My problem is there’s too much information on the internet taking people in various directions causing confusion. I know there’s many methods to do one thing when it comes to music but I love how it’s simplified here and could actually understand the process.
I've only been into making music for a couple months but I've definitely noticed that the biggest things you can do for a good mix are picking the right sounds and getting the volume levels right. Those are your ingredients, the arrangement is how they're cooked and everything else is just seasoning.
@@737simviator pick the right sound can also mean where you put the microphone in front of a cab... not everybody deals in virtual instruments and samples
Very good , as are all of your vids . I'm a retired film rerecording mixer - worked for more than 30 years and started when there was no automation - nada . I remember that I had been mixing for about 2 years ( student films , low budget documentaries ) and I asked our most experienced mixer what is s typical " mistake " that young mixers make . He said " inevitably too much EQ and too little fader work - volume is the most powerful tool , pull other tracks down a few dbs to reveal what you thing is getting lost in the mix , it's the relative volumes that can mean a lot . " He was absolutely correct , as you showed . Thanks for the vid , I really enjoyed it .
I love what you said about making big moves first. It makes sense to me especially as a video editor. Your big moves are laying down foundational videos and then siphoning down from there, so this mentality is gonna help me with my personal drum mixing. Thank you!
Super important point you made but I think talking about automation in this context is really important. I caught myself putting the faders of the guitars up in the chorus and when the verse came, put it back down. And without noticing, I did that change a couple of times before using automation, so the volume is just pumped up in specific parts, which finally solves the problem. Sometimes just using faders solves the problem in one part and creates a new one in another part.
First off: great video as usual, I love hearing studio stories like that. Ya know, the sculpture analogy is great. Also, sounds a looottttt like "top down" mixing haha, making big moves first then little moves to prefect it. I honestly just don't get why that's even a term now, anyone who is using templates to start then adjusting them for the specific song, with your buses set up at a good starting point, IS top down mixing. I think the internet kinda screwed this one up, making everyone think (& act like) it's some new mysterious technique, seems more like a general term for 'having a good starting point.' Of course, Nolly is the guy who started talking about it (I think) but really, I don't see a huge difference in what he does and what everyone else does. Not to mention, the order only matters for YOUR (whoever is reading) workflow. Because at the end of the mix, you have everything turned on simultaneously, right? So no matter where you start, the ending is what really matters, "top down" just seems like a slightly different (but not really) order of operations. And EVERY engineer/producer does things slightly differently, we all learn and process info differently, & that is what gives our own style. I'm with you on this one Jordan (if this is what you mean by it) in that I just don't get why this is a "thing." I think it's literally just because Nolly said it, it sounded like something new, so the internet latched on & made an obscenely big deal of it haha when in reality, it's really just another approach on the same thing.
Man, thank you for all of your videos, I found out your chanel about 3 mounths ago and by watching you I learned a lot and my mixing skills became so much better
Loved this vid, felt very natural and organic and shows how a pro just listens, adjusts with purpose, and keeps it moving. More stuff like this please! It really helps to hear what you hear, hear your thoughts on the track, and then see the steps you take. Thanks so much!
Great points, all of which I can confirm to give a solid foundation for mixing. 🙌 I often have a select set of plugin chains on all tracks, which I turn on one by one if required after the "big moves" are done. - Eero
Excellent advice! I just downloaded the cheatsheet to see what you recommend. Good advice there too. Just wanted to share a tip for toms. If you have a digital board with an RTA on the eq section, look for where the fundamental note of the tom is, (the biggest hump...) and give that a boost. Not too wide or narrow, in the middle. Now look at the actual frequency you chose and double that number which equals one octave above. Set the next available eq to that specific number and NOTCH it with a fairly narrow q setting. Now look at that actual frequency and double it and repeat the process on a third eq. For example: If the tom rings out at 100Htz. (the biggest hump on the RTA) Boost 100 Htz with a mid sized q around 4 to 6 dB Cut at 200 Htz with a narrow q setting around 4 to 7 dB Cut at 400 Htz with a narrow q setting around 4 to 7 dB Essentially you're removing the overtones of the fundamental note that the drum produces. Cleans up the presentation dramatically especially for live shows. Need less aggressive gating. Then I usually add a bit of highs for snap. Can be anywhere from 3.5k to 6k depending on show and type of drums. Best tip I ever got for toms!! Cheers guys!
I've gone full time with my small studio from jan 1st, ive had some good weeks n bad ones n having to rethink some of my skills and workflows and its a tough n testing time i can't lie. your upside-down pyramid and sculptor analogy was really cool, thanks man I'm subscribing n using that analogy in the future, cheers bud))
I’ve concluded that producing and mixing can be considerably the most perfectionist art form, not always, but the potential is there to endlessly tweak and critique…. Forever
This is so interesting, I was about to comment on how much I appreciate that you don’t ”nudge” with the settings like a lot of similar tutorials, they make so tiny CHANGES that you cant hear them as a listener. Better to overdo it first so you can hear whats happening. Thanks
I love the simplicity of this advice. Ultimately, just about every specific or nuanced change or adjustment we make to the mix is tied to volume in some way, so forgetting that the volume slider is our broadest brush stroke does seem easy for someone who likes to fiddle with tools and plugins. Especially for someone like me who isn’t especially experienced or equipped with all the same tools as a dedicated engineer.
One thing I have found out that is very similar to this especially for mixing drums with multiple mic sources is CHECK THE PHASE! Sometimes that low end that is missing from the kick is just because one of the two mics or the sample are out of phase. Same for the snare, I remember once bringing up like five plugins and going really aggressive on the EQ to give my snare some body, all that to find out that the snare bottom was just out of phase. Fixed immediately with one push of a button haha.
Great advice. Really good seeing you walk through those steps so smoothly. One issue, though. I have to think all people mixing are starting with the faders. Seems to me you mean not to forget about the faders as an option as the mix develops? I should think any amateur mixer, unaware of how to use EQ, Compression, or Saturation well, are going to be sticking to the faders almost entirely. So, it seems advice best for intermediate mixers?
I came to the same point some time ago. Now I save a lot of time in my mixes, after making the volumes, I focus on giving a color to the whole song using my mixbuss and then I start to see if there is anything else to do,...starting from the drums. Even in this part of the mix, I don't look the single kick or snare, but I start from the overheads, they have the real "feel" of the entire drumkit. The philosophy is "from the big picture to small details"
This was one of the best mixing advices i have seen so far. Recently I do the same, put the Volume up untill you hear everything clearly, than i identifi the problem zones, and choose the tool, what i think is the best for my mix. Leveling all audiotracks is the first step, it makes a huge difference. Thank you for this video , now I know Iam on the right way ☺
That is always my advice. Set your volume levels first. Make it sound as good as possible only using faders. The rest is much easier if you do that first.
Solid advice! Drives me crazy when an engineer puts 12 plug-ins on each solo channel before even listening to the entire song! They're "fixing" things that won't even be audible.
thanks for the video jordan! been watching your channel for a couple of years and once again you are helping things properly click in my head hahaha! appreciate the content very much dude, this video in particular has been super insightful for me 🙏🏼
I tend to,notice the opposite problem. I tend to mix things way too loud and have to turn things down. Usually it's either my vocals or my guitar, but lately ive even been discovering to turn my snare mix down a little. Either way up or down, true mixing advice here. Volume is more vital than we are aware of
i think what you say about just grabbing a wide Q is good in some cases. everyone used to mix on neves and the Q is not tight at all. sure a notch can be useful sometimes for a problem (that should have been fixed at the microphone) but zooming in too hard can really make a mix sound unreal and sterile IMO and a lot of my fav mixes arent perfect mixes
Amazing content as always, explaining the essentials mostly covered these days by way too many options and tools. Thank you! Helped me a lot through the last years of mixing. Don’t forget the music, it’s all about the message and energy 😌
loved the sculpting association. i've always thought that sound shaping/ mixing is like painting or sculpting., where you might thing it is never a finished work, always can bring more details /shades.
4:10 why would you boost something only to squash it after? I agree with the rule to compress before boosting eq and vice versa...it's practical as well as logical
To my mind, the real problem is to know the end result before doing anything. Sadly it's not teachable. As long as you don't know how it's supposed to sound like there's no way you can nail any mix. Knowing the end result leads you towards right tools or technics.
@@lebcaleb8692 try to watch other people mix and pay attention to what the initial audio sounds like, maybe try to understand exactly what the mixer is doing and why. Just focus on one small thing at a time, like, give yourself a week to improve on a specific thing, the next move on to something else, etc :)
I find it very helpfull to write before starting to mic couple of words (adjectives generally) describing how it should sound. Whatever comes to mind. That helps a north when having to make decisions.
Great advice. I wonder on the P Diddy thing, if he literally couldn't just turn the kick up any more as it was set at the start, and already hitting the master bus with compression etc and limiter and simply turning it up would destroy the rest of the mix - or at least would have to turn everything else down and start again, so not just a 2 second fix.
Problems are created by having a bunch of different preamps on everything. These problems become far less when all the preamps are the same. I got that from Terry Manning. I got a tip earlier today from Chuck Ainlay. When numerous little different things need reverb, run them all through the same reverb.
If you look at the output meter on the SSL, you can see there's a stereo ping-pong/panning type of effect/issue going on with the Rhodes Piano. You can hear this in the mix, and when he solos the track it sticks out like a sore thumb. I would have resolved the problem by changing that effect, before I would compress the piano track by 31%. I hate stereo panning type effects on any instrument really, piano, guitar, or otherwise. And this is exactly why. To each his own.
That is a damn true! Pull the freaking vol fader up! It's like one band eq. On my last project I wanted more punch. So I just pulled that fukker up. Et voila I got it right there!
I feel like grabbing the faders as an instinct is fine as long as you realize it also can go down lol. People keep boosting until they are right back where they started except now all your levels are too hot. Sometimes you need to turn something else down to get another instrument up. If you combined that with subtle EQ adjustments you will find the fader was fine where it was . The smallest move of the fader can really make a huge difference and it's easy to go too far. A db or two is huge in a mix. Maybe the kick drum was already pretty hot and there wasn't much headroom left to just turn it up without causing a problem. The engineer probably knew what he was doing. Puff should stick to rapping. He has plenty of experience but if your getting mad in the studio just do it all yourself. Don't get puffy and storm out of the room.
Wait, people don't mix audio levels first? I've been doing that since I started because it made sense. Level the tracks to your preference so it sounds good in mono, pan, then do your little tweaks if need be. Once in a blue moon, I'll do a small EQ tweak to a track if the sound is bad in the mono stage and interfering with understanding the proper levels.
I've been recording, producing and mixing music for 15+ years, and this was one of the most informative real-world lessons I've seen on YT so far!
Boom
My problem is there’s too much information on the internet taking people in various directions causing confusion. I know there’s many methods to do one thing when it comes to music but I love how it’s simplified here and could actually understand the process.
The entire content Jordan puts out feels like that. Truly great and real stuff
I've only been into making music for a couple months but I've definitely noticed that the biggest things you can do for a good mix are picking the right sounds and getting the volume levels right. Those are your ingredients, the arrangement is how they're cooked and everything else is just seasoning.
I would argue that the arrangement is the ingredients and the mixing is how they're cooked if I'm playing devil's advocate against your analogy here
wise
@@737simviator pick the right sound can also mean where you put the microphone in front of a cab... not everybody deals in virtual instruments and samples
If you’ve only been making music for a couple of months and already understand this concept then you’ve saved years off your learning curve.
This is simple but profound. The way you explained Volume, EQ and Compression here is amazing.
Very good , as are all of your vids . I'm a retired film rerecording mixer - worked for more than 30 years and started when there was no automation - nada . I remember that I had been mixing for about 2 years ( student films , low budget documentaries ) and I asked our most experienced mixer what is s typical " mistake " that young mixers make . He said " inevitably too much EQ and too little fader work - volume is the most powerful tool , pull other tracks down a few dbs to reveal what you thing is getting lost in the mix , it's the relative volumes that can mean a lot . " He was absolutely correct , as you showed . Thanks for the vid , I really enjoyed it .
The digital realm allows us to take risks, make big errors, explore thoughts and ideas without loosing anything.
A great learning tool.
I love what you said about making big moves first. It makes sense to me especially as a video editor. Your big moves are laying down foundational videos and then siphoning down from there, so this mentality is gonna help me with my personal drum mixing. Thank you!
This is THE mindset to have while mixing. It took me so long to arrive here. Wish I saw this video 5 years ago! Great stuff!
Super important point you made but I think talking about automation in this context is really important. I caught myself putting the faders of the guitars up in the chorus and when the verse came, put it back down. And without noticing, I did that change a couple of times before using automation, so the volume is just pumped up in specific parts, which finally solves the problem. Sometimes just using faders solves the problem in one part and creates a new one in another part.
This is deep AND so simple. I love that sculpting analogy too. 🙌🏻
First off: great video as usual, I love hearing studio stories like that. Ya know, the sculpture analogy is great. Also, sounds a looottttt like "top down" mixing haha, making big moves first then little moves to prefect it. I honestly just don't get why that's even a term now, anyone who is using templates to start then adjusting them for the specific song, with your buses set up at a good starting point, IS top down mixing. I think the internet kinda screwed this one up, making everyone think (& act like) it's some new mysterious technique, seems more like a general term for 'having a good starting point.' Of course, Nolly is the guy who started talking about it (I think) but really, I don't see a huge difference in what he does and what everyone else does. Not to mention, the order only matters for YOUR (whoever is reading) workflow. Because at the end of the mix, you have everything turned on simultaneously, right? So no matter where you start, the ending is what really matters, "top down" just seems like a slightly different (but not really) order of operations. And EVERY engineer/producer does things slightly differently, we all learn and process info differently, & that is what gives our own style. I'm with you on this one Jordan (if this is what you mean by it) in that I just don't get why this is a "thing." I think it's literally just because Nolly said it, it sounded like something new, so the internet latched on & made an obscenely big deal of it haha when in reality, it's really just another approach on the same thing.
Your advice is the best! So simple and easy but has a massive impact!
Man, thank you for all of your videos, I found out your chanel about 3 mounths ago and by watching you I learned a lot and my mixing skills became so much better
Loved this vid, felt very natural and organic and shows how a pro just listens, adjusts with purpose, and keeps it moving. More stuff like this please! It really helps to hear what you hear, hear your thoughts on the track, and then see the steps you take. Thanks so much!
Great points, all of which I can confirm to give a solid foundation for mixing. 🙌 I often have a select set of plugin chains on all tracks, which I turn on one by one if required after the "big moves" are done.
- Eero
Excellent advice! I just downloaded the cheatsheet to see what you recommend. Good advice there too. Just wanted to share a tip for toms. If you have a digital board with an RTA on the eq section, look for where the fundamental note of the tom is, (the biggest hump...) and give that a boost. Not too wide or narrow, in the middle. Now look at the actual frequency you chose and double that number which equals one octave above. Set the next available eq to that specific number and NOTCH it with a fairly narrow q setting. Now look at that actual frequency and double it and repeat the process on a third eq.
For example: If the tom rings out at 100Htz. (the biggest hump on the RTA)
Boost 100 Htz with a mid sized q around 4 to 6 dB
Cut at 200 Htz with a narrow q setting around 4 to 7 dB
Cut at 400 Htz with a narrow q setting around 4 to 7 dB
Essentially you're removing the overtones of the fundamental note that the drum produces. Cleans up the presentation dramatically especially for live shows. Need less aggressive gating.
Then I usually add a bit of highs for snap. Can be anywhere from 3.5k to 6k depending on show and type of drums. Best tip I ever got for toms!! Cheers guys!
I've gone full time with my small studio from jan 1st, ive had some good weeks n bad ones n having to rethink some of my skills and workflows and its a tough n testing time i can't lie. your upside-down pyramid and sculptor analogy was really cool, thanks man I'm subscribing n using that analogy in the future, cheers bud))
I’ve concluded that producing and mixing can be considerably the most perfectionist art form, not always, but the potential is there to endlessly tweak and critique…. Forever
This is so interesting, I was about to comment on how much I appreciate that you don’t ”nudge” with the settings like a lot of similar tutorials, they make so tiny CHANGES that you cant hear them as a listener. Better to overdo it first so you can hear whats happening. Thanks
I love the simplicity of this advice. Ultimately, just about every specific or nuanced change or adjustment we make to the mix is tied to volume in some way, so forgetting that the volume slider is our broadest brush stroke does seem easy for someone who likes to fiddle with tools and plugins.
Especially for someone like me who isn’t especially experienced or equipped with all the same tools as a dedicated engineer.
Really surprised it took me so long to bump into your channel. I just found it a few days ago and it's already been a big help.
One thing I have found out that is very similar to this especially for mixing drums with multiple mic sources is CHECK THE PHASE! Sometimes that low end that is missing from the kick is just because one of the two mics or the sample are out of phase. Same for the snare, I remember once bringing up like five plugins and going really aggressive on the EQ to give my snare some body, all that to find out that the snare bottom was just out of phase. Fixed immediately with one push of a button haha.
Great advice. Really good seeing you walk through those steps so smoothly. One issue, though. I have to think all people mixing are starting with the faders. Seems to me you mean not to forget about the faders as an option as the mix develops? I should think any amateur mixer, unaware of how to use EQ, Compression, or Saturation well, are going to be sticking to the faders almost entirely. So, it seems advice best for intermediate mixers?
I came to the same point some time ago. Now I save a lot of time in my mixes, after making the volumes, I focus on giving a color to the whole song using my mixbuss and then I start to see if there is anything else to do,...starting from the drums. Even in this part of the mix, I don't look the single kick or snare, but I start from the overheads, they have the real "feel" of the entire drumkit.
The philosophy is "from the big picture to small details"
This was great. It was the clearest explanation I’ve heard of how to go about decision making. Simplicity. Thanks
Dude this made complete sense. Blew my mind. Would you say this principle also works for vocals?
Have to say the Channel Strip is one of my best plugin buys. Love how you can do so much in just 1 thing!
Sound wisdom, brother ! Thank you !
This was one of the best mixing advices i have seen so far. Recently I do the same, put the Volume up untill you hear everything clearly, than i identifi the problem zones, and choose the tool, what i think is the best for my mix. Leveling all audiotracks is the first step, it makes a huge difference. Thank you for this video , now I know Iam on the right way ☺
I like this guy tuts, always clear, essential and simplified comparing to others! Superdope!
Tnx!
That is always my advice. Set your volume levels first. Make it sound as good as possible only using faders. The rest is much easier if you do that first.
That sculptor analogy is really cool. Gonna keep that one in mind. Thanks for the vid!
Thank you for sharing this knowledge, and for boosting our confidence
Pun intended?😅
Super useful video. Love this channel ❤️
Solid advice! Drives me crazy when an engineer puts 12 plug-ins on each solo channel before even listening to the entire song! They're "fixing" things that won't even be audible.
Your explanations are so helpful and informative!
What a nice advice and saturation plugin!! ❤❤ Thanks!
Thanks Brother! Your vids are always great!
10/10 video man. I’ve learned so much from your videos the past couple months.
thanks for the video jordan!
been watching your channel for a couple of years and once again you are helping things properly click in my head hahaha! appreciate the content very much dude, this video in particular has been super insightful for me 🙏🏼
Perfect analogy with sculpting
I tend to,notice the opposite problem. I tend to mix things way too loud and have to turn things down. Usually it's either my vocals or my guitar, but lately ive even been discovering to turn my snare mix down a little. Either way up or down, true mixing advice here. Volume is more vital than we are aware of
i think what you say about just grabbing a wide Q is good in some cases. everyone used to mix on neves and the Q is not tight at all. sure a notch can be useful sometimes for a problem (that should have been fixed at the microphone) but zooming in too hard can really make a mix sound unreal and sterile IMO and a lot of my fav mixes arent perfect mixes
Amazing content as always, explaining the essentials mostly covered these days by way too many options and tools. Thank you! Helped me a lot through the last years of mixing. Don’t forget the music, it’s all about the message and energy 😌
loved the sculpting association. i've always thought that sound shaping/ mixing is like painting or sculpting., where you might thing it is never a finished work, always can bring more details /shades.
4:10 why would you boost something only to squash it after? I agree with the rule to compress before boosting eq and vice versa...it's practical as well as logical
To my mind, the real problem is to know the end result before doing anything. Sadly it's not teachable. As long as you don't know how it's supposed to sound like there's no way you can nail any mix. Knowing the end result leads you towards right tools or technics.
Experience and referencing
@@LeDemiChef that's a good answer. Unfortunately we can't buy experience. We need to put on work.
@@lebcaleb8692 try to watch other people mix and pay attention to what the initial audio sounds like, maybe try to understand exactly what the mixer is doing and why. Just focus on one small thing at a time, like, give yourself a week to improve on a specific thing, the next move on to something else, etc :)
Exactly. It takes time knowing your equipment. More importany. Why and how you use it.
I find it very helpfull to write before starting to mic couple of words (adjectives generally) describing how it should sound. Whatever comes to mind. That helps a north when having to make decisions.
Thank you very helpful
That burst & bloom record is so fucking good Jordan.
I learned this the hard way, so simple, sometimes it’s just too loud in the mix. Lower volume = less low end
And, reset the fader after any processing changes. Watch CLA. He always re-adjusts the fader after eq or compression, etc. Very quickly
Your videos are really great, thank you very much
great video and info! Love your channel.
Automating volume is the most underrated mixing approach
Like the video and how you approach teaching, subbed
Thanks. Simple advices are always hard to come by, hard to make, and thus greatly appreciated :)
Liked and subscribed :))
so simple and yet so sooooo good! Even pro's miss this fact.
"Ah, and these are Puff Daddy's kids: P Diddy Mini, P Poofy Bite-size, and Poppa Diddy Diddy Puff Fun-size.“-South Park
very helpful! thanks!
Great advice. I wonder on the P Diddy thing, if he literally couldn't just turn the kick up any more as it was set at the start, and already hitting the master bus with compression etc and limiter and simply turning it up would destroy the rest of the mix - or at least would have to turn everything else down and start again, so not just a 2 second fix.
Good advice. Confused though, wouldn't you create sustainable with a SLOW release on the compressor?? Or am I misunderstanding
YOU ON POINT
Yup, thanks
Problems are created by having a bunch of different preamps on everything. These problems become far less when all the preamps are the same. I got that from Terry Manning.
I got a tip earlier today from Chuck Ainlay. When numerous little different things need reverb, run them all through the same reverb.
Nice video.. Jordan, I hope you can do another live mixing series like the one you did back in 2019 - I bought Hardcore Mixing course after that
Excellent! This is how pros mix.
Great advice.🙏🏿❤
This song is really good, it's already available??😩
Whats the name of the song in the video your mixing?? It sounded pretty cool especially when the rock elements dropped in 😀👍
What track was this? Sounds like an awesome song
Super Tips Mate! 🤝 Blessings Ricky
this rocks, thank u
great info👍🏻🍻
Great video 🔥🔥
What‘s the Song of the Project? Sound is great 👍
If you look at the output meter on the SSL, you can see there's a stereo ping-pong/panning type of effect/issue going on with the Rhodes Piano. You can hear this in the mix, and when he solos the track it sticks out like a sore thumb. I would have resolved the problem by changing that effect, before I would compress the piano track by 31%. I hate stereo panning type effects on any instrument really, piano, guitar, or otherwise. And this is exactly why. To each his own.
Awesome advice! I do have to ask though…what is the name of this song in the example?
Thank you
Is this an unreleased song? I can't find it, and I really like it.
That is a damn true! Pull the freaking vol fader up! It's like one band eq.
On my last project I wanted more punch. So I just pulled that fukker up. Et voila I got it right there!
This video still hit hard even today
Thanks, this is video gave a wonderful tip
What’s the song your demonstrating? I like it lol
Same here! I can only see the project is titled LIAR but I need the band name.
One thing - id say we need to check this in mono before processing or moving the fader...
what song is this? sounds awesome!
What do you think of setting levels with pink noise?
the $15,000 clickbait class you took helped pull me in
awesome video, what song is this?:)
I feel like grabbing the faders as an instinct is fine as long as you realize it also can go down lol. People keep boosting until they are right back where they started except now all your levels are too hot. Sometimes you need to turn something else down to get another instrument up. If you combined that with subtle EQ adjustments you will find the fader was fine where it was . The smallest move of the fader can really make a huge difference and it's easy to go too far. A db or two is huge in a mix. Maybe the kick drum was already pretty hot and there wasn't much headroom left to just turn it up without causing a problem. The engineer probably knew what he was doing. Puff should stick to rapping. He has plenty of experience but if your getting mad in the studio just do it all yourself. Don't get puffy and storm out of the room.
what song is that? sounds good to me
I need, this song, where can I find it
🎶one thing at a time you'll see it eventually and it always goes🎶
Cool video ! Jordan, do you prefer the EV2 or V1 from Ssl Waves? or it depends on what element you are mixing.
just like the painting maxim.. start with a broom, finish with a needle
Wait, people don't mix audio levels first? I've been doing that since I started because it made sense. Level the tracks to your preference so it sounds good in mono, pan, then do your little tweaks if need be. Once in a blue moon, I'll do a small EQ tweak to a track if the sound is bad in the mono stage and interfering with understanding the proper levels.
☛ Grab your free Mixing Cheatsheet to learn the go-to starting points for EQ and compression in heavy mixes: hardcoremusicstudio.com/mixcheatsheet
This is the Truth!
Awesome video🩵
love it!
I wish I wasn't so broke because I really, really want to take your class.
THANKS
I was struggling with the black metal kick and snare untill... i'm added 2db...
Ur demo sounds kind like fall out boy🙏🏿🐾🤙🏾