@@jonobuchananmusic I love your videos and presentation style. I would have liked to have a teacher like you at college. Keep the great videos coming. Any chance of doing one about arrangement tricks to get you out of your comfort zone?
@@jonobuchananmusic Usually electronic stuff, vaguely drum and bass, but I like to experiment. It’s hard to take a good part that is working and extrapolate it out into a full track sometimes. Thanks!
Awesome video! Happy I discovered you! For some reason my ears are having trouble distinguishing the kick in both versions, but moreso in the first, naturally. Is this just an age thing? LOL I do recognize the Knight Rider reference....I'd have been tempted to boost the highs on the kick to compensate, but if it's just my ears, guess I'm sort of stuck...
Welcome! There are new episodes on this channel every Wednesday and a new Short on Saturdays. Listening is completely subjective and we’re all listening on different devices/setups, so I’m sure it’s not your ears! And boosting highs is definitely an effective way to get a Kick to (ahem) kick, if more clarity is needed. Thanks!
Well, I’ll be sure to utilize your excellent mixing techniques as kickly as possible. I mean, there’s no beater option. And I’m BASSing this on personal experience. OK, leaving before I get kicked out.
Great explanations 🙏 Do you think it would helpful to have an eq plugin that would show simultaneously chosen (selected) ‘problem’ tracks so as to see where overlaps occur?
Hi Didier. Yes, absolutely it would! FabFilter's Pro-Q 3 offers this very feature and it's incredibly helpful. That said, you can do this (to some extent) by eye; open the Channel EQ on two potentially 'conflicting' tracks and have a look at their EQ curves carefully. It's not a perfect system but it does help!
Excellent information as always, thank you Jono! If I remember correctly, in ep 50, when you covered the low end "Pultec trick" with the Vintage Tube EQ, you switched off the other (MEQ-5?) section of the plugin and said something like "this is for dealing with midrange, we won't be covering that today." Any chance you'll come back to that? Meantime: would it be relevant to explore in the context of the issues you've discussed in this video?
Yes, I’ll happily look at the mid-section of the Tube EQ. This emulates the MEQ-5 module, as opposed to the EQP-1A. Yes, it’s absolutely designed for midrange control so would be a useful tool in this regard. I favoured the Channel EQ for this tutorial as it’s a little more ‘visual’ with its spectral analysis metering but the lower section of the Tube EQ will certainly help to tackle the issues raised by midrange conflation.
@@jonobuchananmusic Of course, that makes sense. I'll give that MEQ-5 section a play in light of the ideas from the current video, and look forward to your next Vintage Tube EQ instalment whenever you get to it. Thanks for confirming I'm on the right track!
This is a great series thanks. A question I have is could you share how you manage the Low and Low-Mid ranges to ensure these frequencies are adequately heard if the music is played on a smartphone. My understanding is that Smartphones 'don’t hear' frequencies below 150-200 Hz. Not sure if you have ever covered this subject before in any of your videos. Any wisdom you might have in this area I'd love to hear ... many thanks. For context, I produce and release music from my home studio in Thailand as Anacrusis in Thailand and a number of tracks ;eave a bit to be desired if listened to via a smartphone...
This is a great question and it goes to heart of why the way we hear and the 'frequency capabilities' of any speaker (whether that of a Smartphone, or a pair of studio monitors) goes beyond the stated ranges. I don't mean to suggest that a speaker with a stated lowest frequency range of - let's say 150Hz - can play back frequencies below that. But I do mean that what you do to your mixes below 150Hz can have implications for the way that we hear frequencies above that point. The best example of this is what happens when you add a high-pass filter (or a low cut, which is the same thing) to any mix which is using a Stereo Compressor across the Mix Buss. As bass frequencies are slow and powerful, they often have the greatest impact in the way that a Mix Buss Compressor will behave. In other words, those low frequencies force the behaviour of the Compressor, which we can then hear in terms of the way that high frequencies behave. So, to answer your question, if you want greater clarity in the mid-range, often the best thing to do is to tighten up or play around with the Volume of low-frequency content, so that the speakers you're working with aren't overwhelmed by trying to play back frequencies they aren't capable of coping with. BUT...! Be careful! If you do this too much, in order for a Smartphone mix to sound the best it can be, those mixes will sound bass-light on any full pair of speakers. So what I'd suggest is that you pull any track that you really like the sound of on your Smartphone into Logic and carefully analyse what is happening from a volume/frequency perspective below the frequency range of that Smartphone's speaker. Compare that to the level and amount of low frequency content in your own mixes and that should provide some useful steer.
1:18 - Original
19:28 - Edited
Many thanks. Very helpful.
This is, effectively, a fantastic introduction to mixing techniques in general.
Hi Alex. Many thanks, that's absolutely the plan with this mini-series.
@@jonobuchananmusic I love your videos and presentation style. I would have liked to have a teacher like you at college. Keep the great videos coming. Any chance of doing one about arrangement tricks to get you out of your comfort zone?
@@alexwild1435 Leave that with me. What kind of music do you make?
@@jonobuchananmusic Usually electronic stuff, vaguely drum and bass, but I like to experiment. It’s hard to take a good part that is working and extrapolate it out into a full track sometimes. Thanks!
Your vids / vid series are always packed with so much valuable music production info… thank you for doing these!
You’re extremely welcome. So glad to hear they’re proving useful.
Great video, Jono. This is something I always struggle with.
So glad to hear it was helpful, Chris. Hope all’s great with you and that you’ve enjoyed dog-sitting! 😉
@@jonobuchananmusic Haha! It certainly has been something...Cheers, Jono!
great one Jono. thank you. 🤍🤍🤍
You're very welcome, as always.
Excellent, thank you.
Sorting conflicting bass and drums is always a bit of a headache here, and that’s helped a lot 👍
Great to hear, thanks Peter.
Awesome video! Happy I discovered you!
For some reason my ears are having trouble distinguishing the kick in both versions, but moreso in the first, naturally. Is this just an age thing? LOL I do recognize the Knight Rider reference....I'd have been tempted to boost the highs on the kick to compensate, but if it's just my ears, guess I'm sort of stuck...
Welcome! There are new episodes on this channel every Wednesday and a new Short on Saturdays.
Listening is completely subjective and we’re all listening on different devices/setups, so I’m sure it’s not your ears! And boosting highs is definitely an effective way to get a Kick to (ahem) kick, if more clarity is needed. Thanks!
Well, I’ll be sure to utilize your excellent mixing techniques as kickly as possible. I mean, there’s no beater option. And I’m BASSing this on personal experience.
OK, leaving before I get kicked out.
Great explanations 🙏 Do you think it would helpful to have an eq plugin that would show simultaneously chosen (selected) ‘problem’ tracks so as to see where overlaps occur?
Hi Didier. Yes, absolutely it would! FabFilter's Pro-Q 3 offers this very feature and it's incredibly helpful. That said, you can do this (to some extent) by eye; open the Channel EQ on two potentially 'conflicting' tracks and have a look at their EQ curves carefully. It's not a perfect system but it does help!
@@jonobuchananmusic Thanks Jono, again here, very helpful feedback. Would episode #129 be the 'part 1' of this mini-serie?
Excellent information as always, thank you Jono!
If I remember correctly, in ep 50, when you covered the low end "Pultec trick" with the Vintage Tube EQ, you switched off the other (MEQ-5?) section of the plugin and said something like "this is for dealing with midrange, we won't be covering that today."
Any chance you'll come back to that? Meantime: would it be relevant to explore in the context of the issues you've discussed in this video?
Yes, I’ll happily look at the mid-section of the Tube EQ. This emulates the MEQ-5 module, as opposed to the EQP-1A. Yes, it’s absolutely designed for midrange control so would be a useful tool in this regard. I favoured the Channel EQ for this tutorial as it’s a little more ‘visual’ with its spectral analysis metering but the lower section of the Tube EQ will certainly help to tackle the issues raised by midrange conflation.
@@jonobuchananmusic Of course, that makes sense. I'll give that MEQ-5 section a play in light of the ideas from the current video, and look forward to your next Vintage Tube EQ instalment whenever you get to it. Thanks for confirming I'm on the right track!
This is a great series thanks. A question I have is could you share how you manage the Low and Low-Mid ranges to ensure these frequencies are adequately heard if the music is played on a smartphone. My understanding is that Smartphones 'don’t hear' frequencies below 150-200 Hz. Not sure if you have ever covered this subject before in any of your videos. Any wisdom you might have in this area I'd love to hear ... many thanks. For context, I produce and release music from my home studio in Thailand as Anacrusis in Thailand and a number of tracks ;eave a bit to be desired if listened to via a smartphone...
This is a great question and it goes to heart of why the way we hear and the 'frequency capabilities' of any speaker (whether that of a Smartphone, or a pair of studio monitors) goes beyond the stated ranges. I don't mean to suggest that a speaker with a stated lowest frequency range of - let's say 150Hz - can play back frequencies below that. But I do mean that what you do to your mixes below 150Hz can have implications for the way that we hear frequencies above that point. The best example of this is what happens when you add a high-pass filter (or a low cut, which is the same thing) to any mix which is using a Stereo Compressor across the Mix Buss. As bass frequencies are slow and powerful, they often have the greatest impact in the way that a Mix Buss Compressor will behave. In other words, those low frequencies force the behaviour of the Compressor, which we can then hear in terms of the way that high frequencies behave. So, to answer your question, if you want greater clarity in the mid-range, often the best thing to do is to tighten up or play around with the Volume of low-frequency content, so that the speakers you're working with aren't overwhelmed by trying to play back frequencies they aren't capable of coping with. BUT...! Be careful! If you do this too much, in order for a Smartphone mix to sound the best it can be, those mixes will sound bass-light on any full pair of speakers. So what I'd suggest is that you pull any track that you really like the sound of on your Smartphone into Logic and carefully analyse what is happening from a volume/frequency perspective below the frequency range of that Smartphone's speaker. Compare that to the level and amount of low frequency content in your own mixes and that should provide some useful steer.
@@jonobuchananmusic thanks for the detailed reply and useful suggestions ... some homework for me
Is it just me or does Jono's monitor speaker look like E.T?
Ha! There’s certainly a resemblance.
Mix Space Part 2 Low Mid Range 1… Sunderland Nil
🤣