The lessons of these people are helping me to prepare the soundtrack to the theatrical premiere, which will take place in one month: Tom Holkenborg, Alan Meyerson, Jake Jackson. Thank you, great geniuses!
Very cool. If anyone is still monitoring this, I have a question. He mixes with clip gain which is fast, but clip gain is pre insert/processing so any increase or decrease affects what the inserted plugins are getting. Fader/track volume is post processing and just raises/lowers volume without changing insert levels. I'm guessing he accounts for that change in how compression and other effects change as he clip gains, but he didn't mention it so I am asking now.
Sometimes this is a benefit of clip gain. If you are using clip gain to make levels more consistent, then the behavior of things like compressor and limiters can be more consistent, rather than varying the tone of each sound as its input level fluctuates. On the other hand, if you are trying to increase dynamics with clip gain, then this can increase the tonal contrast between louder and quieter moments. Hope that helps! -Justin
You absolutely win for fastest response on TH-cam. Thank you for the insight. Great content by the way! I’ve been following and learning from you for several years.
Great video. Question: It seemed to me that Jake was recommending doing most of his fx as “Stem fx” (Reverb 1 a, Reverb 1B Delay 1, etc). However it looked to me that he also favored track-based Eq on many of the individual instrument tracks, as well as special delays focused on individual instrument tracks (pipes, flute) which would not be at the “1a, 1b, etc level , rather “down” at the individual instrument level. He even adds compression to subgroup of choir tracks, but not (?) at the stem level, but at the “feeder” level. Yet Jake says each stem should have a “delay” track but it seems clear that individual instruments might need a delay track. So regarding delays, saturation, and, of course EQ, does Jake also apply these at the individual track level? It seems like he does. Apologies, I do not run Pro Tools so this might be obvious.
@@danielgoode9314 I am finding the stem construction part to be pretty clear: All the instruments intended for the stem go to sort of a "pre-stem intrument " buss. all the intrument of the stem also go to each effect use son the stem. The "Stem effects" busses, plus the "pre-stem instrument buss" are routed to the ACTUAL stem for any final master-level processing. The stuff after that is is not terminology I understand so I just send the stems to the master buss. But I guess you could do a lot of other destinations in addition to the master buss. Like an "all" buss first, etc. But I agree the next stuff, after the stem construction, is a little hazy
@@danielgoode9314 Pretty much. Let's say you have 8 string tracks and 2 string Reverbs....and 8 brass tracks and 2 Brass reverbs (like a film). Send all 8 string tracks to the "String Instrument pre-stem". Also send all 8 string tracks to String Reverb 1" and send them again to String Reverb 2. Now your job is simple...you only have to feed 3 tracks into the final master "String Stem".... a)"String Instrument Pre-Stem", b)"String Reverb 1", and c) "String Reverb 2" . This technique is, I gather, standard for orcestral mixing. I don't know that is the same for pop mxing, or beat making. I do not know Ableton unfortunately.
![Mixing Masterclass with David Tolomei [Dirty Projectors, Future Islands, Beach House]](http://i.ytimg.com/vi/SjTNzEhW4r0/mqdefault.jpg)
![Mixing Masterclass with David Tolomei [Dirty Projectors, Future Islands, Beach House]](/img/tr.png)
Great to see you, Jake! I always enjoyed working with you and I'm glad to see you doing so well and I loved your video.
The lessons of these people are helping me to prepare the soundtrack to the theatrical premiere, which will take place in one month: Tom Holkenborg, Alan Meyerson, Jake Jackson.
Thank you, great geniuses!
Yes! Finally
Amazing! Thanks so much Jake
Oh this is exactly what I needed!
Very cool. If anyone is still monitoring this, I have a question. He mixes with clip gain which is fast, but clip gain is pre insert/processing so any increase or decrease affects what the inserted plugins are getting. Fader/track volume is post processing and just raises/lowers volume without changing insert levels. I'm guessing he accounts for that change in how compression and other effects change as he clip gains, but he didn't mention it so I am asking now.
Sometimes this is a benefit of clip gain. If you are using clip gain to make levels more consistent, then the behavior of things like compressor and limiters can be more consistent, rather than varying the tone of each sound as its input level fluctuates.
On the other hand, if you are trying to increase dynamics with clip gain, then this can increase the tonal contrast between louder and quieter moments.
Hope that helps!
-Justin
You absolutely win for fastest response on TH-cam. Thank you for the insight. Great content by the way! I’ve been following and learning from you for several years.
THANK YOU! I love SPITFIRE. I contibue to learn from videos like this, and expermineting with the plug-in. Just fun, for my own amusement,
Thanks for sharing!
Loved this!
Thank you
Thanks !! This is amazing
Right On
Great video. Question: It seemed to me that Jake was recommending doing most of his fx as “Stem fx” (Reverb 1 a, Reverb 1B Delay 1, etc). However it looked to me that he also favored track-based Eq on many of the individual instrument tracks, as well as special delays focused on individual instrument tracks (pipes, flute) which would not be at the “1a, 1b, etc level , rather “down” at the individual instrument level. He even adds compression to subgroup of choir tracks, but not (?) at the stem level, but at the “feeder” level. Yet Jake says each stem should have a “delay” track but it seems clear that individual instruments might need a delay track. So regarding delays, saturation, and, of course EQ, does Jake also apply these at the individual track level? It seems like he does. Apologies, I do not run Pro Tools so this might be obvious.
@@danielgoode9314 I am finding the stem construction part to be pretty clear: All the instruments intended for the stem go to sort of a "pre-stem intrument " buss. all the intrument of the stem also go to each effect use son the stem. The "Stem effects" busses, plus the "pre-stem instrument buss" are routed to the ACTUAL stem for any final master-level processing. The stuff after that is is not terminology I understand so I just send the stems to the master buss. But I guess you could do a lot of other destinations in addition to the master buss. Like an "all" buss first, etc. But I agree the next stuff, after the stem construction, is a little hazy
@@danielgoode9314 Pretty much. Let's say you have 8 string tracks and 2 string Reverbs....and 8 brass tracks and 2 Brass reverbs (like a film). Send all 8 string tracks to the "String Instrument pre-stem". Also send all 8 string tracks to String Reverb 1" and send them again to String Reverb 2. Now your job is simple...you only have to feed 3 tracks into the final master "String Stem".... a)"String Instrument Pre-Stem", b)"String Reverb 1", and c) "String Reverb 2" . This technique is, I gather, standard for orcestral mixing. I don't know that is the same for pop mxing, or beat making. I do not know Ableton unfortunately.
The phase changes in the bass whenever you use any type of plug in
thank you