Little thinking about sample rate recently. What is the real benefit of working in 96kHz except for editing (like timestretching, etc.) ? And what are you using and why. Also, do you have like an "ultimate advice" for controlling mid-range frequency. And last question that I got from one of my students. Is there a glossary of word used as movie sound designer or editor to find the right sound (collections of words like Walla, Whoosh, Risers, swishes, etc.)
When watching a review I always ask myself.. "is this a professional youtuber or a professional that does youtube" i always try to steer clear of the professional youtubers. Their business is reviewing stuff and not actually creating with the gear they review. This is why our boy Warren here is Top G mate.
From a mixing perspective, my philosophy is this: _"It's not what you have, it's how you use it that counts."_ * *There are, however, a lot of unique pieces of hardware that haven't yet had decent emulations made of them. But in general, I think a decent mix can be attained using either hardware or software. I think you can have someone who uses hardware who makes awful mixes because they don't know how to listen to what they're doing. You can also have someone who uses only 5-6 staple plugins but who can make an excellent sounding mix because they know how to listen to what they're doing due to experience. Where mixes really shine is when you have someone who has both hardware, software (plugins), *AND* mixing experience to know what flavours their equipment/plugins are going to add, and to know how/when to use them. Experience is key, so you can still get decent mixes on a much lower budget than studios that are filled with racks and racks of equipment.
Well said…. The plugins, and mic pre’s, and converter technology is so mind-boggling, good now, that you no longer need a six-figure SSL/Neve console, or $50K worth of vintage rack gear to get a great recording. That’s the entire selling point of this absolutely massive industry of digital “home recording”. I just heard a recording from a Presonus Studiolive III digital mixer, using all of Presonus’s plugin’s, and it sounded astonishing. That was an all-inclusive mixer less than $2K, including Studio One which is a GREAT DAW. That was yet another lesson of, either you can, or you can’t….it ain’t the gear. 40yrs ago when all us DIY’ers had access to were Fostex 4-track recorders, that was a completely different scenario, and time in the industry. We were dealing with physical tape, not “1’s and 0’s”. Back then, you were doomed, no matter HOW good you were because of the limitations of the gear. I was thinking of going with some expensive RME interfaces, with the SSL controllers….and it’s becoming next to impossible to justify that kind of expense, when it’s going to make absolutely NO noticeable difference on the recording itself. *After-all, when we’re listening to a recording/mix that we DON’T like, not one producer/engineer in the history of recording has pointed at their speakers and said “Well, of course it sucks, they’re using a sub $2K interface, with low-quality plugins.” It doesn’t work like that. And, anyone who says otherwise, is selling something. Just like we can’t tell what kind of guitar a session player is playing. Either they can play, and dial in a good tone, or they can’t.* We live in an incredible, and affordable time in the music industry (recording, or otherwise)….it’s up to us to learn how to use it. Frankly, I’d MUCH rather see a TH-cam channel devote itself to showing just how good a $2K interface, or digital mixer, can sound with high-end plugins, which we KNOW is possible, rather than someone with $200K worth of gear talking about how important an $5K piece of hardware is, over it’s respective plugin, because the 5% upgrade in sound, “makes all the difference”.
@@PrincipalAudio You know... The irony is that, I haven't recorded a single note of music in over 30yrs. I'm getting back into it now, and building a studio as we speak (from scratch). Right now, I'm in the "Why do I need to spend $5-6K on an interface, when there's tangible proof they don't sound ANY better than a $1K interface?"...stage. And, no one can answer that question with any degree of confidence. There was something about the converters was mentioned, which is legitimate concern (which I'm still researching). But, when I hear someone (who obviously knows exactly what they're doing) make a recording that sounds THAT good with a $2K digital mixer....then, at the end of the day, that all the proof I need. It just goes to prove that the most important aspect of this equation is "time on the job". IMHO, that's a very inspiring place to be. I have the ambition, and time...I DON'T have $100K to invest in gear for what's now really nothing more to me than a "professional-hobby". Maybe some day if I ever figure out what the hell I'm doing, I'll post a video of what's truly possible with relatively little money. I may hit up my buddy, and have him post a video (or 20) of how he was a able to get his recording to sound that good. I never expected that. He did a cover of Ratt's "Got me on the line", because we both absolutely love the sound/mix Beau Hill got on that record (Invasion of Your Privacy). And, he absolutely nailed it. I'm a 70's/80's freak, and love the warm recordings of that era. But, I digress... *Thanks for the reply. It's nice to know there's others out there who feel the same way.*
as a studio drummer myself I could not agree more, and I am thinking this would be a great title for a @Producelikeapro episode: how to get the perfect drummer inear mix in the the studio. Its SOOOOO important. I know how I do it, but I would love to hear other pros on that subject!
Speaking of Pultecs EQ, seriously guys go get the Tegeler Audio EQP-1...it's amazing and reasonable price. It has 2 ECC JJ preamp tubes in it and sounds fantastic on any buss and/or individual track. Great vid Warren! Thank you
I just started dabbling with home recording (I recently posted a video covering "My Hero" by Foo Fighters playing every instrument). I have a Yamaha mixer with USB out, an HP Envy, and Cakewalk - pretty basic and inexpensive setup. I added a fair amount of EQ for the drums on the mixer, as well as a bit of treble for the vocals, kept it flat for guitars and bass. Some of the "bite" in the sound gets lost on the recording, but I was pleasantly surprised with the built in EQ plugin on Cakewalk. I was able to fine tune everything to where I wanted it to sound. By the way, this channel has been very helpful and inspiring to get into home recording, thank you Warren!
Love hardware and plugins! I think there is a bigger gap between hardware compressors and plugin compressors but I could be wrong. EQ is much closer however I still like the hardware a bit more. I use them all in conjunction, though. Waves Q10 is invaluable to me. Finding bad resonances and cutting them with a q of 100 is amazing and I can't do anything like that with hardware. Soothe, as you mentioned as well. When mixing, I do like to make some cuts ITB before going to compressors and finishing EQ(sometimes hardware). Also, Carter Beauford's use of the China cymbal is pretty incredible!
Warren, I remember as a teenager in the 80's and watching that Rainbow video "All Night Long". I love that solo Ritchie Blackmore did on that song as he looked around like it was a no big deal solo. It just ripped!!! Wonderful solo.
Also, I've built up a 2 buss hardware chain, but recently I have been leaving my 2 buss full slick after hearing Allen Sides and others talk about it. It's been fun. I'm sure I'll go back at some point. It's a chain that is between 4-5k so I had better use it! Audioscape SSL style bus comp - RND 542 Tape Emulators - Wes Audio Pultec Style Prometheus - LTL Pentode and Royal Blue. Can't get the same sound in the box!
Rookie question: what are your thoughts on people recording at home, and putting effects on and doing rough mixes while still not being done tracking? And perhaps worse than that, what about mixing with mastering plug-ins on your master buss from the beginning? This means you’re mixing through an EQ, a slight reverb and a buss compressor right from the beginning of the mix process. Amateur stuff?
Lol, I always used to call my china cymbals trash can lids too. I had this little splash one that was particularly wretched. Thanks for the awesome content as always! Sam and I are so happy to be a part of this wonderful community. ☺
I love watching these. Always great info. Just a trick on the cymbal thing that I sometimes use? So, if drummer is hitting a half open hat REALLY, loud, or a china or something, I CRANK up that input in their mix. I usually try not to do it so much that the player is uncomfortable, but enough so that they hear that cymbal louder than it maybe really is. This tends to make them play the cymbal softer as a result. Of course you could crank it to the point where the hi hat is like 1 ouch, 2 ouch, 3 ouch, 4....and they'd baby it at that point. Also if the china is spot mic'd? You can crank it just the same as the hat, and turn it down after the take is printed. Warren , you're AWESOME man, thanks for all the tips, tricks, and great advice. Love it. Hitting like button again. Pease keep em coming!
In livesound I had great success reducing to loud cymbals by using moongeel on the top of the cymbal. It's reducing the loudness and a bit of the overtones. With variation of the position of the moongeel you can varying the tone and loudness of the cymbal and adjust it that way. Even halve of a moon feel is mostly enough to balance it out
Re: Your Intro Music. It is so clever as to sound totally original, though you confess lending credit Ritchie for its inspiration. As a player, I must confess owing a lot to that Cat as well. We all steal what we can from the Players we love as did they in turn those before them, but we are not nor ever could be them and the translation and transformation their soul meaning to our understanding gives rises the question of authenticity. That intro music is truly yours ! Blackmore never came to mind. In fact, until I got used to it, the impact when the Electrics and Drums kicked in was terrifying. And I Loved It!! That music is yours, man. I've written pieces inspired by watching a concert, a movie, or hearing some silly thing somebody said in life or on TV. However inspired, those songs are mine as delegated by the Muse who planted them in my mind to guard and complete that they may exist fully to be recorded and live forever or die never to be heard ever with my passing. And the World will keep on spinning caring not either way. You wrote a punchy intro you need unabashedly be proud of. I let jealousy and envy be my gauge determining with regret I had not been Genius enough to write the piece I'm hearing. Yours is so perfect in so many respects as ti draw said envy - good job! I rarely enter a Solo with any rehearsed preparation. I just grab a random note and wait to see what might follow. Perhaps a beautiful story will unfold - or an unfortunate train wreck will ensue. Either way, living on The Edge of Terror is the only way to fly. When improvising, always play scared and beyond your ability. I'm just a Hack, so that's familiar territory for me, Your Intro music gets me pumped every time. I love it and it is absolutely entirely yours. Blackmore would agree.
As a Gen Xer I was so influenced by my childhood being the very late ‘70s and ‘80s. Monster players like Ritchie and a Brian May then James Honeymoon Scott, Johnny Marr and others gave me so much balance!
Hi Warren, great to see FAQ Friday back. A possible question which you may well have covered before: lots of us are dealing with local bands who haven’t had a lot of studio time and and aren’t clear on the roles involved. If I’m recording someone, how would you manage expectations early for them on whether they are expecting you to be a producer, an engineer, an arranger or at times a musical contributor, playing parts etc? I don’t want to come in like I’m some sort of musical genius who is going to boss them around, but I often find that by the end of the project they wish I had flagged more issues I perceived or even suggested re-arrangements on the songs. I guess I’m asking for tips on people skills, of which I’m pretty bereft! Sorry for the long question, I didn’t have time to write a short version!
Warren, there are some analog mixing specialists on TH-cam that are making outrageous claims in terms of the vast superiority of analog over digital, even claiming to be able to use their hardware deaf, not hearing the tracks, and can come up with better mixes than Scheps’s work! They are charging a fortune and are comparing their work to digital versions - but when I found the released iTunes tracks using Shazam (they had kept the name on of the track and it’s producer secret), I found the digital released version was much richer and thicker than what they had presented. Can you make some content to prove that digital is equal to analog - different- yes - both with positives and negatives in sound quality. - but today, equal. It would be fun to hear you mix one song both ways at a pro level and compare the results. (Or have you already done this somewhere?) Just an idea, thanks….
Haha. Cool Rainbow Story. Not sure, how many times i´ve heard your intro in the past years. From now on, i will hear "All night long" every time. Funfact: Rainbow was my first Rock Concert back in 1979. Münster/Germany. To be honest: It was bad and i was dissapointed as a 14 year old lad. But anyways... my favourite album was "Rising" and "on stage". Thanks for your great content and greetz. Carsten ✌🏻
Further question about the PLAP jingle: I always envied the impactful low end when full instrumentation hits. I was at first thinking it had more to do with the kick, and wondered if you were using samples, but increasingly I think that it’s a very fat bass guitar sound giving most of that thump. What say you?
I'd like to see a video explaining the impact of a properly organized and routed cue mix/talkback/headphone feed during a tracking session. Both in the sense of gear, but also how it affects the players and studio musicians.
Warren..totally totally get what your saying bout drummers and the china cymbal. Get them to listen and then get them to 'own' it. In fact for all musicians. My issue is, as an (amateur) recording engineer, I still find it hard to get musicians to REALLY listen. They'll hear first or second (or tenth) time and go 'yeah sounds good' but I know there's an issue. Omg guitarists!! Worst of the lot. Cheers in the hardware EQ stuff, I use a 31 dbx graphic and love it, as well as a LC M300 for outboard processing but have wondered if I'm a dinosaur. Always good to hear your views as you really seem to know your sh*t
What analog stereo EQ and compressor would you recommend for drums master buss? What’s your thoughts on the Neve 8803 EQ as an option? Thank you very much!!! Amit Tel Aviv Israel
Hardware EQs force you to use your ears. I normally insert a hardware parametric EQ on vocals first then bypass it. Then I EQ the vocal with a plugin so I can A/B between the two in a blind test to see what I like best. Hardware always wins and the plugin always sounds a little harsh since I almost always boost a high shelf by a couple db along with the usual HP and LP and sometimes a slight dip in the boxy or muddy frequencies. I do have a question, Is there any need for hardware transient designers anymore? The plugins really seem to fit the bill for this type of processing..
@@Producelikeapro FYI, I didn't ask, but the tune was spinning thru my mind as I was setting up a session the other day and I meant to go look to see if there was any info about it. The timing is pretty incredible.
Hardware EQ vs Software EQ? It's not enough videos on TH-cam about that in terms of a sound comparison, buat there is a one very good with SSL plugin vs. SSL EQ in the board + also with compression. Differences? It's all about this crystal high top end that I don't think that ANY plugin on the market just can''t emulate. You can slways say, yeah but it's just a one track, right? WRONG. Multiply it by 48 tracks and sydney You've got a super clean and wide open mix. You can try to achive it with plugins or hybride mixing with great results, but as I was looking and listening around - all the best mixes ever were made on SSL desk. I know, it's expensive and sad but if You wanna this magical radio friendly 3-5% for Your mix then it's an analogue mix and analogue mastering. Not mention to record it through analog gear. Plugins are great, don't get me wrong but if You wanna cut with Your record like great knife then ...
I had to bug out of the feedback Friday early today because or work and I'm bummed about it. But, at least I now know you made your own intro! I kind of figured it was you, or at least influenced by you.
ITB EQ for me, luv. I won't go back to mechanical noise and heat issues. Also, what happens if your unit goes out during a session? ITB is forever the way to go.
Chinas are so trashy and loud, I love ‘em!😂 (I crank my felts for them tight though, for that reason.) Your advice about letting “Vinnie”(😂) listen back is great advice; and based on how you handle that, you sound like an amazing person to work with.🤟
Warren I'm thinking I want the Audioscape 260 vu as my 1st outboard compressor. I know it's great on drums. Would it be a good choice for mix bus also??
When I first started doing live sound for a 6 piece rock cover band in 1980 we didn't even have an EQ.! Feedback city. Graduated over the years to a tascam 8 track 1/2" tape and newest drum machine. Cica 1991... Bass and some keys here with a guitar player/vocalist. Recorded some 30 songs. Couple were good. Married kid moved back to hometown. Technology escapes me now. Old fart no Oh well.... IDK why I typed this. Possible I'll cancel it.
I haven't ever had the luxury of getting to use a well-outfitted studio, and certainly have never put fingers on knobs of legendary hardware EQs. But, it seems to me, using software emulations of some of that fancy stuff: More often than not, the benefit to using (e.g.) VEQ-4 or PuigTech or API emulations is entirely aesthetic. Fancy graphics, and a sense of woo-hoo at being able to have "that Neve sound" on my poor-man's audio. Does those actually _sound_ any different than the stock DAW plugin? I dunno. I've never AB'd them. But usually, I will pick an EQ based on whim, apply it, and then rip it out and replace it with Q4 or F6 because the stupid emulation with fancy graphics doesn't have a fifth band, and a need a fifth band; or it only works in steps, and 330Hz is too high, while 180Hz is too low. Or, just being able to click on a graph and move my cursor around until I hear the frequency that's bugging me suddenly pierce my eardrums, then drag it down into the basement and have it go away entirely... that's super nice. It doesn't have "transformer saturation" or "analog warmth" but man does it get the job done. Am I a heathen with tin-cans for ears?
Digital photography,or film ? I really think sometimes: old good photos,or even new and difital ones- i don't really care: if the picture touches me emotionally,- i DON'T CARE,how was it made. The sa with the music.: I am recording and mixing my songs mainly in the box. And if i have and achieve this sound,where people are asking me: was it mixed digitally,or analog? It means just one thing: the difference disappears. Sometimes musicians are asking me: are these drums real? Is this guitar solo or riff life,or sampled? I smile and when i say: COMPLETELY in the box,- it means,- when you know,what you are doing,- you can make the record. Digital? Analog? Both? It's just the matter of taste;)
What are some questions you would like me to answer on the next FAQ Friday?
Little thinking about sample rate recently. What is the real benefit of working in 96kHz except for editing (like timestretching, etc.) ? And what are you using and why.
Also, do you have like an "ultimate advice" for controlling mid-range frequency.
And last question that I got from one of my students. Is there a glossary of word used as movie sound designer or editor to find the right sound (collections of words like Walla, Whoosh, Risers, swishes, etc.)
Warren, what is your plugin vocal chain? Do you try to emulate your same hardware vocal chain with the same plugins? Neve Pre, 160, 1176...?
Tracking good bass tones can be a challenge, especially in prep to sit in a dense mix. DI only with post processing or DI and live cab or ?
Mate what are those monitors in the background
What are the little blue flecks in Tide laundry detergent ?????????
When watching a review I always ask myself.. "is this a professional youtuber or a professional that does youtube" i always try to steer clear of the professional youtubers. Their business is reviewing stuff and not actually creating with the gear they review. This is why our boy Warren here is Top G mate.
From a mixing perspective, my philosophy is this:
_"It's not what you have, it's how you use it that counts."_ *
*There are, however, a lot of unique pieces of hardware that haven't yet had decent emulations made of them. But in general, I think a decent mix can be attained using either hardware or software.
I think you can have someone who uses hardware who makes awful mixes because they don't know how to listen to what they're doing. You can also have someone who uses only 5-6 staple plugins but who can make an excellent sounding mix because they know how to listen to what they're doing due to experience.
Where mixes really shine is when you have someone who has both hardware, software (plugins), *AND* mixing experience to know what flavours their equipment/plugins are going to add, and to know how/when to use them. Experience is key, so you can still get decent mixes on a much lower budget than studios that are filled with racks and racks of equipment.
Absolutely! It's not the tools it's definitely how you use them!
Well said…. The plugins, and mic pre’s, and converter technology is so mind-boggling, good now, that you no longer need a six-figure SSL/Neve console, or $50K worth of vintage rack gear to get a great recording. That’s the entire selling point of this absolutely massive industry of digital “home recording”. I just heard a recording from a Presonus Studiolive III digital mixer, using all of Presonus’s plugin’s, and it sounded astonishing. That was an all-inclusive mixer less than $2K, including Studio One which is a GREAT DAW. That was yet another lesson of, either you can, or you can’t….it ain’t the gear. 40yrs ago when all us DIY’ers had access to were Fostex 4-track recorders, that was a completely different scenario, and time in the industry. We were dealing with physical tape, not “1’s and 0’s”. Back then, you were doomed, no matter HOW good you were because of the limitations of the gear. I was thinking of going with some expensive RME interfaces, with the SSL controllers….and it’s becoming next to impossible to justify that kind of expense, when it’s going to make absolutely NO noticeable difference on the recording itself.
*After-all, when we’re listening to a recording/mix that we DON’T like, not one producer/engineer in the history of recording has pointed at their speakers and said “Well, of course it sucks, they’re using a sub $2K interface, with low-quality plugins.” It doesn’t work like that. And, anyone who says otherwise, is selling something. Just like we can’t tell what kind of guitar a session player is playing. Either they can play, and dial in a good tone, or they can’t.*
We live in an incredible, and affordable time in the music industry (recording, or otherwise)….it’s up to us to learn how to use it. Frankly, I’d MUCH rather see a TH-cam channel devote itself to showing just how good a $2K interface, or digital mixer, can sound with high-end plugins, which we KNOW is possible, rather than someone with $200K worth of gear talking about how important an $5K piece of hardware is, over it’s respective plugin, because the 5% upgrade in sound, “makes all the difference”.
@@phillamoore157 You said it better than I could! 👏
@@PrincipalAudio You know... The irony is that, I haven't recorded a single note of music in over 30yrs. I'm getting back into it now, and building a studio as we speak (from scratch). Right now, I'm in the "Why do I need to spend $5-6K on an interface, when there's tangible proof they don't sound ANY better than a $1K interface?"...stage. And, no one can answer that question with any degree of confidence. There was something about the converters was mentioned, which is legitimate concern (which I'm still researching).
But, when I hear someone (who obviously knows exactly what they're doing) make a recording that sounds THAT good with a $2K digital mixer....then, at the end of the day, that all the proof I need. It just goes to prove that the most important aspect of this equation is "time on the job". IMHO, that's a very inspiring place to be. I have the ambition, and time...I DON'T have $100K to invest in gear for what's now really nothing more to me than a "professional-hobby". Maybe some day if I ever figure out what the hell I'm doing, I'll post a video of what's truly possible with relatively little money.
I may hit up my buddy, and have him post a video (or 20) of how he was a able to get his recording to sound that good. I never expected that. He did a cover of Ratt's "Got me on the line", because we both absolutely love the sound/mix Beau Hill got on that record (Invasion of Your Privacy). And, he absolutely nailed it. I'm a 70's/80's freak, and love the warm recordings of that era. But, I digress...
*Thanks for the reply. It's nice to know there's others out there who feel the same way.*
I love recording great drummers. They mix themselves when playing, as long as they have a good headphone mix.
Totally agree!
Good point! Maybe one way to deal with a cymbal that's too loud, is to put a dedicated mic on that cymbal, and mix it hot in their in-ears. >:-)
as a studio drummer myself I could not agree more, and I am thinking this would be a great title for a @Producelikeapro episode: how to get the perfect drummer inear mix in the the studio. Its SOOOOO important. I know how I do it, but I would love to hear other pros on that subject!
Speaking of Pultecs EQ, seriously guys go get the Tegeler Audio EQP-1...it's amazing and reasonable price. It has 2 ECC JJ preamp tubes in it and sounds fantastic on any buss and/or individual track. Great vid Warren! Thank you
I just started dabbling with home recording (I recently posted a video covering "My Hero" by Foo Fighters playing every instrument). I have a Yamaha mixer with USB out, an HP Envy, and Cakewalk - pretty basic and inexpensive setup. I added a fair amount of EQ for the drums on the mixer, as well as a bit of treble for the vocals, kept it flat for guitars and bass. Some of the "bite" in the sound gets lost on the recording, but I was pleasantly surprised with the built in EQ plugin on Cakewalk. I was able to fine tune everything to where I wanted it to sound.
By the way, this channel has been very helpful and inspiring to get into home recording, thank you Warren!
Love your comment on getting performer to come through and listen instead of just telling them. Very useful skill with singers too!
Agreed 100%! Let musician hear his own music!
Love hardware and plugins! I think there is a bigger gap between hardware compressors and plugin compressors but I could be wrong. EQ is much closer however I still like the hardware a bit more. I use them all in conjunction, though. Waves Q10 is invaluable to me. Finding bad resonances and cutting them with a q of 100 is amazing and I can't do anything like that with hardware. Soothe, as you mentioned as well. When mixing, I do like to make some cuts ITB before going to compressors and finishing EQ(sometimes hardware).
Also, Carter Beauford's use of the China cymbal is pretty incredible!
The intro + hairstyle already earned a like 😂 thanks for all of the quality info as well!
Thanks ever so much
The PLAP jingle mystery is finally solved. :p I admit, I thought that was stock music. xD
Haha thanks for the great comment
Warren, I remember as a teenager in the 80's and watching that Rainbow video "All Night Long". I love that solo Ritchie Blackmore did on that song as he looked around like it was a no big deal solo. It just ripped!!! Wonderful solo.
Love RB’s guitar work. His look during and after a solo, legendary !
Marvellous solo!
Absolutely, Ritchie is the man!
Have you heard the one about Peter Criss throwing his drum sticks at Paul Stanley? Drummers, you gotta love em.
I have so many stories of drummers throwing sticks and even cymbals at band members! Haha
Yeah man I've seen a floor tom go flying, fortunately not at a band member though, ffs haha!@@Producelikeapro
I really love Julian Krause. It is amazing. I hope he will test the Cranborn Audio R8 audio interface / summing mixer / 500 rack all in one.
I've been trying for a few years to test the Cranborne Audio stuff! Maybe one day I will! Many thanks, Warren
I'm flabbergasted in what I get with VSTs for synths, effects and hardware emulation. I wish the actual music biz was just as wonderful.
Also, I've built up a 2 buss hardware chain, but recently I have been leaving my 2 buss full slick after hearing Allen Sides and others talk about it. It's been fun. I'm sure I'll go back at some point. It's a chain that is between 4-5k so I had better use it!
Audioscape SSL style bus comp - RND 542 Tape Emulators - Wes Audio Pultec Style Prometheus - LTL Pentode and Royal Blue. Can't get the same sound in the box!
Rookie question: what are your thoughts on people recording at home, and putting effects on and doing rough mixes while still not being done tracking?
And perhaps worse than that, what about mixing with mastering plug-ins on your master buss from the beginning? This means you’re mixing through an EQ, a slight reverb and a buss compressor right from the beginning of the mix process. Amateur stuff?
Lol, I always used to call my china cymbals trash can lids too. I had this little splash one that was particularly wretched. Thanks for the awesome content as always! Sam and I are so happy to be a part of this wonderful community. ☺
I love watching these. Always great info. Just a trick on the cymbal thing that I sometimes use? So, if drummer is hitting a half open hat REALLY, loud, or a china or something, I CRANK up that input in their mix. I usually try not to do it so much that the player is uncomfortable, but enough so that they hear that cymbal louder than it maybe really is. This tends to make them play the cymbal softer as a result. Of course you could crank it to the point where the hi hat is like 1 ouch, 2 ouch, 3 ouch, 4....and they'd baby it at that point. Also if the china is spot mic'd? You can crank it just the same as the hat, and turn it down after the take is printed. Warren , you're AWESOME man, thanks for all the tips, tricks, and great advice. Love it. Hitting like button again. Pease keep em coming!
In livesound I had great success reducing to loud cymbals by using moongeel on the top of the cymbal. It's reducing the loudness and a bit of the overtones. With variation of the position of the moongeel you can varying the tone and loudness of the cymbal and adjust it that way. Even halve of a moon feel is mostly enough to balance it out
Re: Your Intro Music. It is so clever as to sound totally original, though you confess lending credit Ritchie for its inspiration. As a player, I must confess owing a lot to that Cat as well. We all steal what we can from the Players we love as did they in turn those before them, but we are not nor ever could be them and the translation and transformation their soul meaning to our understanding gives rises the question of authenticity. That intro music is truly yours ! Blackmore never came to mind. In fact, until I got used to it, the impact when the Electrics and Drums kicked in was terrifying. And I Loved It!! That music is yours, man. I've written pieces inspired by watching a concert, a movie, or hearing some silly thing somebody said in life or on TV. However inspired, those songs are mine as delegated by the Muse who planted them in my mind to guard and complete that they may exist fully to be recorded and live forever or die never to be heard ever with my passing. And the World will keep on spinning caring not either way. You wrote a punchy intro you need unabashedly be proud of. I let jealousy and envy be my gauge determining with regret I had not been Genius enough to write the piece I'm hearing. Yours is so perfect in so many respects as ti draw said envy - good job! I rarely enter a Solo with any rehearsed preparation. I just grab a random note and wait to see what might follow. Perhaps a beautiful story will unfold - or an unfortunate train wreck will ensue. Either way, living on The Edge of Terror is the only way to fly. When improvising, always play scared and beyond your ability. I'm just a Hack, so that's familiar territory for me, Your Intro music gets me pumped every time. I love it and it is absolutely entirely yours. Blackmore would agree.
As a Gen Xer I was so influenced by my childhood being the very late ‘70s and ‘80s. Monster players like Ritchie and a Brian May then James Honeymoon Scott, Johnny Marr and others gave me so much balance!
Of course growing up with Jazz and Classical guitar music was HUGE!
Hi Warren, great to see FAQ Friday back. A possible question which you may well have covered before: lots of us are dealing with local bands who haven’t had a lot of studio time and and aren’t clear on the roles involved. If I’m recording someone, how would you manage expectations early for them on whether they are expecting you to be a producer, an engineer, an arranger or at times a musical contributor, playing parts etc? I don’t want to come in like I’m some sort of musical genius who is going to boss them around, but I often find that by the end of the project they wish I had flagged more issues I perceived or even suggested re-arrangements on the songs. I guess I’m asking for tips on people skills, of which I’m pretty bereft! Sorry for the long question, I didn’t have time to write a short version!
Always say what needs to be said be it brutal or gentle. As long as the goal is positive for the song - that's what Producing is all about.
I like it when i have something on my mind, and then you do a video that answers my questions. Nice coincidence 😊
Remember the old Yamaha Q1131 EQs. Real nice quality but they weighted a ton. Each fader was enclosed in a large metal case. Boat anchor.
That was a great FAQ Friday. Interesting questions with good answers. Thanks very much
Glad you enjoyed it!
IGS Rubber Bands Mastering EQ 500 Series works also
Thanks ever so much for sharing
Warren, there are some analog mixing specialists on TH-cam that are making outrageous claims in terms of the vast superiority of analog over digital, even claiming to be able to use their hardware deaf, not hearing the tracks, and can come up with better mixes than Scheps’s work!
They are charging a fortune and are comparing their work to digital versions - but when I found the released iTunes tracks using Shazam (they had kept the name on of the track and it’s producer secret), I found the digital released version was much richer and thicker than what they had presented.
Can you make some content to prove that digital is equal to analog - different- yes - both with positives and negatives in sound quality. - but today, equal.
It would be fun to hear you mix one song both ways at a pro level and compare the results. (Or have you already done this somewhere?)
Just an idea, thanks….
I’m intrigued! Can you send me to These channels? Many thanks
You should use whichever EQ you (1) have and (2) know how to use.
Exactly!
Haha. Cool Rainbow Story. Not sure, how many times i´ve heard your intro in the past years. From now on, i will hear "All night long" every time. Funfact: Rainbow was my first Rock Concert back in 1979. Münster/Germany. To be honest: It was bad and i was dissapointed as a 14 year old lad. But anyways... my favourite album was "Rising" and "on stage". Thanks for your great content and greetz. Carsten ✌🏻
Further question about the PLAP jingle: I always envied the impactful low end when full instrumentation hits. I was at first thinking it had more to do with the kick, and wondered if you were using samples, but increasingly I think that it’s a very fat bass guitar sound giving most of that thump. What say you?
I'd like to see a video explaining the impact of a properly organized and routed cue mix/talkback/headphone feed during a tracking session. Both in the sense of gear, but also how it affects the players and studio musicians.
I recently dampened a cymbal stack that was super loud and it worked really well! I don’t know if that thing could have even been hit soft enough.
Blackmore aint a bad guitar player to emulate in almost any situation! 😃
Haha yes! Indeed
Thanks for your expert insights.
Thanks ever so much
Knee-high to a grasshopper? There's a neat one I hadn't heard before.
Haha It's an old one!
You gatta love this guy, Great stuffs 👏👏👏👏👏
Warren..totally totally get what your saying bout drummers and the china cymbal. Get them to listen and then get them to 'own' it. In fact for all musicians. My issue is, as an (amateur) recording engineer, I still find it hard to get musicians to REALLY listen. They'll hear first or second (or tenth) time and go 'yeah sounds good' but I know there's an issue. Omg guitarists!! Worst of the lot.
Cheers in the hardware EQ stuff, I use a 31 dbx graphic and love it, as well as a LC M300 for outboard processing but have wondered if I'm a dinosaur.
Always good to hear your views as you really seem to know your sh*t
A China cymbal can be very musical. Charlie watts used one for decades. ❤
Yes! Very lightly indeed!
WaaaW！First Time see Quested S8r in your video! what do you think of them?? That is my monitors..;)
Very cool! Thanks for sharing!
Julian @JulianKrause must be glad to hear your compliments - I agree great channel 👍 and thanks for your thoughts!
We LOVE Julian! He is truly amazing! He's been one of our recommended channels for a couple of years now!
What analog stereo EQ and compressor would you recommend for drums master buss? What’s your thoughts on the Neve 8803 EQ as an option? Thank you very much!!!
Amit
Tel Aviv
Israel
Use reference tracks. When I’m looking for Bass reference I love Mortal Combat mix Face to Face , I won’t Lie Down.
Thanks ever so much for sharing!
I use a lot of hardware/outboard gear when I track my vocals so I won’t have to do much work inside the box
Thanks ever so much for sharing
Hey, can you do a review of the kali audio ws-6.2?
Hardware EQs force you to use your ears. I normally insert a hardware parametric EQ on vocals first then bypass it. Then I EQ the vocal with a plugin so I can A/B between the two in a blind test to see what I like best. Hardware always wins and the plugin always sounds a little harsh since I almost always boost a high shelf by a couple db along with the usual HP and LP and sometimes a slight dip in the boxy or muddy frequencies.
I do have a question, Is there any need for hardware transient designers anymore? The plugins really seem to fit the bill for this type of processing..
Yay! West Sussex! 😊
I'd just say be careful with going out of the box and back in with the two bus unless you have quality converters.
Funny that someone asked about the bumper music.....I was wondering about that just yesterday or the day before.
Haha yes! I’ve been asked quite a few times! Now I finally get to answer it
@@Producelikeapro FYI, I didn't ask, but the tune was spinning thru my mind as I was setting up a session the other day and I meant to go look to see if there was any info about it.
The timing is pretty incredible.
That's wonderful to hear!@@davewestner
Hardware EQ vs Software EQ?
It's not enough videos on TH-cam about that in terms of a sound comparison, buat there is a one very good with SSL plugin vs. SSL EQ in the board + also with compression.
Differences? It's all about this crystal high top end that I don't think that ANY plugin on the market just can''t emulate. You can slways say, yeah but it's just a one track, right? WRONG. Multiply it by 48 tracks and sydney You've got a super clean and wide open mix. You can try to achive it with plugins or hybride mixing with great results, but as I was looking and listening around - all the best mixes ever were made on SSL desk.
I know, it's expensive and sad but if You wanna this magical radio friendly 3-5% for Your mix then it's an analogue mix and analogue mastering. Not mention to record it through analog gear.
Plugins are great, don't get me wrong but if You wanna cut with Your record like great knife then ...
I had to bug out of the feedback Friday early today because or work and I'm bummed about it. But, at least I now know you made your own intro! I kind of figured it was you, or at least influenced by you.
Yes! Thanks ever so much!
ITB EQ for me, luv. I won't go back to mechanical noise and heat issues. Also, what happens if your unit goes out during a session? ITB is forever the way to go.
Marvellous!
Chinas are so trashy and loud, I love ‘em!😂
(I crank my felts for them tight though, for that reason.)
Your advice about letting “Vinnie”(😂) listen back is great advice; and based on how you handle that, you sound like an amazing person to work with.🤟
Aw shucks! Thanks ever so much for the great comment
as a drummer through 40+ years... please dont tighten the felt hard on anything but chinas. Use cympad moderators instead :-)
Good information and video.
Glad it was helpful!
Warren I'm thinking I want the Audioscape 260 vu as my 1st outboard compressor. I know it's great on drums. Would it be a good choice for mix bus also??
Yes, absolutely! Thanks ever so much
When I first started doing live sound for a 6 piece rock cover band in 1980 we didn't even have an EQ.!
Feedback city.
Graduated over the years to a tascam 8 track 1/2" tape and newest drum machine. Cica 1991...
Bass and some keys here with a guitar player/vocalist.
Recorded some 30 songs.
Couple were good.
Married kid moved back to hometown.
Technology escapes me now.
Old fart no
Oh well....
IDK why I typed this.
Possible I'll cancel it.
We're back in black!
Thanks ever so much
Haha yes! We are!!
I haven't ever had the luxury of getting to use a well-outfitted studio, and certainly have never put fingers on knobs of legendary hardware EQs. But, it seems to me, using software emulations of some of that fancy stuff: More often than not, the benefit to using (e.g.) VEQ-4 or PuigTech or API emulations is entirely aesthetic. Fancy graphics, and a sense of woo-hoo at being able to have "that Neve sound" on my poor-man's audio.
Does those actually _sound_ any different than the stock DAW plugin? I dunno. I've never AB'd them. But usually, I will pick an EQ based on whim, apply it, and then rip it out and replace it with Q4 or F6 because the stupid emulation with fancy graphics doesn't have a fifth band, and a need a fifth band; or it only works in steps, and 330Hz is too high, while 180Hz is too low. Or, just being able to click on a graph and move my cursor around until I hear the frequency that's bugging me suddenly pierce my eardrums, then drag it down into the basement and have it go away entirely... that's super nice. It doesn't have "transformer saturation" or "analog warmth" but man does it get the job done.
Am I a heathen with tin-cans for ears?
Digital photography,or film ? I really think sometimes: old good photos,or even new and difital ones- i don't really care: if the picture touches me emotionally,- i DON'T CARE,how was it made. The sa with the music.: I am recording and mixing my songs mainly in the box. And if i have and achieve this sound,where people are asking me: was it mixed digitally,or analog? It means just one thing: the difference disappears. Sometimes musicians are asking me: are these drums real? Is this guitar solo or riff life,or sampled? I smile and when i say: COMPLETELY in the box,- it means,- when you know,what you are doing,- you can make the record. Digital? Analog? Both? It's just the matter of taste;)
Quested Monitors
Don't you just love it, when things don't even need an EQ?
Exactly
I could kiss such things :).
Hardware!!!
Marvellous
Audiscape hardware
😊
Yeah. Anyone Try writing a riff Richie didn’t ? 😂
Chinese symbols are not musical?
Music is ultimately about the sound, otherwise it would be called something else.
Ab-so-bleeding-loot-Lee
software creates ear rape and choppy audio mostly crap lol
software sucks hardware all the way hardware hardly can distort at all