say that your content inspires me so much!
Thanks for doing this, greetings from Finland :)
Wow! Thanks ever so much! I’m happy to be able to help!!
Best of luck in your journey!!
I so much enjoy your video's Warren!
Thanks ever so much!!
Love your latest videos, really interresting topics! Thank u Warren
Amazing topic, and such a good teacher- Warren.
Thanks ever so much
Warren lookin like a snacc as always. This comes in handy for mixing my buddys’ and my EP
I just love this man, this info is so exciting
Thank you for all of this. I'm still getting the hang of multiple levels of compression going beyond just the tracks and the drum bus. I've learned so much from you. Seriously. You're the best, Warren.
Excellent very useful info Warren. Luv u bro....thank u very much
always great helpful suggestions 👍👍👍
Thanks Warren, superb advice
Awesome video! Great explanations :) This really helped me and quite timely! Thank you sir!
Great episode. Thank you.
Guitar unboxing in a production stuff YT channel?
You keep earning respect points!
Great tips and advice, as always! 👌
Thanks ever so much Dimitris! I am still guitar player, that's why I got into music in the first place!
Great talk Warren. I hope your can come out with a little video of showing us how to make mix louder either in mixing or mastering level.
Thank you for your video! Well educated!
Warren listening to you always makes me wanna open a session right away 😜🤘🏼
I use some form of compression on most channels, kinda gels all those frequencies together. Great Channel by the way.
So helpful, thanks Warren!
Oh man❣️✨ Sounds like nice gig bag too! 😃🎉
...and my takeaway is reference tracks everywhere, and then compare headphone difference. 💖
My mastering chain:
1) 2 bottles of Pinot Noir.
2) 18dB of gain reduction.
3) Monster Munch.
Very nice I'm giving you a Square Wave!
Which flavour? Pickled onion?
Stay Marvelous, Warren.
Great discussion
less is more in the chain. subtle notching throughout the chain and clean grouping.
Finally! one of my biggest question about volume differences between records while they had similar DBs answered. That sure makes more sense than the "on master bus" approach i knew so far, there were some records from one of my favourite band, Soulfly, that were ridiculously loud, to the point not many bands could compare, like Prophecy Dark Ages or Savages. Note they were mixed by Terry Date, which is famous for working with Pantera and early-era Deftones (also working on next Deftones album). I wish he did some in-depth lesson of his mixes
God bless you man! You truly are a gem in the music world.
It's a big thing you share, Warren, thank you! For those who understand what i mean, your mix will be improved a lot after listening this video 😉
Thanks ever so much
Uuuuuuuh that's what I need, thanks for this wonderful tutorials and sharing your tips and tricks 🤘
I use multiple Parallel Busses, for example 4 different or the Drums, one is pumping the Drum Bus (EMI TG12345), one is Crushing it (Devil Loc Deluxe), one is for Kick/Snare separately (VLA 3-A) and one is more for the high mid's / high's and wideness ..
.. and sometimes even more compression :)
On point! After a decade of mixing I have a arrived at the same conclusions on every topic.
Great video. Thanks!
YES !!! multi parallel is the answer ;) I'm doing standard com on each channel plus parallel comp on each elements of the drums then parallel comp on the drum-bus then parallel on the full music mix-bus. Nothing on the master-bus, a bit of limiting (-0.1 db) to avoid clipping if necessary but mostly nothing.
Pepapepachoo! 😆 def don’t want a limiter doing that! Good video 👍
The simplicity and the richness of details in the way you deliver information about the world of audio are unbelievable. More and more I become more passionate about the explanations and examples you teach us. I hope to be able to join the academy soon and see my mix being reviewed by you. Congratulations again for your channel. And a happy Friday for everyone !!!!
I thought it was just turning up the faders!!!!!! Seriously though, nice reference track and something i must start doing using a refernce track in my work. Keep up the informative vieos for all.
I found it cool to group my toms and overheads on the same stereo bus separate from the rest of drum elements, and then applying an expander followed by very light compression just open up the toms and overhead sound and gives some life to the cymbals and drum fills.
"Woman in Chains" is my favourite reference-track as well.... mindblowing mix.... on good soundsystems the voice of Oleta Adams is hovering over the voice of Roland Orzabal....
Mine too!! Phil collins played drums on the tune! That whole album is such a sonic treat. I have an original UK vinyl pressing that is UNREAL
Agreed amazing mix Patrick!
Mine as well. Amazing mix.
Shout shout let it all out !!!!!!
As I come from Russia, I first heard Woman in chains after Warren mentioned it. I was blown away by everything in this masterpiece. That’s why I always check new speakers with this song and it always works! Great song, great lyrics, great production and obviously mindblowing mixing by the greatest Bob Clearmountain. He is truly a master of balance and tasteful sound effects.
References I use: Drivers seat and Should I stay or should I go. Because all the elements come in part by part. Gives a great overall view of where each instrument/frequency group sits. Also, Panteras Far Beyond Driven cause its so well balanced and clean its easy to find what frequency area is boosted or lacking.
Thanks for a great video again Warren! Always a pleasure to watch your love of music
Drivers seat!!! what a song.. but as far as i know there are several versions a bit different, one is longer with synth bass coming in first, and guitar part has some phaser on .. Love both versions.. amazing song.
In terms of mixing with reference tracks, I recently picked up Adaptr Audio Metric AB. Have to say it's been a game changer for me.