Ohhhh sh!t just that example alone(mic close-in your face. Mic far away-distance) simple things get over thought so much we miss what’s right in front of us. That made so much sense in creating depth or 3D in a mix. I never heard anyone explain it that way. And only 3 mins in. Thank you
Man.... I'm in the middle of a deep house track and searched this on YT... You blew my mind with the frequency eq. It makes SO much sense. Can't wait to try this out!!
Reverbs will emphasize the depth achieved with panning, eq (8-10k boost usually push a signal in front and a cut around that area push it back in the mix,...) and compression(fast attack versus slow attack is a very crucial element , even with vocals. If you want an upfront vocal, a slower attack or medium attack will do, avoid very fast attack unless you are taming unwanted peaks), and also choruses(they tend to put a sound in the *air or above the others sounds), and delays; but will easily drown a mix if it’s the main element used to create that depth (reverb)! I avoid reverbs as much as I can ! What do you think about this David? I learn a lot from your channel !
You know... when you said that the EQ is the big part of getting deth and space, it got me thinking. I knew it, but i never thought about it that way. Thank you!!!
I had a chance to record orchestra back at the time while I was playing in it. That's where I realized that in order to achieve a "true stereo" image, we need to think in terms of surround. It's because we really don't listen in fact anything in stereo. The moment we move away from the speakers, the stereo image distorts and most of the time we're listening in mono (therein the necessity to mix in mono for most scenarios when recording bands). However, with orchestra it's a bit more complicated. We used 3-4 different positions of microphones in order to achieve better 3D image of the sound. In the end you end up with dozens of microphones that are hard to tackle (phase, reverberations, artifacts and what else not, since you need to adjust the gain differently for the dynamic mics, differently for the condensers in order to have a more or if needed less focused capturing pattern). You really want the percussions to be back and contrabasses right, trombones left-to-back, etc. Panning here becomes a very very interesting stuff: you really can't rely on the mathematics of the meters anymore but you'll definitely need to trust your ears completely. That's why Hans Zimmer and the more famous orchestral producers are doing what they are doing, because somehow intuitively they can achieve that feel that one needs for particular scene in some movie.
nice video ! hey dave please make video tutorial about phase invert.phase cancellation..everybody still a few know about this thing but i thing this Phase Cancellation is very important about mixing and mastering,sorry bad english,thank you before and i hope you understand.
Great tips as always. I think also compression can help with separation and put things more front and back in the mix by shaping the transient with the attack and release, as well transient designer what do you think?
god damn that frequency response thing, it seems so obvious but I didn't think of it until you said it... mind blown. I thought you were gonna say something like compression having an impact on perceived location!
Here's a question: What's essential in the mix rack behind you? I'm wanting to build one of my own, but aside from my interface and a couple of compressors, I'm not really sure what to add. What's on there that you can't live without, or would recommend to someone building for the first time?
Thanks for that tip about the Waves S1 to relates nice stereo image. I have the S1 plugin but only used it twice. I use the Sound Toys Microshift a lot
Good info and insight! So many tricks aye, m/s compression and m/s eq can create some interesting stereo artifacts, including micro detune one side and uptune the other.
well said David . i find myself thinking sounds in terms of "fast" and "slow" also helps a lot in positioning if that makes sence. keep these rapid q.n.a's coming :D
Great discussion. Do any of you use Bi-aural panning (native in logic)? Placing the image in 3d space around the head... Also, using Gullfoss I feel like the 3D image gets very vivid; too vivid for music if you push it but vivd none the less. This would back the EQ and frequency response notion.
Use the oldest trick. Place microphones so that it sounds as close or far away as you want it to be in the final mix. Think of production as painting a picture. Decide what should be where and record accordingly. Use stereo microphonic techniques for this. Move around in the room until you find the spot where it sound like where it is supposed to be. And of course use a close up microphone so you can change your mind. Especially if you’re not the artist yourself. However, depending on your room and microphones, two meters from the microphone might sound like ten meters away in the mix. You have to try it out. There is no formula as it changes with what mentioned above. If it’s hard? Of course. Recording music is hard. Knowing all techniques are almost impossible. Start off easy and implement techniques you like and have control over. It takes a lot of time to get good at it, but ever so slowly you will improve.
When you have a mix from a band with two guitar players, and two or three guitar takes from each one, playing the same riff (but different takes, and different mics), how do you treat them? Like a only one guitar? (routing them to an aux channel and applies the same Eq and compression, for example) Or like different instruments (Different Eq and compression for each one). Where do you place them in the stereo? Your content is amazing! I always learn some new things when I watch your videos!! Cheers from Colombia! (Not Columbia)
Actually, I was a little surprised you didn't mention "moving the faders", aka. louder / quieter. If you turn down the volume, the desired EQ curse almost comes automatically due to the Fletcher-Munson curve. EQ will help to shape it more. On the other side, an EQ is nothing else than a lot of faders for specific frequencies. I really like your channel! ;)
Hey man, what about calibrating my daw (PT) for better gain staging? I can never really "drive" my pre amp levels bc the signal is so hot coming in with my condenser mic- even amp sims and such things. I'd say the only thing I don't have this problem with is my sm7b... I know you don't track instruments much these days, but I'm sure you have experience with this idea. Thanks for the videos, I learn so much for, you. Real quick, I know you've covered gain staging like, a thousand times but I THINK my question is about something not covered yet... I could be wrong. The answer to my question could exist in the metering section of PT preferences..? Idk. I hope this isn't like beating a dead horse for you
@Ruud Lexis by layering i mean using different sounds as one, I know they re not actually touching, but a good example is a synth on serum with unison, dissapears right away in mono, and even presets from serum are set with like 16voices unison, i guess it should sound like crap in mono no matter what
@Ruud Lexis the genre of music I wanna make relies a lot on detuned synths and stuff, it's a pain I cant manage to make it sound right, some producers say that u shouldnt care too much, and if you want a large stereo sound, mono will sound like shit
@Ruud Lexis i dont have a lot of people around me at the moment, and no a single one knows shit about producing, im learning from scratch and it's just so complex, mostly mixing and mastering, im trying to get as many informations and tips as I can
I love your videos and I love this one, but I have to politely disagree with some of it. You only get proximity effect with directional microphones, but not with Omni directional, like our ears! And you contradicted yourself when you said at the beginning that things in another room are muffled but then if you step away from the microphone your voice is thinner. Again that’s only with a directional microphone. I would say that you actually hear more breathiness when things are closer to your ear in real life and so that will help make things sound more intimate. Where is when things are further away high-end frequencies will die off quicker than low and frequencies so rolling off some high-end will actually make it sound farther away in general. Thank you again for the great video!
awesome info! Thank you broski!
Great video David 💪🏾✊🏽💪🏾
Ohhhh sh!t just that example alone(mic close-in your face. Mic far away-distance) simple things get over thought so much we miss what’s right in front of us. That made so much sense in creating depth or 3D in a mix. I never heard anyone explain it that way. And only 3 mins in. Thank you
Man.... I'm in the middle of a deep house track and searched this on YT... You blew my mind with the frequency eq. It makes SO much sense. Can't wait to try this out!!
Same here man
Great advice man, appreciate this series of videos
Reverbs will emphasize the depth achieved with panning, eq (8-10k boost usually push a signal in front and a cut around that area push it back in the mix,...) and compression(fast attack versus slow attack is a very crucial element , even with vocals. If you want an upfront vocal, a slower attack or medium attack will do, avoid very fast attack unless you are taming unwanted peaks), and also choruses(they tend to put a sound in the *air or above the others sounds), and delays; but will easily drown a mix if it’s the main element used to create that depth (reverb)! I avoid reverbs as much as I can ! What do you think about this David? I learn a lot from your channel !
Very interesting - thank you.
Wow I had at least 3 aha! Moments. Great info, thank you!
Hey Dave, started the hip hop course...Wickedness Increase!!!
That was awesome! Like cotton candy for the yearning mixer in all of us. Thx for sharing 💥👍
Great! Thank David!
You know... when you said that the EQ is the big part of getting deth and space, it got me thinking. I knew it, but i never thought about it that way. Thank you!!!
I had a chance to record orchestra back at the time while I was playing in it. That's where I realized that in order to achieve a "true stereo" image, we need to think in terms of surround. It's because we really don't listen in fact anything in stereo. The moment we move away from the speakers, the stereo image distorts and most of the time we're listening in mono (therein the necessity to mix in mono for most scenarios when recording bands). However, with orchestra it's a bit more complicated. We used 3-4 different positions of microphones in order to achieve better 3D image of the sound. In the end you end up with dozens of microphones that are hard to tackle (phase, reverberations, artifacts and what else not, since you need to adjust the gain differently for the dynamic mics, differently for the condensers in order to have a more or if needed less focused capturing pattern). You really want the percussions to be back and contrabasses right, trombones left-to-back, etc. Panning here becomes a very very interesting stuff: you really can't rely on the mathematics of the meters anymore but you'll definitely need to trust your ears completely. That's why Hans Zimmer and the more famous orchestral producers are doing what they are doing, because somehow intuitively they can achieve that feel that one needs for particular scene in some movie.
nice video ! hey dave please make video tutorial about phase invert.phase cancellation..everybody still a few know about this thing but i thing this Phase Cancellation is very important about mixing and mastering,sorry bad english,thank you before and i hope you understand.
Again, quality info. Thanks!
Great tips as always.
I think also compression can help with separation and put things more front and back in the mix by shaping the transient with the attack and release, as well transient designer what do you think?
god damn that frequency response thing, it seems so obvious but I didn't think of it until you said it... mind blown. I thought you were gonna say something like compression having an impact on perceived location!
Here's a question: What's essential in the mix rack behind you? I'm wanting to build one of my own, but aside from my interface and a couple of compressors, I'm not really sure what to add. What's on there that you can't live without, or would recommend to someone building for the first time?
Thank you very much for this relatively concise explanation of a complex subject! It's the info I've been wanting for a couple of years. : )
Thanks for that tip about the Waves S1 to relates nice stereo image. I have the S1 plugin but only used it twice. I use the Sound Toys Microshift a lot
thanks for the tips body.
Good info and insight! So many tricks aye, m/s compression and m/s eq can create some interesting stereo artifacts, including micro detune one side and uptune the other.
Valuable content man!🤘
Great video as usual 🤘🤘 My buddy Mike from walls of Jericho has that same guitar.. plays great..
well said David . i find myself thinking sounds in terms of "fast" and "slow" also helps a lot in positioning if that makes sence. keep these rapid q.n.a's coming :D
Great discussion. Do any of you use Bi-aural panning (native in logic)? Placing the image in 3d space around the head... Also, using Gullfoss I feel like the 3D image gets very vivid; too vivid for music if you push it but vivd none the less. This would back the EQ and frequency response notion.
You're welcome here.
Use the oldest trick. Place microphones so that it sounds as close or far away as you want it to be in the final mix. Think of production as painting a picture. Decide what should be where and record accordingly. Use stereo microphonic techniques for this. Move around in the room until you find the spot where it sound like where it is supposed to be. And of course use a close up microphone so you can change your mind. Especially if you’re not the artist yourself. However, depending on your room and microphones, two meters from the microphone might sound like ten meters away in the mix. You have to try it out. There is no formula as it changes with what mentioned above. If it’s hard? Of course. Recording music is hard. Knowing all techniques are almost impossible. Start off easy and implement techniques you like and have control over. It takes a lot of time to get good at it, but ever so slowly you will improve.
Did anybody else notice the blue light moving to David's voice?
Interesting Q&A. He looks like a metalhead Jean Claude Van Damme.
Awesome video as usual...My question, what should be considered when mastering a whole album versus a single track? Cheers
@@mixbustv Thank you so much for taking the time answering my question....I will follow your great advice....cheers
When you have a mix from a band with two guitar players, and two or three guitar takes from each one, playing the same riff (but different takes, and different mics), how do you treat them? Like a only one guitar? (routing them to an aux channel and applies the same Eq and compression, for example) Or like different instruments (Different Eq and compression for each one). Where do you place them in the stereo?
Your content is amazing! I always learn some new things when I watch your videos!! Cheers from Colombia! (Not Columbia)
U R the master for me!!!😎
I just susbscribed and glad I did!
Actually, I was a little surprised you didn't mention "moving the faders", aka. louder / quieter. If you turn down the volume, the desired EQ curse almost comes automatically due to the Fletcher-Munson curve. EQ will help to shape it more. On the other side, an EQ is nothing else than a lot of faders for specific frequencies. I really like your channel! ;)
Nice video but before eq and fxs the main main thing that really affect to proximity is the fader
Hey man, what about calibrating my daw (PT) for better gain staging? I can never really "drive" my pre amp levels bc the signal is so hot coming in with my condenser mic- even amp sims and such things. I'd say the only thing I don't have this problem with is my sm7b... I know you don't track instruments much these days, but I'm sure you have experience with this idea. Thanks for the videos, I learn so much for, you.
Real quick, I know you've covered gain staging like, a thousand times but I THINK my question is about something not covered yet... I could be wrong. The answer to my question could exist in the metering section of PT preferences..? Idk. I hope this isn't like beating a dead horse for you
MixbusTV
Got it. Thank you
What brand Tee Shirt is that?
Yep, explained to me like Im a 12 year old. THANK YOU !
Such a cool dude
How about volume Dave?...
You forgot "Volume"
crazy hairstyle
Is there any chance you could explain how to avoid having a synth with unison almost dissapearing when put in mono ?
@Ruud Lexis i tried layering sounds too but I just cant manage to make it sound right, maybe it's okay actually, it always sounds kinda crappy in mono
@Ruud Lexis by layering i mean using different sounds as one, I know they re not actually touching, but a good example is a synth on serum with unison, dissapears right away in mono, and even presets from serum are set with like 16voices unison, i guess it should sound like crap in mono no matter what
@Ruud Lexis the genre of music I wanna make relies a lot on detuned synths and stuff, it's a pain I cant manage to make it sound right, some producers say that u shouldnt care too much, and if you want a large stereo sound, mono will sound like shit
@Ruud Lexis ikr, vst presets are for show
@Ruud Lexis i dont have a lot of people around me at the moment, and no a single one knows shit about producing, im learning from scratch and it's just so complex, mostly mixing and mastering, im trying to get as many informations and tips as I can
Something new from Drawmer 😱🤫🤐 💯true
I love your videos and I love this one, but I have to politely disagree with some of it. You only get proximity effect with directional microphones, but not with Omni directional, like our ears! And you contradicted yourself when you said at the beginning that things in another room are muffled but then if you step away from the microphone your voice is thinner. Again that’s only with a directional microphone. I would say that you actually hear more breathiness when things are closer to your ear in real life and so that will help make things sound more intimate. Where is when things are further away high-end frequencies will die off quicker than low and frequencies so rolling off some high-end will actually make it sound farther away in general. Thank you again for the great video!