You're the bridge between an intermediate produce and a Pro... millions of questions tat a home producer has you clear them in a single video...lots of gratitude ❤ove from India ❤
Excellent Video! I was hoping you would get to the part where all those channels are summed to your mix bus where people may have the trouble with the levels going out.
To determine the right level going to the mixbus, I group all the aux busses in the session (including the delays and reverbs) together so that the balance is maintained. Then using any 1 bus fader I can adjust the amount of level sent to the summing mixer / mix bus depending on how driven I want to make the mix. If I can hear it squashing and pumping, it’s too much so I lower the level of all busses sent to the summing / mix bus. Alternatively you can create a VCA for all the busses in the session (same way I did for the drum tracks), and lower or raise all the busses through that 1 vca fader. Either way works.
Parallel processing changed my mixes🙌🏿. I discovered it accidentally since making sends is so easy in FL, but then I watched actual tutorials on how to do it right. Parallel compression and saturation leveled up my sound fr
Really appreciate you and your channel, man! Forgot to say that! 😎🙏🎸 Oh wow. I'm going to have to rewatch this a couple times and try some new things out.
I learnt a trick from this very respected engineer friend of mine. When you don't want to know crazy seeing all things and to avoid overthinking select all the tracks and set the automation mode to trim. Grab a coffee and keep working with the view on trim mode. It usually does the trick.
Before I really started doing actual studying. I had a general awareness of what you've touched on. But didn't truly know. You've really pinpointed my suspected thoughts!!! Thank you so much for helping me through my journey. I've already learned so much more just by paying attention to your videos!!
No problem at all! I’m very happy to share this with you and help reaffirm your beliefs. Every piece of the puzzle that you uncover is a step closer to achieving your goal. It’s one of those never ending puzzles. It will start to take shape, faster and faster, but we are all always learning and seeking to learn that next thing that’s gonna take us further. You got this!
Just to make sure I understand. Example.. you leave a ch untouched and send to another Channel (parallel) and in that ch you do all the processing? And you this for all ch on the track or just certain one. Thank you so much
What about that clean bus thing? Do you send all "raw" tracks there and cut the main/master out of these tracks? I mean the same way you would send to a compressor bus. And that clean bus for multiple tracks like full drums (heard the separation cymbals vs the rest, that im ok). But for example would you have a bass track with the recorded bass that you would send to its own clean bus instead of having the direct out from that one bass track? ANother point is for these plugins lacking ins or outs, daws have these stock ones basically an in level and out level that can be placed in between, can be helpful sometimes. In reaper i think it's just called gain plugin or something like that.
Yeah man. in a couple months I want to hire you for some personal coaching. So many things I want to run by you and get your input. Your brain is brilliant… I want to make sure my vocal chain is feeding into the plugins properly ect. Aswell as I want to better know compression. WHY and WHEN to change settings. Sort of an “If This, Then That” type of deal. That one video where you were like “well, WHY are you picking the lead male vocal preset? 👀….” “No idea why” 🤣 lmaoo - Like bro, you answered a question I’ve been wondering since I was like 8years old… Professional albums would ALWAYS have this like… “depth” I never understood how to achieve or even what I was hearing. It’s like you can focus your mind on each instrument as the song plays while everything sits in its own space. along with “how the FUCK is this album so LOUD?!” 🤔” before I knew mastering ect 🤣 Ultimately, it was your ANOLOG SUMMING videos 💥 👏🏾 👏🏾 ^ this is literally the thing I was hearing but never understood what the hell was happening.
Thank you so much! I really appreciate the kind words. I'm very happy you are liking the videos and are enjoying your journey. I'd be happy to work with you one on one, if you'd like. Email me, (my info is in the description). I'd be happy to clarify and discuss anything you mentioned from the videos, or otherwise. Stay with it! I look forward to speaking with you! Thanks for sharing and for being part of this with me.
I personally hate how the same name is applied to multiple things in the audio world. A vca style compressor is not what we are talking about in this video. So it just confuses things that the names both start with “vca” and I’m referring to a “vca master fader” and showing how they are used, since I’m talking about routing and signal flow, and you are referring to a “vca style compressor” which refers to how a signal is detected and processed in a compressor. Audio is definitely made more confusing because of some overlap in the names. Vca style compressor is not the same thing as a “Vca master” fader which controls the volume / voltage of multiple tracks at once.
Can you still get a good mix without the parallel processing? Put another way, is it a tip that gets you an experienced mixer that extra 1% improvement but a newer mixer would be more likely to make a hash of it? So far I've mostly used my parallel processing for delays and reverbs. When I start adding in EQ and compression on separate channels it all starts getting a bit hard to manage.
1 tip that’s helpful for me is that I typically don’t parallel EQ. You don’t want multiple EQ’s on different tracks (fed the same source), to be fighting eachother. Parallel compressing on the other hand, is great. I’d say for the most part that it’s the missing link for most people’s mixes. It’s wayyy more than the last 1%. It’s the way to bring up everything quiet, and also maintain the attack and punch. I find It’s hugely important in almost any genre. You gain more control by using it. You maybe using too much of it in the blend, or you maybe missing some of the signal routing aspect I described in this video. Must maintain one bus with a clean channel and feature it, with the parallel channels in the supporting role, if you want to maintain dynamics, and transients (the loud peaks), to make it all work correctly! I just sometimes use no parallel processing on drums because if the drums sound great on their own. The parallel comp is not always the answer but if blended right and given the right context, it can work wonders.
@@samsonlovesyou very cool. I typically EQ and De-ess on the track itself, then I send that track off to parallels. Because it’s already eq’d and doesn’t contain the harshness in the S’s, the parallel channels fed that relatively clean signal don’t need to have eq or de-essing on them. It’s there already. I know you’ll make it work!
Another reason you might want to avoid parallel EQ is that it can cause phase issues, unless you use linear-phase EQ (which can cause its own problems).
Noticing all of the unused turned off plugins in your session I assume you are using a template. If you do use templates, I would love to see a video breakdown of your personal template!
You're the bridge between an intermediate produce and a Pro... millions of questions tat a home producer has you clear them in a single video...lots of gratitude ❤ove from India ❤
Excellent Video! I was hoping you would get to the part where all those channels are summed to your mix bus where people may have the trouble with the levels going out.
To determine the right level going to the mixbus, I group all the aux busses in the session (including the delays and reverbs) together so that the balance is maintained. Then using any 1 bus fader I can adjust the amount of level sent to the summing mixer / mix bus depending on how driven I want to make the mix. If I can hear it squashing and pumping, it’s too much so I lower the level of all busses sent to the summing / mix bus. Alternatively you can create a VCA for all the busses in the session (same way I did for the drum tracks), and lower or raise all the busses through that 1 vca fader. Either way works.
@@customcutstudios Excellent Idea!
Parallel processing changed my mixes🙌🏿. I discovered it accidentally since making sends is so easy in FL, but then I watched actual tutorials on how to do it right. Parallel compression and saturation leveled up my sound fr
One of the truly Best Channels about the stuff, cheers man!
You're really making videos people need not want. Thank you so so much boss
@settingsstudios No problem at all! Happy to share the knowledge with you! Thanks for being a part of the channel.
Really appreciate you and your channel, man! Forgot to say that! 😎🙏🎸
Oh wow. I'm going to have to rewatch this a couple times and try some new things out.
This is the best video ever ….cleared up so much for me thank you so much 🙏🏻
I learnt a trick from this very respected engineer friend of mine. When you don't want to know crazy seeing all things and to avoid overthinking select all the tracks and set the automation mode to trim. Grab a coffee and keep working with the view on trim mode. It usually does the trick.
Great video thanks man ❤
Before I really started doing actual studying. I had a general awareness of what you've touched on. But didn't truly know. You've really pinpointed my suspected thoughts!!! Thank you so much for helping me through my journey. I've already learned so much more just by paying attention to your videos!!
No problem at all! I’m very happy to share this with you and help reaffirm your beliefs. Every piece of the puzzle that you uncover is a step closer to achieving your goal. It’s one of those never ending puzzles. It will start to take shape, faster and faster, but we are all always learning and seeking to learn that next thing that’s gonna take us further. You got this!
Yup was waiting for this one!
I’m very Happy to oblige! Thanks for being a part of this, and helping out as always.
@@customcutstudios 100
Just to make sure I understand. Example.. you leave a ch untouched and send to another Channel (parallel) and in that ch you do all the processing? And you this for all ch on the track or just certain one. Thank you so much
Thanks again! Definitely helped me improve my mixes AND creativity!
This is really brilliant advice for drum mixing. thanks for making this video
cheers mate you are legend
What about that clean bus thing? Do you send all "raw" tracks there and cut the main/master out of these tracks? I mean the same way you would send to a compressor bus. And that clean bus for multiple tracks like full drums (heard the separation cymbals vs the rest, that im ok). But for example would you have a bass track with the recorded bass that you would send to its own clean bus instead of having the direct out from that one bass track?
ANother point is for these plugins lacking ins or outs, daws have these stock ones basically an in level and out level that can be placed in between, can be helpful sometimes. In reaper i think it's just called gain plugin or something like that.
The plumbing!
Yeah man.
in a couple months I want to hire you for some personal coaching.
So many things I want to run by you and get your input.
Your brain is brilliant…
I want to make sure my vocal chain is feeding into the plugins properly ect.
Aswell as I want to better know compression.
WHY and WHEN to change settings.
Sort of an
“If This, Then That” type of deal.
That one video where you were like “well, WHY are you picking the lead male vocal preset? 👀….”
“No idea why” 🤣 lmaoo
-
Like bro,
you answered a question I’ve been wondering since I was like 8years old…
Professional albums would ALWAYS have this like… “depth” I never understood how to achieve or even what I was hearing.
It’s like you can focus your mind on each instrument as the song plays while everything sits in its own space.
along with “how the FUCK is this album so LOUD?!” 🤔”
before I knew mastering ect 🤣
Ultimately, it was your ANOLOG SUMMING videos 💥 👏🏾 👏🏾
^ this is literally the thing I was hearing but never understood what the hell was happening.
Thank you so much! I really appreciate the kind words. I'm very happy you are liking the videos and are enjoying your journey. I'd be happy to work with you one on one, if you'd like. Email me, (my info is in the description). I'd be happy to clarify and discuss anything you mentioned from the videos, or otherwise. Stay with it! I look forward to speaking with you! Thanks for sharing and for being part of this with me.
Vca's are considered faster compressors, similar to fet designs.
I personally hate how the same name is applied to multiple things in the audio world. A vca style compressor is not what we are talking about in this video. So it just confuses things that the names both start with “vca” and I’m referring to a “vca master fader” and showing how they are used, since I’m talking about routing and signal flow, and you are referring to a “vca style compressor” which refers to how a signal is detected and processed in a compressor. Audio is definitely made more confusing because of some overlap in the names. Vca style compressor is not the same thing as a “Vca master” fader which controls the volume / voltage of multiple tracks at once.
Can you still get a good mix without the parallel processing? Put another way, is it a tip that gets you an experienced mixer that extra 1% improvement but a newer mixer would be more likely to make a hash of it? So far I've mostly used my parallel processing for delays and reverbs. When I start adding in EQ and compression on separate channels it all starts getting a bit hard to manage.
1 tip that’s helpful for me is that I typically don’t parallel EQ. You don’t want multiple EQ’s on different tracks (fed the same source), to be fighting eachother. Parallel compressing on the other hand, is great. I’d say for the most part that it’s the missing link for most people’s mixes. It’s wayyy more than the last 1%. It’s the way to bring up everything quiet, and also maintain the attack and punch. I find It’s hugely important in almost any genre. You gain more control by using it. You maybe using too much of it in the blend, or you maybe missing some of the signal routing aspect I described in this video. Must maintain one bus with a clean channel and feature it, with the parallel channels in the supporting role, if you want to maintain dynamics, and transients (the loud peaks), to make it all work correctly! I just sometimes use no parallel processing on drums because if the drums sound great on their own. The parallel comp is not always the answer but if blended right and given the right context, it can work wonders.
@@customcutstudios Thanks man, I'll give this another shot with your tips!
@@samsonlovesyou very cool. I typically EQ and De-ess on the track itself, then I send that track off to parallels. Because it’s already eq’d and doesn’t contain the harshness in the S’s, the parallel channels fed that relatively clean signal don’t need to have eq or de-essing on them. It’s there already. I know you’ll make it work!
@@customcutstudios Are you applying this to most stuff? Instrument tracks? Bass guitar (which can be a dynamic nightmare on a clean track)?
Another reason you might want to avoid parallel EQ is that it can cause phase issues, unless you use linear-phase EQ (which can cause its own problems).
Noticing all of the unused turned off plugins in your session I assume you are using a template. If you do use templates, I would love to see a video breakdown of your personal template!
Pure Drama